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Click here to subscribe8mm Cine Cameras and Projector, a Chinon Concord, G, a Bolex P1 Zoom Reflex, motor runs, with Pan Cinor 8-40mm f/1.9 lens, G, an Auto Carena, motor runs, G, a Kodak Brownie Turret, motor runs, G, with a BELL & Howell 200 16mm camera body, a Horipet 8mm & Lion 8mm battery operated projectors, untested, both in maker's boxes
French black slate mantel clock, enamelled dial, French cylinder movement striking on a bell, 21cm, (a.f.).Condition report:The back door glass has a long crack, the face is grubby and marked, the hands are loose and hanging, comes with no key but does have a pendulim. Thefront door has stuck and wont open. It is sold as untested.
Oak longcase clock, moulded cornice and engaged columns, long door, bracket feet, 11" square brass dial with subsidiary date dial, signed Hutchinson, worksop, thirty hour movement striking on a bell, height 189cm.Condition report:There are vertical cracks to the side panels and some nibbles / small chips elsewhere. There is a pendulum and weights. Please see additional uploaded images.
Cast bronze bell, Taylor & Co, Loughborough, 1890, originally from St Hilda’s Church, Leicester, diameter 55cm, height 57cm, as found.Condition report:We guestimate the weight to be in the region of 200-250lbs. There are no evident cracks to the bell itself. There is no clapper. The two steel brackets are rusting and one of the bolts has perished.
Cine Projectors and Other Items, including a Chinon Sound 7000 Super 8 projector, a Bell & Howell 20SXL Super 8 projector, a Hanimex SR8600 Super 8 sound projector,, an Elmo FP Standard 8mm projector, untested, two Digital Versatile disk drives assemblies, with Acard technology DVD player recorder, with a DVD ROM drive & DVD R/RW drive and a Wytron DVD-R/RW tower, with four disk drive, a large quantity of cables & connectors, with a group of flash units
A writing set / inkwellSilver 833/000Comprising of inkwell, sand pot, bell and pen holderLisbon hallmark (1938-1984), maker's mark Juliano Braga Lda. (regd. 1877) and commercial mark Ourivesaria SARMENTO(signs of wear)Literature:VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nºs 48 e 425615,5x24,5x13 cm998 g
A EDWARDIAN PAINTED SATINWOOD OVAL OCCASSIONAL TABLE C.1900The shaped with wavy outline, painted to the centre with an oval classical depiction after Kauffmann surrounded by floral swags and scrollwork, the legs painted with bell flower chains, joined by an oval undertier on tapering legs, spade feet with castors. 71.5cm high, 90cm wide
Two trays containing a collection of Avon pressed glass novelty perfume bottles, incuding Big Ben, locomotive, desk bell, lion, peacock, two amber pipe, brown pheasant, two Thai Winds, motor car, green trout, horse, chess piece, cornucopia, Alsatian, ink bottle, turtle, magnifying glass, spaniel, brown pheasant, pipe etc, circa 1970's.
Corgi model aircraft issues comprising 1) No. 48903 B-29 Superfortress with Bell X-1, 2) No. 47506 Lockheed Constellation USAF, 3) No. 47509 Lockheed C-121A MATS and 4) No. 48505 DH Comet 4C. Appear complete and look to be without sign of significant fault, in original boxes. Boxes with some storage wear.
5¢ Mercury athletic scale strength tester. Customer would stand on platform, push release button, drop a coin in the Slot and select the desired strength test. The meter then moves accordingly and a bell rings. Appears to have original paint. In working order and includes keys. Instruction label reads "Test Your Strength Daily", "Lift, Twist or Grip 5¢". Height: 132 cm. Width: 50 cm. Depth: 61 cm. Condition: Good. Location: The Netherlands, Tilburg.
Modern grandfather clock with tubular bell mechanism playing classical German music. The Italian design case is in excellent condition, with tiny hole on inside bottom possibly from fallen weight. A bit of rust on the pendulum. Height: 201 cm. Width: 49 cm. Depth: 34 cm. Condition: Very Good. Location: Switzerland, Degersheim.
French barrel piano branded "Baby Piano" ca. 1920. Made by the French piano makers Jules Piano, Nice. Very good playing condition. Coin-operated, spring-driven, 8 tunes, tune sheet, crank-driven tune selector, 36 piano tones, 1 bell. 57 cm (22 ½ inch) wide barrel. Small wooden case on 4 rotating wheels with retailer name on the front: "Perfecta, Marque Déposée, Brun-Valois, Roanne, Loire". Serial number 14493. Height: 137 cm. Width: 78 cm. Depth: 48 cm. Condition: Very Good. Location: The Netherlands, Tilburg.
SHEFFIELD Durchbruchschale mit Henkel, versilbert, 20. Jh. durchbrochen gestalteter Korb auf 4 Kugelfüßen, mit beweglichem Henkel, H. ca. 21 cm, Marken: EPNS, makers mark ('Jonathan Bell & Son'). Alters- und Gebrauchsspuren.| SHEFFIELD bowl with handle, silver-plated, 20th century, with moveable handle, h. approx. 21 cm, makers mark ('Jonathan Bell & Son'), signs of age and use.
Tischglocke, Silber, 20. Jh. Schlagring mit vegetabilem Reliefdekor, Obersatz mit ziseliertem Floraldekor, Klöppel, Delphinfigur als Handhabe, H. ca. 12 cm, ungemarkt, Gw. ca. 110 g. Alters- und Gebrauchsspuren.| Table bell, silver, 20th century, brass knuckles with vegetal relief decoration, upper part with chased floral decoration, clapper, dolphin figure as a handle, h. approx. 12 cm, not marked, weight approx. 110 g, signs of age and use.
2005 Ford GT Coupé Registration no. GT06 EWH Chassis no. 1FAFP90S25Y401284•One of only 101 produced for the European market•Delivered new via Switzerland•UK registered since 2012•Circa 12,700 miles from new•Freshly serviced and MoT'd for sale by marque specialists, GT101Footnotes:The 'new generation' GT was developed by Ford's Special Vehicle Team Engineering department under the direction of John Coletti and Fred Goodnow. The prototype was released in 2002 in anticipations of Ford's 100th anniversary celebrations, with production commencing in late 2004. The composite body panels are unstressed, as on the original GT40 of the 1960's, but instead of the monocoque chassis construction used in the 1960s, SVT Engineering developed an all-new lightweight aluminium spaceframe combining extruded sections and panels. Doubling as fuel reservoirs, a pair of massive sills contributed much to the original's chassis stiffness, whereas the new 'GT40' relies on a centre-tunnel 'backbone' that greatly improves ease of entry and exit. The suspension design is an advance on the original's, consisting of unequal-length control arms and a pushrod/bell-crank system acting on horizontally mounted coil spring/damper units. Braking is handled by six-piston Alcon callipers with cross-drilled and ventilated discs all round. In defeating Ferrari's more highly stressed V12s, Ford proved that the traditional American V8 possessed all that was necessary to compete at the cutting edge of international endurance racing. A far cry from the simple pushrod units of the 1960s, the Ford GT's supercharged MOD 5.4-litre V8 produces 550bhp at 6,500rpm and 678Nm (500lb/ft) of torque at 3,750 revs; figures on a par with those of the 7.0-litre engine that won at Le Mans in 1966 and 1967. The six-speed all-synchromesh manual gearbox/transaxle uses ZF internals and was sourced from RBT Transmissions, whose founder Roy Butfoy had been a member of Ford's racing team at Le Mans. The interior features leather-upholstered Recaro bucket seats with aluminium ventilation grommets embedded into the panels. The instrument layout follows the original's, comprising analogue gauges and a large tachometer complemented by modern versions of the traditional toggle switches. Back in 1966, the Ford GT40 endurance racer became the first car to exceed 200mph along the Mulsanne straight at Le Mans. Matching that would be some achievement for the production road car, even allowing for nearly 40 years of technological progress... Tested for Motor Trend magazine by Indycar racing legend Bryan Herta, the Ford GT duly topped 200mph at Ford's Kingman test facility in Arizona, emphatically demonstrating that it was indeed worthy of that famous name. The GT also has stunning acceleration, sprinting from 0-100km/h in approximately 3.8 seconds.One of only 101 produced for the European market, this beautiful example was ordered by Monaco resident Mr Gabriel Cadringher, who was the FIA's technical delegate and had various involvements in motor sport. It was one of only seven cars ordered through Ford of France and was supplied via the Swiss Ford dealer Grimm in Geneva, one of only three European dealers involved in the delivery programme. The original specification included Midnight Blue paintwork with white top stripes and standard six-spoke wheels, which have subsequently been upgraded to the optional BBS lightweight wheels. As with all 101 European GTs, there were no further specification options available. DVLA records show that the car was first UK registered on 1st February 2012. The service book and associated invoices record the following:Service at 4,700 miles - Grimm, Geneva, Switzerland 12/12/06Service at 6,105 miles - USAdvance, Saint-André-de-la-Roche, France 21/01/11 (invoice only, no stamp)Service at 10,271 miles - Autopics, Russtington, UK 02/12/14Service at 12,061 miles - Autopics, Russtington, UK 22/06/18Service at W E Shepherd & Son, Byfleet, UK (mileage and date not listed)The following MoT certificates are on file also:10/01/12 @ 8,207 miles27/03/13 @ 9,117 miles08/04/14 @ 9,757 miles15/04/15 @ 10,424 miles14/04/16 @ 10,921 miles13/04/17 @ 11,401 miles20/04/18 @ 11,862 miles29/04/19 @ 12,478 milesRecently at 12,653 miles, the car was serviced by Dave Jones of GT101 (world renowned Ford GT specialists) and MoT'd prior to sale. Included in the sale are the original service book, owner's guide and leather wallet. Unusually, there is also a photograph album with the car that details the factory build process of this particular example. Please note that the registration number 'B4 BOP' is being retained and a new age-appropriate plate will be assigned to the car by the DVLA.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
1971 Ferrari Dino 246 GT Coupé Registration no. LYX 326K Chassis no. 02492 Engine no. 8233 – N/I 1038•Iconic V6-engined Dino•UK-delivered right-hand drive model•Matching chassis and engine numbers•Professional bare-metal restoration in the 2000s•Extensive history fileFootnotes:'It is a thrill to drive a car like the Dino, one whose capabilities are far beyond what even an expert driver can use in most real-world motoring, and that is the Dino's reason for being. The real joy of a good mid-engined car is in its handling and braking and the Dino shone as we expected it to. The steering is quick without being super quick, and it transmits by what seems a carefully planned amount of feedback exactly what is going on at the tyres. Thanks to the layout's low polar moment of inertia the car responds instantly to it. The Dino's cornering limits are very high... ' – Road & Track. It was the need for a production-based engine for the new Formula 2 that had prompted the introduction of a 'junior' Ferrari, the Dino 206 GT, at the Turin Motor Show in 1967. The latest in a line of Dino V6 'quad-cam' engines stretching back to the late 1950s, the new unit proved as successful on the racetrack as in the showroom, Derek Bell and Ernesto Brambilla both winning races in the European Championship, while Andrea de Adamich triumphed in the 1968 Argentine Temporada series. Building on experienced gained with its successful limited-edition Dino 206S sports-racer of 1966, Ferrari retained the racer's mid-engined layout for the road car but installed the power unit transversely rather than longitudinally. A compact, aluminium-bodied coupé of striking appearance, the Pininfarina-styled Dino - named after Enzo Ferrari's late son Alfredino Ferrari and intended as the first of a separate but related marque - was powered by a 2.0-litre, four-cam V6 driving via an in-unit five-speed transaxle. The motor's 180 brake horsepower was good enough to propel the lightweight, aerodynamically efficient Dino to 142mph, and while there were few complaints about the car's performance, the high cost enforced by its aluminium construction hindered sales. A 2.4-litre version on a longer wheelbase - the 246 GT - replaced the original Dino 206 in late 1969. Built by Scaglietti, the body was now steel and the cylinder block cast-iron rather than aluminium, but the bigger engine's increased power - 195bhp at 7,600rpm - adequately compensated for the weight gain. A Targa-top version, the 246 GTS, followed in 1972. The Dino 246 was built in three series: 'L', 'M' and 'E', these designations reflecting detail changes in the specification. The final 'E' series incorporated all the changes made to its predecessors together with further improvements to the engine and gearbox and numerous other more minor details. While not quite as fast in a straight line as its larger V12-engined stablemates, the nimble Dino was capable of showing almost anything a clean pair of heels over twisty going. Truly a driver's car par excellence and still highly regarded today. One of the final 'E-Series' cars, the beautiful Dino offered here is a right-hand drive, matching-numbers example built for the UK market. A letter on file from Mr Tony Willis of The Maranello Concessionaires Archive confirms that the car was originally finished in Rosso Chiaro with black interior trim and electric windows. First owner Mr John Goodyear took delivery in October 1971 and the car was registered as 'MBL 1'. The history file is extensive and contains a photographic record of a professional bare-metal restoration carried out in the 2000s together with assorted correspondence, notably between the first owner and Maranello Concessionaires in 1971, numerous bills, and a quantity of expired MoT certificates. Bell Sport & Classic, SB Race Engineering and GTO Engineering have looked after the Dino in recent years; it wants for nothing and is presented in fantastic condition.For further information on this lot please visit Bonhams.com
MAURICE UTRILLO , PARIS, 1883 - DAX, 1955 Avenue des tilleuls, l'église de Montmagny (Val d'Oise) Oil on cardboard 51.8 x 66.2 cm This long white wall never ends. It crosses the canvas from side to side guiding our gaze to the bell tower of the small village of Montmagny. Structuring the canvas, this wall with its wisely aligned trees offered Utrillo the ideal axis for constructing his cherished urban perspectives. Montmagny was the village to which he owed his vocation as a painter when, in 1904, he retired there for two years to convalesce. On the advice of his psychiatrist, he began to paint his first urban landscapes as a self-taught artist. However, this later painting belongs to the painter's so-called 'colourful' period. Here his style has reached full maturity, where we find this mastery of space through balanced construction lines and this harmony of skilfully distributed colours. The large blue sky, slightly dappled, is matched by the ground of a road diluted in a cameo of browns and ochres. Between the two runs this band of bright colours - red roofs of the houses, foliage of the lime trees... - which restores the lively atmosphere of the small town. As usual, Utrillo sprinkles his composition with rare couples who help define the space and bring a touch of life to this urban landscape. Maurice Utrillo (1883-1955) was a French painter who devoted himself mainly to urban landscapes. The son of the painter and model Suzanne Valadon, but with an anonymous father, he was to experience a troubled life, under the influence of alcoholism. Recognised late by the Catalan painter Utrillo, his mother's lover, he took his mother's name in 1891. Immersed in the bohemian artistic milieu of his mother's entourage, he was encouraged to paint by his mother. His signature testifies to his attachment to her, with the final 'V.' for 'Valadon'. Trained by the painter Alphonse Quizet, he settled in Montmartre, which he chose as his favourite subject for his painting. He painted the streets and cafés, which they frequented assiduously, where rare human silhouettes sometimes glide by. During his 'white period' (1909-1914), he used zinc, which he mixed with plaster, to convey the decrepitude of the walls of Montmartre. His naïve style nevertheless renders the topography of the place with precision. His acute sense of observation creates an atmosphere marked by a certain melancholy. A prolific but fragile painter, although he benefited from his painting very early on, his nervous and alcoholic crises led to several suicide attempts. However, sponsored by his mother's friends Renoir and Degas, he gained notoriety through the art dealer Paul Guillaume, who organised his first major exhibition in 1922. Provenance: Gilbert Pétridès, Paris. Acquired from her. P. Pétridès, L'OEuvre complet de Maurice Utrillo, Paris, 1962, vol. II, p. 510, no. 1220 (illustrated, p. 511).Tokyo, Mitsukoshi Department Store; Osaka, Mitsukoshi Department Store; Matsuyama, Mitsukoshi Department Store; Takamatsu, Mitsukoshi Department Store; Sapporo, Mitsukoshi Department Store; Nagoya, Aichi Prefectural House of Culture and Matsue, Ichihata Department Store, Valadon, oils and drawings from 1889 to 1938, Utrillo, oils and gouaches from 1905 to 1950, May-August 1972, no. 31 (illustrated). Certificate: Expert appraisal by Jean Fabris, 2010 and Pétridès, 2007. Signatur: Signed 'Maurice, Utrillo, V,' (lower right) and inscribed 'Eglise de Montmagny (Seine-et-Oise)' (lower left)
VASSILY KANDINSKY , MOSCOW, 1866 - NEUILLY-SUR-SEINE,1944Church in MurnauOil on board 35 x 46.8 cmDominating with its rectilinear silhouette the few houses that surround it, this small church emerges among their roofs. Like a familiar landmark in a dreamlike landscape, its bulbous bell tower and curved pediment offer the characteristics of Baroque architecture in the midst of rugged countryside. In fact, in front of the religious building, nature competes in height with the two mountains that bar the horizon and confront its yellow ochre façade with their red and blue masses. The confrontation here is first of all through colour, where the warm tones, predominantly yellow, clash with the red flow that descends from the mountain to invade the roofs in an orange mixture. Overlooking this, it is a colder cobalt blue that occupies the sky and the mountain ridge. It is therefore colour that governs the composition. But this cohabitation of bright and saturated tones finds its harmony through the modulation of an apparent and regular touch. From the foreground to the background, the paintbrush hints at its oblique hatchings, giving the landscape movement, almost a framework. And indeed, apart from the silhouette of the church, everything here is sloping. The slope of the mountains, but also the slope of the meadows in the foreground, right down to the trees whose trunks are leaning. The passage of the clouds is part of this same dynamic, accentuating a sense of reading which, from the church, takes us beyond the mountains. Reduced to their simplest expressions, the forms, if still camping a landscape, seem nevertheless to free themselves from it to lead us towards abstraction, that of an interior landscape which expresses an interiorized vision of the painter.Vassily Kandinsky (1866-1944) was a Russian painter, naturalized German and then French, considered as the first abstract artist. After an initial training in law at the University of Moscow, he began an artistic career at the age of 30 by enrolling at the Academy of Fine Arts in Munich. His first outstanding work is his Blue Rider (1903), in which his taste for colour and for a marked touch, but in a post-impressionist approach, is already apparent. In 1908, after many trips throughout Europe, he settled in the small Bavarian town of Murnau where he developed his own style that would lead him to abstraction. His use of colour began to break free of form. Pure and saturated, they seek to render the artist's inner necessity rather than to imitate reality. Our work dates from this period and can be compared with two other oil paintings on cardboard in which the same church can be seen from different viewpoints. Autumn Landscape with Church, from the previous year, in the Didrichsen Art Museum in Helsinki, shows the church from the front, in the background, while Murnau Study, Landscape with Church, in the Kunstmuseum in Basel (on deposit with the Im Obersteg Foundation), shows the church at an identical angle to our work, but to the right. Also dated 1909, it shows distortions that already indicate the artist's advance towards abstraction. The next step, Church in Murnau of 1910, which is kept in the Lenbachhaus Museum in Munich, is a decisive step towards abstraction, where pure colours are freed from contours and replace figurative representation. His manifesto, Of the Spiritual in Art and in Painting in Particular, appeared the following year, 1911.Provenance: private collection, St Petersburg, USSR, 1967; private collection, Paris, France, 1969. Certificate: Jean Chauvelin (2020) Signatur: Dated and signed lower left 'Kandinsky 1909'Scientific analysis by Laurette Thomas and Iliena Cassan, (2007) According to Mrs. Vivian Endicott Barnett, consulted by email, the work is to be compared, with nos. 278-279 of 1909 in the first volume of the catalogue raisonné of Kandinsky's painted work by Roethel & Benjamin.
EUGÈNE BOUDIN , HONFLEUR, 1824 – DEAUVILLE, 1898 Le Vieux Port de Touques Oil on canvas 45 x 65 cm Only a few rare clouds remain in this trailing sky, giving way to a beautiful azure that takes up more than half of the painting. This sky is also reflected in the Touques River, which flows in the lower part of the composition. Between the two lies the old port of Touques, whose houses crowd the river's edge to be reflected in turn, multiplied and diluted. The alignment of pointed gables intermingles its tile and slate roofs, offering a contrasting palette of whites, red ochres and anthracite. Two bell towers punctuate this horizon, in response to the first pointed gable on the left. Beyond, the village is extended by green vegetation. Finally, on the shore, silhouettes are busy. We can make out a few boats moored along a quay, which bear witness to the village's port activity. The port is painted from the opposite bank, where we are standing, with the bank in the foreground on the left. Its truncated representation, depicted at an angle, accentuates the perspective and adds to the effect of distance. Once again, Boudin magnifies this Norman nature that he never tires of representing, offering us each time a new light, a new emotion.In 1859, he exhibited his first painting at the Salon where he was noticed by Baudelaire. He met Courbet, Jongkind and then Monet, whom he introduced to plein-air painting. As he gained notoriety, he devoted himself to more mundane subjects, accompanying the birth of the first seaside resorts, Deauville, Trouville but also Juan-les-Pins. In 1874, he took part in the first Impressionist exhibition at Nadar's. Beyond the scenes of daily life, sketched with vivacity and even picturesqueness, his landscapes are organised with precision according to the laws of perspective and according to a framing influenced by the nascent photography. The characters, secondary or even anecdotal, are inscribed in a perspectival space where the eye is invited to travel over vast expanses. But it is above all his treatment of light that will earn him the recognition of his peers, particularly for his skies. Corot, his elder, gave him the laudatory title of 'king of the skies' when Baudelaire awarded him that of 'painter of meteorological beauties'. Robert Schmit, 'Eugène Boudin, 1824-1898', vol. III, Paris, 1973, no. 2702. Signatur: Signed and dated lower left 'E. Boudin 90'.
A Lewis Hamilton 2016 Monaco Grand Prix limited edition replica helmet by Bell,in white with red, yellow and black design, with Bose, Monster Energy, Bell and Mercedes-Benz sponsors' logos, applied with clear plastic aerodynamic mouldings, fitted with reflective visor applied with Petronas Epson logo strip signed by the driver in silver maker '2016 #44', limited edition numbered 9/44, in clear Perspex display case, together with Certificate of Authenticity from Bell. (2)For further information on this lot please visit Bonhams.com
Eight boxed 1:18 scale Ferrari 312 models by Tecnomodel from the Mythos series, Italian,comprising TM18-132A 1968 French Grand Prix car number 26 as driven by Jacky Ickx, limited to 280 models; TM18-132B 1968 Dutch Grand Prix car number 10 as driven by Jacky Ickx, limited to 155 pieces; TM18-132C 1968 Nurburgring GP car number 10 as driven by Jacky Ickx, limited to 165 pieces; 2 x TM18-132D 1968 Watkins Glen car number 7 as driven by Derek Bell, limited to 120 pieces; TM18-61B 312PB, 1972 Daytona 6 Hr, car number 2 as driven by Andretti and Ickx, limited to 150 pieces; TM18-89A 312 B3 1974 Spanish GP car number 12, as driven by race winner Niki Lauda, limited to 460 pieces and TM18-120D 1867 Monaco GP car number 20 as driven by Chris Amon, limited to 115 pieces. (8)For further information on this lot please visit Bonhams.com
EIGHT FUCHIGASHIRA (HILT COLLARS AND POMMELS)Edo period (1615-1868), 18th to 19th centuryThe first shakudo nanako with gold, silver, shibuichi, and copper, depicting butterburs and flowering plants, signed Kiyotoshi with a kao (Haynes 10401, circa 1850), with wood tomobako storage box with an attestation on the reverse of the lid by Amiya Soemon dated summer 2010; the second shibuichi, gold, and shakudo, depicting flowering chrysanthemums, obscurely signed; the third shibuichi with katagiribori chiselling depicting noblemen watching a performance of the drama Ataka no seki, signed Furukawa Jochin with a kao (Haynes 02106, circa 1750); the fourth shakudo and gold, in Mino-Goto style, depicting chrysanthemums, wisteria, and suzumushi (bell crickets), signed Mino no ju Mitsuaki (Goto Mitsuaki, Haynes 05133, 18th century); the fifth shakudo and gold, chiselled in relief with Jurojin, God of Longevity, and a minogame (bushy-tailed turtle), signed Ichiryu Tomoyoshi; the sixth shibuichi, gold, and copper, chiselled in relief with Tekkai Sennin exhaling his anima and Gama Sennin with his toad, signed Tsunenao with a kao; the seventh shibuichi with flat inlay of gold, silver, and shakudo, depicting a boat courtesan at Asazuma on Lake Biwa, after the painter Hanabusa Itcho (1652-1724), signed Jochiku; the eighth shibuichi with gold, silver, and shakudo, depicting the warrior-monk Benkei, signed Tsunenao with a kao; all with wood storage boxes (some with paper labels). (24).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
15 Signature Items from Entertainment and Sport, Including the legend Steve Davis (6 times snooker world champion), Rula Lenska, Garry Christian, Jim Davidson, Kim Metcalf, Madeline Bell. Good condition. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A GEORGE II SILVER-GILT TWO-HANDLED CUP AND COVER by John Swift, London 1738, conventional inverted bell form with an applied reeded and moulded banded girdle, leaf-capped handles and raised on a stepped and domed foot, finely engraved and flat-chased with scrolls, leaves and flowerheads, 19th Century presentation engraving to the cover. 27cm high, 54.8 troy ounces
A collection of Rock/ Prog vinyl LPs comprising "Dr Hooker- The Truth" reissue, "The Spencer Davis Group", "Dark Round The Edges" reissue, "Canned Heat", "Daab", "The Rubber Band- Cream Songbook", "The Roulettes- Stakes and Chips" reissue, "Andromeda- Seven Lonely St", "Daughters Of Albion", various titles by "Ange", "Bell + Arc", "Can- Limited Edition", "Canned Heat- Future Blues", "David Holland/ Barre Phillips- Music From Two Basses", "John Holt- Police In Helicopter", "The Holy Modal Rounders", "Holy Moses", "The John Lennon Collection", "Home- The Alchemist", "Hookfoot", various titles by "The Eagles", "Bad Company- Dangerous Age", "Tim Buckley- Blue Afternoon", "Hammer", "Aynsley Dunbar- Blue Whale", "Elephants Memory", "The Eliminators- Guitars & Precussion", various titles by "Jo Jo Gunne, and others.
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