Maria Sybilla Merian Histoire des insectes de l'Europe. Traduite du hollandois en francois par Jean Marret, Amsterdam, Jean Frederic Bernard, 1730 Vortitel, rot-schwarz gedruckter Titel mit Kupferstichvignette, 84 pp., mit 1 Kupferstichvignette, 42 (von 186) num. Kupferstichen, je vier auf 10 Tafeln, 2 auf einer halben Tafel, vorhanden: 1/1, 1/2, 2-3, 12-23, 25-26, 32-35, 51/1, 51/2, 52-53, 62-69, 82-85, 90-93; handschriftlicher Besitzvermerk auf dem Vorsatzblatt: „Aus: Frau Emma Teschners Bibliothek: / Geschenk an Lucia Jirgal / Assistentin im ‚Figurenspiegel‘: / Teschners Puppenspiel“, auf dem Spiegel in der linken oberen Ecke ein Bibliotheksetikett von Lucia Jirgal; durchgehend gebräunt und etw. stockfleckig, eine Tafel leicht ankoloriert; zeitgenössischer brauner Ledereinband, stark berieben und bestoßen, Goldprägung auf Vorder- und Hinterdeckel verblasst und abgerieben, Rücken mit geprägtem Titelschildchen, Bindung stark gelockert, Gr.-Fol. österreichischer Privatbesitz Nissen BBI 1342. Hunt 483. Horn-Schenkling 14993. Erste Folio-Ausgabe mit dem französischen Text. Beigebunden: Dissertatio de generatione et metamorphosibus insectorum Surinamensium…, Den Haag, Pierre Gosse, 1726. Zwei rot-schwarz gedruckte Titel (französisch und lateinisch) mit Kupferstichvignetten, 1 gestochene Wappenvignette, ohne gestoch. Frontispiz, (3), 72 pp., mit 27 (von 72) ganzseitigen num. Kupfertafeln, vorhanden: 2-4, 18, 23, 28-30, 33, 38, 46-50, 56-57, 59, 62-64, 66, 68-72; durchgehend gebräunt, 4 Tafeln lose, davon eine leicht ankoloriert; Nissen BBI 1341. Pritzel 6105. Hagen I, 535. Dritte Ausgabe, die erste mit lateinisch-französischem Paralleltext. Maria Sybilla Merian Histoire des insectes de l'Europe - Dissertatio de generatione, Amsterdam, Jean Frederic Bernard, 1730 half-title, title printed in red/black with engraved vignette, 84 pp., with 1 engraved vignette, 42 (of 186) numbered copper engravings: 10 plates with 4 copper engravings each, one plate half with 2 copper engravings, present: 1/1, 1/2, 2-3, 12-23, 25-26, 32-35, 51/1, 51/2, 52-53, 62-69, 82-85, 90-93; handwritten note on fly-leaf: „Aus: Frau Emma Teschners Bibliothek: / Geschenk an Lucia Jirgal / Assistentin im ‚Figurenspiegel‘: / Teschners Puppenspiel“, upper left inner cover with label Lucia Jirgal's library; browned and partly damp-stained, one plate coloured; contemporary brown leather binding, scraped and bruised, front and back cover gilt-stamped, faded and scuffed, title on spine, binding loosened, imperial-folio private property, Austria Nissen BBI 1342. Hunt 483. Horn-Schenkling 14993. First folio-edition in French. bound with: Dissertatio de generatione et metamorphosibus insectorum Surinamensium…, Den Haag, Pierre Gosse, 1726. Two titles printed in red/black (French and Latin) with engraved copper vignette, 1 engraved coat of arms vignette, without the engraved frontispiece, (3), 72 pp., with 27 (of 72) numbered full-page copper plates, present: 2-4, 18, 23, 28-30, 33, 38, 46-50, 56-57, 59, 62-64, 66, 68-72; browned, 4 plates loosened, one partly coloured; Nissen BBI 1341. Pritzel 6105. Hagen I, 535. Third edition, the first with parallel text in Latin and French.
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Henri Matisse (1869-1954)Jazz, Tériade, Paris, 1947 (Duthuit books 22) The set of twenty pochoirs in colours, 1947, on Arches paper, with title, text in French and justification, signed in pencil on the justification, copy number 73 from the edition of 250 (there were also twenty hors commerce copies in Roman numerals), the full sheets, the colours remarkably fresh and vibrant, in very good condition, loose (as issued), within the original grey paper boards and slipcase, with title label on the spine, generally in very good condition Sheets 420 x 645mm. (16 1/2 x 25 3/8in.); Album 445 x 340 x 58mm. (17 1/2 x 13 3/8 x 2 1/4in.)Footnotes:Henri Matisse's illustrated book, Jazz, published in 1947, is arguably one of the most important and formative works of the artist's career. The colourful portfolio, made up of 20 plates and over 70 pages of calligraphic writing, was one of Matisse's first major 'cut-out' projects and marked a crucial transition into a new medium for the artist.Matisse began creating the plates in around 1941 after he had undergone a life-saving surgery to alleviate his abdominal cancer, an operation which left him chair and bed-ridden for months. No longer able to paint or draw, Matisse took to cutting forms out of large colourfully painted sheets of paper, prepared for him by his assistants – a process he called 'drawing with scissors'. This suite of colour plates was then printed using a labour-intensive technique, known as pochoir, which allowed Matisse to express his creativity with the help of printer, Edmond Vairel, who created the stencils for his final compositions. Matisse said 'paper cut-out allows me to draw in colour. It is, for me, a matter of simplification ... I draw directly into the colour, which is all the more controlled in that it is not transposed. This simplification guarantees a precision in the reunion of the two means, which brings them together as one.'Through Jazz, Matisse solved many of the problems around space, form, line, and colour that he had struggled with all his life. The work, initially titled Le Cirque after the inspiration behind the illustrations, was later changed to Jazz following a suggestion from his publisher Tériade. The artist welcomed the idea and recognised the noticeable synthesis between art and music throughout the work. Invented in the spirit of improvisation, there is a spontaneity and rhythm through the pages of handwritten lyrical text, broken up by Matisse's expressive plates of mythological depictions, circus scenes and memories from Matisse's travels. Jazz is still regarded as one of Matisse's greatest masterpieces and his most successful artist's book. As Tériade pointed out: ''Of all the books by Matisse, Jazz is without a doubt the most important: it provokes a true revolution in the artist's oeuvre and in the history of contemporary art'' Michel Anthonioz, Hommage Tériade, Paris, 1973, p. 125.Yet Matisse never envisioned Jazz to be an illustrated book but rather a collection of artistic plates.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
*CHRISTINE KEELERRay Bellisario (1936-2018): 'Freedom - First Day Out Of Prison, Lying In A Field' Signed By Christine Keeler, 1964photograph printed later, no.7/10, the silver gelatin print, hand-printed from the original negative, depicting Christine Keeler in a field on the day she was released from Holloway prison in June 1964, having served four and half months of a nine month sentence for perjury, signed by both the photographer and Keeler in black ink to the lower border 40 x 50cmProvenance: Copyright purchased by the vendor in 2013, and following this an edition of 10 prints of this image were produced, all signed by Christine Keeler.*Artist's Resale Right may apply to this lot.Condition report: Mint condition.
*CHRISTINE KEELERRay Bellisario (1936-2018): 'Freedom - First Day Out Of Prison, Lying In A Field' (Full Length) Signed By Christine Keeler, 1964photograph printed later, no.7/10, the silver gelatin print, hand-printed from the original negative, depicting Christine Keeler in a field on the day she was released from Holloway prison in June, 1964, having served four and half months of a nine month sentence for perjury, signed by both the photographer and Keeler in black ink to the lower borderProvenance: Copyright purchased by the vendor in 2013, and following this an edition of 10 prints of this image were produced, all signed by Christine Keeler.*Artist's Resale Right may apply to this lot.Condition report: Mint condition.
John Carey, Cornwall, hand-coloured map with a vignette of the Scilly Isles, 1787, 23 x 27.5cm, three others, similar and a later hand-coloured book plate map of Cornwall with Edystone lighthouse vignette, with hand-written label, Very scarce first edition before adding the coat of arms, circa 1835, (5).
Road and Track: 1947 to 1976. A rare and excellent run of 26 hardbound quarto volumes of this quarto-size American magazine. The first volume is the limited edition of reprints of the first 15 issues, from June 1947 to October 1950, bound in navy-blue buckram with silver lettering. After making its debut in June 1947, the next issue was not published until May 1948. It was not until 1950 that some semblance of regularity entered into Road and Track's publishing schedule. The present run's second volume, bound in maroon cloth with gilt lettering, holds the issues from July/August 1950 to July 1951 (Vol. 2 No.12). The five monthly issues from August to December 1951 (Vol. 3 Nos. 1 to 5) are loose in a clear plastic sleeve. The remaining 24 volumes, uniformly bound in light brown cloth with gilt lettering to the spines, hold the issues from Vol. 3 No. 6, January 1952, to Vol. 28 No. 4, December 1976. All are in clean and sound condition, with their covers and advertisements. (28)
The Motorcar, in the first decade of the twentieth Century by W. Eden Hooper, 1908. A work divided into four parts, complete but the plates from the first part, the Historical Survey, have been removed at some time in the distant past, although it still retains all later illustrations and photographs. A limited edition of only 650 published, this is a working copy with a brown leather binding and gilt tooling. AF
The Royal Air Force. Two three-volume hardback 8vo sets, comprising the Pictorial History of the R. A. F. 1918 - 1969, by J. W. R. Taylor & P. J. R. Moyes, very good copies in dust jackets; and Royal Air Force 1939 - 1945, by D. Richards & H. St. G. Saunders, all good First Eds, 1953/4, but no dust jackets. Together with British Aviation Widening Horizons 1930-1934 & British Aviation Ominous Skies 1935-1939, both by H. Penrose; Raiders approach! The Fighting Tradition of Royal Air Force Station Hornchurch and Sutton's Farm, by Sq. Leader H. T. Sutton (no d.j.), and a worn copy of Air Publication 125, Revised 1936 - A Short History of the Royal Air Force. The lot also includes four excellent hardbacks in their dust jackets in the Putnam aviation series: British Naval Aircraft since 1912; British Aviation - The Adventuring Years; United States Navy Aircraft since 1911; and a book club edition of The British Bomber since 1914. (14)
Around the World on a Bicycle, by Thomas Stevens. Volume one, From San Francisco to Teheran, 1887, 1st UK Edition, with half-quarter leather binding on board. Volume two, Teheran to Yokohama, the 1889 USA edition, with decorative green boards. Worn octavo hardbacks, the first volume rather more worn than the second, but both appearing complete. The first, 'with over one hundred illustrations', has a full-page chromolithographic portrait by Kelly of the author atop his Ordinary, while the other has a monochrome portrait frontispiece of the author, and is described as having 'numerous illustrations'. (2)
Herbert J. Butler - Motor Bodywork: The Design & Construction of Private, Commercial and Passenger Types. A better than usual hardback copy of the First edition, original dark blue cloth with gilt lettering plus gilt panelling to the spine, front and rear hinges re-enforced with cloth (as pub), the cover edges a little rubbed, and lower corners slightly worn and with a short split, but internally clean and quite sound. 10½ x 7¾-inches, pp xxiv, 492, plus 245 illustrations and 50 working drawings (many folding). Foreword by Sir Herbert Austin, published by W. R. Howell & Co, 1924.
The Bugatti Book by Barry Eaglesfield, a 1st edition copy with an excellent DJ, 1954. The Three-Pointed Star by Scott-Moncrieff, 1955, 1st edition; The Restoration of the Vintage and Thoroughbred Cars, by Wheatley and Morgan, a common book but rare in this condition, 1969 3rd edition; Motoring Entente by Nickols and Karslake, 1956 1st edition; and Renault by Saint Loup, first English translation edition, 1957. All in good fettle, together with other petit booklets and assorted books. (Qty)
Twenty-Two mostly Punk and Rock LP and 12" EP records; including Redskins - The Peel Sessions, Neither Washington nor Moscow, Burn it Up (DJ copy), Half Man Half Biscuit - Back in the D.H.S.S., The Stone Roses - Selftitles, One Love (limited edition), Elephant Stone, The Undertones - selftitled, The Meteors Live, The Clash - Cut the Crap, Return to Brixton, Sandinista!, Dean Kennedys - Holiday in Cambodia, Sham 69 - The First The Best and the Last, Wake Up - 6 track Miniers Benefit EP, Stiff Little Fingers - Now Then..., Skids - The Absolute Game, Primal Scream - Come Together, Imperial, New Model Army - Vengeance, No Rest for the Wicked, No Rest Heroin.
Voyage en Syrie et en Égypte, de Volney (Paris, 1807), VOLNEY, Constantin-François Chasseboeuf, Comte de.- Voyage en Syrie et en Égypte, pendant les années 1783, 84 et 85.- Quatrième édition.- Paris: Chez Courcier, 1807.- 2 vols.: il.; 20 cm.- E. The Count of Volney (1757-1820), intellectual, philosopher, archaeologist, traveler and French Orientalist, was certainly one of the most popular authors of the 18th century and the first half of the 19th, not only in France but throughout Europe and the United States; all of his work, but in particular The Ruins of Palmira (1789), a true “best seller”, contributed decisively to the spread of the taste for Greco-Latin antiques scattered throughout the Mediterranean basin. Fourth edition of his second book (the first date 1787), in two volumes, illustrated with five copperplate prints and three fold-out maps, with the following collation: I - [4], X, 487, [1] p .: 2 unfolded prints, 2 unfolded maps .; II - [4], 492 p .: 3 unfolded prints, 1 unfolded map. Copy slightly trimmed, but clean, with all the engravings neatly folded, lined with contemporary binders, whole sheepskin, slightly handled, with mottled patine. Provenance: Roberto Gulbenkian Library.
Mémoires relatifs a l’Asie, de Klaproth (Paris, 1824), KLAPROTH, Heinrich Julius von.- Mémoires relatifs a l’Asie, contenant des recherches historiques, géographiques et philologiques sur les peuples de l’Orient.- Paris: Dondey-Dupré, 1824- 1828.- 3 vols.: il.; 20 cm.- E. Heinrich Julius von Klaproth (1783-1835), Orientalist historian, linguist, traveler and German explorer, born in Berlin, who, together with Jean-Pierre Abel-Rémusat, was one of those responsible for the institution of Asian studies in Western universities; in 1805, at the invitation of Count Potocki, Klaproth joined a Russian embassy sent to China, having subsequently taught at the St. Petersburg Academy, until he finally settled in Paris in 1815. Original edition of one of his most sought after works. The collation of each of the three volumes is as follows: I - [8], 478, [1, 1 br.] P .: III prints (2 unfolded), 1 unfolded map .; II - [8], 432, [3, 1 br.] P .: 1 prints, 2 tables, 2 unfolded maps .; III - [8], 520 p .: 2 unfolded maps, 5 prints. Apparently, volume II lacks a fold-out map next to p. 157 (the first print has the indication pl. II); in the same volume II, p. 320, a foldable map of the Jean Potocki Archipelago is identical (repeated) to that found in volume I, next to the same p. 320. Slightly trimmed copy (carmine edge), but clean, covered with contemporary bindings, whole flecked calf, with the initials MD (?) crowned on the upper section of the spines. Provenance: Roberto Gulbenkian Library.
Sermões do Pe. António Vieira, S.J. (Lisboa, 1679-1710), VIEIRA, Pe. António.- SERMOENS.- Em Lisboa: na Officina de Ioam da Costa [e outros], 1679-1710.- 14 vols.: 1 gravura; 21 cm.- E. Set consisting of the first 14 volumes (volume XV only came to be published in 1748), in first editions (or variants), of the sermons of the great Portuguese speaker of the six hundred, with the following dates and printers (the numbers in parentheses refer to to the BN Bibliography entries): I - Primeyra parte. Na Officina de Ioam da Costa, 1679 (990); II - Segvnda parte. Na Officina de Migvel Deslandes, 1682 (995); III - Terceira parte. Na Officina de Migvel Deslandes, 1683 (997); IV - Qvarta parte. Na Officina de Migvel Deslandes, 1685 (1002); V - Qvinta parte. Na Officina de Miguel Deslandes, 1689 (1005); VI - Sexta parte. Na Officina de Miguel Deslandes, 1690 (1007); VII - Septima parte. Na Officina de Miguel Deslandes, 1692 (1012); VIII -Oitava parte. (Xavier dormindo...). Na Officina de Miguel Deslandes, 1694 (1013); [IX] - Maria Rosa Mystica...: I parte. Na Officina de Migvel Deslandes, 1686 (1017); [X] - Maria Rosa Mystica...: II parte. Na Impressaõ Craesbeeckiana, 1688 (1019); XI - Undecima parte. Na Officina de Miguel Deslandes, 1696 (1021); XII - Parte duodecima. Na Officina de Miguel Deslandes, 1699 (1022); [XIII] - Palavra de Deos. Na Officina de Miguel Deslandes, 1690 (1024); XIV - Tomo XIV. Obra posthuma. By Valentim da Costa Deslandes, 1710 (1029). Volume XI includes an engraving representing the coat of arms of Catherine of Braganza, to whom the edition is dedicated. Volume I with tear in the leaf [3], without lack of support; volumes I, IV, VI and XII, with ex-libris by António Cupertino de Miranda (2 by volume). Some handwritten ownerships on the title pages. Contemporary bindings, whole sheepskin, not uniform, some rebuilt and with new endpapers. The 14 volumes of different origins, with traces of handling and some imperfections, but complete (volume XII with slightly different but apparently complete collation). Inocêncio, I, p. 289. Samodães, 3516. BN (Padre António Vieira, Bibliography), 990 to 1029.
The expedition for the survey of the rivers Euphrates and Tigris (London, 1850), CHESNEY, Lieut.- Colonel Francis Rawdon.- The expedition for the survey of the rivers Euphrates and Tigris, carried on by order of the British Government, in the years 1835, 1836 and 1837...- London: Longman, 1850.- 2 vols.: il.; 25 cm.- E. Francis Rawdon Chesney (1789-1872), born in Annalong (Ireland), artillery officer, explorer and traveler, best known for having imagined a project for the Suez Canal that was the basis of the undertaking that Ferdinand Lesseps carried out in 1868. The work, initially planned for four volumes, describes the exploration trip through the Euphrates and Tiber valleys, to the Persian Gulf, in search of a solution to shorten the route to India. Chesney then suggested the construction of a railway line that links the Persian Gulf to the closest navigable point on the Euphrates River. The collation of each of the volumes is as follows: I - XXVII, [3], 799 p .: 30 lithographs, XI maps; II - XVI, 778 p .: 20 lithographs. The edition also includes numerous woodcut figures in the text. Both volumes feature a printed card and a library stamp with topographical dimensions, (Hawkesyard Library, Rugeley, UK, which was to be demolished in 2008), on the first flyleaf, with pencil inscriptions, from a bookseller (?), on the back. For the rest, a very clean copy, keeping all prints intact, lined with editorial bindings, in blue canvas, very fresh. Provenance: Roberto Gulbenkian Library.
Histoire et chronique memorable, de Froissart (Paris, 1574), FROISSART, Jean.- HISTOIRE | ET CHRONIQVE | MEMORABLE DE MES- | SIRE IEHAN FROISSART. | REVEV [sic] ET CORRIGE SVS DIVERS | EXEMPLAIRES, ET SVIVANT LES BONS AV- | teurs, par Denis Sauuage de Fontenailles en Brie, Histo- | graphe du Treschestien Roy Henry | deuxieme de ce nom. | [... gravura xilográfica com a marca do impressor].- A Paris:A l’Olivier de Pierre l’Hvillier, Rve Sainct Iacves. M. D. LXXIIII. (1574). - 4 partes em 1 vol.; 34 cm.- E. Jean Froissart (ca. 1337- circa 1410), one of the leading chroniclers of medieval France and the most important documentary source for the first half of the 100-year war. 16th century edition of his chronicles, several times reissued in the 16th century, whose princeps edition dates back to the end of the 15th century (ca. 1495). The collation of each of the four parts (or volumes) is as follows: Premier volvme - [16], 423, [29] p .; Second volvme - [12], 288, [4] p .; Tiers volvme - [8], 333, [3] p .; Qvart volvme - [8], 324 p. Complete specimen, slightly handled and with slight browning. Marginal stains and more severe handling in the first five and last 20 leaves. Contemporary binding, entirely sheepskin, reconstructed (with a new spine and label), with two large rosettes (70 x 50 mm) in the centre of both covers with a gilt background en guilloche. Brunet, II, col. 1406 (l'édition de Paris, 1574, est la plus connue).
Lusitania liberata, de António de Sousa de Macedo (Londres, 1645), MACEDO, António de Sousa de.- LVSITANIA LIBERATA | ab Injusto Castellanorum dominio. | RESTITVTA | Legitimo Principi, Serenissimo JOANNI IV. Lusitaniæ, | Algarbiorum, Africæ, Arabiæ, Persiæ, Indiæ, Brasi- | liæ, &c. Regi Potentissimo. | Summo Pontifici, Imperio, Regibus, Rebus-publicis, cæterisque Orbis Christiani Principus | DEMONSTRATA...- Londini: In Officina Richardi Heron, 1645.- [28], 794, [22] p.: il.; 29 cm.- E. First and only published edition of one of the most important titles in the Restoration. The work, of exceptional graphic quality, is illustrated with the following 14 copperplate prints, almost always printed next to the text, although sometimes with variable placement from copy to copy: 1 - Allegorical cover with title (f. 1r .); 2 - Portrait of King D. João IV (f. 5v); 3 - Lusitana (f. A2v.); 4 - Portrait of Count D. Henrique (p. 58); 5 - Apparition of Christ to King D. Afonso Henriques (p. 93); 6 - Portrait of King D. João I (p. 143); 7 - King D. Manuel I, lying down, with a family tree (p. 165); 8 - Reborn Phoenix (p. 470); 9 - Portuguese dragon curled up at the foot of a fruit tree (p. 542); 10 - King D. João IV on the throne (p. 560); 11 - King D. João IV on horseback (p. 650); 12 - Brigantine dragon on globe (p. 708); 13 - Coat of Arms of Portugal (p. 764); 14 - Allegory to Fame on an obelisk (p. 792). Copy slightly handled and trimmed, with slight browning. King D. João IV portrait mirrored and restored; restoration on the inner margin next to the backbone, in the first notebook. It is, however, complete with all the engravings, including the second that is missing from most copies, matching exactly the detailed description offered to us by the prestigious librarian of Coimbra, Maria da Graça Pericão, in her catalogue of the Viscount of Trindade collection. (220). Entire binding of reconstructed sheepskin, with new endpapers. Palha, 2956. Samodães, 3264. Bibliographical Exhibition of the Restoration, 1461.
Casino Royale - Ian Fleming - 1953 First Edition (Second Impression) - a rare original 1st edition copy of the James Bond 007 book by Fleming. Published by Jonathan Cape of London. Black covered boards, with red heart motif and red titles to spine. No dust cover. Slight wear to top of spine, and a small pen annotation to the inside cover. Complete. Rare edition.
TOLKIEN, J.R.R. 'THE HOBBIT', 'THE LORD OF THE RINGS' AND 'POEMS AND STORIES', three de luxe editions, in presentation boxes, published by Allen & Unwin (3) Condition Report Lord of the Rings - fifth impression 1976. Poems and Stories - 1980, no edition number. The Hobbit - 1976, no edition number. The books are in good condition, the cases are marked, two have splits to the corners Condition Report It lists various edition from First published in 1937 through to De Luxe edition 1976, it doesn't mention any other editions for 1976
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), STRATHNAVAR, FROM 'A NIGHT OF ISLANDS' (1991) colour etching on paper from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' 75cm x 53cm Mounted, framed and under glass Label verso: Louise Pickering Fine Art, 58 Clapham Common, London. Bio: A noted and established Scottish artist and professor of art, Will Maclean was born in Inverness in 1941. He was a midshipman (1957–59) before attending Gray's School of Art, Aberdeen (1961–65) and then the British School in Rome in 1966 as part of a year on a Gray's Travelling Scholarship. He spent another period of time at sea in 1968 as a ring-net fisherman, which led to a major bursary in 1973 to study ring-net herring fishing. The resulting Ring-Net Project, a body of over 400 drawings, was exhibited at the Third Eye Centre, Glasgow, from where it toured, and in 1986 at the Scottish National Gallery of Modern Art, Edinburgh, where it entered the permanent collection. In 1981 he was appointed lecturer at the Duncan of Jordanstone College of Art and Design, University of Dundee, where he remained for fifteen fruitful years, becoming Professor of Fine Art in 1994 and in 2004-2006, senior research fellow and now emeritus professor. He was elected Royal Scottish Academician in 1991 and in 1997 he designed and as part of the team, won the Scottish Natural Heritage Supreme Award for three Memorial Cairns in Lewis. In 1999 he was awarded an honorary doctorate by the University of St Andrews, winning the Scottish Arts Council Creative Scotland Award in the same year. The British Library and Tate Artists Lives Sound Archive made a valuable recorded interview with him in 2005, the year he was awarded an MBE for services to Education and the Arts. He lives and works in Tayport, Fife with his wife, the artist Marian Leven. Maclean has exhibited widely since 1967. Solo exhibitions have included The Ring-Net, Third Eye Centre, Glasgow and tour (1978); Runkel-Hue-Williams, London (1990); Retrospective Exhibition, Talbot Rice Gallery, Edinburgh and tour (1992) with accompanying monograph Symbols of Survival; a major solo show, Driftworks at Dundee Contemporary Arts, 2001, and exhibitions with Art First, London, since 1994. Another recent exhibition being the 2011 show "Lead and Line" - at Art First's gallery in Eastcastle Street, London W1 In 1999 his exhibition Cardinal Points was hosted by the Museum of North Dakota, Grand Forks, North Dakota USA before touring to Canada to McMaster Museum of Art, Hamilton, Ontario, and Art Gallery of Newfoundland and Labrador, St. Johns. Group exhibitions include Worlds in a Box, Edinburgh City Art Centre and The Whitechapel Gallery, London (1994 95); and Contemporary British Art in Print, Scottish National Gallery of Modern Art, Edinburgh (1995) which featured "A Night of Islands", a set of ten etchings published in 1991. A major work was acquired for the new Scottish Parliament building and commissioned sculptures and collaborative works can be seen in Skye, Lewis and elsewhere in Scotland. Recent sculptural commissions include the piece "Waterlines" (commissioned by the University of Aberdeen and installed in the square facing the new library there) and the Suileachan Project on the Isle of Lewis (winner of the The Saltire Arts and Crafts in Architecture Award 2013), both collaborations with Marian Leven. The critic and writer Duncan Macmillan writes in his introduction to the monograph on Maclean - 'Symbols of Survival': Will Maclean is one of the outstanding artists of his generation in Scotland... his art is rooted in his knowledge of the highlands, the Highland people and their history and in his own early associations with sailors and the sea. This makes it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and concerns His work is in public collections including Arts Council of Great Britain; The British Museum; Dundee, Edinburgh, and Glasgow City Art Galleries; Fitzwilliam Museum, Cambridge; Scottish Arts Council; Scottish National Gallery of Modern Art; Royal Scottish Academy of Art & Architecture; McMaster Museum, Canada; Yale Centre for British Art, Newhaven, USA.
The fastest accelerating production vehicle in the States at the time of its launch.The Dry Stuff; limited edition, medium size, pickup truck built by GMC for one year only in 1991The Important Stuff; 4.3-litre, LB4 V6 with a Mitsubishi turbocharger and a Garrett Water/Air intercooler producing 280bhp++ and 350lb.ft. 0-60 in 4.3secs. Standing 1/4 in 13.4secsAll Syclones had a 4L60 4-speed automatic transmission and Borg-Warner all-wheel driveFeatured in reviews by Top Gear and Jay Leno in 2015, this truck was faster than a Ferrari Testarossa from a standstill when newOne of 2,995, all LHD, chassis #886, was imported from its first US owner in 2006 and shows just one UK-registered keeper since. History includes details of one US owner prior to import15 MOT Certificates detailing history since import. Various invoices for maintenance in the UKIn lovely condition, with just 63,676 miles indicated. Good number plate, H10 SYCWith very few in the UK and developing a 'cult' following, this could be a genuine sleeperYou can now book a one-to-one appointment (up to one hour) to view this lot at our central location of Stoneleigh Park (CV8 2LG) Monday to Friday, between Monday 7th December and Friday 11th December. Please contact Gary Dunne on 07740 946 796 / gary@classiccarauctions.co.uk to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more information, condition report and additional photographsSpecification:Registration: H10 SYCYear: 1991Make: General MotorsModel: Syclone TruckRHD/LHD: LHDChassis Number: 1GDCT14Z4M8800886Odometer Reading: 63676 milesTransmission: AutomaticEngine Capacity: 4.3Body Colour: BlackInterior Colour: Grey
Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Berghaus mit Gewitterwolke (Alphütte bei Gewitter). 1917. Holzschnitt. Gercken 852 I (von II). Dube H 299. Schiefler H 285. Signiert und bezeichnet 'Handdruck'. Eines von nur sechs bekannten Exemplaren des ersten Zustands. Auf chamoisfarbenem, festen Velin von Asoka (mit dem Prägestempel). 50,2 x 40 cm (19,7 x 15,7 in). Papier: 57,2 x 44,3 cm (22,5 x 17,4 in). [CH]. • Handdruck des Künstlers. • Entstehung während Kirchners erstem Aufenthalt auf der Stafelalp (Davos). • Äußerst detailreiche und sehr aufwendig gestaltete Komposition. • Eines von nur sechs bekannten Exemplaren des ersten Druckzustands, davon eines verschollen (WVZ Gercken), eines in der National Gallery of Art in Washington, eines in der Staatlichen Kunsthalle Karlsruhe. PROVENIENZ: Sammlung Edwin Redslob, Berlin. Privatsammlung Norddeutschland (seit 1996). AUSSTELLUNG: Im Zentrum. Ernst Ludwig Kirchner - eine Hamburger Privatsammlung, Hamburger Kunsthalle, 26.10.2001-13.1.2002; Kirchner Museum, Davos, 27.1.-14.4.2002, Brücke-Museum, Berlin, 17.1.-2.3.2003, Kat.-Nr. 65 (mit Abb.). LITERATUR: Eberhard W. Kornfeld, Ernst Ludwig Kirchner. Nachzeichnungen seines Lebens, Bern 1979, S. 94. Villa Grisebach Auktionen, Berlin, 50. Auktion, Ausgewählte Werke, 7.6.1996, Los-Nr. 17 (mit Abb.). Aufrufzeit: 12.12.2020 - ca. 18.46 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Berghaus mit Gewitterwolke (Alphütte bei Gewitter). 1917. Woodcut. Gercken 852 I (of II). Dube H 299. Schiefler H 285. Signed and inscribed 'Handdruck'. From an edition of six known copies from the first state. On firm creme wove paper by Asoka (with embossing stamp). 50.2 x 40 cm (19.7 x 15.7 in). Sheet: 57,2 x 44,3 cm (22,5 x 17,4 in). [CH]. • Hand-printed by the artist. • Made during Kirchner's first stay on the Stafelalp (Davos). • Extremely detailed and very elaborately designed composition. • One of only six known copies of the first printing state, one of which is lost (catalog raisonné Gercken), one is in the National Gallery of Art in Washington and one in the Staatliche Kunsthalle Karlsruhe. PROVENANCE: Collection Edwin Redslob, Berlin. Private collection Northern Germany (since 1996). EXHIBITION: Im Zentrum. Ernst Ludwig Kirchner - eine Hamburger Privatsammlung, Hamburger Kunsthalle, October 26, 2001 - January 13, 2002; Kirchner Museum, Davos, January 27 - April 14, 2002, Brücke-Museum, Berlin, January 17 - March 2, 2003, cat. no. 65 (with illu.). LITERATURE: Eberhard W. Kornfeld, Ernst Ludwig Kirchner. Nachzeichnungen seines Lebens, Bern 1979, p. 94. Villa Grisebach Auktionen, Berlin, 50th auction, Ausgewählte Werke, June 7, 1996, lot no. 17 (with illu.). Called up: December 12, 2020 - ca. 18.46 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Gerhard Marcks 1889 Berlin - 1981 Köln Weiblicher Torso. 1970. Bronze mit dunkelbrauner Patina. Rudloff 956. Auf der Plinthe mit dem Künstlersignet, rückseitig mit der Nummerierung und dem Gießerstempel 'Barth Rinteln'. Eines von 10 Exemplaren. Mit Plinthe: 34 cm (13,3 in). Posthumer Guss von 2007. [SM]. Zum ersten Mal auf dem internationalen Auktionsmarkt angeboten (Quelle: www.artprice.com). PROVENIENZ: Aus dem Nachlass des Künstlers. Privatsammlung Nordrhein-Westfalen. Aufrufzeit: 12.12.2020 - ca. 18.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONGerhard Marcks 1889 Berlin - 1981 Köln Weiblicher Torso. 1970. Bronze with drak brown patina. Rudloff 956. Plinth with artist's signet, with the number and the foundry mark 'Barth Rinteln' on rear. From an edition of 10 copies. With plinth: 34 cm (13.3 in). Posthumous cast from 2007. [SM]. For the first time offered on the international auction market (source: www.artprice.com). PROVENANCE: From the artist's estate. Private collection North Rhine-Westphalia. Called up: December 12, 2020 - ca. 18.21 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Marcel Duchamp 1887 Blainville-Crevon/Seine-Inférieure - 1968 Neuilly-sur-Seine Neuf Moules Mâlic. 1937/38. Multiple. Handkolorierte Lichtdrucke auf Zelluloid. Schwarz 328b. Rechts unten signiert, datiert '37' und nummeriert. Eines von 9 Exemplaren. 18 x 27 cm (7 x 10,6 in). Gesamt: 23,7 x 33,6 x 6,3 cm (9,3 x 13,2 x 2,5 in). 1964 im Aluminiumrahmen montiert und herausgegeben von der Cordier & Ekstrom Gallery, New York. • Verkleinerte Reproduktion der Vorstudie (Musée national d'art moderne, Centre Pompidou, Paris) zu einem der bedeutendsten Werke Duchamps, 'La Mariée mise à nu par ses célibataires, même (Le Grand Verre)', ausgeführt 1915-1923 (Philadelphia Museum of Art) • Erste Skizzen zu unserem Werk entstehen in der die Kunst revolutionierenden Zeit ab 1913, in die auch die ersten Readymades wie der berühmte Flaschentrockner von 1914 und das Fahrrad-Rad von 1915 fallen • Das Motiv des männlichen Prinzips, hier verkörpert durch die angedeuteten Uniformen, ist einer der zwei zentralen Pole in dem Hauptwerk, mit dem sich Duchamp acht Jahre lang auseinandersetzt. PROVENIENZ: Privatsammlung Süddeutschland. LITERATUR: Not Seen and/or Less Seen of/by Marcel Duchamp/Rrose Sélavy, 1904-64, 14.1.-13.2.1965, Nr. 79 (Exemplar 1/9). Marcel Duchamp, Ausst.-Kat. Museum Ludwig, Köln, 27.6.-19.8.1984, S. 132f. Eine große und erste Version von Neuf Moules Mâlic (Musée national d'art moderne, Centre Pompidou, Paris) entsteht im Rahmen der Konzeption zu einem der bekanntesten und bedeutendsten Werke Marcel Duchamps, „La Mariée mise à nu par ses célibataires, même“ (oder „Le Grand Verre“, 1915-1923, Philadelphia Museum of Art). Bei seiner Auswanderung in die USA nimmt Duchamp diese erste Version mit, um an seinem langwierigen, letztlich als unvollendet bezeichneten „Grand Verre“ weiterzuarbeiten. Die im unteren Teil dieser Arbeit angeordneten Célibataires (Junggesellen) entwirft Duchamp ab 1913 in zahlreichen Skizzen und Zeichnungen. Das männliche Prinzip visualisiert er in den neun unterschiedlichen Berufsgruppen und deren stilisierten Uniformen, die als leere Hüllen, als Modelle oder „Gussformen“ aufgehängt erscheinen: als Kürassier, Gendarm, Lakai, Lieferjunge, Jäger, Priester, Bestatter, Polizist und Bahnhofsvorsteher. Diese männlichen Figuren repräsentieren in „Le Grand Verre“ eine Art energetische Zentrale, einen Motor, der diese Maschine des Verlangens und des Lebens in Gang setzt, die den Fluss unsichtbarer Energien verdeutlicht, verbunden über ihre Energie leitenden Drähte mit der Sphäre der Braut oder dem weiblichen Prinzip. Duchamp stellt vor allem in seinem frühen Schaffen immer wieder die Frage nach Original und Reproduktion. So entsteht bereits um 1914 in der grundlegenden Phase seiner kunsttheoretischen Reflexionen die Idee der „Boîte en valise“, eines Kompendiums an Faksimiles und Reproduktionen der im Rahmen von „Le Grand Verre“ entstandenen Skizzen, Zeichnungen und Notizen. Ab 1936 fertigt er für die „Boîtes en valise“ ebenfalls Miniaturversionen früherer Werke an, die somit über ihre tatsächliche Werkpräsenz hinaus zusätzlich einem konzeptuellen Bereich im Kunstverständnis Duchamps zuzuordnen sind. [KT] Aufrufzeit: 12.12.2020 - ca. 18.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMarcel Duchamp 1887 Blainville-Crevon/Seine-Inférieure - 1968 Neuilly-sur-Seine Neuf Moules Mâlic. 1937/38. Multiple. Hand-colored heliotypes on celluloid. Schwarz 328b. Lower right signed, dated '37' and numbered. From an edition of 9 copies. 18 x 27 cm (7 x 10.6 in). Total dimensions: 23,7 x 33,6 x 6,3 cm (9,3 x 13,2 x 2,5 in). Mounted in an aluminum frame in 1964 and published by the Cordier & Ekstrom Gallery, New York. • Reduced reproduction of the preliminary study (Musée national d'art moderne, Center Pompidou, Paris) for one of Duchamp's most important works, 'La Mariée mise à nu par ses célibataires, même (Le Grand Verre)', executed between 1915 and 1923 (Philadelphia Museum of Art) - The first sketches for our work were made in the art revolutionary period from 1913 onwards, which also saw the first Readymades, among them the famous bottle dryer from 1914 and the bicycle wheel from 1915 - The motif of the male principle, embodied here by the suggested uniforms, is one of the two central positions in his main work, which Duchamp examined over eight years. PROVENANCE: Private collection Southern Germany. LITERATURE: Not Seen and/or Less Seen of/by Marcel Duchamp/Rrose Sélavy, 1904-64, January 14 - February 13, 1965, no. 79 (copy 1/9). Marcel Duchamp, ex. cat. Museum Ludwig, Cologne, June 27 - August 19, 1984, pp. 132f. Called up: December 12, 2020 - ca. 18.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Joseph Beuys 1921 Krefeld - 1986 Düsseldorf La Rivoluzione siamo Noi. 1972. Multiple. Lichtpause auf Polyesterfolie. Schellmann 49. Signiert, datiert, nummeriert und betitelt sowie mit dem Hauptstromstempel versehen. Aus einer Auflage von 180 Exemplaren. 191 x 100 cm (75,1 x 39,3 in). Herausgegeben von der Modern Art Agency, Neapel, und der Edition Tangente, Heidelberg (mit der typografischen Bezeichnung). • Basierend auf dem programmatischen Plakat zu Beuys‘ erster Ausstellung 1971 in Italien in der Modern Art Agency Neapel bei Lucio Amelio • Großformatige Arbeit, die den Künstler in avantgardistischem Voranschreiten zeigt • In der Verwendung der Technik auch als Kommentar zu den Serigrafien Andy Warhols zu verstehen, die sich eines direkten politischen Kommentars eher enthalten • Weitere Exemplare befinden sich im Museum of Modern Art, New York, der Tate Modern, London sowie der Pinakothek der Moderne, München. PROVENIENZ: Privatsammlung Schweiz. Im 'Erweiterten Kunstbegriff' von Joseph Beuys wird die Trennung zwischen Kunst und Leben als nicht existent betrachtet, Kunst, Leben und Politik bilden eine eng miteinander verwobene und sich gegenseitig hervorbringende Einheit. Der Mensch als lebendiges, kommunizierendes Wesen ist dabei Teil dieses Systems, in dem ein ständiger Austausch von Informationen und Energien stattfindet. Joseph Beuys folgt dabei engagiert dem Zeitgeschehen. Seit 1961 hatte er den Lehrstuhl für Bildhauerei an der Akademie in Düsseldorf inne und bemühte sich auch hier wieder und wieder um die Auflösung starrer Strukturen und Reglements. 1971 besetzt er beispielsweise mit seinen Studenten das Akademiesekretariat, um die Aufnahme von Bewerbern zu erreichen, die an dem offiziellen, von Beuys als irrelevant erachteten Aufnahmeverfahren gescheitert waren - was schließlich im Jahr darauf in seiner Entlassung gipfelt. Ebenso ruft er die 'Organisation für direkte Demokratie durch Volksabstimmung' ins Leben, um eine Ermächtigung jedes Einzelnen und Partizipation am gesellschaftlichen Gefüge zu ermöglichen, die in der Bewegung der 68er-Jahre so vehement gefordert wird. Im Rahmen seiner ersten Ausstellung in Italien wählt Beuys das von Giancarlo Pancaldi im Oktober 1971 am Eingang der Villa Orlandi auf Anacapri entstandene Foto, auf dem er dynamisch und in einfacher Arbeiterkleidung auf den Betrachter zuschreitet. Das Foto ist zugleich eine Reinszenierung der zentralen Figur aus dem berühmten sozialistischen Gemälde 'Der vierte Stand' Giuseppe Pellizza da Volpedos, das um 1900 zu einer Ikone der Arbeiterbewegung wurde. Daran anschließend inszeniert sich Beuys in der avantgardistischen Bewegung des Voranschreitens, deren Energie sich auf den Betrachter überträgt und zugleich die Aufforderung beinhaltet, sich dem Künstler anzuschließen und seine eigene Kreativität zur Gestaltung der Gesellschaft einzubringen. So ermöglicht Beuys es jedem einzelnen, Teil des von ihm als 'Soziale Plastik' verstandenen gesellschaftlichen und lebendigen Kunstwerks zu werden. [KT] Aufrufzeit: 11.12.2020 - ca. 15.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJoseph Beuys 1921 Krefeld - 1986 Düsseldorf La Rivoluzione siamo Noi. 1972. Multiple. Heliotype and polyester foil. Schellmann 49. Signed, dated, numbered and titled as well as with the 'Hauptstromstempel'. From an edition of 180 copies. 191 x 100 cm (75.1 x 39.3 in). Published by Modern Art Agency, Naples, and the Edition Tangente, Heidelberg (with typographic inscription). • Based on the programmatic poster for Beuys' first exhibition in Italy at the Modern Art Agency Naples with Lucio Amelio in 1971. • Large work showing the artist as ‘making vanguard progress’. • In the use of the technique this work can also be understood as a comment on Andy Warhol's silkscreens, which tend to do without direct political commentary • Further copies are in the Museum of Modern Art, New York, the Tate Modern, London and the Pinakothek der Moderne, Munich. PROVENANCE: Private collection Switzerland. Called up: December 11, 2020 - ca. 15.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Swarovski Jaarlijks item 1996 "Fabelachtig Dierenrijk" de Eenhoorn Deze jaarlijkse editie uit 1996, ''Eenhoorn'' is het eerste jaarstuk van de vierde SCS trilogie die ''Fabelachtig Dierenrijk'' werd genoemd. De eenhoorn is gemaakt van helder kristal en de hoorn, manen, baard en de staart van gematteerd kristal. in goede staat met originele doos. Geschatte opbrengst: € 30 - € 60. Swarovski Annual item 1996 "Fabulous Animal Kingdom" the Unicorn This annual edition from 1996, '' Eenhoorn '', is the first annual piece of the fourth SCS trilogy that was called '' Fabulous Animal Kingdom ''. The unicorn is made of clear crystal and the horn, mane, beard and tail of frosted crystal. in good condition with original box. Estimate: € 30 - € 60.
* The Champion Handbooks, Bird Animal and Fish Stuffing & Preserving by J. Gardner, A Manual of Taxidermy for Amateurs, rare illustrated edition published by Darton & Hodge circa 1865. (1)Condition report: One in the series of ‘The Champion Handbooks’ first published by Darton & Hodge circa 1865 - this short-lived publishing house only ran under this name between approx 1862-66.The spine is very worn and with losses.Darton & Hodge Holborn has been blacked out to the base of the front cover.After J Gardner is hand-written 426 Oxford Street.Named in ink to the inside front cover.Base of title page has been cut away under London, probably the same as the cover i.e. Darton & Hodge, further hand-written 426 Oxford Street after J Gardner.Light foxing throughout.Some pages text appears smudged.Some pages coming loose. From ‘A Broad Collection from a lifetime by The Broads’ - a large single-owner collection of rural bygones and museum-quality taxidermy from some of the most renowned ‘animal and bird preservers’ from the Victorian era and later. Read more about the collection here.
Rhiannon Evans (British, b.1996). 'Five of Spades', limited edition digital print. Signed and numbered 1/2 in pencil. Image size 15.2 x 10cm. Framed. Funky Lines Drawn in Fives. Initially Inspired by Fungi - Specifically the Gills beneath the cap - this Piece Morphed into a Rolling Landscape of Re-occurring Lines in Fives. The Five Spades sit Like Trees on top of Fields, as the Sun Sets behind the Scene. Rhiannon Evans, (b.1996) is Young Architectural Designer who has Recently Opened her First Online Store, and with it, Released her First Set of Planet Positive Prints. Sustainability is at the Centre of her work. For example, All the Packaging for RED’s products are Made from 100% Recycled and Bio-Degradable Materials and All Artworks are Printed onto Hahnemühle Paper, which is sourced within the EU, Manufactured using Only Renewable Energy and Made from 100% PEFC Certified Sustainable Fibres. Plus, Profits from Print Sales fund Charities such as ‘Trees for Cities’, who work Nationally and Internationally Plant Trees in Urban Areas, which ultimately helps to Tackle Climate Change. RED - Rhiannon Evans Design – is the Environmentally Aware Design Studio, based in London. They can be found on: Instagram, @rev_des, and Online at www.revdes.store. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.
1989 Hesketh 1,100cc VortanRegistration no. not registeredFrame no. noneEngine no. none•The sole Vortan made•Offered for sale by Mick Broom•Requires re-commissioning (see text)Brainchild of wealthy aristocrat and Formula 1 team owner Alexander, Lord Hesketh, the Hesketh promised to be an all-new British superbike in the Vincent mould. Prematurely rushed into production, the V1000 was panned by the critics and when the receivers pulled the plug in 1982 only 170 had been made. Successor-company Hesleydon restarted small-scale production at the Hesketh family seat at Easton Neston where, over the years, development engineer Mick Broom managed to eradicate virtually all the V1000's shortcomings. One of Mick's projects was the limited-edition Vortan: an extensively reworked and restyled alternative to the original that was intended to mark the first 10 years of Hesketh production. It was planned that 14 would be built, but the project foundered when only eight deposits were forthcoming. Mick's fresh approach combined the basic architecture of the V1000 original with a different approach to the styling, while the engine was enlarged, and size and weight reduced wherever possible. The Vortan engine retained many of the earlier model's details such as four-valve heads, double overhead cams, electronic ignition, and a five-speed gearbox, while the capacity was increased to 1,100cc with a longer stroke; other changes included a steel crankshaft and different ignition, cams, and cylinder heads. The running gear likewise was comprehensively upgraded, featuring a new stainless steel frame; Marzocchi front fork; Marvic magnesium wheels; Lockheed racing front brakes; Brembo rear brake; and hydraulically damped rising-rate rear suspension with gas spring to achieve a better ride. Offered for sale by Mick Broom, the prototype offered here is the sole Vortan made. Mick advises us that all parts are new and that the machine has never been run. There are internal components missing and Mick is preparing a list of parts and actions required to commission the Vortan as a runner. All the parts have been drawn and manufactured but the passage of time means some will need replacing; accordingly, the machine is sold strictly as viewed and without documents. Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
Property of a deceased's estate 1978 MV Agusta 832cc MonzaRegistration no. XPK 333TFrame no. MV750.2210378Engine no. 221 0315•Exclusive, last-of-the-line, limited edition model•Believed genuine 802 miles from new•Present ownership since 1994The limited edition MV Agusta Monza offered here represents the culmination of the legendary Italian factory's range of four-cylinder superbikes. Developed from its long line of highly successful multi-cylinder racers, MV Agusta's first road-going four - a twin-carburettor, 600cc tourer - appeared in 1965. But the public demanded something more exciting from many-times World Champions MV, and the Gallarate manufacturer duly obliged in 1969, upping capacity to 743cc and further boosting maximum power (to 69bhp) by fitting a quartet of Dell'Orto carburettors to the revised 750GT. Equipped with shaft rather than chain final drive, the latter arguably was more of a tourer than an out-and-out sports bike. Not that many people got to find out for themselves, for the MV was hand made in limited numbers and priced accordingly.Also in the line-up was the more sporting 750S. Its replacement - the 750S America - was introduced for 1976 featuring a motor bored out to 789cc. The next stage of development was the Monza. A stretched (to 832cc) version of the 750S America, the Monza had started life as the 'Boxer' until complaints from Ferrari (whose sports car had prior claim to the name) forced a change. Cast-alloy wheels, triple Brembo disc brakes, and a fairing - all optional on the 750S America - usually came as standard on the Monza. Motor Cycle magazine's John Nutting wrung 144mph out of a Monza, making it the fastest production machine in the world at that time. It was also the most expensive, costing almost twice as much as a comparable Japanese superbike. The Monza, though, would prove to be short-lived and relatively few were made; by 1977 MV's motorcycle division was in administrative receivership and production ceased at the end of the following year.One of the last MVs to leave the Gallarate factory, 'XPK 333T' was first registered on 27th September 1978 and has covered a believed genuine 802 miles from new (not warranted). The MV is offered from the estate of a late important UK-based private collector, who purchased it in July 1994. The 1994 purchase receipt is on file together with a current V5C; copies of previous V5 registration documents; details of previous owners; and a sheet of hand-written notes concerning routine maintenance carried out in 2016/2017. Unused for some considerable time, the machine will require recommissioning or restoration to a greater or lesser extent and is sold strictly as viewed. Accordingly, prospective bidders must satisfy themselves as to the condition and completeness prior to bidding. Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Property of a deceased's estate c.1957 Norton 350cc Manx Racing MotorcycleFrame no. M10M 73811Engine no. 11M 78809 (also stamped BEART and 1957)•Reputedly raced by Terry Shepherd at the 1958 Isle of Man TT•Francis Beart engine•Present ownership since 1981/1982•Professionally restored since it retired from racingWhen production resumed in 1946, Norton's over-the-counter Manx racers were much the same as their pre-war counterparts, with single-overhead-camshaft engine, 'square' cylinder head finning, upright gearbox, and plunger-suspended 'garden gate' frames. Only the presence of the Roadholder telescopic front fork readily distinguished them from the '39 machines. 1949 brought the first significant change in engine specification, the Manx gaining a double-overhead-camshaft 'head like that enjoyed by the works bikes for many years, but the major development was the arrival of the Featherbed frame for 1951. The works' adoption of the McCandless-designed duplex-loop swinging-arm chassis the previous year had given the Nortons a new lease of life in Grand Prix racing, and Geoff Duke duly took both the 350 and 500cc world titles in 1951. The cycle parts remained essentially unchanged from then on apart from the adoption of a double-sided, twin-leading-shoe front brake for 1962. Manx engine development, though, continued steadily, latterly under Doug Hele's direction, until production ceased at the end of '62. Loved and admired by all that have ridden one, the Manx Norton in its many forms is a mainstay of today's classic racing scene.Reputedly raced by Terry Shepherd at the Isle of Man TT in 1958, a year in which he finished 4th in the Junior but retired from the Senior event, this Manx Norton incorporates a '500' frame and a 350cc engine: the latter stamped 'BEART' and '1957' in addition to the factory number. 'BEART', of course, stands for the legendary Manx Norton tuner Francis Beart, who sponsored and supplied engines to many of the UK's star riders, including Terry Shepherd. Though a noted Brooklands tuner, Beart's reputation was founded post-WW2 with Manx Nortons, latterly instantly identifiable in Ford's Ludlow Green livery. Arguably the most celebrated of all Norton tuners, Beart collected an unsurpassed total of 11 Manx GP wins plus ten 2nd and three 3rd places; he preferred longer, public roads events like the Isle of Man, where reliability counted for as much as speed. The Manx was purchased by its late owner circa 1981/1982 and raced by him in classic events until replaced with replica Lancefield and Summerfield Manxes. When the machine was 'retired', the owner had it restored; renowned tuner Phil Kettle being entrusted with the engine rebuild. Subsequently the Manx took part in the last 'Festival of 1000 Bikes' to be held at Brands Hatch and came away with a trophy for 'Best Solo' despite not being entered in the concours! The Manx went on to feature in Classic Bike magazine (May 2008 edition, copy article available). Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
1991 Ducati 851 SP3 SuperbikeRegistration no. not UK registeredFrame no. ZDM888S000829Engine no. ZDM888W4001084Ever since the arrival of its water-cooled, eight-valve, v-twin Superbike in the late 1980s, Ducati has pursued a policy of offering limited edition, higher-specification variants of the standard model, one of the first of these ultra-desirable modern classics being the SP2. Introduced part way through 1990 and based on the 851 Biposto, the SP2 came with the 888cc engine first used in the works racers. It was replaced for 1991 by the SP3, which boasted upswept Termignoni 'silencers', stronger crankcases, up-rated clutch, remote brake/clutch master cylinders, black wheels, carbon fibre front mudguard and a slight power increase (to 111bhp, up from the SP2's 109 horsepower) in addition to a host of more minor improvements.This limited edition SP3 carries a plaque on the top yoke certifying that it is number '477' out of approximately 700 built. Registered in Italy, the machine has had three recorded owners from new (two being the same person). Currently displaying a total of 14,995km (9,312 miles) on the odometer, it was last serviced in January 2018 and is described by the vendor as in excellent condition throughout. The Ducati is said to be original except for the carbon fibre exhausts and a non-standard windscreen (original screen available). The machine comes complete with tool kit; two sets of keys; and Italian registration papers.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.This lot is subject to the following lot symbols: NN If purchased by a UK resident, this machine is subject to a NOVA declaration, undertaken by Bonhams upon a successful sale, to facilitate the registration of the machine here in the UK.For further information on this lot please visit Bonhams.com
1996 Honda 49cc Z50J Gold Limited Edition 'Monkey Bike'Registration no. not registeredFrame no. Z50J-2302685Engine no. Z50JE-2202665With the launch of the CZ100 in 1960, Honda created the class of machine known as 'monkey bikes', so called because of their diminutive stature. The power unit was the C100 step-thru's reliable four-stroke single. An ultra-short wheelbase, small wheels and a vestigial fuel tank were all features of a machine which, in the case of the folding handlebar version, could be fitted into the boot of a car. An important milestone in Monkey development was reached in 1974 with the launch of the Z50J, which featured front and rear suspension like a 'proper' motorcycle while retaining the overhead-camshaft engine and 8' wheels, first seen on the Z50M and Z50A respectively. In 1978 the Z50J Monkey was heavily revised with a larger fuel tank, front and rear racks, 12-volt CDI ignition, manual clutch and a four-speed gearbox, becoming the more aggressive looking 'Gorilla'. Immensely popular as paddock transport the world over, Monkeys are currently much in vogue, with a flourishing owners club in the UK, and original examples of these charismatic little machines can only become increasingly collectible. This stunning and rare Z50J Gold Limited Edition was imported in 2020 and is described by the vendor as in good original condition. A great Christmas present for the kids!Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
1984 Honda 49cc Z50J Gold Limited Edition 'Monkey Bike'Registration no. not registeredFrame no. Z50J-1632968Engine no. Z50JE-1632966With the launch of the CZ100 in 1960, Honda created the class of machine known as 'monkey bikes', so called because of their diminutive stature. The power unit was the C100 step-thru's reliable four-stroke single. An ultra-short wheelbase, small wheels and a vestigial fuel tank were all features of a machine which, in the case of the folding handlebar version, could be fitted into the boot of a car. An important milestone in Monkey development was reached in 1974 with the launch of the Z50J, which featured front and rear suspension like a 'proper' motorcycle while retaining the overhead-camshaft engine and 8' wheels, first seen on the Z50M and Z50A respectively. In 1978 the Z50J Monkey was heavily revised with a larger fuel tank, front and rear racks, 12-volt CDI ignition, manual clutch and a four-speed gearbox, becoming the more aggressive looking 'Gorilla'. Immensely popular as paddock transport the world over, Monkeys are currently much in vogue, with a flourishing owners club in the UK, and original examples of these charismatic little machines can only become increasingly collectible. This stunning and rare Z50J Gold Limited Edition is described by the vendor as in fair condition with some modifications. A great Christmas present for the kids!Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
Nicolas Trudgian Warm Winters Welcome signed by 4 USAAF P-51 Mustang pilots who flew with the 357th Fighter Group in combat during WW2. This is the Limited Edition number 66 / 500 published in the year 2000 and is supplied with the original Certificate of Authenticity. The print is signed by the artist Nicolas Trudgian and Colonel C E Bud Anderson, Captain Robert P Winks, First Lieutenant John Skara and First Lieutenant Raymond T Conlin. The print measures approximately 30 x 24.5 inches and has been stored flat, out of the light and is in very good condition. Print historical detail : As dusk falls, the peaceful tranquillity of a timeless English village is briefly disturbed by P51 Mustangs of the 357th Fighter Group as they hurry home to Leiston at the end of a hazardous escort mission over Germany. The picturesque serenity of the snowy winter's eve seems to bid a warm welcome to the returning Mustang pilots. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99. This print can be sent tubed or flat packed any additional shipping is charged at cost.
Robert Taylor Spitfires over St Michaels Mount The 70th Anniversary Edition signed by 6 of the top Spitfire pilots of WW2. This is the 70th Anniversary Edition number 33 / 45 published in 2006 and is supplied with the original Certificate of Authenticity. The print has been signed by the artist, Robert Taylor and three outstanding fighter pilots who flew the Spitfire in combat during World War II, Wing Commander Peter Ayerst DFC, Squadron Leader Ian Blair DFM and Flight Lieutenant Ken Evans DFC DFM. This edition also carries the additional original signatures of three of the most celebrated Spitfire fighter pilots of World War II, Group Captain Brian Kingcome (matted) DSO DFC, Air Vice Marshal Johnnie Johnson (matted) CB CBE DSO DFC and Wing Commander Bob Stanford Tuck (matted) DSO DFC. This is a really nice piece of Spitfire history and is as supplied in 2006 being in the original conservation double mattes. The overall size is approximately 23 x 23 inches, it has been stored flat, out of the light and is in very good condition. Print historical detail : One of the RAF's oldest squadrons, No 41 was active with its Mk I Spitfires at the outset of World War II, first seeing action off the England's east coast in December 1939. Based at Hornchurch in May 1940, the Squadron was involved in the heavy fighting over the beaches at Dunkirk and, as spring turned to summer, its pilots were soon repelling the mass attacks mounted on Britain by the Luftwaffe - on 15th August 41 Squadron's small contingent of serviceable Spitfires intercepted 90 plus enemy aircraft. It was a typical day in the life of a front line squadron during the decisive contest that was the Battle of Britain. No 41 Squadron flew Spitfires throughout World War II, being equipped with the Mk XIV at the end of hostilities. Robert has chosen to show a Spitfire in the Battle of Britain colours of No 41 Squadron for his romantic portrayal of a Spitfire over St Michael's Mount, just off the coast of Cornwall - where the southwest corner of the British Isles meets the mighty Atlantic. This famous and historic landmark dating back to the Iron Age is steeped in folklore and legend. The castle of St Michael's Mount, perched atop a great granite rock that rises majestically out of the sea in Mount's Bay, for centuries made a tempting site for fighting forces. Here Robert cleverly uses this historic fort to provide a symbolic backdrop to a wonderful study of one of the most beautiful aircraft ever built. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99. This print can be sent tubed or flat packed any additional shipping is charged at cost.
Richard Taylor Liberation Sainte Mere-Eglise 7th June 1944 signed by 3 WW2 American Paratroopers who fought courageously with the 82nd Airborne Division. This is the Limited Edition number 6 / 135 published in 2011 and is supplied with the original Certificate of Authenticity. Signed by the artist Richard Taylor and Lieutenant Colonel James 'Maggie' Megellas, Sergeant Bob Bearden and Sergeant Milton Schlesener. The print measures approximately 31.5 x 27 inches and has been stored flat, out of the light and is in very good condition. Print historical detail : For nearly four years, the swastika had flown belligerently over the small town of Sainte Mere Eglise in Normandy. Suddenly, shortly after midnight on the night of 5/6th June 1944, parachutists from the 82nd Airborne Division began landing in and around the town. By 04.30, after a tough firefight, troopers from the 505th PIR had raised another flag over the town - the Stars and Stripes - and Sainte Mere Eglise had become the first town in Normandy to be liberated by the Allies on D-Day. Sherman tanks landing on nearby Utah Beach with the US VII Corps were soon passing through the newly liberated town on the way to the front. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99. This print can be sent tubed or flat packed any additional shipping is charged at cost.
Robert Taylor Jet Hunters The Jet Hunters Edition signed by an impressive 20 WW2 USAAF P-51 Mustang and Luftwaffe Me262 Fighter Pilots. This is The Jet Hunters Edition number 65 / 150 published in 2011 complete with matching number companion print Black November Day and supplied with the original Certificate of Authenticity. The print has the original signature of Wayne Gatlin alongside some of the Luftwaffe's most famous exponents of the Me262 jet fighter, also signed by an impressive number of WW2's most experienced allied fighter pilots, all of whom had victories against the jets of the Luftwaffe making a total of 20 signatures. The main print is signed by the artist Robert Taylor and Major General Wayne C. Gatlin, Squadron Leader Jurek Mencel DFC KM*** AFM***, Colonel Joe Peterburs, Captain Wayne Coleman, Lieutenant Colonel Huie H. Lamb, Colonel Donald Cummings, Colonel Art Jeffrey, Major General Edward Giller, Captain Clayton Gross, Lieutenant Colonel Donald S Bryan, Captain John Fitch, First Lieutenant Stephen Ananian, Major Urban Drew and Lieutenant Colonel Ralph Delgado. The companion print is signed by Major Erich Rudorffer KC with Oak Leaves and Swords, Oberleutnant Walter Schuck KC with Oak Leaves, Major Hans-Ekkehard Bob KC, Leutnant Norbert Hannig IC, Feldwebel Ernst Giefing IC and Leutnant Jorg Czypionka. The main print measures approximately 34.5 x 24.5 inches and the companion print measures approximately 25.5 x 16.5 inches. Both of these prints have been stored flat, out of the light and are in very good condition however the main print has a very small and very light handling crease mark on the bottom left hand corner. The mark is very light and is virtually invisible when looking at the print. Please see photographs. Print historical detail : On 10 April 1945 thirteen hundred bombers of the Mighty Eighth set out to destroy the last of the Luftwaffe's jet force. But, unknown to the bomber crews and their fighter escort, the enemy jets were already airborne and waiting to spring their deadly trap. As the war in mainland Europe entered its final, bloody phase, the German Armies defending Berlin fought on with a savage determination, slowly disintegrating before the mighty weapon of war unleashed against them. What remained of the Luftwaffe was mercilessly pounded from the air, their airfields hammered relentlessly. Aircraft, fuel, spare parts, ammunition and pilots all in short supply but still they fought on, with deadly effect. At the forefront of the German offensive and pivotal during the defence of the Reich, were the highly advanced jet fighters of the Luftwaffe, and in particular the legendary Me262. The scene portrays B17s of the First Air Division with streaming contrails in the cold clear air as they turn for home. Several Me262s have already torn through the massed formation. but a P-51 from the escorting 356th Fighter Group has quickly spotted his target and presses home his attack. The hunter becomes the hunted as the Mustang pilot, Wayne Gatlin, skilfully positions himself behind the Me262 ready for the kill. Throughout the final stages of the war there were many examples of the determination and skill of Allied pilots flying slower piston-engined fighters triumphing over the cream of the Luftwaffe in their highly advanced but often temperamental jet fighters. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99. This print can be sent tubed or flat packed any additional shipping is charged at cost.
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