c.1950 James Autocycle. Registration number not registered. Frame number not found. Engine number SO1 22187. James had begun concentrating on the manufacture of two-stroke-powered lightweights in the 1930s and continued the policy after WW2. Its first post-war models were the ML, a 122cc Villiers-engined machine derived from a successful military design, and an autocycle. Autocycles were immensely popular in the years immediately following WW2, offering the prospect of affordable two-wheeled transport in a period of severe austerity. Like the mopeds of the 1950s and the definitive machine of this type - the Honda 50 - autocycles were aimed at a non-enthusiast mass market, offering simplicity of operation and, often, a degree of weather protection not enjoyed by larger and more powerful machines. A rigid-framed machine fitted with tubular girder forks, the James Superlux autocycle was powered by a 98cc Villiers Junior de Luxe engine enclosed by pressed-steel panels. The model was fitted with the new Villiers 2F unit for 1950 and continued in production in this form until 1954. There is no history with this machine that has been in long term storage.
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c. 1930 Velocette KTP, 350 cc. Registration number not registered. Frame number not found. Engine number KA899. The firm of Veloce Ltd. was formed in 1905 by Johann Goodman. It was a family business that concentrated on sound motorcycle engineering principles. Their first machines were lightweight four strokes; after that a line of top-class 250 cc two strokes was brought out. In 1924/ 25 Percy Goodman designed the 350 cc overhead camshaft model K, a machine destined to win many TTs and other races, starting with the 1926 Junior TT that was won by Alec Bennett, who finished ten minutes ahead of the second placeman. The model KSS (K for overhead camshaft, SS for Super Sports) first appeared in 1925. It had a power output of about 19 HP at 5,800 rpm. From the KSS the successful KTT was developed. This was the first over-the-counter production racer to become available to the general public. In 1930, when twin port heads were becoming fashionable, the company produced the KTP, (K Twin Port) which was essentially a fast touring machine. It stayed in production until the end of 1931, when it was replaced by the KTS. Nothing is known of the history of this machine but it would appear to be an older restoration and appears to be in good order. Recommissioning will be required. There is no paperwork with this lot.
1934 MG PA Midget. Registration number BPL 595 (DVLA not taxed for road use). Chassis number PD 1479. Engine number XPJM1 4139, to include an Arnott Supercharger.The P type Midget was launched in March 1934 as the replacement for the J2. 'Autocar' magazine road tested the P type in November of that year and reported "This latest model is a marked improvement in all respects over its forerunners". Sales literature produced by Abingdon claimed, "In all there are over one hundred new and improved features". With good reports in the motoring press it was no surprise that the car sold well, with serious production starting at the end of January 1934; over two hundred cars a month were coming off the production lines. The P type was fitted with an all new 847cc engine, with three main bearings supporting the rigid crankshaft. Most of the design knowledge gained from previous involvement in production car trials and racing proved invaluable to the production of the P type. The chassis was far sturdier than the J type and the body was less angular and had more flowing lines. When introduced the P type two seater sold for £220. The P type was never intended as a racing model, unlike many of its predecessors, however it was soon seen on the circuits and in 1935 a three car team of P types was entered in the 24 hour Le Mans race. The team was managed by George Eyston and consisted of six ladies affectionately known as "The Dancing Daughters" although they attracted much publicity, they did not fair particularly well against opposition from Singer's 972cc sports car. The Singers took 1st, 3rd and 4th places. This, along with other factors prompted Abingdon to produce a more powerful model, to be designated the PB which was introduced in 1935. The engine capacity was increased to 939cc to give more power and a close ratio gearbox was fitted. The original P type was discontinued in favour of the new model although it was still catalogued at a substantially reduced price. This move failed to sell the remaining stocks and 27 PA’s were converted to PB models by the end of 1935. Production of the PB finally ceased in February 1936 with only 525 being produced. A total of 2,500 P types left Abingdon between 1933 and 1936. They were replaced by the T types. The early history of BPL is unknown but in May 1949 it was acquired by Mitchell Brothers of Carlton Garage, in Forrest Gate, East London. Sid Mitchell, assisted by Doug McGee (a believed ex MG Abingdon race mechanic began to campaign it with many ongoing modifications, including heavily reducing its weight by drilling the chassis, fitting a T type engine, number 4169 (in 1953 along with a colour change to red), with special head (sleeved down to 1150 cc), from 1708, a T type gearbox, K type brakes and a new space frame body. As with most race cars this was a progressive development. S.A. Mitchell entered local events before his first “big” race at Goodwood in 1950. Until 1954 he entered some thirteen events in it according to the records at Silverstone, Snetterton, Goodwood and Brands Hatch with many podium finishes, see http://www.racingsportscars.com/driver/S.%20A._-Mitchell-GB.html. It was then retired and in May 1956 sold to J. Davies in North West London, Peter Birchall of Bowness in 1957, (presumably hill climbed and trialled in Cumbria). Eric Frankland of Yorkshire bought it in May 1960 and then several owners in the region, Antony Farnell, Ernest Precious, William Marshall, Anne Sunley, Russell Cowling in 1966 who owned it until 1973 when I. Goode took over its ownership and asked Ted Gledhill of Pit Stop Garage of Stanningley, Leeds to sell him for it for him in 1978. Roger Crabtree of Sleaford bought it and our vendor bought it for £1,500 in 1983 from him. In 1989 our vendor contacted Mitchells grandson who allowed him the copy the completion photographs that go with the car and confirmed its history, (see letter on file). Today we are left with the original chassis bearing the correct number PA 1479 to the front off side dumb iron, a replacement XPJM1 engine numbered 4139, which is from a 1939 Morris Ten Series 3 and a partial space frame body. Sold with two R.F. 60 log books, a V5, letter from S A Mitchell, a large photographic race history and sundry correspondence. This MG, once restored, will make a worthwhile project that should have no problem being invited to Historic races such as Goodwood.
1958 James Captain 197 cc. Registration number WVS 702 (non- transferable). Frame number AK7-313. Engine number 652B133. James had begun concentrating on the manufacture of two-stroke lightweights in the 1930s, and continued the policy after WW2. In 1951 the company became part of the Associated Motor Cycles group, joining Francis-Barnett, and from then on the two marque's model ranges became ever more similar until the transfer of Francis-Barnett production to the James factory in 1962 ushered in an era of unashamed 'badge engineering'. Villiers engines were used at first, though from 1957 many models were powered by AMC's own engine. James first adopted the 'Captain' name for its (nominally) 200cc model for 1950 and both the cycle parts and engine would be upgraded periodically as the years passed. This example was acquired by our vendor in 1993 in several boxes. Being an engineer he reassembled it and had it MOT'd in 2004, used until 2008 it was laid up and will now need recommissioning before use. Sold with the V5C, V5, MOT's from 2004 - 2008.
1961 James Commando, 249 cc. Registration number VPM231. Frame number BL25T 239. Engine number 25C 16441. Harry James began making Ordinary bicycles (Penny Farthings) in around 1880. The first James motorcycles did not appear until 1902 with the model A which was a motorised bicycle fitted with a Minerva engine, clipped forward of the front down tube, which drove the rear wheel via a twisted leather belt. In the early fifties the company was bought by A.M.C. and they also bought the Francis-Barnett company and the next few years saw considerable badge-engineering although, right to the end, each make kept some models distinct from the other. A full range of models was produced through the fifties and sixties in capacities up to 250cc James added trials and scrambles models to its post-war range in 1949. These early types used Villiers 6E and 7E engines and had rigid frames but by the end of the 1950's James competition models sported swinging-arm frames and the AMC engine. VPM was first registered on the 22nd September 1961 to Eric Styles of Lewes in Sussex, selling it the following year to Stephen Hookey of Westerham in Kent. Patrick Linford of Ware was the next owner and he sold it to our vendor on the 31 January 1995 for £1,350. In relatively good condition (see photograph on file), our vendor used it sparingly and has since restored it. Unused for many years it will some light recommissioning before use in pre 1965 trials. Sold with the R.F. 60, V5, 1995 receipt and a photograph.
1938 OK Supreme, 348 cc. Registration number EAL 787. Frame number 25509. Engine number 10H 0 57186 S.In 1882, Ernie Humphries and Charles Dawes founded 'OK' as bicycle manufacturers. They experimented with powered bicycles in 1899 and 1906 before making a two-stroke motorcycle using a Precision engine in 1911. Before the First World War, they had produced motorcycles with Precision, De Dion, Minerva, and Green engines. Their first entry in the Isle of Man TT, in 1912, led to a ninth place and mainly modest results came during the following years when OK-Supreme machines finished in every place from 1st, in the 1928 Lightweight TT, to 10th. In the 1922 TT the fastest lap was set by Wal L. Handley at 51mph on an OK-Supreme but he failed to finish the race. After the First World War, OK produced a 292cc two-stroke motor of its own but also produced models using Blackburne, Bradshaw, and JAP engines.Charles Dawes and Ernie Humphries split in 1926, the latter continuing motorcycle production using the name 'OK-Supreme'. ln 1928 OK-Supremes filled four of the top six positions in the Lightweight race, Frank Longman scoring the marque's solitary TT victory. In the 1930s OK Supreme produced a Lighthouse 250cc and 348cc model, so named because of the little inspection window in the cam tower, which was OK-Supreme's final model.The engine numbers are interesting on OK's 1 = 350, 0 = OHV, H = high cam, O = 1938, S = Special (J.A.P. produced these especially for OK).EAL was acquired by Frank Omerod of Hull in September 1989 and sold to our vendor in the December of 1995. He has rarely used it over the years, being stored in his heated garage, starting her up occasionally and enjoying the rarity of the machine. Very few have come on the market over recent years.Sold with the V5C, a 2007 MOT and some photocopied literature on the model.
Interesting Collection of mostly early 19th C and later booklets and novels including 'The Poetical Fabulator on Beauties in Verse' printed York Thomas Wilson & Son 1810, 'Walkers Child's Instructor or First Book for Children' with 100 engravings printed by William Walker Otley 1845, 'Scripture Quadrupeds' by The Religious Tract Society, 'The Druids of Britian' London Darton & Co Holborn Hill, 'Yours is the Best' by Mrs Sherwood Darton & Co and a selection of other pocket books and booklets
Jacob Kramer (1892-1962) Portrait of a girl seated wearing a blue dress Signed and dated 1930, pastel, 54cm by 43cm Provenance for lots 96-96: The vendor's father was friendly with Jacob Kramer and used to drink with him in Leeds. Kramer gifted him these pictures in exchange for drinks. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Following the political unrest in Eastern Europe, Jacob Kramer and his family left their home of Ukraine, settling in the Jewish community of Leeds in 1900. His first formal training was at Leeds School of Art from 1908-11 where he received a scholarship to study full time and also met fellow artists such as Fred Lawson (see lot 96). Here he also earned the patronage of Sir Michael Sadler. From 1913-14 he studied at the Slade School of Art where he befriended other leading artists of the day such as Augustus John and David Bomberg. In 1915 Kramer held a solo exhibition with Mathews and Brooke, Bradford and was invited to exhibit with the Vorticists in London. Following this he began to build up his reputation as a leading Yorkshire artist with shows in Yorkshire and London and in 1959 he was elected as president of Leeds Fine Arts Club. 1960 saw a retrospective of his works at Leeds City Art Gallery and six years after his death the City of Leeds Branch College of Art was renamed the Jacob Kramer College of Art.
Robin Tanner (1904-1988) ''Christmas'' Signed, inscribed ''final state'' 1929, etching, 35.5cm by 28.5cm See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business ''My etched world is also an ideal world - a world of pastoral beauty that could be ours if we did by desire it passionately enough…'' Robin Tanner Born in Bristol, the son of a carpenter. Later moving to Chippenham in North West Wiltshire, Robin Tanner attended the grammar school there and spent a year in the town as a student teacher. In 1922 he went up to London to study teaching at Goldsmiths' College and subsequently took up a teaching position in Greenwich. During this time Tanner returned to Goldsmiths' to attend evening courses in etching. In 1926 a visit to a major retrospective of the work of Visionary and Neo-Romantic artist Samuel Palmer at the Victoria and Albert Museum proved a seminal moment in his life. Palmer's almost mystical vision of the English pastoral landscape - with his depictions of moonlit cornfields and the like - would serve to set the young artist on the path he would follow for the rest of his career. After completing his first etching in 1926 - A Tithe Barn - Tanner increasingly focused on art and he became part of the revival in English etching that was emerging at the time. In 1928 he returned to Wiltshire to etch full-time and produced some of his finest works, such as Martin's Hovel and Harvest Festival. However, the market for etchings crashed soon after this move, caused by the economic depression of 1929 and the growing dominance of photography as the preferred medium for illustrations in printed material. Setting aside a career as an artist, Tanner returned to teaching having married his childhood sweetheart, Heather, and settled in Kington Langley near Chippenham. Tanner had a passion for teaching fine art, was a great exponent of arts, crafts, poetry and music in schools, and from 1935 to 1964 was an H. M. Inspector of Primary Schools - a role in which he excelled. However, throughout his career he continued to pursue other private artistic endeavours and publishing several books with his wife. Following his retirement in 1964, Tanner once again dedicated himself to printmaking. His highly detailed etchings depicting pastoral scenes in North West Wiltshire are infused with an otherworldly atmosphere - at once timeless depictions of English rural life and idealised, often wistful scenes of a changing world. Lots 1-13 formed part of the collection of the late James Fairbairn of York, a colleague and firm friend of Tanner's. James was a fellow H. M. Inspector of Schools and made many trips to visit the Tanners' home in Kington Langley and in 1978 organised a holiday for Robin, Heather, Dietrich Hanff (a Jewish refugee adopted by the couple) and himself to York, Northumbria and the Scottish Borders. The etchings came directly into Fairbairn's collection from Tanner by gift and purchase; whilst many items from the collection were dispersed by bequests in Fairbairn's will, the current vendor received the substantial residue.
Tom McGuinness (1926-2006) ''Waiting for News'' Signed and dated (19)69, mixed media, 9.5cm by 41cm Provenance: Gallery 2, Darlington Exhibited: Exhibition of Mining Art at the National Trust House, Nunnington, 2006 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in 1926 in Witton Park, County Durham Tom McGuinness showed a predilection towards sketching from an early age. After leaving school in 1940, he worked in the Meadow Dairy Grocery shop, and then the timber trade until 1944, when he was signed up to the coal industry, as part of the conscriptions enforced by the Bevin government, to counteract falling labour within the industry during World War II. His path to receiving formal training in art was initiated when his Colliery training officer found Tom sketching in chalk down the mines and suggested he join Darlington School of Art. Like his contemporary Norman Cornish, Tom McGuinness was greatly encouraged in his artistic endeavours by Bill Farrell and the Spennymoor Settlement which he joined in the 1940's. Bill Farrell suggested the two men should ''paint what they knew'' and of course this direction led to the evocative renditions of the mining community which we appreciate today, albeit in two highly distinctive styles. McGuinness exhibited annually at the Darlington Art Society, and held his first solo show in 1958, at the offices of the Coal Industry Social Welfare Organisation in Hobart House, London. His work was also exhibited at the Stone Gallery, Newcastle-upon-Tyne which brought him high critical acclaim. In 1983, he was made redundant from mining and finally turned to painting as a full time occupation. A major retrospective touring exhibition held in 1997 at the Bowes Museum ''Mines a McGuinness'' compounded his significance as a mining artist further. Throughout his career Tom exhibited in over 40 solo and over fifty joint exhibitions.
Dame Laura Knight RA, RWS, RE, RWA, PSWA, DBE (1877-1970) Study for Henry VI Signed, charcoal, 36.5cm by 24cm Provenance: Abbott and Holder Ltd., London This sketch depicts one of the cast of Henry V1 parts 1, 2 & 3 directed by Barry Jackson. These were first produced at the Birmingham Repertory in 1951-2 with Part 1 produced in 1953. The whole cycle of plays were then moved to the Old Vic in London in 1953. The performances and staging were much praised in what was the Coronation year. Laura Knight was a great friend of Barry Jackson and of the Birmingham Rep. She sketched behind the scenes there for many years. For reference see ''Laura Knight at the Theatre'' exhibition catalogue ed. Timothy Wilcox (2008) We are grateful to Dr Barbara Morden for providing this information. See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Norman Stansfield Cornish (1919-2014) ''Solitary Miner'' Signed, watercolour heightened with white, 14cm by 22cm Provenance: The Stone Gallery, Newcastle upon Tyne Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in 1919 in Oxford Street, Spennymoor, Norman Cornish began working in the mines on Boxing day in 1933 and not long after he was accepted as a member of the Spennymoor Settlement, at just the age of 15. It was here that he met the author Sid Chaplin and fellow mining artist Tom McGuinness. The artists of the Settlement exhibited regularly at the Laing Art Gallery in Newcastle and directly after the war Cornish held his first solo exhibition at the People's Theatre in Newcastle. The sale of five of his works at the exhibition resulted in him being asked to curate an exhibition on Oxford Street in London ''Art by the Miner''. The exhibition was organised to create awareness of the newly nationalised coalmines and resulted in Cornish being interviewed on television, it transpired that he was a natural speaker and he continued to converse with the media throughout his career. Cornish exhibited throughout the North East and nationally and in 1959 he first exhibited at the acclaimed Stone Gallery in Newcastle upon Tyne. The gallery prided itself on representing artists with local connections such as Sheila Fell and L.S Lowry in addition to many of the internationally acclaimed historical and old master artists. Cornish established a long standing relationship with the gallery which lasted for over twenty years.
Limited Edition box sets by The BeatlesIncludes 'The Singles Collection 1962-1970' UK reissue 22 Single box set, The 1995 UK UFO limited edition box set containing a lavishly illustrated 48-page softback book by Susan Wilson covering the period, plus facsimiles of the Quarrymen and Beatles business cards, the programme for the Woolton Parish Church fete and the first Beatles press release 'Introducing The Beatles', all housed in a superb 12" picture box, The 1996 UK UFO limited edition box set containing a lavishly illustrated 48-page softback book by David Sandison covering the period plus a facsimile letterhead & full size reproduction poster for Paul's Rave at The Roundhouse, all housed in a superb 12"x12" picture box, together with The Beatles 'The British Are Coming' 1982 US Limited Edition LP, comes as an optical anaglyph 3D picture disc (with red-green 3D paper glasses) Silhouette Music Label (PD 83010).
William Ralph Turner F.R.S.A., R.Cam.A. (1920-2013) - ‘Glow-Worms in the Moonlight’ Oil on board, signed, 18x24cm, framedNB: Originally purchased from Todmorden Fine Art circa 2002, bears original Turner number 1579 and inscribed ‘This image depicts Will with his first wife Anne, when he was young canoodling in a park shelter. It was midnight and a policeman shone his torch and asked what was going on, embarrassed Will asked the policeman what was shining in the grass, the policeman replied that they were glow-worms, “What are they doing asked Will, same as you two” was the reply to verso
Pair of Linn KAN SpeakersTwo-way bookshelf speakers first released in 1979, dimensions (HxWxD) 303x188x164mm, includes a pair of Linn bespoke stands and all original packaging, sold electrically untested.CONDITION REPORT:Condition is not the best they are solid and with no chips but one has water damage to top and one side, the other has a heat mark on the top this can be rectified with a light sand and heavy polish This pair has been used in the past, personally have heard the sound quality of these and all appears to be as they shouldThis ;lot also has original packaging
Linn Sondek LP12 transcription turntable with Valhalla PSU & Ittok LVii tonearm Hi-Fi Choice reviewers voted the LP12 "the most important hi-fi component ever sold in the UK", when the first Linn LP12s were produced in 1972, the power supply feeding the motor was very simple, but in 1982 the first of the upgraded power supplies, the Valhalla, was produced, this LP12 has this Valhalla PSU also the Japanese built, Linn Ittok LVii pick up arm which features a straight arm tube, fixed headshell and calibrated tracking force and bias controls, together with a Linn Karma cartridge, includes all original packaging and a Linn bespoke stand, bought & used from new, not used approx 30 years, sold electrically untested.
A rare lot of seventeen (17) Cavern Club Medallions These were short replacements to clubs membership cards in its heyday during the 60s, they are taken from the original collection found in a shed by the last owner of the original Cavern Club 'Roy Adams'. (News Story in October 2008) a short lived idea came about to sell these Medallions individually encased in a presentation box, these are the very first prototype examples.
Three (3) Vinyl Albums by Paul McCartney Includes 'Run Devil Run' limited edition collector's box designed to look like a record case from the 1950s, released 25th December 1999, numbered 5859, comprises of Paul McCartney's 11th solo studio album across eight (8) vinyl 7" records each with retro style labels and die cut Parlophone sleeves, including a bonus non album song 'Fabulous', complete with lyric booklet, 1st project following Paul McCartney's first wife Linda's death in 1998, together with '?hoba B ????' 1989 Russian LP MPL Label (A 60 00415 006) and Paul McCartney/Wings 'London Town' Japanese LP Capitol Label (EPS-81000).
The Earl of Cardigan- 'I walked Alone', published by Routledge & Kegan Paul Ltd., London, 1950, first edition, frontispiece signed in ink by Lancelot Oliphant, blue cloth boards, 4to with associated two page hand written letter signed 'Bobbety' (Robert Arthur James Gascoyne-Cecil, 5th Marquess of Salisbury) on Balmoral Castle headed paper
Two Chinese Yixing style teapots, the first of globular form with domed top and finial, with short spout and loop handle, character marks to the exterior sides, height 12cm, together with a naturalistic branch form clay teapot, the handle and spout formed from a branch, surmounted by an intergrated cover, height 11cm. (2)
Collection of 10 boxed diecast models to include 1:24 Sunnyside Limousine 1996, 1955 VW Classical Beetle, Yat Ming Signature Series1:43 1934 Leyland FK-1, AutoArt Models Mitsubishi Pajero Evo, Revell 1:18 Goggomobil T250, Halsall 2 x Freelander (LR009 & MG0556), JoyCity Automaxx Premium 1:12 Honda CBR1000RR, Welly 1:24 Austin FX London Taxi, Gilbow Wxclusive First Editions 1:76 East Kent 15802
A Collection of 14 boxed diecast models to include 4 x Gilbow EFE Exclusive First Editions 1:76 De Luke Series buses, 5 x Gilbow EFE Exclusive First Editions 1:76 bus models, 2 x Matchbox Models of Yesteryear (Y-% 1930 Leyland and Y18 1918 Atkinson Model D), Oxford diecast model Waterford Crystal and 2 x Vanguards 1:43 (Vauxhall PA Cresta & Hillman Minx)
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