Adolf Luther (1912 Krefeld-Uerdingen - 1989 Krefeld) (F)Spiegelobjekt, konkave Linse und Spiegel unter Plexiglas, 18,5 cm x 18,5 cm x 8 cm x verso signiert, 77 datiert, cm, altersbedingter Zustand, Spiegel an den Ränden partiell mit blinden Flecken, Plexiglas partiell mit Klebespuren.Adolf Luther (1912 - 1990) war ein bedeutender deutscher Maler und Objektkünstler nach 1945. Nach frühen monochromen Bildern mit pastös aufgetragener Farbe wandte er sich 1958 der Erforschung des Lichts in seinen energetisch-optischen Eigenschaften zu. Er arbeitete teils seriell mit angeordneten optischen Linsen, Gläsern und Spiegeln, die durch Lichtbrechung und Spiegelungseffekten eine Art von Immaterialität erzeugen. Geradezu interdisziplinär sind seine Arbeiten, die sich mit den feinsten Phänomenen des Lichts und der Optik beschäftigen, indem er sie in künstlerischer Sprache durch eingerahmte Linsen, übersetzt. Das Spiel aus konkaver/ konvexer Form und der Farblosigkeit, die durch das eintreffende Licht selbst spiegelnd zu natürlicher Farbe auf umgebenden Oberflächen wird und ebendiese Farblosigkeit aufhebt. So fein und zart erscheint uns das Licht durch das Objekt und wird von einer wissenschaftlichen Apparatur zu einem Werk der zeitgenössischen Kunst. Adolf Luther (1912 Krefeld-Uerdingen - 1989 Krefeld) (F)Mirror object, concave lens and mirror under Plexiglass, 18.5 cm x 18.5 cm x 8 cm, verso signed, 77 dated, age-related condition, mirror around the edges partially with blind spots, Plexiglass partially with adhesive traces.Adolf Luther (1912 - 1990) was an important German painter and object artist after 1945. After early monochrome paintings with pasty applied paint, he turned to researching light in its energetic-optical properties in 1958. He worked partly serially with arranged optical lenses, glasses and mirrors, which create a kind of immateriality through light refraction and reflection effects.His works are almost interdisciplinary, dealing with the most subtle phenomena of light and optics by translating them into artistic language through framed lenses. The play of concave/convex form and colourlessness, which is mirrored by the incoming light itself, becomes natural colour on surrounding surfaces and cancels out this very colourlessness. The light appears so fine and delicate to us through the object and turns from a scientific apparatus into a work of contemporary art.
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Bruno Bruni (1935 Gradera/Italien)'Zärtlichkeit', Bronze, 76 cm x 40 cm x 1,7 cm, im Guss signiert, Gießerstempel, 35/250 nummeriert, partiell leichter Grünspan, oberflächlich Spuren von Luftpolsterfolie Bruni (1935 Gradera/Italy)'Zärtlichkeit', bronze, 76 cm x 40 cm x 1.7 cm, signed in cast, foundry stamp, 35/250 numbered, partially light verdigris, traces of bubble wrap on surface
Heinz Mack (1931 Lollar) (F)'prima vera 2', Pastellkreide auf Bütten, 62 cm x 48 cm Blattmaß, signiert, 77 datiert, betitelt, montiert, leicht gewellt. Die zentrale Frage der ZERO-Gruppe, die aus Heinz Mack, Otto Piene und Günther Uecker bestand, ist die der Kunst selbst. Ist Kunst nur zur Abbildung gedacht? Eben diese Frage gilt es zu überwinden! Die genannten Künstler haben damit revolutionäre Arbeit geleistet, die bis heute in der zeitgenössischen Kunst nachhallt. Mack folgt dabei dem Prinzip "ein Element zu nehmen und dieses dann in eine Struktur aus Rhythmus und Wiederholung zu bringen. Diese Wiederholungen haben alle eine eigene Sensibilität und Bedeutung für die gesamte Struktur des Werks." Die Naturgesetze folgen ähnlichen Prinzipien, denn auch der Tag-Nacht-Rhythmus oder die Jahreszeiten kehren immer wieder. Nach ihnen richtet sich das Leben. Heinz Mack beschäftigt sehr, wie Kunst und Natur miteinander in direkter Verbindung stehen. Als Künstler strebt er die Überwindung der traditionellen Malerei an, indem er die Intensität des Lichts und die des Raums erarbeiten möchte. Er schafft es gerade diese entstehende Energie auf einen bestimmten Platz zu konzentrieren und zum Beispiel ein Farbfeld in ein Spannungsfeld zu verwandeln. Die Darstellung des Frühlings mit seiner farbenfrohen Natur ist ein beliebtes Sujet das sich in jeder Kunstepoche wiederfindet. Mack übersetzt sie in eine kleinformatige Farbchromatik, sodass sie vor farbprächtiger Energie zu vibrieren beginnt. 1977 wurde "Primavera 2", ein senkrecht aufgebauter Farbverlauf, aus prismenartigen Blau, Grün- und Gelbtönen in Pastellkreide auf Büttenpapier gebracht. Von Kobaltblau bis erfreulichem Citrusgelb entfacht Mack eine faszinierende Farbskala. Des Frühlings frische Farben entstehen in der Vegetation durch das Sonnenlicht, dass die Flora nach dem langen dunklen Winter aufweckt. Dabei wirkt der Farbverlauf nicht nur wie ein durch Licht gebrochenes Farbfeld, sondern erinnert geradezu an Igor Strawinskys musikalisches Meisterwerk "Le sacre du printemps". Heinz Mack (1931 Lollar) (F)prima vera 2', pastel chalk on handmade paper, 62 cm x 48 cm sheet dimension, signed, 77 dated, titled, mounted, slightly wavy.The central question of the ZERO group, which consisted of Heinz Mack, Otto Piene and Günther Uecker, is that of art itself. Is art only meant to be depicted? It is precisely this question that must be overcome! The aforementioned artists have thus done revolutionary work that continues to reverberate in contemporary art to this day.Mack follows the principle of "taking one element and then putting it into a structure of rhythm and repetition. These repetitions all have their own sensibility and significance to the overall structure of the work." The laws of nature follow similar principles, for the day-night rhythm or the seasons also recur. Life is guided by them. Heinz Mack is very concerned with how art and nature are directly connected. As an artist, he strives to overcome traditional painting by working out the intensity of light and space. He manages to concentrate precisely this emerging energy in a specific place and, for example, to transform a colour field into a field of tension.The depiction of spring with its colourful nature is a popular subject that can be found in every art epoch. Mack translates it into small-format colour chromatics so that it begins to vibrate with colourful energy.In 1977, "Primavera 2", a vertically constructed colour gradient of prism-like blues, greens and yellows, was painted in pastel chalk on handmade paper. From cobalt blue to pleasing citrus yellow, Mack unleashes a fascinating range of colours. Spring's fresh colours are created in the vegetation by the sunlight that awakens the flora after the long dark winter. The colour gradient not only looks like a colour field refracted by light, but is almost reminiscent of Igor Stravinsky's musical masterpiece "Le sacre du printemps".
Heinz Mack (1931 Lollar) (F)Meditations-Spirale, Messing verchromt, mit Elektromotor, Höhe 115 cm, signiert, 156/500 nummeriert, partiell Dellen an der Plithe, Kratzer auf der Plinthe, Gebrauchsspuren, Funktion getestet, läuft an, Provenienz: Privatsammlung Hannover.Aufbauend auf den Ideen, die er in seinen Lichtreliefs entwickelt hatte, begann der deutsche Künstler Heinz Mack ab 1958 die als "Rotoren" bekannten kinetischen Skulpturen zu entwerfen. In diesen Werken wurden die reflektierenden Strukturen seiner früheren Arbeiten in Bewegung gesetzt, um durch den Einsatz von Elektromotoren sanfte, fließende Lichteffekte zu erzeugen. Ab diesem Zeitpunkt spielt die Bewegung - neben dem Licht - eine zentrale Rolle in seinem Oeuvre. Er wurde bekannt für große kinetische Skulpturen wie die Wasserskulptur in Münster, aber auch kleinformatige Arbeiten. Auch die "Meditationsspirale" wurde als Modell für eine von der Universität Bochum geplante Lichtskulptur von über 8m Höhe konzipiert, die jedoch nie ausgeführt wurde. Einmal eingeschaltet, fängt die elegante Metallspirale langsam an sich zu bewegen und spiegelt Licht und Dunkel der Umgebung in ruhigen Drehbewegungen mit ihrer geschwungenen Form wider. Heinz Mack (1931 Lollar) (F)Meditation spiral, chrome plated brass, with electric motor, height 115 cm, signed, numbered 156/500, the base slightly dented and scratched, traces of use, functionality tested, functional, provenance: Private collection, Hanover.Building on the ideas he had developed in his light reliefs, German artist Heinz Mack began creating kinetic sculptures known as ''Rotors'' in 1958. In these works, the reflective structures of his earlier works were set in motion to create soft, flowing light effects through the use of electric motors. From this point on, movement - along with light - played a central role in his oeuvre. He became known for large kinetic sculptures such as the water sculpture in Münster, as well as small-format works. The ''Meditation Spiral'' was also conceived as a model for a light sculpture over 8m high planned by the University of Bochum, but never executed. Once switched on, the elegant metal spiral slowly begins to turn, reflecting the light and darkness of its surroundings in the quiet movement of its curved form.
Günther Uecker (1930 Wendorf) (F)'Spirale', Prägedruck auf Bütten, 69 cm x 49,5 cm Blattmaß, signiert, 99 datiert, 49/100 nummeriert, montiert, partiell gewellt.Günther Uecker wurde 1930 geboren und gilt als einer der bedeutendsten deutschen Künstler unserer Zeit. Er studierte an den Kunstakademien in Düsseldorf und Berlin. Bereits in den ausgehenden 1950er Jahren fand Uecker eine Gestaltungsform in Nägeln und machte sie zu einer seiner ausdrucksstarken kompositorischen Elemente. Er fügt sie in sowohl dynamischer als auch streng symmetrischer Anordnung zu einem bewegten Masse, Formationen oder in einzelner Form zusammen. Auf Platten, Holzbrettern, Baumstümpfen wurden sie genagelt und teilweise weiß getüncht, wodurch er Raum und Bewegung erarbeiten konnte. 1961 schloss er sich der ZERO-Gruppe an und arbeitete mit Heinz Mack und Otto Piene zusammen an Lichtkunst und kinetischen Arbeiten, als auch in den 1980er Jahren auch an Installationen. Formationen aus Nägeln sind formgebend für die Prägedrucke des Künstlers. Hier werden Schwünge, Rotationen, und geometrische Formen über den Nagelkorpus oder den Nagelkopf in den weißen Papierbogen geprägt. Gerade so viel Druck wird dabei aufgebracht, sodass das Papier auf Dauer in eine gewisse Form gebracht wird. 1983 erschuf Günther Uecker das Blatt, welches sich aus flach aneinander gelegten Nägeln bildet. Durch die Höhen und Tiefen der Nagelformen und dessen Anlegung entsteht eine fast strudelartige Tiefe auf dem groben Büttenpapier. Das Werk ist signiert, 36/50 nummeriert und aus der Hand des Künstlers mit Bleistift als 'Spirale' betitelt. Günther Uecker (1930 Wendorf) (F)'Spirale', embossed print on handmade paper, 69 cm x 49.5 cm sheet dimension, signed, 99 dated, 49/100 numbered, mounted, partially wavy.Günther Uecker was born in 1930 and is considered one of the most important German artists of our time. He studied at the art academies in Düsseldorf and Berlin. As early as the late 1950s, Uecker found a form of design in nails and made them one of his expressive compositional elements. He assembles them in both dynamic and strictly symmetrical arrangements to form a moving mass, formations or in single shapes. On slabs, wooden boards, tree stumps they were nailed and sometimes whitewashed, allowing him to work out space and movement. In 1961 he joined the ZERO group and worked with Heinz Mack and Otto Piene on light art and kinetic works, as well as on installations in the 1980s. Formations of nails are formative for the artist's embossed prints. Here, curves, rotations and geometric shapes are embossed into the white paper sheet via the body or head of the nail. Just enough pressure is applied so that the paper is brought into a certain shape over time.In 1983 Günther Uecker created the sheet, which is formed by nails laid flat against each other. The heights and depths of the nail shapes and the way they are applied create an almost swirl-like depth on the rough handmade paper. The work is signed, numbered 36/50 and titled 'Spirale' in pencil by the artist.
A certified natural 5.19 carat colour change sapphire & diamond oval cluster ring in white metal, accompanied by a Gem & Pearl Lab Report stating that the mixed cut rectangular cushion cut sapphire appears blue in daylight and purplish blue in incandescent light, shows no evidence of heat treatment and originates from either Sri-Lanka or Madagascar. Finger size I.
This is a very, very impressive P5B and undoubtedly a 'Best of Breed'.In 1965, Rover's Managing Director, William Martin-Hurst, secured the tooling and production rights to the 3,528cc all-alloy OHV V8 '215' engine from Buick and, after a period of development, it was ready for use in Rover's model range. Although a marriage of expediency, the union between Rover's stately P5 and the ex-Buick V8 resulted in an unexpectedly fine motor car. The new aluminium V8 was significantly lighter and considerably more powerful than its predecessor, delivering 160bhp and a massive leap in torque to 210lb.ft. at 2,600rpm, vastly improving pace, comfort, balance, handling, economy and reliability.Launched in 1967, the Rover P5B (or P5 Buick if you prefer) was conceived to stave off increasingly refined competition from the likes of Jaguar and Mercedes-Benz. Available in Saloon and Coupé guises, both of which employed four doors, the big Rover was equipped with independent torsion-bar front suspension, a leaf-sprung 'live' rear axle and disc/drum brakes. Fitted with three-speed automatic transmission and power-assisted steering as standard, it proved a relaxing drive although capable of a comfortable 115mph. The exterior was mostly unchanged, apart from bold '3.5-Litre' badging, a pair of fog lights which were added below the headlights, creating a striking four-light array and the fitting of chrome Rostyle wheels with black painted inserts. The svelte Coupé had a slightly lower roof-line, slimmer chromed window surrounds, twin-armchair rear seats and additional dashboard instruments, and is the most collectable variant today. Production lasted until 1973 by which time 11,501 Saloons and 9,099 Coupés had been built, however, survivors are thought to number in the hundreds.First seeing the light of day some 49 years ago in April 1973 and recently the subject of a rotisserie restoration to the very highest of standards, this outstanding P5B Coupé is finished in gleaming Bordeaux Red with a contrasting roof in Silver Birch and has to be one of the very best, if not ‘the’ best, available today. The 'Gentlemen's Club' interior is absolutely superb in light tan leather with mushroom carpets and burr walnut veneers and is the result of many hours of work by talented craftsmen.The accompanying worksheets and list of parts used is one of the most comprehensive on record with a detailed outlay amounting to in excess of £100,000! Tasked with bringing the Rover back to life, Trevor Farrington Ltd, Classic and Sports Car Specialist, has left no stone unturned resulting in this outstanding example that would satisfy the most pedantic. Every nut and bolt has received attention with the fit and finish being a true credit to the craftsmen and engineers that were tasked with this extensive rebuild. In period, these big coupés were head turners and were perceived to belong to comfortably off owners who appreciated quality and had a certain sense of style, and basically, nothing has changed. Your early inspection is welcomed and encouraged to fully appreciate the standard and quality of this incredible gentleman’s carriage.Please note that the cherished registration number shown, DPO 3L, does not form part of the sale. SpecificationMake: ROVERModel: P5BYear: 1973Chassis Number: 84507788DRegistration Number: WWE 609LTransmission: AutoEngine Number: 84019796Drive Side: Right-hand DriveOdometer Reading: 14330 MilesMake: RHDInterior Colour: Light Tan HideClick here for more details and images
One of only 33 UK-supplied examples, two owners in total, just 22,000 miles from new and a full Audi service history.Audi AG’s involvement with motorsport seems fairly recent compared to their competitors Mercedes-Benz and BMW whose trophy cabinets bulge with silverware from many decades past, however, three of the companies that merged to form Auto Union AG and subsequently Audi, DKW, Horch and Wanderer, have very respectable histories in circuit racing and hill-climbs so the DNA was undoubtedly there. Not long after Auto Union and NSU merged to become the current day Audi AG, a motorsport programme was on the agenda and the name is now synonymous with success having dominated Group-A rallying in the 1980s, years of good results in the DTM and other Touring Car and Supertouring Championships in the 1990s and beyond, followed by starting the new millennium with three consecutive victories at the ‘24 Hours of Le Mans’, a race widely regarded as the pinnacle of motorsport.During these periods, Audi released sportier versions into the top-end of their road-going model line-up as a nod to the success they were enjoying in motorsport. The RS4 and RS6 were most notably well received and led to RS versions of most of the model line up, however, Audi didn’t have much supercar heritage until, in 2006, they took a bold step to show the world that they could also build such a car and the R8 was the result.The R8 is a two seat, mid-engine supercar positioned as Audi’s flagship model (a title it still holds today). It was launched in 2007 with two engines, the 4.2-litre FSI V8 and the 5.2-litre FSI V10 and uses Audi’s legendary Quattro four-wheel drive system which has been honed through decades of motorsport. It’s cutting-edge design, and performance to match, gained great acclaim in the motoring press and proved the car earned its place in the supercar arena along with the likes of Porsche, Ferrari, and McLaren.But can you make the best even better? Audi AG’s private subsidiary company ‘Audi Sport GmbH’ answered that question in 2011 by developing a very special model in-house which would be produced in limited numbers and named it the R8 ‘GT’. The brief in short was simple ‘more power, less weight’. Introduced at the 2010 Wörthersee Tour, the Audi R8 GT (coupé) is a high-performance variant of the R8 V10 and was followed by its sunshine sibling, the R8 GT Spyder, unveiled at the 2011 '24 Hours of Le Mans'. Limited to only 333 units worldwide, the R8 GT Spyder combines the aggressiveness of the R8 GT with an open top driving experience.At £158,145 when new, the R8 GT Spyder was Audi’s most expensive road car to date (over £40,000 more than the standard V10 Spyder). Specification highlights include a power increase of 35bhp to 553bhp, carbon ceramic brakes, and a traditional spring suspension set-up (that sits 10mm lower than the standard V10’s variable Magnetic Ride system). The engine frame is made of ultra-light magnesium and the soft top cover and the large side panels at the rear are formed from carbon fibre reinforced polymer (CFRP). CFRP is also used for the modified front spoiler, the fixed rear spoiler, and the new rear bumper and even the seats are made of carbon fibre which result in a weight saving of 32kg alone. Together, these components provide a weight saving of 85kg compared to the standard V10 Spyder and the resultant 197 mph top speed and 0-62 mph sprint time of 3.8 seconds make the GT a true supercar – but one you could easily use every day.The car presented here is a UK-supplied (one of just 33 we understand) 2013 Audi R8 (Type 42) GT Spyder, presented in striking Sphere Blue matt paintwork (a rare colour chosen by Audi for many of the PR images of the GT model at launch) and has been enjoyed by just two owners (in total), with our private vendor having purchased it in 2016. Naturally, it has a full Audi service history (see images; N.B. there is a typo written in the service booklet - the service at 6,506 miles should read 14/05/15 as per the Service History Certificate) ensuring that its highly conservative 22,000 miles have been enjoyed in fine mechanical health and the appearance and condition of the whole car reflect its fastidious upkeep, garaging and low mileage shared between just two diligent owners. Our guide price is truly attractive given all the factors – ability, rarity, history, condition, and sheer usability for what is arguably the world’s most approachable ‘supercar’.(The registration 'R8 XDT' will be coming with the car)SpecificationMake: AUDIModel: R8 GT SPYDERYear: 2013Chassis Number: WUAZZZ428CN910163Registration Number: R8 XDTTransmission: Semi-automaticEngine Number: CMPA001540 Drive Side: Right-hand DriveOdometer Reading: 22000 MilesMake: RHDInterior Colour: BlackClick here for more details and images
One of 83 examples of AC's pretty, Bristol-engined 2+2 Greyhound, sympathetically restored by our vendor and now ready for the next sixty years.When the last 2-litre saloon left the Thames Ditton factory in 1958, AC were left without a car that offered more than two seats. In response to what was perceived as customer demand, as well as encouragement from Hubert Patthey, the racing driver and Swiss AC importer, work began under the direction of AC’s Chief Engineer, Alan Turner, on a 4-seat GT Coupé, the Greyhound. The first prototype was given an airing, as well as its competition debut, at an AC and Lagonda Owners Club Sprint at Brand Hatch, which was quickly followed by the first production car making its appearance at the London Motor Show in October 1959. Sitting on an extended version of the Aceca’s steel ladder frame chassis, allowing space for an additional row of two seats behind the driver and front passenger as well as a decent sized boot, the Greyhound was clothed in an attractive alloy body not dissimilar to Aston Martin’s recently introduced DB4. The interior of the car was well appointed, with leather seats front and back, full carpeting throughout, ample instrumentation, and good headroom for all occupants.Most cars in the late 1950s still relied on live rear axles, leaf springs, and four-wheel drum brakes, however, the Greyhound offered a more modern approach with fully independent front and rear suspension on coil springs, rack and pinion steering and disc brakes on the front. In common with the Ace and Aceca, Greyhound customers were offered a choice of four engines and the all straight-six line-up included AC’s own 1,991cc 75bhp unit; the BMW-derived Bristol OHV engine in 125bhp 1,971cc and 2,216cc 105bhp form; and the 2,553cc Ford Zephyr engine which was capable of producing up to 170bhp when tuned by Ruddspeed. Whilst the Zephyr engine was the most powerful, purists rightful preference was always the smooth and 'revvy' Bristol powerplants as the noise, balance and feel was perfect for the Greyhound’s GT aspirations when combined with a four-speed manual gearbox and the optional overdrive.This remarkable, matching-numbers, 2.0-litre straight-six, Bristol-engined Greyhound has a lovely back story having been discovered and uncovered in our vendor’s late father-in-law’s garage under 45 year’s worth of clutter and dust. Purchased new in 1960, the car was used as a daily driver including visits to UK circuits where its owner used to race Aston Martins at club level. With the arrival of his new car in 1978, the AC was moved to the garage where it was to remain under an increasing quantity of boxes etc. until dug out by our vendor prior to commencing a sympathetic restoration. He planned to carry out most of the restoration himself using as many original parts as possible and given that the car was less than 18 years old and had covered just over 43,000 miles when it was put into storage, much of it was in sound condition. Invoices within the history file include one for c.£21,000 with historic racing engine specialist Ian Nuttall (IN Racing) for a full engine rebuild including modifying the engine to run on unleaded fuel.150 SPF was originally finished in AC ‘Rosso Chiarro’, however, small volume manufacturers used paint from wherever source they could find at the time and the exact code was not available so the car has been finished as close as possible to the original shade and now benefits from several coats of Red which retains a deep shine and looks fabulous. There are photos with the car covering various aspects of the restoration. The original bumpers have been re-chromed and are ready to be fitted but are currently off as to our vendor prefers the smoother bumperless styling. Pleasingly, much of the interior appears to have been refitted and the seating, headlining, dashboard, steering wheel and gear lever display a light patination from use by 150 SPF’s long-term owner, however, the red carpets are new. It’s the perfect combination for a sporting classic, a gleaming exterior and smart engine bay with a few little areas that show that the AC has lived a life.Happily, the car has a full history including old tax discs, old invoices (which help support the indicated mileage of 43,625), its original tool kit in the spare wheel well, original owners handbooks and manuals from when it was bought new until it was parked up in 1978. The restoration was completed in early 2022 and we understand from our vendor that “the engine is running well and the car is a delight to drive". This has got to be one of, if not the finest example of a Greyhound to come to market recently and with prices of the Ace and Aceca having soared in recent years, we can’t help feeling that the Greyhound is somewhat undervalued by comparison. With the striking looks of a DB4, 75% of the performance, 10 times rarer, yet only 20% of the cost, it looks remarkable value at today’s guide price. SpecificationMake: ACModel: GREYHOUNDYear: 1960Chassis Number: BEF2506Registration Number: 150 SPFTransmission: ManualEngine Number: 100D21088Drive Side: Right-hand DriveOdometer Reading: 43615 MilesMake: RHDInterior Colour: Cream LeatherClick here for more details and images
Original, right-hand drive, SA car subject to a full nut and bolt restoration in the past with some performance upgrades.At first glance, the 356C, introduced in mid-1963, differed little externally from its predecessor, the 356B, since it continued to use the T-6 body type which had arrived in 1962. Porsche, however, brought the 356 concept to its zenith with the 356C, available in Coupé and Cabriolet form, with the addition of Dunlop four-wheel disc brakes as standard, a higher-lift camshaft for the 1,600cc engine, new flat-face hubcaps, and deeper bucket seats. These seats came courtesy of Porsche's acquisition of Reutter, which included the future Recaro subsidiary. 356 production peaked at 14,151 cars in 1964 which coincided with the arrival of the new 911 model, however, Porsche continued to sell the 356C in North America right through to the end of 1965. According to the Vehicle Identification sheet issued by Porsche Cars GB, Chassis number 131884 is a right-hand drive 356C Coupé built during 1964, fitted with Engine Number 716623 and finished in Light Ivory with a Black Leatherette interior. It was shipped to supplying dealer, Lindsay Saker Motors (Pty) Ltd. in Johannesburg, South Africa and onward to its first owner. We next hear of the car when it’s being shipped to the UK in late 2001. The Bill of Lading details that it was accompanied on the trip by a 1960 356B and a ‘65 Chevrolet Corvair and the trio set off from Durban on 23/10/2001 arriving at Tilbury Docks in January 2002 all bound for Douglas Valley Breakers in Standish, Lancashire who were handling 131884 on behalf of Forty Forty Cars in Harrogate. Within the substantial history file are documents confirming that all VAT and Duty was paid and they include the Bill of Lading, correspondence with the DVLA and Customs and Excise, a UK Bill of Entry, the South African Title and a Vehicle Clearance from the SA Police. Now safe in the UK, a major rolling restoration was commenced in 2003 and appears to have been completed in late 2007 judging by the fact that the first UK MOT in the file is dated 16/01/2008 @ 79,872 miles and the car was first UK registered on 1/03/2008. It was a full, engine out, glass out, trim out, bare-shell restoration in its original Ivory White and there are photographs in the history file of the Porsche when it first arrived, during the process and one or two of the finished article. There are dozens and dozens of invoices in the file addressed to Larry Goff, the car’s owner at the time, and we would suggest that interested parties take an hour or so to have a detailed look. They include PR Services £8,811, Southbound Trimming £2,795, Paul Brown - wiring £843, Karmann Konnection – parts £5,396, Zentrum - engine parts £5,420, Maxted Prill engine rebuild and more - £8,891 plus a 500 mile service - £1,842, and various others, suggesting that over £35,000 was invested in the 356 during this period. The invoice for the engine rebuild is dated 5/12/2008 and confirms that the cylinders were re-bored and fitted with Shasta 86mm forged pistons taking the capacity out to 1,720cc with a consequential increase in horsepower.Our vendor purchased 131884 on 26/01/2011 with the appropriate invoice on file together with an Insurance Valuation from Sherwood Restorations of Nottingham carrying the same date and suggesting that the car at the time had a value of £60,000. Our vendor is particularly fastidious when it comes to his motor cars and towards the end of that year he noticed that one or two small areas of bodywork were not quite as pristine as he had hoped. As we all know, once you see these things it’s very difficult to ‘unsee’ them and inevitably one thing led to another and the decision was made to replace the front wings and door skins. Realistically, if you are going to paint both wings and doors on a car the size of a 356, you may as well prepare and paint the whole car and a few months later 131884 emerged blinking into the sunlight looking fabulous and now in a classic shade of Porsche silver. The work was carried out by DMR of Doncaster and there are invoices in the file.The car’s mileage at that point was around 88,000 (MOT on 31/08/2012 shows 88,424) and, at the time of our photography in March 2022, the odometer was reading 97,352. Pleasingly, there are 11 older MOT Certificates on file (first on 16/01/2008 @ 79,872 miles) corroborating the Porsche's light but regular usage.Andy Lee of Sandbach, Cheshire appears to have been entrusted with looking after the car in recent years and there are invoices on file from him (£3,209) for routine servicing and the inevitable niggles up to 27/11/2018 with an oil and filter change at 95,860 miles. The Owner’s File also contains a couple of photocopied period brochures, Porsche Club GB correspondence and a wiring diagram. As well as being a competent and sporting Coupé, this superbly presented right-hand drive 356 is a perfect representation of the late fifties/early sixties period that is absolutely in fashion at the moment and this desirable example would be welcome anywhere. SpecificationMake: PORSCHEModel: 365CYear: 1964Chassis Number: 131884Registration Number: DRR 372BEngine Number: 716623Drive Side: Right-hand DriveMake: RHDClick here for more details and images
In production for less than two years, with just over 1,000 in RHD, these are very rare cars.Introduced in September 1975 for the 1976 model year with production only running until 1977, the interesting Carrera 3.0 is rightly regarded as somewhat of a special and rare model amongst the impact-bumper era, 911 model range. Following on after the MFI-engined Carrera 2.7, the 3.0 Carrera heralded the adoption of the newly developed Bosch K-Jetronic CIS fuel injection engine. This torque-rich, smooth and free-revving 3.0-litre engine, with a distinctive "cam' effect from 4,000rpm, produced 200 bhp and was effectively a naturally aspirated version of the 930 Turbo's drivetrain (using the same die-cast aluminium crankcase and gearbox housing for durability).Although having slightly less power than the outgoing Carrera 2.7, it had considerably more torque (188 lb.ft at 4,200 rpm) and with its new fuel injection system was one of the earliest Porsches to return economical fuel consumption figures without a significant performance loss. The Carrera 3.0 was able to accelerate from 0-60 mph and 0-100 mph in almost identical times to the original 2.7 RS and 2.7 Carrera. This respectable performance was aided further by the relatively light weight (1,093 kg) of the 3.0 Carrera compared to its successors. It is almost 6% lighter than the SC (1,160kg), almost 10% lighter than the 3.2 (1,210kg) and surprisingly, also weighs less than the later (1987-1989) stripped-down Carrera 3.2 Club Sport (1,170kg). During its short two-year life span, only 3,687 cars were built - a tiny amount compared to nearly 58,000 911 SCs and 76,500 3.2 Carreras produced. Of these, 2,564 were Coupés and 1,123 were Targas with only around 1,064 Coupés being manufactured in right-hand drive. Very few RHD cars reached the UK, and with just a two year production run, only 121 Carrera 3.0 Coupés (combined "Sport' and "Comfort' versions) are verified by their chassis numbers with the Porsche Club GB.Finished in Grand Prix White, this largely original Porsche 911 3.0 Carrera is in excellent condition throughout and is instantly recognisable by the Carrera side script and Fuchs alloys, a true 1970s poster car if ever there was one. It has an interesting past having been owned at one time by Keith Ripp, accessory brand creator of Rippspeed and renowned Rallycross driver and also featured in the ‘Original’ series of books, ‘Porsche 911 - The Restorers Guide to all Production Models 1963 – 93’ by Peter Morgan. A largely original example, it has formed part of a small private collection in recent years with little use during that time but has been maintained as required and will be presented at the sale with a recent service and a fresh MOT Certificate. With a limited production run of just two years, only 1,064 RHD Coupés rolled off the production line with few known to be still in existence today giving this particular example an air of exclusivity, ticking the rarity box within Porsche circles, meaning that this is most certainly one for the collector or 911 fanatic. Your early inspection is welcomed and encouraged.SpecificationMake: PORSCHEModel: 911 3.0 CARRERAYear: 1977Chassis Number: 9117600371Registration Number: UNM 750RTransmission: ManualEngine Number: 6670507Drive Side: Right-hand DriveOdometer Reading: 116150 MilesMake: RHDInterior Colour: BlackClick here for more details and images
Fabulous, 2nd-generation Interceptor with only 120 miles since a comprehensive restoration.Jensen's C-V8 replacement debuted in 1966 reviving a name first employed in the 1950s. However, several of the firm's traditions were broken in that the design was outsourced to Carrozzeria Touring and the bodies made of steel not glass fibre. Early shells were built in Italy, by Vignale, prior to production being established at Jensen's Kelvin Way plant in West Bromwich. Power came from a 6,276cc (383ci) Chrysler V8, driving through either a four-speed manual or three-speed TorqueFlite automatic transmission to an LSD Salisbury rear axle. Specification included electric windows, reclining seats, wood-rim steering wheel, radio with twin speakers, electric clock and reversing lights.Production of the Interceptor II (occasionally called the Mk.II or Series II) commenced in October 1969 and lasted for two years. This particular car has a chassis prefix, #123, so was one of 694 right-hand drive, UK cars powered by the E-Series 383ci V8 generating around 330 bhp. Pleasingly, it still wears its original registration number, HMK 6K, and from the history file we can see that it left the factory on 09/08/1971 finished in Silver Grey over Black Leather and optioned from new with Sundym Glass, Voxon Radio Cartridge Player, Air-con, and Town & Country Horns.The rebuild of this exquisite Jensen, undertaken by Kestrel Classic Cars of Redditch, Jensen Marque Specialists, commenced in 2013 but unfortunately stalled in late 2014 due to the owners ill health, with the Interceptor not seeing light of day for the next seven years until the time was right to finish the build. Superbly presented in Stratosphere Blue with a full Black Hide interior the ground up rebuild shows excellent attention to detail throughout setting this particular Series II at a level that few achieve. The detailed restoration has left no stone unturned including a complete bare-metal body refurbishment, an engine, gearbox and drivetrain rebuild by American V8 Specialist David Gilliver, a total rewire, re-chroming by Derby Plating, a full retrim - in hide of course, all finished to the very highest of levels. The car has been sensibly upgraded for modern day usage including uprated cooling, a high-torque starter, an alternator and a modern air conditioning system. With a mere 120 shake down miles completed, a period of further running-in is recommended to achieve the very best from this outstanding Grand Tourer. Having been undervalued for many years the Interceptor has recently seen somewhat of a resurgence with interest and demand for correctly restored examples increasing at a pace. Your earliest inspection is welcomed and encouraged to fully appreciate the lengths taken to return this elegant GT to the road. SpecificationMake: JENSENModel: INTERCEPTOR IIYear: 1971Chassis Number: 123/4228Registration Number: HMK 6KTransmission: AutoEngine Number: J2415/123GDrive Side: Right-hand DriveOdometer Reading: 16322 MilesMake: RHDInterior Colour: Black HideClick here for more details and images
Early 20th Century Costume, comprising a white linen skirt suit of panelled and appliqued flared style, similar long sleeve jacket of 'swing' style with lapels; a pale pink two piece woven with spots comprising a long skirt with multi pleated trims to the hem and matching blouse with short sleeves, later crochet trims and lace modesty panel; pale pink white cotton muslin two piece, of long skirt and long sleeved top both with drawn thread work detail, later black velvet and silk floral rosette belt; a mauve coloured cotton long skirt with cut work and embroidered circles; cream wool long skirt with lace insert to the front and applique covered buttons and matching bodice (af); cream silk blouse with long sleeves, crochet modesty panel and pleated details (6)Cream linen suit - unlined, some wear and discolouration.Cream cotton two piece embroidered with spots - replacement lace to the front and back of the neck, some damage to the lace and loose threads, lace appliques later applied. The skirt is discoloured and numerous areas of light brown marks, some wear.Pale pink cotton skirt with cut work circles and embroidered spots - replacement waistband, wear and rubbing to the hem.Cream self striped bodice two piece - bodice - had insertions put into the silk, some slight discolouration, lower part of bodice has been cut, loose threads. Matching skirt - altered and insertions, slight discolouration.Pale pink cotton two piece - tiny circular repair to the front, wear to the collar and couple of areas of discolouration.Cream silk shirt/bodice - slight wear under the arms, several tiny brown spots, wear to the lace.
Circa 1930-40s Costume, comprising a blue silk and lace dress with V-neckline, multi pleated chiffon mount to the bodice and skirt, full gathered silk sleeves and lace cuffs, paste deco buckle fastening to the belt (a.f.); a brown lace and chiffon inserted sleeveless long evening dress, matching jacket with stylised long sleeves; green and peach silk crepe dress with tiered skirt and button appliques; green floral chiffon silk dress with long sleeves; black and yellow floral short sleeved dress with V-neckline and belt; floral dress with spaghetti straps and fabric tie; cream silk long under dress with blue hem; blue textured long sleeve dress with button details and train; a cream linen jacket with green floral embroidery; black wool tailored double breasted coat with pleats to the reverse (10)Blue textured dress with train - 32" bust, some small holes to the back of the sleeve, back, hem, train and lower part of skirt, some fading and discolouration.Yellow and black dress - later buckle on the belt, 34" bust, some wear to the back of the sleeveholes and fading.Black coat - 40" bust - slight wear.Green chiffon floral dress - later applique, 34" bust and slight wear.Pale green chiffon dress - 32" bust, sleeves both torn in several places, fading and staining. Blue lace and chiffon dress - 32" bust, lace very torn to the shoulders and sleeves, stained and overall wear.Brown lace two piece - 34" bust, side of the dress completely split, holes to the sleeve of the jacket, chiffon a later replacement, wear to the lace.cream and blue dress - 32" bust, wear and holes under the arms, several marks overall.Linen jacket - 36" bust, lower part of jacket added later, couple of light stains, rubbing to the linen and embroidery. Floral slip dress - 32" bust, later straps, restitching to the centre of the dress vertically, waist ties re-stitched, pink colour run and discolouration/wear.
Circa 1930s Cream Silk and Lace Long Sleeved Wedding Dress, with a tiered skirt, zig zag details, matching train, bead appliques and a silk belt tie; Circa 1930-50s Evening Dresses, comprising a cream silk long sleeveless evening dress with a draped neckline, smocked straps, silver sequin and bead floral appliques, bearing a label 'HH'; cream silk brocade underdress with white net skirt; pink floral brocade sleeveless full length dress, with V-neckline, pleated details to the hips, full skirt; red/green shot silk sleeveless evening dress; black taffeta evening dress with floral applique to the front and velvet spaghetti straps (6)Wedding dress - some light staining and discolouration to the lace and silk. Numerous small holes and loose threads to the lace, especially to the left shoulder, shoulder seams re stitched, holes to the back and staining to the lace on the train. Some bead losses and wear.Black taffeta dress - zip broken and slight wear, rubbing to the velvet straps.Red/green taffeta dress - silk in good condition, just slight wear to the notch neck.Pink floral brocade dress - slight wear and some discolouration to the bodice, large stain to the front of the skirt, and smaller darker stain also. Cream silk sequin dress - areas of discolouration overall including the inside of the hem, some bead losses, some small splits to the kick pleats of the hem. Cream silk and net dress - staining under the arms, and some some overall, slight wear.
A 19th Century Caramel Moire Silk Dress, with long sleeves, gathered trims to the neck, bodice, shoulders and cuffs, detachable waist band with bow to the reverse, two tier apron edged with green silk fringing; and a Brown and Cream Silk Striped Dress, with long sleeves, contrast spot and striped woven fabric to the top of the arms and cuffs, fully pleated skirt (2) Caramel silk dress - brown stain to the bodice and a couple of light stains to the waistband, slight stains under the arms, otherwise appears in nic condition.Striped silk dress - slight staining under the arms, possible alterations, some stitch marks to the centre back of the bodice, slight wear overall.
Early 20th Century White Cotton Dress with three quarter length sleeves, crochet buttons to the front, Irish lace inserts of floral design and also to the collar and cuffs 33" bust, 21" waist. Sleeveholes restitched. Couple of loose threads to the shoulders, waist seam open about an inch on th eback, small grey mark to the back of the shoulders. Couple of tiny holes to the lace insert near the hem. Very light brown mark to the side of the dress and small brown rust mark to the bodice.
Circa 1920s Chinese Silk Pyjama Set, comprising a camisole top with spaghetti straps, patch pockets and love heart appliques, pair of loose fitting trousers with cream silk embroidered insertions to the lower leg and a matching jacket with Nehru collar, all pieces embroidered overallJacket has some loose threads to the shoulder and rub marks on one sleeve. Camisole is missing belt, mark to the bust and slight rubbing. Trousers slight wear and a couple of light brown stains to the cream silk inserts and some loose threads.Camisole approximately 36" bust.
Circa 1920s Costume, comprising a black silk moire long sleeved jacket, with V-neckline and small collar, pleated waistband/belt, two large frogging fastenings at the centre front of the garment; a silk style black long sleeved dress, piped detailing around the waistband with a large decorative fabric flower; black lace long sleeved longline lace dress with V-neckline; black longline jacket in a woven crepe, with long flared sleeves, patch pockets and an oversized draped collar; black long sleeved Garland Dress in silk type fabric with peplum waist; and a black chiffon dress with light brown lace modesty panel and attached bolero jacket (6) Black short long sleeved dress - Slight signs of overall wear. Behind the armholes at the back of the dress there has been some restitching. No obvious tears/snags. Button fastenings work fine and no label.Black long sleeved silk dress - Slight signs of overall wear. The piping attached to the waistband is loose and hanging in some areas. Small hole in one arm hole but no obvious holes/tears. No fastening and no label.Black long sleeve lace dress - slight overall wear. No obvious damage/holes. No fastenings or labels.Black longline jacket/dress - Slight overall wear. No obvious damage/holes. No fastenings or label.
Circa 1920s Wm Small & Son Edinburgh, Cream Silk Wedding Dress, with a scooped neck, three quarter length sleeves, faux buckle decorated with faux pearls to the hip, sash lined in cream silk chiffon and appliqued with pearls to the edge and to the cuffs, drop waist, tabard to the back and loose panel to the skirtThe colour is more realistic in the extra photos. Some seed pearls missing from the edge of the sash and cuffs. Some marks to the bodice and small light brown marks to the sleeves, discolouration to the silk sash.
A Stylish 1939 Ivory Silk Satin Wedding Dress, with long sleeves, round neck, chevron style braided detail to the bodice and similar inserts to the long skirt with train, multi covered buttons to the reverse and cuffs, in a Catherine Beydornn card box and cover; two Lenare wedding photographs of the bride Irene 'Chisan' Denbigh (1917-2015), on her marriage to Richard Martyn Dennis (1916-1965) at St Marks, North Audley Street, London, W1, in a black leather gilt tooled Lenare, Portraiture, Hanover Square, London folio Possibly a dress size 10. 37" bust, 29" waist. In overall good condition, a few light areas of discolouration overall. One of button loops has broken.
Circa 1940-50s Jackets, Cardigans and Blouses comprising Taylors of York light brown textured jacket with three quarter length sleeves, collar and button fastening; similar style jacket in brown and cream dog tooth checks; Cojana London green ribbed similar jacket with detail to the reverse; turquoise textured loose fitting jacket, open placket and turn back cuffs; Dumarsel Model grey and purple floral jacket with patch pockets and collar; blue and white spot similar styled jacket; two black wool beaded evening tops; twelve blouses in pale pink, white, cream silk, chiffon, crochet and bearing the labels Bernella, Sybille Claymar, Peter French Model, Tricel (20)
Circa 1950-60s Assorted Coats, Cardigans, Skirts and a Dress, comprising a navy long sleeve grosgrain coat; an Alice Edwards black long sleeved coat with pockets, wide collar with a bow detail; Mary Dolan black grosgrain coat with three quarter length sleeves; a similar long sleeve black grosgrain coat with covered buttons; a Marie Moore cotton jacket in a floral red, yellow and green design, with three quarter length sleeves, pockets and green buttons; a Kitty Copeland brown grosgrain dress with long sleeves, a bow detail and gathering to the waist band; a Sanco black cardigan with floral beading and embroidery, long sleeves and buttons; a similar style cardigan in light brown with beaded detail to the back and front; a Balmoral black cardigan with red and yellow floral, and black and silver embroidery, buttons and collar; a black knitted top gold and pink embroidery around the V-neckline; a cream cardigan with gold and black floral beading to the placket, sleeves and collar, brown piping around the seams; a Sportaville Model black mid length skirt with zip fastening; a black skirt with zip fastening; an Elegante black mid length skirt with an embroidered detail to the hem; a green full length skirt (15)Navy coat - 22" bust and 37" in length; Alice Edwards coat - 23" bust and 41" in length; Mary Dolan coat - 19" bust and 44" in length; Black grosgrain coat - 17" bust by 40.5" in length, discolouration to the shoulders, the neck detail needs reattaching; Marie Moore jacket - 19" bust and 20" in length; Kitty Copeland dress - 16" bust and 40" in length; Sanco black cardigan - 18" bust and 26" in length; Light brown cardigan - 18" bust and 24" in length; Balmoral cardigan - 19" bust and 21" in length; Black knitted top - 19" bust and 22" in length; Cream cardigan - 17" bust and 25" in length; Sportaville skirt - 14" waist and 24" in length; Black skirt - 17" waist and 27" in length,waistband has been altered; Elegante skirt - 12.5" and 30" in length; Green skirt - 13" waist and 40" in length
Circa 1950-60s Ladies Jackets and Blouses, comprising a pink knitted top with button detail, a similar long sleeved cardigan in white; white short sleeve textured shirt; a lace shirt with short sleeves and cream buttons; peach crepe long sleeve shirt with a button up collar, attached jabot with lace trim; dusky pink short sleeve crepe shirt, collar with lace detail and translucent buttons; a light blue crepe short sleeve blouse, lace detail to the collar; cream silk shirt with short sleeves, lace details to the sleeves, bust and neckline; a cream silk shirt with long sleeves; a cream crepe cardigan with a red lace placket, neckline and hem; a brown lace covered skirt suit with a fur accent to the collar; a cream, brown and black textured pattern shirt with short sleeves and a scooped neckline; a brown silk jacket with long sleeves, wrap front with a button fastening; a pink grosgrain textured jacket with an embroidered collar and gathered detail to the hem; a brown grosgrain jacket with an embroidered collar, pockets and button up bodice; a Knitted by Boulanger black wool cardigan with embroidery to the neckline and pockets; a black wool cardigan with gold beading, embroidered placket and to the back of the neck; a Linda Leigh blue lace jacket with lace covered buttons; a cream lace cropped tie up jacket; a pink grosgrain textured Robert Dorland jacket with peach buttons (20)Pink knit top - 19" bust and 19" in length, discolouration to the shoulders and the under arms; White cardigan - 19" bust and 23" in length, stains and discolouration to the front of cardigan, placket, arms and shoulders; White textured shirt - 19" bust and 22" in length, overall in good condition; Lace shirt - 16" bust and 21.5" in length, a few buttons missing,overall in good condition; Peach shirt - 18" bust and 20" in length, slight wear; Pink shirt - 21" bust and 21.5" in length, slight wear to the collar and back of the shirt; Light blue shirt - 19" bust and 21.5" in length, discolouration near underarm and light staining on the back of blouse; Cream silk shirt - 18" bust and 22.5" in length , in overall good condition; cream silk shirt - 2-" bust and 23" in length, slight wear; cream and red cardigan - 15" bust and 28" in length, slight discolouration under the arms, spots of staining all over the cardigan; Brown lace suit - Jacket: 19.5" bust and 22" in length, Skirt: 15.5" waist and 29" in length, slight staining near buttons, otherwise slight wear; Cream, brown shirt - 13" bust and 18" in length, light staining to the front and loose stitching to one of the sleeves, otherwise slight wear; Brown silk jacket - 21" bust and 20" in length, overall slight wear; Pink jacket - 21.5" bust and 22.5" in length, missing button and discolouration to the collar and cuffs, spots of staining and a pull to the fabric on the front of jacket; Brown jacket - 20" bust by 23.5" in length, alteration to the waistline of the jacket, slight pulling to parts of the jacket; Boulanger cardigan - 17.5 Bust and 24,5" in length, slight wear; Black cardigan - 20.5" Bust and 24" in length, slight wear; Linda Leigh - 20" Bust and 24" in length, discolouration to parts of the jacket, especially the neckline and buttons; Linda Leigh jacket - 18.5" Bust and 16.5" in length, slight wear; Robert Dorland jacket - 18.5" Bust and 21.5" in length ,In overall good condition
Circa 1950-60s Assorted Jackets, Coats and Dresses, comprising a pink dress suit with a jewelled and floral applique neckline; Alice Edwards black fine grosgrain long sleeved coat with a wide collar; a pink long sleeved coat with detail to the pockets; a black horizontal ribbed coat with mid length sleeves and double button detailing to the cuffs; a blue mid-length A-line dress embroidered overall with floral details, a central zip from the neck to waist down the front of the dress; a brown long sleeved silk dress with long sleeves with bow detail; a Kinross Model black dress with short sleeves, a wrap bodice V-neckline and overall floral embroidery; a brown dress suit with floral embroidery; a Jean Allen black and red silk coat with a tassel decoration and belt: a light brown dress with thick straps, jewelled neckline with piped detail; Bio-Phil light brown dress suit with a horizontal striped and embroidered pattern, jewelled neckline and thick straps to the dress (11)Pink dress suit - Jacket- 21" bust and 36" in length and Dress- 20" bust and 34.5" in length, slight marking to the shoulder of the jacket, some discolouration around the inside of the dress and jacket neckline, sewing visible and of poor quality around the button holes and lining of the dress. Alice Edwards coat - 23" bust and 42" in length, wear and poor quality sewing alterations to the lining of the coat. Pink coat - 23" bust and 44" in length, discolouration around the buttons. Black ribbed coat - 23.5" bust and 35" in length. Blue dress - 19.5 bust and 37" in length. Brown silk evening dress - 20" bust and 42.5" in length; Kinross Model dress - 20" bust and 38" in length. Brown dress suit - Jacket-22" bust and 38" in length and Dress- 21" bust and 38" in length. Jean Allen coat - 22" bust and 41" in length. Brown dress - 20.5 bust and 38" in length. Bio-Phil suit - Jacket - 18" bust and 36" in length, Dress - 18" bust and 34" in length, slight wearing to areas such as the collar of the jacket and dress neckline
Circa 1970-80s Full Length Evening Dresses, comprising a Jean Varon black and white spotty silk dress with V-neckline and long exaggerated sleeves and cuffs; Tricosa black and gold vertical striped long dress with spaghetti straps; Carnegie black crepe dress with long sleeves with long tassel trims attached (size 14); black silk taffeta dress with gathered trim to the bust, faux lace up detail to the bodice, A-line skirt; Frank Usher black lace mounted dress with spaghetti straps (size UK38 ); Easy Streets Fashion Inc, New York black jersey dress with black metallic trim to the bust and straps, side split and applique sequin and bead butterfly to the reverse; Laurence Corsin Pour Studio Mode Paris black dress woven with silvered threads, bat wing sleeves and V-neckine with tab; Susan Small black dress with high roll neck and long sleeves embroidered with floral designs (size 14); Trina Lewis for Marjon Couture black silk taffeta strapless dress with tiered zig zag top to the bodice and cummerband (size 14); Dellwood green and yellow silk strapless dress with pleated bodice with corsage detail and yellow pleated skirt; Carita Couture of London turquoise silk two piece comprising long sleeveless dress and matching coat both decorated with gilt metal embroidery; Laura Ashley blue floral printed cotton dress with scooped neckline and short sleeves (size 10); After Six black and white spotty cotton tiered full length sleeveless dress with ric rac trim (size 16); a green floral sleeveless cotton dress, sleeveless with gathered trim to shoulders (14)Jean Varon spotty dress - 34" bust, slight fading under the arms.Tricosa striped dress - 34" bust, couple of thread pulls.Carnegie - slight wear, 36" bust.Black silk taffeta dress - 32" bust, black velvet lace split to front, straps repaired, slight wear, belt missing.Frank Usher lace dress - belt missing, 34" bust, straps replaced, some loose threads to the reverse.Easy Street Fashions dress - slight wear 32" bustLaurence Corsin dress - 34" bust, strap across neckline broken, and some marks around the neckline, and some areas of wear.Susan Small dress - 34" bust, belt missing, slight rubbing and wear.Dellwood dress - 32" bust, some colour run to the reverse near the zip, some loose stitches and wear to the bodice and wear.Dress and jacket - 34" bust, some wear under the arms of the dress, two tiny holes to one sleeve.Laura Ashley dress - couple of light marks and slight fading and wear.After Six - slight wear overallCotton floral dress - slight wear, 34" bust.
Assorted 20th Century Costume and Accessories, comprising a Hartnell, 26 Bruton Street purple and pink mohair dog tooth check tailored skirt suit (size 36); Mondi double breasted black and white dog tooth check jacket printed with large flower heads (size 38); pair of Charles Jourdan court shoes (size 7.5) and matching bag in silver and black suede; Paloma Picasso black leather shoulder bag; Christian Dior light brown turban hat, Philip Treacy black and white animal print wool beret; brown crocodile handbag and fur capelet (rail and box)
Modern Ladies Clothing, comprising a Pure Collection blue and white cotton striped long sleeved cardigan with zip front (size 16); Cos grey draped jersey dress with long sleeves (size L); Jaeger dark grey wool/cashmere long sleeve jumper dress with asymmetric zip fastening (size L); Oska light grey open jacket with large patch pockets (size II); Biba string and bead 'over' top; Assorted Ladies and Gentlemen's Accessories, including leather shoes, silk and other scarves, packets of stockings, handbags, gloves etc (part rail and two boxes)
19th Century French Toile Curtains Printed with Birds, comprising a pair of curtains with self striped light brown lining 190cm by 230cm, the following pair of curtains and others following are unlined, stitched with some finished edges, 160cm by 280cm, another pair 235cm by 280cm, three single curtains 160cm by 240cm, 80cm by 155cm, 255cm by 270cm (quantity)All appear to be in a similar condition, slight wear and fading.
Late 19th/Early 20th Century Chinese Embroidery of a dragon on a red silk ground, taken from a robe, mounted and unframed, 37cm by 40cm; Another Embroidery shaped as a roundel from a robe depicting a female robed attendant within a foliate landscape, mounted and unframed, 39cm by 39cm; Another Embroidery of two cranes within a roundel, mounted and framed, 39cm by 39cm (3)Mounted embroidery figure and rabbit - stitched repair to the centre running horisontally/or unpicked repair - also to the top of the embroidery, some light staining overall.Mounted dragon embroidery - red silk very faded in areas, a small mark near the bottom and slight wear overall.Framed embroidery - silk very faded, some staining and numerous stitches rubbed/worn.
Assorted Lengths of Chinese Revolution Printed Fabrics, mainly in coloured cotton floral designs; Large Pink Chinese Embroidered Shawl (a.f.) and a smaller example in burgundy silk; Lengths of Russian Printed Cottons in floral designs; Indian Textiles comprising block printed bed covers, panels etc (three boxes)Pink silk shawl - staining and discolouration and numerous loose threads. Plum coloured shawl - some light coloured marks and several loose threads
Assorted Late 19th/Early 20th Century Ladies Undergarments, in mainly white cotton comprising night dresses, bloomers, chemises, under dresses etc (two boxes)21 white cotton nightdresses, sleeveless under dresses, all show slight wear - no holes or stains. One embroidered in red 'AM 1893'.11 chemises, bodices in white cotton - one pink example, some have been cut down.11 pairs of bloomers and split bloomers1 white cotton long sleeve shirt3 white cotton underskirtsAll show slight wear and light discolouration to some
Modern 1/12th Scale Dolls House Furniture and Accessories, comprising bow front side board, six shield back chairs with gilt metal mounts to the reverse, carved bedstead, three tier dumb waiter and serving table, all indistinctly initialled in gold pen 'ST' or 'TS'; kneehole desk with green leather mount, signed Derek Childerhouse 1999; Celia Mayfield green leather upholstered wing armchair; rocking Windsor armchair, three height chest of drawers, oak barrel with handles all with the impressed squirrel and nut mark; Stan & Nina Terry double wardrobe; gilt brocade upholstered knoll settee and armchair, gilt framed mirror, Henning sewing machine, umbrella stand, umbrella, desk light etc
Gentlemen's Costume Accessories, comprising an RM Williams brown leather belt with brass buckle (stamped 40/102 to the reverse); a Barbour brown leather and fabric belt printed with ducks (size L); Barbour Thornproof Repair Kit in a tin; Burberrys green checked silk scarf and another in light brown wool; pair of Boulton grey fur and black leather gloves (size 7.5), a similar grey pair and a pair in black with a cashmere lining (size 7); a pair of black leather lace up Loakes, another pair in brown leather (both size 6 EE), and a pair of Saville Row black leather lace up shoes (size 6 wide fitting) (one box)
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Cowden-Clarke, Mary.: Honey from the Weed. Verses. 1881. First edition. Inscribed presentation copy with signed and dated photograph of the writer laid down on verso of front free endpaper. Tipped in are 3 photographs of Greek nationals in traditional dress identified on versos in a later hand. Original decorative blue cloth rubbed, light foxing to prelims. Best known for her Concordance to Shakespeare, Mary's early years were spent amongst her parents' circle of artistic and literary friends including John Keats, Leigh Hunt and Charles and Mary Lamb. Mary Lamb encouraged her literary interests, schooling her in Latin and poetical reading and Leigh Hunt later introduced her to Charles Dickens who persuaded her to act in the amateur productions he was promoting to raise funds for a permanent curatorship of Shakespeare's birthplace at Stratford -on - Avon. [William St Clair estate]
Hume, David.: Private Correspondence of David Hume with Several Distinguished Persons... now first published from the originals. London, Henry Colburn, 1820. A few light spots, period calf rehinged with tape; and An Abstract of a Treatise of Human Nature. A pamphlet hitherto unknown. Cambridge, 1938. A few light spots.
Photography. The Duthie Park Aberdeen 1883; Hatton House,Privately Published, 1875;: Ballantyne, R.M. Pictures of Edinburgh, scattered light foxing of leaves, mainly marginal, but affecting edges of a few plates; Wilson, Edward L. Wilson's Quarter Century of Photography, New York, 1887 and 20 other works concerned with photography or illustrated with real photographs.
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