60s ROCK/ POP/ BEAT - PARLOPHONE 7" COLLECTION. Here we have a superb selection of 39 7" singles of 60s rock, pop & beat artists released on Parlophone, all in exceptional Ex to Ex+/ Archive condition. Artists/ titles include The Beatles inc From Me To You (R5015), I Want To Hold Your Hand (R5084), She Loves You (R5055), Can't Buy Me Love (R5114). Adam Faith - The First Time, Michael Cox - I Hate Getting Up In The Morning, Cliff Bennett inc Baby Each Day, What's What I Said, You've Got What I Like, Got My Mojo Working. The Fourmost inc I'm In Love, Hello Little Girl. Billy J Kramer, The Dakotas, Shane Fenton, The Fentones, The Hollies (x17) inc We're Through, King Midas In Reverse, All The World Is Love, Yes I Will, I'm Alive, Just One Look, Born A Man, Stay, Searchin', Just Like Me, Bus Stop, I Can't Let Go, Look Through An Window. Condition is generally superb Ex to Ex+/ Archive.
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INDIE/ALT/PUNK - LPs. Ace selection of 16 x (largely) LPs. Artists/titles include Saccharine Trust - Surviving You, Always (SST 024, 1984 US og - Ex condition record/with printed paper inner/VG+), Nick Cave/Bad Seeds - The First Born Is Dead (STUMM 21 - VG copy), The Birthday Party - Hits (DAD 2016, 1992 quickly deleted comp, please note VG and G+ condition records, may clean to VG/with printed inners/VG), The Cramps - Ultra Twist! (CRE 180T) and A Date With Elvis (WIIKA 46), Butthole Surfers - Hairway To Steven (BFFP 29), The Lee Harvey Oswald Band - S/T (T&G LP #45), Q And Not U - Power (DIS143V), Iggy Pop, That Petrol Emotion, Gene Loves Jezebel, Crazyhead, Simple Minds and Adam Ant. Whilst condition is generally still VG to Ex though some may drop below/require cleaning.
THE BEATLES - LP COLLECTION. Ace run of 10 x LP releases including early UK copies. Titles include Please Please Me (PMC 1202, UK mono 5th pressing, 'Recording First Published' - Ex+ superb condition record/VG+ neat example sleeve), Oldies (PMC 7016 1G/1G mono UK og - Ex/Ex), Rubber Soul (stereo 2 box RE, PCS 3075), Sgt. Pepper's (barcode stereo RE, PCS 7027, with cut-out), White Album (PCS 7067/7068, side opening unnumbered UK copy, complete with poster and photos - Ex+/Ex), Magical Mystery Tour (SMAL 2835), Let It Be (PCS 7096 2U/3U -Ex+/VG+ green apple), 1962-1966 and 1967-1970 (stock black vinyl copies, red album Italian, blue album UK).
THE GO-BETWEENS - G STANDS FOR GO-BETWEENS: THE GO-BETWEENS ANTHOLOGY VOLUME 1 (2015 LP/CD BOX SET - DOMINO REWIG89X). The excellent and super limited edition 4x LP/4x CD deluxe box set compiling remastered and repressed versions of the first three Go-Betweens LPs; a fourth LP compiling the band's first five non-LP singles; and four CDs of rarities, outtakes, and live performances from 1978–1984. Released by Domino in 2015 (REWIG89X). The LPs are in Mint and sealed condition/ the CD's although opened are in Ex+/ Like New condition. Complete with all inserts (no additional book from Grant McLennan's library). The outer box is in Ex+/ Like New condition, with minimal shelf wear.
INDIE / POP / SOUL - LP / 12" COLLECTION. Here we have a superb, eclectic selection of around 94 x LPs / 12". Titles/Artists include The Smiths - Louder Than Bombs (25569), Echo & The Bunneymen - Porcupine, John Robie, Paris Angels - Perfume, Kate Bush - Running Up That Hill, Together - Hardcore Uproar, Batman (Motion Picture Soundtrack - WX 281), Michael Jackson - Thriller (x2), Deacon Blue - When the World Knows Your Name, Paul Simon - The Rhythm of the Saints, The Police, Del Amitri, U2, Billy Idol, The Motown Story - The First Decade(MS 5-726), Super Bad is Back - 20 Original Hits, George Benson, Cameo, Eurythmics and Wham. Condition is generally VG - Ex+.
90s INDIE / ALTERNATIVE - 7" COLLECTION. Here we have a fantastic collection of around 56 x 7". Artists / Titles include The Charlatans - Crashin' In, Nirvana - Oh, The Guilt, Nirvana - Silver b/w Dive, PJ Harvey - The Wind, The Cardigans - Lovefool, The White Stripes - Red Death At 6:14, Eliott Smith, Suede - We Are The Pigs, Pulp - Do You Remember The First Time, Kiss - The Donnas, The Posies - Definite Door, The White Stripes - I Just Don't Know What To Do With Myself, The Loft, Pavement, Spinal Tap - Bitch (x2), The Montrose Avenue, 3 Colours Red, The Fatal Flowers, Llama Farmers, Tindersticks and Crazyhead. Please note that whilst condition is generally VG+ to Ex+ (with some particularly clean records included), some sleeves/records do contain a scent of 'fire'. Despite this, the records that have been checked do not contain signs of heat damage (i.e. warping), and that with continued 'airing' this scent may dissipate.
GOTH/ ALT ROCK - LPs/ 12"/ 7". A glorious collection of 68 LPs/ 12"/ 7". Artists/ titles include Virgin Prunes - Heresie (10" boxset), Fools Dance, The Dogs D'Amour - The Kid From Kensington, Alien Sex Fiend inc Here Cum Germs, Liquid Head In Tokyo, All About Eve inc Every Angel, In The Clouds, Wild Hearted Woman. Gene Loves Jezebel inc The Motion Of Love, Immigrant. Fields Of Nephilim inc Preacher Man, Dawnrazor, Moon Child. Marillion inc Kayleigh (picture disc), Fugazi, Garden Party. The Jam inc Snap, Dig The New Breed, This Is The Modern World. The Mission inc Interview Picture Disc (x2), The Damned inc Interview Picture Disc. The Sisters Of Mercy inc First And Last And Always, Dominion, Temple Of Love, No Time To Cry, Gift, Walk Away. Condition is generally VG+ to Ex+.
SOUL/ FUNK/ JAZZ/ DISCO - LPs/ 12" PACK. A smashing selection of 14 LP/ 12" records, includes some modern titles, some modern reissues. All in superb Ex+/ Like New/ Sealed. Artists/ titles include Psychic Mirrors - I Come For Your Love (CC #79), Isaac Hayes/ Kikrokos - Rons Edits #1 (unofficial white label limited to 500 units), Andromeda (DSM001), God First - Mr Jukes (5756120, signed copy), Thundercat - It Is What It Is (5054429140965), Algiers - There Is No Year (OLE14391LPXE), Various - Ballroom Edits One (Apriba001), Funkadelic - Reworked By Detroiters (SEW3158), Twylyte - The First Coming. Twylyte 81, Fatima, WaqWaq Kingdom, El Michels Affair - Yeti Season (red vinyl boxset), Jazzanova - Of All The Things & Evangelion - Finally (19439843151). Condition is superb Ex+/ Like New/ Sealed.
Pair of candlesticks, Empire period; c. 1810.Gilt and blued bronze.Electrified.Measurements: 58 x 29 x 12 cm (x2).Pair of candelabras that present the same structure that is supported on a gilded base of square format, on which there is a high foot of square structure, in which the finish of the gilded bronze is combined with ornamental appliqués. The latter are conceived through a classical inspiration based on antiquity, as the corners are topped with fantastic animals that appear to be sphinxes, and in the main area there is an applique representing the symbol of the god Hermes. The shaft of each of the candelabra is a winged woman holding in her hands a gilded bronze structure from which lights emanate at each end, while the centre is topped with a third light. Candelabra of this type were very common in the First Empire and, because they were inspired by them, in the Second French Empire. In both cases, the influence of classical decorative elements is clear, both in the reliefs and in the human figures on the pedestals, always with marked straight lines.
Octopus; Chinese work, First third of the 20th century.Coral.Some of the tentacles are broken.Resting on a wooden base.Measurements: 9.5 x 12 x 3 cm; 13.5 x 14.5 x 5 cm (base).Round sculpture made of coral representing an octopus. The work is remarkable for the delicacy of the carving, which can be seen both in the tentacles with all their details and in the shapes of the animal's head.The roots of the link between the East and coral go much deeper and are inextricably intertwined with the culture and spirituality of the people who mined and worked it. In addition to its beauty as a decorative element, coral was considered an amulet to ward off negativity and its intense colour was believed to give off vital energy. Adventurers and soldiers would never embark on an adventure without making sure to carry a piece of coral with them as an amulet.
Flemish school; second third of the 17th century."Young African boy".Oil on copper.With repainting and restorations.Regency style frame of the XVIIIth century, with damages.Measurements: 10 x 9 cm; 26,5 x 26,5 cm (frame).In the 17th century ethnographic subjects were frequent in Dutch colonial painting. The so-called "type paintings" were sent to the metropolis as traces of the different races that inhabited the New World, as well as their diverse ways of life. Undoubtedly, the South American colonies represented an exotic multicultural panorama that was received with great curiosity in the Europe of Cartesian empiricism. Between 1637 and 1644, Prince Johan Maurits established himself as governor of the province of Nieuw Holland, founded in February 1630 by the Dutch West India Company in the region comprising the present-day cities of Recife and Olinda (and the island of Antonio Vaz) in northeastern Brazil. Returning to the interest in colonial life in Europe, it is not surprising that this cultured ruler was quick to build two palaces with botanical gardens and several zoos. He also arranged for scholars, scientists and artists to travel to his peculiar Dutch stronghold to study different aspects of Dutch culture. Among the artists in the Dutch prince's retinue were several painters such as Frans Post (c.1612-1665), whose landscapes are the first in situ depictions of the American lands, and Albert Eckhour (c.1610-1665), who was the first artist to depict the African inhabitants of northeastern Brazil. They were brought to Brazil as slaves from the area between the Gulf of Guinea and the Congo. A series of twelve large still lifes painted by Eckbout, combining fruits and vegetables from the Old and New World, can be found in the National Museum in Copenhagen. For art historian Rebecca Parker, this symbolises the desired peaceful convergence of cultures. Twelve 'ethnographic portraits' of the different racial 'types' found in Brazil, including those in which miscegenation is evident, are kept in the same museum. Although it is possible that these paintings were executed in Holland on the artist's return from his trip to the colonies, it is clear that they are the product of observation in situ.A complete ethnographic study in which male and female figures and even, in some cases, their children are depicted with great dignity. Children very similar to the small portrait presented here, which is undoubtedly an unprecedented documentary source of mutual interest between the Old and New Worlds.
FRANCISCO MASRIERA Y MANOVENS (Barcelona, 1842-1902)."Classical Scene".Oil on canvas.Signed in the lower right area.Size: 66 x 96 cm; 95 x 124 cm (frame).As it can be appreciated in this work, Masriera put special interest in the female figure, deepening in the eroticism and in the emotional strength of his portraits, which he used to represent in sumptuously ornamented environments and dressed with rich dresses, headdresses and jewels. The present painting depicts a classical interior that is rigorously documented in terms of architecture, clothing and furnishings. The scene, clearly inspired by Pompeii, presents a marine view whose landscape can be directly related to the beach of Meta in Sorrento.A Spanish painter, writer and goldsmith, he is considered one of the best Catalan portraitists, following in the footsteps of Fortuny. He began his training in the jewellery workshop of his father José María Masriera and in that of José Serra y Porson. Always concerned with improving and exploring new horizons, he refined his technique after travelling to Geneva, where he learned the enamelling process, which would become one of the main hallmarks of his goldsmith designs. As for his work as a painter, it is recorded that he travelled to Paris for the first time in 1865, where he visited Cabanel's studio. He visited the French capital, the epicentre of the artistic modernity of the time, on several occasions, where he acquired first-hand the rapid brushstrokes, luminosity and vivid chromaticism of the early Impressionists, traits that can be seen in this magnificent painting. As can also be seen in the work presented here, Masriera had the ability to combine the freshness of the new plastic trends emerging in Paris at the time with the long neoclassical tradition marked by the Academy: a painstaking dedication to drawing, attention to composition and the rigorous study of the old masters. In fact, there is evidence that at the Louvre he devoted himself to copying the main works in order to acquire the mastery of the classics, and in Paris he took part in the Universal Exhibitions of 1867, 1878 and 1889. There is also evidence of his trips to Rome, where he began to paint Orientalist canvases. As a writer and columnist he contributed to the magazine El Recuerdo. In Spain he was awarded the second medal at the National Exhibition of Fine Arts in 1878 for his work entitled La esclava ("The Slave"), and also exhibited his works at the Galería Bosch in Madrid in 1882 and at the Sala Parés in Barcelona in 1889. As can be seen in this exquisite painting, Masriera's technique is characterised by the perfection of the drawing, the careful composition and a colouring full of strength and luminosity, which is particularly evident in the iridescence of the canvases. He stood out for his fantasy-filled preciousness, as well as for the freshness of his colours.
JOSÉ GALLEGOS Y ARNOSA (Jerez de la Frontera, Cádiz, 1857 - Anzio, Italy, 1917)."Scene outside the Basilica of San Marco.Oil on panel.Signed and located (Venice) in the lower right area.Measurements: 16 x 9.5 cm; 26 x 20 cm (frame).José Gallegos y Arnosa, painter and sculptor from Jerez in the second third of the 19th century, was born on 3 May 1857 in the Convent of La Victoria in Porvera Street in Jerez, currently the headquarters of the School of Applied Arts and Artistic Trades and the Business School of that city. As a child he was attracted to the Fine Arts, a passion he shared with Salvador Sánchez Barbudo, who was the same age as him and a regular companion. Together they frequently visited the studio of the romantic painter Luís Sevíl and attended the artistic and literary gatherings organised by the Ysasi sisters.The young José spent a period of apprenticeship at the Casino de Artesanos de Jerez and received advice from artists such as Adolfo del Águila y Camacho. Guillermo Cook, who would later become the active director of the Academia de BBAA in Jerez, pressed for his parents to provide the means for José to study Fine Arts, given the incredible faculties with which the young man was endowed.Once this first stage of apprenticeship was over, in 1873, at the age of 16, he went to Madrid as a boarder of Guillermo Garvey, a winemaking businessman and his father's patron. There, at the San Fernando Academy in Madrid, he began a new stage of his training under the tutelage of Federico Madrazo, and in 1878 he went to Rome to broaden his knowledge and attend classes at the Academia Chigi and the Círculo Internacional de Bellas Artes. There he met Sánchez Barbudo and José Villegas Cordero, then the most influential painter in the colony of Spanish artists in the Italian capital. He decided to settle permanently in the Eternal City and, following the successes he achieved in several exhibitions, which were reflected in the art critics of the time, and encouraged by the prevailing Orientalist fashion, he travelled to Tunisia and Morocco, attracted by the light and the suggestive atmosphere of those exotic lands. The result of those trips was the work "Cortejo nupcial en Marruecos" ("Wedding Procession in Morocco"), which he presented at the Círculo de BBAA Exhibition and which was acquired by the Spanish State. In 1884 he painted "Botín de Guerra" ("Spoils of War"), which won a third medal at the National Exhibition of that year. He sent several paintings on orientalist themes to the Bosch and Hernández galleries and to the Círculo de BBAA in Madrid.In the middle of that decade he travelled around Italy with Sánchez Barbudo, visiting churches, cathedrals and basilicas, which were fundamental to the change of subject matter he introduced into his work in those years: everyday scenes in interiors and exteriors of important cathedrals, the subject of the present pair of panels, which undoubtedly date from this period. In 1891 he won the Gold Medal at the International Exhibition of Fine Arts in Berlin with "Wedding in the Sacristy of the Cathedral of Seville", an award conferred personally by Emperor Wilhelm II of Prussia and granted by an International Jury made up of the most outstanding personalities in the world of the Arts, Sciences and Literature of the time. Guillermo Garvey, his old patron, commissioned him to build an architectural monument to provide the church of Santiago with an extraordinary work of unquestionable beauty: "El Baldaquino de Santiago" monument built on a base of grey Bardiglio marble, in Carrara marble ten metres high made of 43 pieces of marble 36 bronze sculptures and tabernacle in fire-gilded bronze and with a wonderful door in solid embossed silver, in the centre of which is the Redeemer in high relief surrounded by a Heavenly choir in bas-relief.
Italian school; 20th century."Child Budha".Marble.Signed Mario Pelleti on the base.Size: 75 x 33 x 43 cm.Marble sculpture representing Buddha seated in a lotus flower position and making a sacred gesture or mudra. The base has a smooth, synthetic finish and is worked in a single piece. The representation shows several 'lakshana', iconographic symbols that identify Buddhas and bodhisattvas. The first one we see is the eyelids, which are a symbol of spiritual concentration and also of purity, due to their similarity to the petals of the lotus, and complete a serene face with a sketched smile, a symbol of the balance and serenity of a perfect being. The elongated earlobes allude to the large earrings worn by members of the upper classes in India at the time of Sakyamuni, and represent the concepts of greatness, nobility and wisdom. Another "lakshana" present here are the folds in the neck, symbolising happiness. The work presents a contemporary aesthetic, with a realistic but at the same time idealised finish, which shows how the author has taken an idea or concept and interpreted it through his own vision.
Pair of candlesticks, Empire period, c.1810.Gilt and blued bronze.Electrified.Measurements: 62,5 x 29 x 12 cm.Pair of candelabras that present the same structure that is supported on a gilded base of square format, on which a high foot of square structure is arranged, in which the finish of the bluing bronze is combined with ornamental appliqués of gilded bronze. The latter are conceived through a classical inspiration based on antiquity, as the corners are topped with fantastic animals that appear to be sphinxes, and in the main area there is an applique representing the symbol of the god Hermes. The shaft of each of the candelabra is a winged woman holding in her hands a gilt-bronze structure from which lights emanate at each end, while the centre is topped by a gilt-bronze torch.Candelabra of this type were very common in the First Empire and, because they were inspired by them, in the Second French Empire. In both cases, the influence of classical decorative elements is clear, both in the reliefs and in the human figures on the pedestals, always with marked straight lines.
JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923).Lot comprising four drawings:- "Sketch in the café, gentleman reading", Paris, 1889.- Sacks of Potatoes", Ávila, June 1912.- Reading in the Salon", Paris, 1889.- A sacar la barca". Valencia, summer 1903.Works executed in composite pencil on fine, light beige, smooth, slightly satin-finished paper.We are grateful to Blanca Pons Sorolla for cataloguing and researching these works.Provenance; Sorolla's Testamentary, inventoried in the R Series, and included in the folder of drawings no. 43. Elena Sorolla García; Elena Lorente Sorolla; 1980, private collection.They have a photocopy on the back of the certificate of authenticity of Don Francisco Pons-Sorolla y Arnau dated 30-x-1980. One of them has autograph inscriptions in pencil "Sacos/patatas" and "A", (middle right area).Measurements: 10.5 x 13.3 cm; 10.7 x 15.2 cm; 9.5 x 14.5 cm; 13.3 x 16 cm."Sacks of potatoes", Ávila, June 1912, is one of the drawings he made on his journey through Castile, to make studies and sketches for his "Visions of Spain". A sacar la barca" ("To take the boat out"). Valencia, summer 1903 is one of the studies for "Sol de Tarde" which belongs to the collection of the Hispanic Society of America in New York.As early as his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending the drawing classes given by the sculptor Cayetano Capuz at the School of Artisans in the afternoons. Awarded a prize at the end of his preliminary studies at the Escuela Normal Superior, he entered the prestigious San Carlos School of Fine Arts in Valencia in 1879. During his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco in the Prado Museum. Two years later he was a great success at the National Exhibition of Fine Arts with a history painting, which prompted him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, Sorolla left for Rome in 1885, spending several months in Paris before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first-class medal at the National, and the following year at the International in Chicago. This sensitivity would remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master would abandon the themes of unhappy children that we see in "Triste herencia", which had won prizes at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his more cheerful and pleasant works, with which he achieved international fame. In 1906 he held his first solo exhibition at the George Petit gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases intended to illustrate the regions of Spain on the walls of the Hispanic Society.
Jug; France Daum Nancy, first half of the 20th century.Pâte de verre" glass.Measurements: 32 x 22.5 x 10 cm.Glass jug which presents an aesthetic of sculptural conception, not only because of the figurative ornamentation, but also because of the way in which the forms are finished. The piece starts from a base with a fin-shaped finish, from which the fish-shaped body emerges, the animal's mouth being that of the jug itself. Leaning on its jaws is the figure of a naked man, from whose back the handle of the piece emerges. The expressiveness of the work is remarkable, not only in its sculptural conception, but also in the use of the amber tone combined with the colour blue.Although this is an early 20th-century piece, it is clear that the author has a strong aesthetic influence of models from the Renaissance period. This was a period in which the discipline of archaeology was initiated, which brought to light countless objects from classical cultures such as the Romans and Greeks. This type of work influenced the designs in such a way that both shapes and thematic elements from these cultures began to be added.
Pair of lidded rhomboid vases; China, Jiaping period (1796-1820).Porcelain, pink family.Measurements: 34 x 18 x 11 cm.Following the trend that Portugal had already started in the 16th century, most European countries began to develop an interest in Chinese porcelain, which soon became a real fashion. In the 17th century, Holland took the monopoly of the trade routes from Portugal, and throughout the 18th century, England, France, Sweden and Denmark began to demand these sought-after pieces, as they gained greater freedom to trade with the East by sea. As a result, from the 18th century onwards and coinciding with the reigns of the Yongzheng, Qianlong and Jiaqing emperors, the volume of Chinese porcelain ordered from Europe increased considerably, making "export porcelain" one of the most important sources of income for the Chinese economy at the time. It was precisely at this time that all kinds of shapes and designs began to be in demand from Europe, combining Western models with other Chinese ones: vases, figurines, tableware, toilet articles, etc., which placed the exquisite and hitherto enigmatic material of porcelain in the different areas of the everyday life of the European elite. Gradually, in Europe, a taste for Chinese genre decoration developed in parallel.Undoubtedly closely linked to the growing interest in the Oriental world and exoticism, Rococo art experimented with and interpreted the "chinoiseries" for the decorative arts. In this prolific context, therefore, it is not difficult to understand the original rhomboidal shape of the curious pair of vases presented here. In keeping with its time, the dense decoration of this original pair of vases began to be used from 1760 onwards and was in great demand on the English market. Its striking colours, overlapping gilt latticework and the minuteness of its palatial Chinese scenes became the hallmarks of a style now known as 'Mandarin'. This decorative style was frequently copied by Western factories and remained popular until the first half of the 19th century. Such was the fashion of the time that even European wallpaper reproducing so-called 'mandarin scenes' has survived to the present day. A punch bowl from the same period with similar decoration to ours can be found in the Victoria & Albert Museum in London. Inventory no. C. 89-1912.
2015 VW Polo Bluemotion, 5-Door, Black, Manual, Petrol, 999 cc, 17,141 miles, Air Con, First registered 29 January 2015, Registration number NG64 MVV, MOT expires 13 April 2023, Tax expired 1 January 2022, one previous owner, one key only, without service history, without driver's manual, without the V5 document, brand new battery fitted, with Life Shine Auto Glym kit. CONDITION REPORT: This vehicle is being sold on behalf of a deceased estate. We were unable to find the V5 document. The buyer will need to apply for a replacement V5 document. We, as the motor traders, chose not to do this as this add another previous keeper to the vehicle's history.The vehicle is generally in good order in keeping with the low mileage but there are parking scuffs to all corners.
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