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Lot 22
A SMALL ASSORTMENT OF JEWELLERY, to include a 9ct gold and pear cut garnet pendant, hallmarked 9ct Birmingham, approximate gross weight 1.6 grams, a yellow metal and jade pendant, stamped 375, approximate gross weight 1.4 grams, together with a nephrite jade and gold filled pendant, an EPNS shallow square form dish, also including a ladies 9ct gold watch head, hallmarked 9ct Edinburgh import, approximate gross weight without movement and glass 2.4 grams (condition report: general moderate wear, watch not working and glass separate)
Lot 486
A GROUP OF CUT CRYSTAL AND COLOURED GLASSWARE, comprising a boxed set of six Tutbury Crystal port glasses, a boxed Tutbury Crystal ale glass, a boxed set of six Webb Corbett short stemmed wine glasses, a cranberry glass jug and heart shaped dish, three Murano style clowns and a green and white fish, etc. (Qty) (Condition Report: no obvious chips or damage)
Lot 504
A LARGE COLLECTION OF CUT GLASS BELLS AND GLASSWARE, comprising twenty three cut glass bells, maker's names include Thomas Webb, Bohemian Crystal, etc. six Victorian cut crystal wine glasses, a set of four cut crystal cocktail glasses (two have nibbles on rim) and one matching wine glass, seven trinket boxes, a pink Caithness swirl bud vase, three coloured studio glass hen ornaments, two paperweights, etc. (Qty) (Condition Report: obvious damage is mentioned in the description)
Lot 571
FOUR BOXES AND LOOSE ORNAMENTS, CERAMICS AND GLASSWARE, to include assorted drinking glasses, planters, two Wade Bell's Scotch Whisky decanters, cut glass decanters, thimble collection, ceramic doll's tea set, two ceramic beer pump handles decorated with a hunting scene, ornaments, etc. (s.d) (4 boxes + loose)
Lot 581
TWO BOXES OF BREWERIANA AND MISCELLANEOUS SUNDRIES, to include a chrome Jaguar car mascot, a pub beer tap, a Blue Anchor Navy Rum bar measure, cut crystal paperweight engraved with a spider and web, a boxed Murano glass bottle stopper, an original Bird's Custard Powder tin, a Carlton Ware Haig Whisky water jug, a Melamine Guiness ashtray, Teacher's Whisky jug and Mackinlay Whisky water jug, a red Murano glass control bubble dish, a large Pink Rose Quartz rough gemstone, a small coin collection, a silver napkin ring hallmarked Birmingham 1963, a glass pub sign 'Coach and Horses' Ales & stouts, a Pepsi-Cola wall clock, a Newcastle Brown Ale pub mirror, etc. (s.d) (2 boxes + loose)
Lot 911
From the 'DJH Ford Collection', an original, unused/uninstalled factory bench-tested RS500 engine; 'automotive art' or as a spare, either way it's magnificent. The Sierra RS Cosworth might have been the first Ford to be honoured with the Cosworth name, but the relationship between the two companies dates back to the 1960s when the American car producer funded the development of a 3-litre V8 engine for Lotus' F1 car. The resulting V8, known as the DFV, then went on to be a dominant engine in Formula 1 for over a decade, winning 155 Grand Prix.Despite reigning supreme on track and in rallying throughout the decade, by the end of the 1970s, Ford’s motorsport dominance was on the wane. Even the once all-conquering Ford-Cosworth DFV Formula 1 was starting to lose out to more modern turbocharged units. This was painfully obvious when a Ford VIP contingent visited the 1983 British Grand Prix at Silverstone, where a Touring Car race supported the main event and Ford bosses, Stuart Turner and Walter Hayes, were dismayed to witness a group of Capris being humbled by SD1s with Rover V8 power.The solution was again to be found with the engineers at Cosworth who had previously developed a four-cylinder engine for Ford's racing and rallying saloons in the late 1960s and 1970s. The Mk1 Escort RS1600, which replaced the Lotus-powered Twin Cam Escort, had a 1,600cc engine with a 16-valve head designed by Cosworth called the 'BDA'.The formula for the Sierra wasn’t dissimilar to that of the earlier homologation Escorts and Cosworth and the trusted cast iron block from Ford’s single-overhead cam, the T88 Pinto that was used in the Escort RS2000, was utilised to form the basis of this new engine. Code named 'YAA', Cosworth designed an aluminium head to suit the Pinto block with two belt-driven cams operating 16 valves; eight 35mm diameter inlet valves and eight 31mm exhaust. Compared with the basic Pinto, almost everything changed except for the cylinder block itself and the new head and valve gear were matched to a new steel crankshaft, rods, pistons, and sump, and hydraulic valve lifters were a given. A turbocharger was always part of the plan and a Garrett AiResearch T3 with an intercooler were selected boosting power to 201bhp at 6,000rpm and 205lb/ft at 4,500rpm, in road car spec.With a new facility to produce the production-ready version (now with the 'YB' prefix), the first prototype started test-bed work in Northampton in June 1984 although the first engines and test cars didn’t go to Weber-Marelli in Italy until September 1984 before subsequently being 'signed off' by mid-1985.First utilised in the 3-door Sierra RS Cosworth of 1986 - introduced for homologation to allow Ford to go 'Group A' Touring Car racing - the new production 1,993cc YBB engine proved to be legendary, both on road and track. When the ruling allowed for an 'evolution' upgraded model to compete, spawning the RS500 Cosworth, the YB engine stepped-up too, the grateful recipient of further development.To cope with the requisite extra horsepower required, the original YBB motor was switched to an uprated 'YBD' unit which featured a reinforced block (still cast-iron) with thicker walls (note, there are two main types of YB block - known as the 205 and the 200, the latter is a thicker-wall design and was found in 4 x 4 versions, such as the Escort and 1990 Sapphire; the RS500 block was also a thick-wall design but stamped 205, recognisable by its smaller core plugs). Other differences included a bigger Garrett AiResearch T04 turbo plus a larger air-to-air intercooler, pressurised oil-cooled pistons, uprated oil, water and fuel pumps and beefier (orange) air hoses for the radiator and turbo, and a re-mapped ECU.Ford pushed the limit of the Homologation rules to the maximum for the RS500 and the road car featured components that weren’t at all functional but allowed legal modifications on the race cars. The RS500's Cosworth YB engine had an inactive secondary injection system fitted so, when activated on the race cars, their engines could swallow greater amounts of fuel and produce more power (with a different engine map and the second injectors squirting fuel, race RS500s made an 'easy' 485bhp and it didn’t take much more before the engine was putting out 525bhp).In addition, the YBD’s induction system was reconfigured with a bigger intake plenum which, along with a new secondary fuel rail, required one corner of the battery tray be cut away for installation, and a slightly different thermostat housing and alternator bracket. On the road cars, the RS500's power rating went from 201bhp to 224bhp at an unchanged 6,000rpm. Peak torque was the same as the regular Sierra RS Cosworth: 204lb/ft at 4,500rpm.Although undoubtedly successful before, the Ford Sierra became really dominant when the RS500 took to the circuit, winning the 1988 DTM championship, the 1989 Spa 24 Hours, the 1988 and 1989 Bathurst 1,000km, the 1988 and 1989 Australian Touring Car Championship, the 1988 and 1989 Japanese Touring Car Championship and the 1990 British Touring Car Championship.The engine presented here is a Cosworth factory, bench-tested YBD unit, #YBD 0626, designed and built for an RS500 road car. Tested and signed off by Cosworth, confirmed by a tag, it's understood to be one of the very last YBD engines to leave the factory. We understand that it has always been complete (i.e. never as separate components), has never been apart, rebuilt nor ever installed into a car, being sat on its plinth since manufacture. All the factory elements appear to be present and correct, the stampings included, even down to the original FRAM oil filter!Meticulously kept - in pride of place even - alongside his two RS500 cars, it has been owned by our vendor for last 14 years. He sourced it from an ex-pat Ford aficionado living in Malta who had acquired it previously in the UK (some 6 years before). Rumour has it that only a handful of unused YBD engines still exist.For the serious collector or enthusiast, this 'jewel' of an engine is supplied with a bespoke glass display case and is now ready to be appreciated by its next custodian; what an opportunity.N.B. Please note this lot will be sold with a buyers premium of 20% plus VAT as per our usual memorabilia terms.Click here for more details and images
Lot 1805
BRÜX, JUPP (1889-1944), "Klatsch", Lithographie/Papier, in der Platte signiert, darunter mit Bleistift betitelt und bezeichnet 'orig. Steinzeichnung', HxB: Platte ca. 45x34 cm, Passepartoutausschnitt ca. 48x36 cm, Außenmaße Rahmen ca. 64x50 cm. Altersspuren, gebräunt und fleckig. Im Passepartout hinter Glas gerahmt.| BRÜX, JUPP (1889-1944), "Klatsch", lithograph/paper, signed on the plate, titled and inscribed in pencil underneath 'orig. stone drawing', HxW: plate approx. 45x34 cm, passe-partout cut-out approx. 48x36 cm, external dimensions of frame approx. 64x50 cm. Signs of age, browned and stained. Framed in a passe-partout behind glass.
Lot 1820
DYLAN, BOB (geb. 1941), "Man on a Bridge (blue coat)", Fotolithographie/Papier, u.re. mit Bleistift von Hand signiert, u.li. mit Bleistift num. 104/295, HxB: Platte ca. 54,5x40,5 cm, Passepartoutausschnitt ca.60x44 cm, Außenmaße Rahmen ca. 82x63 cm. Leichte Altersspuren. Im Passepartout hinter Glas gerahmt.| DYLAN, BOB (*1941), "Man on a Bridge (blue coat)", Photolithography/paper, below right signed by hand in pencil, numbered on the lower left with pencil no. 104/295, HxW: plate approx. 54.5x40.5 cm, passe-partout cut-out approx. 60x44 cm, outer dimensions of frame approx. 82x63 cm. Slight signs of age. Framed behind glass in a passe-partout.
Lot 1818
STERN, BERT (1929-2013), "Marilyn Monroe - Marilyn Crucifix II", als Halbakt mit rotem Pinselstrich gekreuzt, Pigmentdruck/Papier, mit roter Kreide von Hand signiert und verso signiert, num. 16/50 und datiert 2001, verso Copyrightvermerk und -stempel, HxB: Darstellung ca. 34x33 cm, Passepartoutausschnitt ca. 38x33 cm, Außenmaße Rahmen ca. 62x54 cm. Leichte Altersspuren. Im Passepartout hinter Glas gerahmt. ANBEI Certificate of Authenticity von Bert Stern.| STERN, BERT (1929-2013), "Marilyn Monroe - Marilyn Crucifix II", as a semi-nude crossed with red brush strokes, pigment print/paper, signed by hand in red chalk and signed on the reverse, num. 16/50 and dated 2001, verso copyright notice and stamp, HxW: image approx. 34x33 cm, passe-partout cut-out approx. 38x33 cm, outer dimensions of frame approx. 62x54 cm. Slight signs of age. Framed behind glass in a passe-partout. ENCLOSED Certificate of Authenticity by Bert Stern.
Lot 1808
MÜLLER, RICHARD (1874-1954), "Erlegter Riesenhummer am Strand", 1930, Radierung/Papier, in der Platte signiert und datiert 'R. Müller 1930', darunter mit Bleistift num. 48/90, Trockenstempel links 'ORIGINALRADIERUNG' und rechts 'PROF. RICHARD MÜLLER DRESDEN', HxB: Platte ca. 21,5x42 cm, Passepartoutausschnitt ca. 25,5x45 cm, Außenmaße Rahmen ca. 57x76 cm. Leichte Altersspuren. Im Passepartout hinter Glas gerahmt. | MÜLLER, RICHARD (1874-1954), "Erlegter Riesenhummer am Strand", 1930, etching/paper, signed and dated in the plate 'R. Müller 1930', numbered 48/90 in pencil below, dry stamp 'ORIGINALRADIERUNG' on the left and 'PROF. RICHARD MÜLLER DRESDEN' on the right, HxW: plate approx. 21.5x42 cm, mat cut-out approx. 25.5x45 cm, outer frame dimensions approx. 57x76 cm. Slight signs of age. Framed behind glass in passepartout. BEI EINEM ZUSCHLAG ÜBER € 400 MÜSSEN 4% URHEBERRECHT AN DIE VG BILDKUNST ABGEFÜHRT WERDEN.
Lot 62
2 große alte Snuff Bottles Glas geschnitten 18./19.Jh. ChinaGroßer bauchiger Glasflakon, diamantgeritzt und geschnitten. Bernsteinfarbenes Glas, Jadestopfen; Weiteres Glas in Boxbeutelform, geschnittenes Kirschblütendekor, Korallenstopfen silbermontiert. 9 und 11,5cm, Z2, Benutzungsspuren.2 large old snuff bottles cut glass 18th/19th century ChinaLarge bulbous glass bottle, diamond-carved and cut. Amber-coloured glass, jade stopper; further glass in box bag form, cut cherry blossom decoration, coral stopper silver-mounted. 9 and 11.5cm, Z2, signs of use.
Lot 33
Pärchen Peking Glasvasen. SeeroseMilchweißes Glas rot überfangen und von Hand aufwendig halbplastisch geschnitten, Z1, Höhe 25cm, Sammlung Preker. 1.H. 20.Jh.Pair of Peking glass vases. Water lilyMilky white glass with red overlay and elaborately hand-cut in half relief, Z1, height 25cm, Preker collection. 1st half 20th cent.
Lot 75
2 große Schalen mit geschnittenen Reiterdarstellungen, signiert. Peking-GlasRote Glasmasse, allseitig geschnittene Dekore mit Reiterdarstellungen in blattförmiger Kartusche, am Boden jeweils 4 Zeichenmarke (wohl 19.Jh.), 16,5x8 und 16,7x8cm. Jeweils auf Holzstand. Peking 19.Jh., Quing Dyn. Z1, ohne Besch.2 large bowls with carved depictions of horsemen, signed. Peking glassRed glass mass, cut decorations on all sides with equestrian depictions in leaf-shaped cartouches, each with 4 marks on the base (probably 19th century), 16.5x8 and 16.7x8cm. Each on a wooden stand. Beijing 19th century, Quing Dyn. Z1, unmarked.
Lot 34
Peking Glasvase. BlütenrankenMilchweißes Glas rot überfangen und von Hand aufwendig halbplastisch geschnitten, Z1, Höhe 15cm, Sammlung Preker. 1.H. 20.Jh.Peking glass vase. Flower tendrilsMilky white glass with red overlay and elaborately hand-cut in half relief, Z1, height 15cm, Preker collection. 1st half 20th cent.
Lot 63
Sammlung von 6 antiken Snuff Bottles Peking Glas 19.Jh.2x beschädigt, jeweils Farbglas überfangen und geschliffen, Stopfen aus Malachit, Lapislazuli und Karneol, 2 Beschädigungen. (Riss und Chip, meist Peking 19.Jh.), Sammlung Preker.Collection of 6 antique snuff bottles Peking glass 19th century.2x damaged, each with coloured glass overlay and cut, stoppers of malachite, lapis lazuli and carnelian, 2 damaged. (crack and chip, mostly 19th century Peking), Preker collection.
Lot 85
2 Schalen Pekingglas mit floralem und VögeldekorMilchweißes Glas smaragdgrün überfangen und von Hand aufwendig halbplastisch geschnitten, 16,5 und 11,5cm Dm, Z1-22 Peking glass bowls with floral and bird decorationMilky white glass with emerald green overlay and elaborately cut by hand, 16.5 and 11.5 cm diameter, Z1-2
Lot 36
Peking Glasschale in Lotosform Jadefarben 19. Jh.Vierpassige tiefe Schale in Form einer Blüte, leicht gewellte Oberfläche, schaumiges jadefarbenes Glas, in Form geblasen und geschliffen - passender alter Standfuss Holz geschnitzt. Zustand 9,5x20x12cm Sammlung Preker. QuingPeking glass bowl in the shape of a lotus, jade-coloured 19th century.Deep quatrefoil bowl in the shape of a flower, slightly wavy surface, frothy jade-coloured glass, blown into shape and cut - matching old carved wooden stand. Condition 9.5x20x12cm Preker collection. Quing
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