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Lot 713
Lot composed of two silver salt scoops 1 ° model "filet, violin, feuillagee shell", XIXth cen-tury, probably French, length 9.5 cm; 2° Art-deco model with flared spoon, American ster-ling guarantee hallmark, length 6.5 cm. Weight for both 14.3 gr. Good condition, dirty out of the attic.DB22
Lot 721
1 / A shovel sweets and cake, molded engraved and decorated model, length 20 cm, weight 41 g, France guarantee Minerva, silversmith Massart Brothers (hallmark) late nineteenth.2 / An engraved sugar tongs, length 8.5 cm, weight 15 g, garantee 800 Italy.3 / Pair of salt-cellar and glass, tripod model, guarantee 800 Italy, height 2,5 cm, silver weight 20 g net.4 / Art Deco sugar spoon 1930. Length 11 cm, weight 24 g.Good condition.
Lot 827
Decorative mechanical tapestry "door top" wall art hanging in cotton, Flemish scene with the fisherman and the mill, dominant color sepia, frieze border with vegetal decoration. With its rod and its attachment. In the tradition of castle scenes. Work from the 1950s. Good condition, fresh shades. Dimensions 153 x 58 cm.
Lot 999
Beautiful set of two silver fish service cutlery, six pieces (2 x 3) forks, knives and shovels. Model with flared Art-deco sleeves, turkish terminated spatula, decorated with large floral engravings on one side, neutral lapels. Hallmarks, Romanian work from 1920. Total weight (six pieces) 893,5 g. Length 23,5, 26,5 & 27,5 cm. Good condition.
Lot 107
Oil painting on canvas 46x56 cm, framed 57x67 cm Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.
Lot 108
Mixed technique painting on cardboard 30x50 cm, framed 50x66 cm Elio Romano was born in Trapani but soon moved to Catania and became an apprentice of the local painter Saro Spina. In 1928 he studied at the Free Nude School in Rome and the following year he enrolled at the Academy of Fine Arts in Florence. He becomes a pupil of Felice Carena and his assistant at the end of his studies. An important meeting is with Giorgio Morandi, another teacher at the Academy he attends and whose method of observation becomes a staple in Elio Romano's art. After the sculpture course that he attended at the Academy, his painting also took on a strong sense of plasticity. He returns to Catania permanently after his studio in Florence is bombed. In his homeland he teaches at the Academy of Fine Arts in Catania and does not stop painting until the end of his days. His style starts from Impressionism but has a clear tendency towards realistic structure. Signed Elio Romano on the lower right.
Lot 109
Oil painting on canvas applied to masonite 50x70 cm, framed 75x95 cm Eli o Roman n axes in Trapani but soon moves to Catania and becomes an apprentice of the local painter Saro Spina. In 1928 he studied at the Free Nude School in Rome and the following year he enrolled at the Academy of Fine Arts in Florence. He becomes a pupil of Felice Carena and his assistant at the end of his studies. An important meeting is with Giorgio Morandi, another teacher at the Academy he attends and whose method of observation becomes a staple in Elio Romano's art. After the sculpture course that he attended at the Academy, his painting also took on a strong sense of plasticity. He returns to Catania permanently after his studio in Florence is bombed. In his homeland he teaches at the Academy of Fine Arts in Catania and does not stop painting until the end of his days. His style starts from Impressionism but has a clear tendency towards realistic structure. Signed Elio Romano lower left.
Lot 139
Water-based paint on masonite 32x40 cm in frame 34x42 cm Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.
Lot 142
Oil painting on canvas 50x40, framed 52x42 cm Signed in the lower left corner Lucia Ragusa. Lucia Ragusa, painter, sculptor and mosaicist, was born in Catania, where she currently lives and has an active artistic studio. He studied painting at the Academy of Fine Arts of Catania and Ravenna. Later she specialized in restoration in Florence at Palazzo Spinelli. She was a professor of sculpture and decoration at the ABADIR - Academy of Fine Arts and Restoration of Catania. For over twenty-five years it has been permanently located in some of the most prestigious art galleries. He has collected personal and collective exhibitions, both national and international. His works are part of public and private collections. Lucia Ragusa's inspiration is an emotional disposition that is a personal investigation of a physical dimension. Energy and delicacy in boundless spaces invaded by suffused colors, where the rules of an ordinary description are measured with an unusual composition, built on the principle of the underlying and the particular. Several historians and art critics have written about her including Arnaldo Romani Brizzi, Franco Sarnari, Rosanna Ricci, Paolo Giansiracusa, Luca Lombardo, Giuseppina Radice, Elisa Mandarà Text by Rosanna Ricci: Critical Editor of San Domenico Museums - Forlì - Curator of the "Art" section of the rest of the Carlino. What defines Lucia's work Ragusa is experience. His curriculum is proof of this: Diploma in drawing and painting, qualifications in archaeological restoration, in mosaic, in ceramics, in sculpture. He is currently a teacher of Decoration and Sculpture, moreover, he has a twenty-five-year exhibition itinerary to his credit. Lucia Ragusa, however, is not only an expert executor of well-made forms, but she is above all an artist who knows how to give, to those who observe her works, the same vitality and the strong charge of emotions that she feels in front of a landscape, for a flower or an object. All this sets in motion a free and fruitful creativity, but always rigorous in the aesthetic proposal. dedication to art offers Lucia Ragusa the suggestive opportunity to confront nature and, at the same time, to reflect on the importance of art as a medium for communicating emotions and personal interpretations of what reality offers. It follows that technical skill and an evident sensitivity in the use of color and light offer implications full of poetry ... These works are, in other words, Lucia Ragusa's autobiography of her rigor in making art, but also in the silent movements of her sensitive soul. Rosanna Ricci
Lot 151
Ink drawing on paper 29x19 cm, framed 54x44 cm The 1960 painting is exhibited in the collection Azienda Provinciale Turismo di Catania. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.
Lot 159
Water-based paint on masonite 38x47 cm in frame 51x41 cm, Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism typical of the first post-war period, indulges in a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production, on the other hand, is characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.
Lot 178
Tempera on paper 24x32 cm, framed 36x44 cm Signed Alicò '64 bottom right Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.
Lot 200
Oil painting on canvas 35x60 cm in frame 50x75 cm Signed lower left and dated 1956. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality . Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations
Lot 221
Oil painting on wood 50x60 cm, framed 71x81 cm Signed Alicò bottom right and dated 1958. Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations.
Lot 225
Oil painting on masonite 50x60 cm, framed 71x81 cm Alicò signed lower left and dated. Giovanni Alicò was born in Catania in 1906. A self-taught painter, his approach to art is free from pre-built constraints or tracks. In 1935 he settled first in Naples then in Milan. In 1942 he was present with a work at the XXIII Venice Biennale, and in the same year, he held his first personal exhibition at the Tornabuoni Gallery in Florence. Six years of activity in Argentina followed between 1948 and 1953, with three solo shows in Buenos Aires and many participations in group exhibitions in various national exhibitions in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Returning to Italy, from the mid-fifties and throughout the following decade, there were several personal exhibitions in Catania, Milan, Rome and Como. It was the Suzzara Prize in 1955 with the work Contadino che riposa, where the painter, freed from a cold realistic description and far from the neo-Cubism patterns typical of the first post-war period, abandons himself to a painting of luministic suggestion, with large fields of greens, of grays, of earths, supported by a dense pictorial material defined by a thick contour line. The painting is currently kept in the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited at the Galleria il Pincio in Piazza del Popolo in Rome, one of the most active realities in the panorama of art exhibitions, where Renato Guttuso and Carla Accardi also exhibited. He began his artistic career by depicting in his painting the carts with the colorful stories of the puppets using preferably flat colors, then he introduces in his palette delicate, vibrant colors, and focuses on themes pervaded by a marked spirituality. Favorite subjects are female figures, still lifes and landscapes. In the 1950s, Giovanni Alicò approached his style to that of Guttuso, in the context of social realism. His attention is towards a synthetic figurative painting, which proceeds by suggestions in the general adherence to the themes of social realism. After 1960, an important poetic made of arabesques and luminous and chromatic effects enters his work and shaded furniture. Since 1967 anthropomorphic characters, a sort of ghosts, have appeared on these backgrounds, hovering in the space of the composition. The artist's latest production is instead characterized by paintings where signs, repeated geometric shapes and large splashes of color are rendered with intense and vivid colors, leading to informal and material outcomes. Giovanni Alicò died in Catania in 1971. After his death, an important retrospective was set up at the Palazzo della Borsa in Catania in 1973. Many of his works are present in important private collections in Europe and America and in various art foundations
Lot 91
Painted in oil on paper 18x24 cm, framed 28x34 cm Edoardo Dalbono. "Close to the emotions of dreams rather than those of reality, Dealbono reconciles Michetti's great lesson with that of the landscape painters of the best tradition. The result is a highly personal painting of particular charm, often entrusted to the rapidity of the sign and the extraordinary effects of light. Authentication of the art expert Mario Garbetta.
Lot 323
Simply gorgeous, 1930s Anglo-German creation and one of only 19.The result of an agreement between BMW and AFN of Middlesex in 1934Basically a late-thirties 327 built by BMW and supplied to Frazer Nash already badged as Frazer Nash–BMW, with Imperial instruments and in right hand drive. Fitted with the 328's 1971cc straight-six generating 80bhp (327/80)Only 19 were imported with around 12 believed to have survivedUnderstood to have been fully restored by the TT Workshop around 2005Part of BMW UK's Historic Fleet since 2015 and displayed at various eventsCurrently being recommissioned by BMW and will be offered running and drivingAbsolutely stunning but some cosmetic detailing would return it to a Concours standardBMW’s reputation as a manufacturer of sporting motorcars really started with the annual Eifelrennen event, held at the Nürburgring on 14th June 1936. Here Ernst Henne beat a field that included 1½-litre single-seat racing cars driving the prototype of what would become one of the most iconic sports cars of all time – the legendary ‘328’. The fact that this victory had been achieved only eight years after BMW’s establishment as an automobile manufacturer is all the more remarkable.Capitalising on this success, the company launched a new range of models that would become the foundation of their reputation as a manufacturer of the highest quality cars with power and style. The flagship of the range was the 328 which incorporated a lightweight tubular chassis and a powerful straight-6 engine with overhead valves and triple carburettors. Alongside the 328, BMW offered the 327, a delightful sports tourer based on a shortened, boxed, ladder-type chassis with semi-elliptic rear springs, a Hurth 4-speed gearbox and hydraulic brakes all round.The 327 was available with a choice of two engines, one was BMW's standard 6-cylinder but, for an extra few Deutschmarks, the car could be fitted with the 328’s 80bhp unit. This engine was the masterpiece of designer Rudolf Schleicher and although only displacing 1,971cc, it utilised hemispherical combustion chambers, inclined valves and twin downdraught inlet ports generating a very credible 80bhp in standard tune. This design had two rocker shafts, one situated above each bank of valves, giving the engine an external appearance almost indistinguishable from that of a twin-overhead-cam design but with considerable cost saving. It proved capable of developing even more power and after the war would be used by Cooper, Bristol and Frazer Nash with great racing success.In 1934, a cooperation agreement was concluded with BMW, which made Middlesex-based, Frazer Nash the general importer of these German vehicles for the British market and at the same time allowed them to sell the cars under their own brand name as ‘Frazer Nash-BMW’. The cars were built by BMW and supplied to Frazer Nash already badged as Frazer Nash–BMW, with Imperial instruments and in right hand drive. When fitted with the 2-litre engine, they were known as ‘Frazer Nash-BMW 327/80’. This arrangement continued until the outbreak of war in 1939 when, unsurprisingly, it was rapidly terminated. Only 19 Frazer Nash-BMW 327/80s were imported and, it's believed, only 12 remain.The stunning piece of automotive artwork on offer here is indeed one of those surviving 12. AFN imported DAK 760 into Isleworth in early 1939 and it would be wonderful to tell you that we know all about the car's history since then, but we don't as very little documentation exists. We do know, however, that it was fully restored around 2005 by marque specialists, TT Workshop, and judging by a very similar car also restored by TT Workshop, the restoration costs would certainly exceed the car's guide today. It has formed part of BMW UK's Historic Fleet since 2015 and has been displayed at various events over the years.Attractively finished in Midnight Blue over Cream with blue pinstripes, the car has real presence displaying none of the stately Teutonic pomp normally associated with pre-war German cabriolets, but echoes the elegant lines of thirties' Alfas with styling cues that suggest the work of those ‘swoopy’ blue and cream creations beloved of the French coachbuilders. The story is continued throughout the interior. Lavish Navy Blue leather and luxurious matching pile await you as you open the door and the whole thing is capped with one of the most beautiful dashboards we have ever seen with cream-faced Art Deco-style instruments and clocks surrounded by an array of Bakelite switches and knobs echoing the beautiful wireless radios of the era. The folding soft-top appears in excellent condition and the jack etc. are neatly stashed in the tidy engine bay. One can only imagine the reactions of people when this cabriolet was first released in 1937, it still draws gasps today. It’s a design that’s very much of its time, yet an enduring one. 32,586 miles are indicated on the odometer, naturally not warranted, and the car will be offered running and driving with the braking system currently being overhauled by BMW and general recommissioning works being undertaken. It's an older restoration with limited recent use and inevitably there will be certain items that may be inoperative, for example we have been made aware that the clock and cigar lighter are inoperative and the fuel gauge a little temperamental. There are one or two areas in need of further cosmetic detailing but overall this remains a stunning example of 1930s automotive elegance and your personal inspection is welcomed and encouraged. SpecificationMake: BMWModel: 327/80 CABRIOLETYear: 1939Chassis Number: 74554Registration Number: DAK 760Transmission: ManualEngine Number: 100A/3004Drive Side: Right-hand DriveOdometer Reading: 32586 MilesMake: RHDIntClick here for more details and images
Lot 407
Nose centre section that may well be from an important Ferrari. We are pleased to be able to offer this piece of bodywork from the Estate of the Earl of Denbigh where it has remained for many years in a corner of a barn. It appears to be from a Ferrari 250GTO. It's in alloy and looks to have been damaged at some point, repaired and painted and is the centre section of the nose (not the full nose). With the bonnet fairly far up the front of the car, quick access to the front end was difficult and apparently racing teams used to cut out this section to make access easier, replacing it later and making good the paintwork. It has the Zeus fasteners used for blanking plates for the three air intakes, the replicating of which would be pointless if it were created as a piece of automobilia. It has no markings or factory stamps which, we understand was normal on these part panels. Ferrari GTO #3757GT was finished in early June 1962 and despatched to its first owner, Jacques Swaters of Ecurie Francorchamps, to be finally race-prepared for Le Mans later that month. It was entered under the auspices of Equipe Nationale Belge and driven by 'Eldé' and 'Beurlys'. Bearing the race number 22, it placed 3rd overall and 2nd in class (GT3.0) just 12 laps down on the class winner, Pierre Noblet's privately entered GTO. It continued to be raced with some success well into 1963 when it was sold to Englishman, Peter Clarke. BRDC Member, Peter Clarke, was a capable club racer who was most active between 1961-69 racing a variety of cars both here and abroad with some decent success. He prepared the GTO, now registered 4 HLY, for the '64 season and used it for a number of races in 1965 enjoying a total of 30 outings in 4 HLY before replacing it with Ferrari 250LM #5895 in late 1965. His final race in 4 HLY was at Goodwood in the Sussex Trophy in April 1966. Some of these long-distance GT races were two-driver and he shared the car with a number of co-drivers including Rollo Fielding on 23/5/65 at the Nurburgring 1000km and the Reims 12 Hours on 4/07/65. Both of these events were recorded, sadly, as DNFs. He and Rollo ( Viscount William Fielding, 11th Earl of Denbigh) obviously remained friends as they teamed up again in Peter's 250LM for the Kyalami 9 Hours in 1966 and the Brands Hatch 6 Hours in 1967. #3757 enjoyed further success in the USA at Sebring and Daytona on 28/02/1965 where it placed first in class (GT3.0), all well documented elsewhere. #3757GT was sold some years later to Nick Mason and is now, probably, the most well known of the 36 GTOs. There are a few possibilities for this piece of tinware. Maybe one of the DNFs, when Rollo Fielding was driving, was an accident and the front was replaced and paid for by Rollo with the battered one being kept as a souvenir, or it may have been damaged earlier in the car's career, roughly repaired and painted and kept as a spare. It looks like it's had some hard use as you might expect at the front of a GT car on a long-distance race but could be pressed back into service if required. On the other hand, as the men remained friends for years, Peter Clarke may have stored a pile of spares in one of Rollo Fielding's barns after the GTO was succeeded by the LM and they were collected or sold off over the years leaving the nose piece forgotten under a sheet in the corner. (From a member of the family, we understand that Peter Clarkes' ashes were scattered in the grounds of the Denbigh estate). Here at Silverstone Auctions, we are making no claims for this piece of bodywork. It may have been a part of the bodywork of #3757 (podium at Le Mans 1962, a win at Daytona), it may have come from another 250GT0 purchased as a spare or it may be a piece of 'Wall art'. We know what we think but invite interested parties to view it for themselves and form their own conclusion. Click here for more details and images
Lot 492
New old stock. Rare discontinued model from the 1990s.White face with Roman numerals, luminous baton hands and subsidiary date apperture all before the fine Quartz movement. Convex mineral chrystal glass and water resistant to 3 atmospheres. Fine black leather strap. Complete with original Mercedes -Benz Collection fitted box and spare genuine leather plain strap.A beautiful Art Deco inspired timepiece.Click here for more details and images
Lot 609
And still we find them. Chassis Number#90 in its original shade of Pearl Grey.‘Outside Bonnet Lock’ cars are often regarded as the Holy Grail of E-TypesFinished in its original shade of Pearl Grey with Black Smooth Interior and HoodA matching numbers example restored by Marque Specialist Rothwell Engineering, completed in 2020Restoration fresh with only shake-down miles covered since completionYour early inspection is welcomed and encouraged to satisfy yourself with regards to the stunning restoration that has gone into bringing 850090 back to life The story of the E-Type requires little introduction, however, what perhaps may need some explanation is the position in the market of the very early cars and their importance to collectors and marque enthusiasts alike. In common with Works of Art, Furniture, Philately, Fine Wines and all the other things people collect, the rarest and best quality items tend to attract collectors' interest and inevitably, the harder they are to find, the more expensive they can become. Should there be a number of well-heeled collectors chasing a particular painting, for example, then the result can be a serious clash of egos and wallets. This is equally true of Classic Cars and the E-Type is a perfect example. The most sought after of all the E-Types are the first 92 right-hand drive cars produced and these are easily distinguished by their outside bonnet locks.Having formed part of a private collection in recent years, this exceptional right-hand drive, outside bonnet lock (OBL) roadster is finished in its original shade of Pearl Grey with a black interior and matching hood. One of the earliest E-Types produced, Chassis No #90 has had a no expense spared, ground-up restoration overseen by marque specialists, Rothwell Engineering, completed in 2020 and is a matching numbers example of one of the earliest E-Types produced. As you would expect, the standard of finish is exemplary and a true credit to the craftsmen that have been involved in rebuilding this British great. So fresh indeed is the restoration and with only settling in miles covered, it is suggested that a period of running-in be followed to achieve the very best from this beautifully rebuilt Jaguar. A rare opportunity to acquire what must be the Holy Grail of E Types and one that has been restored to within an inch of its life. Naturally, we encourage and welcome your inspection of this rare motor car. SpecificationMake: JAGUARModel: E TYPE OBLYear: 1961Chassis Number: 850090Registration Number: 589 UYMTransmission: ManualEngine Number: R1476-9Drive Side: Right-hand DriveOdometer Reading: 62810 MilesMake: RHDInterior Colour: Black HideClick here for more details and images
Lot 645
Blistering performance, classic looks and less than 29,000 miles from new.At launch, AMG's 493bhp, 5.4-litre supercharged V8 propelled the car to 62mph in 4.2 secondsFinished in Obsidian Black over Exclusive Red Leather with Designo Alcantara headlining. Fantastic condition in rare and desirable specification. Superb engine bayThe theatrical metal folding-roof never fails to impressJust 28,495 miles with a full service history from Mercedes-BenzNB: The Cherished Registration Number illustrated (SG 55) does not form part of the saleIntroduced in 2002, after some five years in development, the R230 Series SL Roadster was an engineering ‘tour de force’. Painstakingly modelled on a state-of-the-art supercomputer which enabled the designers to analyse every curve and line, it looked utterly sensational with an air of barely contained aggression that gave it huge road presence. Packed full of sophisticated electronic driver aids which made it immensely safe but still fun to drive, it was an instant success and is widely considered to be the best-looking Mercedes for many years.In late 2003, the stunning SL55 AMG was introduced causing shockwaves in the early-2000s performance car market with near-supercar levels of acceleration and handling, packaged in a comfortable, elegant convertible geared towards touring capability. Seriously powerful and impressively fast, the supercharged 5.4-litre V8 was rated at 493bhp with a stump-pulling 520 lbs.ft of torque. The cars were fitted with an uprated 5-speed automatic featuring AMG's 'Speedshift', there were a number of trim difference including uprated seats and the SL55 sat on a set of striking, multi-spoke AMG alloys.First registered on the 29 September 2003, this SL55 is finished in Obsidian Black over Exclusive Red Leather with Designo Alcantara headlining. The options list in 2003 was packed full of state-of-the-art equipment and, it would appear in this case, most of the boxes had been ticked. The history file is rather nicely stocked for such a modern car and includes many receipts and a full service history from Mercedes. Showing an odometer reading of some 28,495 miles, at the time of cataloguing this car represents incredible value for money. This SL55 AMG presents really, really well and appears almost unmarked. The engine bay appears showroom fresh and the whole car has patently been looked after. Ballistically quick, fabulous looks, continent covering pace, yet as civilised in town as a Toyota Corolla, it's no wonder that some 'supercar' owners tend to get a little upset. SpecificationMake: MERCEDES BENZModel: SL55 AMG R230Year: 2003Chassis Number: WDB2304742F063658Registration Number: YR53 LYOEngine Number: 11399260020260Drive Side: Right-hand DriveOdometer Reading: 28495 MilesMake: RHDInterior Colour: Exclusive Red LeatherClick here for more details and images
Lot 321
Feines Art Déco Collier mit Perlen und Diamanten, wohl Naturperlen (Orientperlen) ca. 8x9x12 mm, Altschliffdiamanten zus. ca. 1 ct, Rahmen RG 14K, Schauseite u. Kette Platin, 9,4 gr, L: ca. 37 cm, Mittelteil L: ca. 6 cm, um 1920, sehr guter altersgemäßer Zustand. (69).| Fine Art Deco necklace with pearls and diamonds, oriental pearls ca. 8x9x12 mm, old-european-cut diamonds totalling ca. 1 ct, frame 14K RG, face side and chain platinum, 9.4 gr, L: ca. 37 cm, center part L: ca. 6 cm, around 1920, very good condition consistent with age.
Lot 55
Jugendstil zartes Collier mit kleinen Perlen und Saphiren, GG 14K, 6,2 g, L: 40 cm, Mittelteil aus feinem Ösengitter mit abhängenden Kettchengirlanden und Zierelementen, um 1900, sehr schöner Erhalt.| Art Nouveau delicate necklace with small pearls and sapphires, 14K yellow gold, 6.2 g, L: 40 cm, central part made of loop-grid with chain garlands and decorative details, around 1900, very good condition.
Lot 7
Herausragendes Armband mit Diamanten zus. ca. 4,2 ct, Übergangsschliff, ca. WEISS-GW (H-K)/VS-P1, GG/WG/RG 14K, 62,2 gr, L: ca. 18 cm, 1930er/40er Jahre, minimale Tragespuren, vereinzelte Steine leicht bestoßen. In getragenem Zustand öffnen sich die einzelnen Elemente und zeigen weitere Diamanten. Streng geometrisches Art Déco, perfekt ausgeführte Goldschmiedekunst! (15)| Extraordinary bracelet with old-brilliant-cut diamonds totalling ca. 4.2 ct, ca. WHITE-TIW (H-K)/VS-I1, 14K YG/WG/RG, 62.2 gr, L. ca. 18 cm, 1930s/40s, minimal signs of wear, single stones slightly chipped. When worn the individual elements open up to reveal more diamonds. Strictly geometric Art Deco, perfectly executed goldsmith's art!
Lot 317
Art Déco Ring mit Rubincabochon ca. 3 ct, wohl Burma, transparenter Stein, Rutil sichtbar, keine Anzeichen von Hitzebehandlung erkennber, Diamanten in versch. Schliffen zus. ca. 0,5 ct, gute Farbe u. Reinheit, Platin, 4 gr, RW: 50, 1. Hälfte 20. Jh., Tragespuren, Rubin mit Wachstumsriss. (3)| Art Deco ring with ruby cabochon ca. 3 ct, probably Burma, transparent stone with rutile visible, no indication of heating visible, diamonds in various cuts totalling ca. 0.5 ct, good colour a. clarity, platinum, 4 gr, ring size 50, 1st half 20th century, signs of wear, ruby with growth fissure.
Lot 2
Art Déco Ring mit Diamanten zus. ca. 1,8 ct, davon mittig Altschliffdiamant von ca. 0,84 ct, ca. LGW (I-J)/VS-SI, daneben 2 Steine zus. ca. 0,5 ct, ca. GW-GET (K-M)/VS-SI und Besatzsteine im Achtkant- und Rosenschliff von zus. ca. 0,46 ct, gute Farbe und Reinheit, tlw. bestoßen, WG 18K, 5,9 g, RW: 51, 1920er Jahre, leichte Tragespuren, zeittypische Form mit Millegriffesverzierungen.| Art Déco ring with 1 old-european-cut diamond ca. 0.84 ct, ca. STW (I-J)/VS-SI, further 2 stones totalling ca. 0.5 ct, ca. TIW-TIN (K-M)/VS-SI and multiple small single- and rose-cut diamonds totalling ca. 0.46 ct, good colour and clarity, partly chipped, 18K white gold, 5.9 g, ring size 51, 1920s, minor signs of wear, time-typical shape with millegriffes decorations.
Lot 5
Herausragende frühe Jugendstilbrosche "Hornissen", Flügel verziert mit Diamantrosen, Saphiren und Rubinen in platinierten Fassungen, 1 Perle, GG 14K, 18,1 gr, ca. 4x5 cm, sehr guter altersgemäßer Zustand, um 1890. Schöne plastische Darstellung, Tierkörper und Flügel fein graviert und verziert, feine sorgfältige Ausarbeitung, sehr qualitätvolles Unikat!| Exceptional early Art Nouveau brooch "Hornets", wings adorned with rose-cut diamonds, sapphires and rubies in platinated settings, 1 pearl, 14K YG, 18.1 gr, ca. 4x5 cm, very good condition consistent with age, around 1890. Beautiful sculptural depiction, body and wings finely engraved and decorated, fine careful workmanship, high quality unique piece!
Lot 107
POKEMON SURF'S UP PIKACHU #1, #2, #3 (3 in Lot) - (VIZ Comics 1999/2000) - CGC Graded - Includes #1 Graded 7.5 + #2, #3 are graded 7.0 with #1 & #2 featuring Toshihiro Ono and Annette Roman stories with Toshihiro Ono and Cynthia Bergst artwork, #3 has Toshihiro Ono story and art - Presented Slabbed & Sealed
Lot 11
UNCANNY X-MEN # 138, 139, 140 (3 in Lot) - (1980 - MARVEL) - Cyclops leaves the X-Men + Funeral for Jean Grey + Dazzler, Alpha Flight, Wendigo appearance + First appearance of Heather Hudson + Kitty Pryde joins the X-Men + Wolverine gets a new costume - John Byrne and Terry Austin covers and interior art - Flat/Unfolded - a photographic condition report is available on request
Lot 118
CAPTAIN MARVEL #3, 9, 10, 11, 12, 13, 14 (7 in Lot) - (1968/69 - MARVEL - US Price, UK Cover Price & UK Price Variant) Includes Iron Man, Black Widow, Super-Skrull appearances - Gene Colan, Don Heck, Marie Severin, Frank Springer, Vince Colletta, Barry Smith, Herb Trimpe, Dick Ayers, Syd Shores covers and interior art - Flat and unfolded
Lot 119
CAPTAIN MARVEL #28, 29, 30, 55, 56, 57 (x 2), 58, 59, 60, 61, 62 (12 in Lot) - (1973/79 - MARVEL - US Price & UK Price Variant) Includes Second full appearance of Thanos + Origin and First appearance of Deathgrip + Tony Stark, Yellowjacket, Thor, Ronan, Doctor Minerva, Avengers, Controller, Drax, Death, Iron Man appearances - Jim Starlin, Al Milgrom, Pat Broderick, Gil Kane, Dave Cockrum, Joe Rubinstein, Bob McLeod covers and interior art - Flat and unfolded
Lot 12
UNCANNY X-MEN #141 - (1981 - MARVEL) - "Days of Future Past" Part One - First appearances of Rachel Grey (Summers), Avalanche, Pyro, Destiny, Brotherhood of Evil Mutants - John Byrne & Terry Austin covers and interior art - Flat/Unfolded - a photographic condition report is available on request
Lot 123
AMAZING SPIDER-MAN ANNUAL #16 - (1966 - MARVEL) - First appearance and Origin of Monica Rambeau (Captain Marvel II), who appeared in the successful Marvel/Disney WandaVision TV series + Avengers, Thing appearances - Cover and interior art by John Romita Sr. and Jr. - Flat/Unfolded - a photographic condition report is available on request
Lot 125
TOMB OF DRACULA #10 - (1980 - MARVEL - UK Price Variant) - HOT KEY BOOK & CHARACTER - First appearance of Blade the Vampire Slayer, who is scheduled to return to the Marvel Cinematic Universe in the near future + Currently at #16 most valuable book on Overstreet's Top 25 Bronze Age Comics list - Gene Colan cover and interior art - Flat/Unfolded - a photographic condition report is available on request
Lot 126
GREEN LANTERN & GREEN ARROW #82 & 87 - (2 in Lot) - (1972/74 - DC - UK Cover Price) - Includes First appearance of John Stewart + Second appearance Guy Gardner (cameo) + Black Canary, Sinestro appearances - Neal Adams covers and interior art with Bernie Wrightson inks on one page in #82 - Flat/Unfolded - a photographic condition report is available on request
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