VIP Raceways: A collection of three boxed VIP Raceways vehicles to comprise: MGA, R64, #6, red body, vehicle appears complete, windscreen in need of attention, correct colour spot; Club Special, Healey, R65S, light blue body, windscreen in need of attention, vehicle appears complete but in need of a clean, incorrect colour spot; and Club Special, BRM, R63, #5, white body, warping to body, in need of attention, appears compelte, incorrect colour spot, no insert; all boxes are original, general wear to edges, tear down one edge of BRM box, MGA and Healey box have inserts. (3)Provenance: The vendor is a descendent of one of the founding members of Victory Industries Ltd.
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VIP Raceways: A collection of three boxed VIP Raceways vehicles to comprise: Club Special, Healey, R65S, light blue body, vehicle has some discolouration to front, appears complete; Formula 1 Model Car, Cooper, R60, #3, red body with white nose, warping to front of body, vehicle appears complete; and Club Special, MGA, R64S, yellow body, missing windscreen, slight warping to body; all in original box with correct colour spot, with inserts, general wear to edges. (3)Provenance: The vendor is a descendent of one of the founding members of Victory Industries Ltd.
VIP Raceways: A collection of three boxed VIP Raceways vehicles to comprise: Formula 1 Model Car, Cooper, R60, #7, light blue body with white nose, warping to body, vehicle appears complete, incorrect colour spot; Club Special, MGA, R64, light blue body, missing windscreen, warping to right side of vehicle, correct colour spot, in 'Emergency Pack' box, vehicle in need of general attention; and Formula 1, BRM, R63, #2, green body, warping to body, vehicle missing one mirror, in 'Emergency Pack' box, correct colour spot; boxes have general wear to edges. (3)Provenance: The vendor is a descendent of one of the founding members of Victory Industries Ltd.
VIP Raceways: A collection of three boxed VIP Raceways vehicles to comprise: Club Special, Healey, R65S, yellow body, missing windscreen, otherwise appears complete, vehicle in need of a clean, correct colour spot, tear to front of box; Formula 1 Model Car, Lotus, R61, #4, red body with white nose, slight warping to front of body, otherwise vehicle good, incorrect colour spot; and Club Special, Formula 1, BRM, R63S, #2, light blue body, appears complete, in need of a clean, correct colour spot; all boxes are original with inserts. (3)Provenance: The vendor is a descendent of one of the founding members of Victory Industries Ltd.
VIP Raceways: A collection of four boxed VIP Raceways vehicles to comprise: Porsche Carrera, R68, #9, lemon yellow body, warping to windscreen, vehicle appears complete and generally good; Lotus Indianapolis, R67, #1, light blue body, warping to front of body, in need of attention; Formula 1, BRM, R63, #2, light blue body, warping to front of body, discolouration to nose, appears complete, in 'Emergency Pack' box, correct colour spot; and Club Special, Formula 1, Cooper, R60S, #6, red body with white nose, appears complete, warping to nose of vehicle, in need of a clean, correct colour spot box; all boxes are original: Porsche, Lotus and Cooper boxes all have inserts. (4)Provenance: The vendor is a descendent of one of the founding members of Victory Industries Ltd.
VIP Model Roadways: A collection of three boxed VIP Model Roadways MGA vehicles, comprising two in red, and one in light blue: one red vehicle missing windscreen, with one box missing end flap; all vehicles otherwise appear good. (3)Provenance: The vendor is a descendent of one of the founding members of Victory Industries Ltd.
Mid-Century Danish dining table and six chairs, by Skovby Mobelfabrik, circa 1975, the chairs with cream upholstered seats and backs, labelled, 180cm x 120cm x 72cm high, the chairs 48cm wide x 52cm deep x 92.5cm highCondition report: Some wear to varnish on chairs and table, together with scratches, marks, etc, comensurate with age and use. Some light staining to upholstery.
William IV or early Victorian carved walnut-framed occasional chair, with humped foliage-carved crest over deep-buttoned back between partially padded open arms on lappet-carved turned front supports with ceramic swivel castorsCondition report: Minor rubbing / fading and a few light stains to upholstery. General knocks to legs. Very small loss to one open arm where it meets padded central section. Light scuffing commensurate with age and use.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
* Carpet. A Middle Eastern woollen prayer rug, early-mid 20th century, patterned rug with vase of flowers flanked by 2 pedestals within a mihrab, enclosed by decorative floral borders, in blue, green, pink, cream, and black, on a salmon pink ground, some light wear to edges, fringing to short ends with loss (one end trimmed), 192 x 132cmQty: (1)
* Embroideries. A set of 12 crewelwork square panels, early-mid 20th century, 12 embroideries, hand-worked in polychrome wools on a cream linen ground, each depicting a large floral posy, edges selve or machine-stitched, 2 with another embroidery transfer of flowers on verso, occasional very light marks, but overall in excellent unused condition, overall size of each approximately 56 x 64cmQty: (12)NOTESA set of carefully-worked embroideries, perhaps intended to be joined together for use as a bedcover or wall hanging. The panels depict: chrysanthemums tied with a ribbon; anemones; herbaceous flowers; tulips and mimosa; spring flowers; dog roses and forget-me-nots; tulips, daffodils and narcissi; poppies and cornflowers; roses and carnations; roses and poppies; poppies and wheat; roses, carnations and fuchsia tied with a bow.
* Embroidery. An embroidered panel made into a cushion cover, English, possibly 17th century (or later), hand-embroidered panel with a symmetrical design of strapwork enclosing rampant lions, rabbits, birds, and leaves, worked in silk threads in shades of red, pink, green, blue, brown and cream, using a variety of stitches (chain, stem, herringbone, feather), on an oyster silk ground, heavily worn, with losses to embroidery, and most of surface of silk perished revealing wool backing, sometime made into a cushion cover, with rear panel of beige silk stained and partly perished, 55 x 60cm (21.5 x 23.5ins), together with 7 other furnishing items or fabric pieces, including: a heavy hand-made curtain panel, 19th century, printed with an all-over pattern of large flower stems, in shades of pink, blue, green, brown, and mustard yellow, on a light brown ground, joined in centre, lined and interlined, some stains to lining, fringing on sides and lower edge, tacked along raw top edge, slightly faded in places, one area with period darn, some holes at edges, 233.5 x 136cm (92 x 53.5ins); a large turquoise damask coverlet, with 3-branched candlestick pattern in dark green and yellow, composed of 3 pieced lengths, fringed edging to all sides (with threads pulled, a few inches becoming detached on one side), 190.5 x 206ins (75 x 81ins); and 4 hemmed lengths of 1950s barkcloth, with red and green leaf pattern, 2 pieces approximately 190 x 115cm (75 x 45ins) and 2 pieces approximately 137 x 56cm (54 x 22ins)Qty: (11)NOTESProvenance: From a large private estate.
* Needlework. Specimens of juvenile handiwork, 19th-early 20th century, comprising: a finely-stitched white cotton lawn shirt with stitching at neck in pink cross-stitch 'E Elven Made this in her Fifth year 1834', some light stains and crudely stitched repairs; a sample of invisible patches on fine cotton printed with purple spots, early 19th century, framed and glazed; 3 white cotton practise pieces with examples of decorative stitching, tucks, a patch, gathered frills, gussets, covered buttons, buttonholes, eyelets, sleeves, etc., one with stitched initials and date 'N.W 1902', some toning and light marks, and 2 others similar of cream wool (one with small hole); a practise sleeve with frilled cuff, tucks, a patch, and decorative stitching, stitched initials 'M.O.'; 4 small early 20th century practise pieces framed together, one with smocking, 2 with initials 'SM'; and other related items, including a number of small practise squares and fragments with a variety of juvenile stitching, various sizes and condition, and some loose pages from Ackermann's Repository, 1809, 15 with mounted fabric samples (some detached or missing)Qty: (approximately 40)
* Quilts. Two boutis petassoun quilts, France, mid 19th century, 2 small square infant lap quilts of hand-quilted white cotton, the first with central initials 'M.R.' enclosed in a double circle of small roundels, surrounded by floral and foliate motifs within a wavy-line square, wide outer border of circles and pointed ovals each containing a heart, wheel, flower, lattice, etc., edged with a narrow border of small roundels, some light marks and minor edge-fraying, 45 x 45cm, the second scallop-edged, with central quatrefoil within a square with rounded corners, incorporating flower heads, a few small holes, 47.5 x 51.5cm, together with a later double-sided crib quilt of cream satin, hand-quilted overall, and hemmed by machine, 76 x 45cmQty: (3)NOTESThese presentation quilts for baptism or for showing an infant off were corded or stuffed between the two layers of cotton to give a substantially raised effect to the pattern. Such intricate pieces took many hours to create, and the patterns used often held symbolic meanings pertaining to love, health and happiness for the newborn.
* Children's clothes. A boy's mourning dress, circa 1840, hand-stitched figured black velvet with large floral pattern, some of the pattern picked out in purple thread hand-worked in satin stitch, stem stitch, and french knots, fitted bodice with round neck and short sleeves, lined with linen, rear opening with metal hook and stitched eyelet closures, full gathered skirt padded and lined with hand-quilted black cotton fabric, side pocket (inserted later), wide flounced lace frill to inside hem, some marks and wear, including some tears and period darns, chest 53cm (21ins), sleeves 8cm (3.25ins), length 48cm (19ins), together with 6 items of Victorian/Edwardian boys' clothing, comprising: a hand-stitched cream coat with asymmetrical button fastening, lappet-hem, and velvet collar, cuffs, pocket flaps, and half-belt, some marks, lacking button fastenings and trims (those to front opening replaced); a hand-stitched padded cream twill coat trimmed with braid and matching covered buttons, and embroidered to collar and cuffs, some marks and small holes; a cream silk waistcoat trimmed with cord, probably for a wedding, lightly spotted, lacking a button; a grey wool sailor suit jacket, with wooden whistle and metal ship and anchor pendant on plaited cord, some light spotting and small holes; a hand-stitched lined white cotton coat with pointed collar; and an unlined white cotton twill coat with collar and cuffs edged with buttonhole stitch, a few marks (mostly to front), various sizesQty: (7)
* Chalice Veil. An embroidered and metalwork chalice veil, 17th century, with central initials 'IHS' and sunburst cross worked in metallic thread within a circular border of flowers worked in coloured silks and metallic thread, large fleuron cornerpieces and a scrolling floral and foliate border similarly worked, the silks predominantly in shades of blue, white, green, and yellow, using mainly couching, long and short stitch, satin stitch, and stem stitch, occasional lost threads, on a raspberry red silk ground, some light stains and small holes and tears, with a number of period darns, edged with a border of lace handmade in gold thread, 61 x 63, framed and glazed, 71 x 72cmQty: (1)
* Clothing. A collection of Victorian mourning capes and coats, 8 women's black mourning garments, comprising 5 capes: 2 with jet beading, 1 with appliquéd decoration and ostrich feather trim, 1 of figured satin with cutwork shoulder flaps, and the other of lace over green satin lining, and 3 coats: a knee-length coat with appliquéd decoration to shoulders and sleeves, with woven label 'Costello, Ladies' Tailor' [Hull], a velvet bolero with cutwork collar, ownership woven hanging loop label at nape 'Mrs Melbourne, 71 Boar Lane, Leeds', and a jacket with lace and cutwork insertions, various sizes and all with varying degrees of wear, together with: 2 beaded flapper dresses, 1920s, 1 oyster pink, the other black with tasselled skirt, both in need of repair; a cream satin handmade wedding dress, circa 1940s, neckline embellished with pearls and bugle beads, v-waist and gathered skirt with short train, long sleeves with pointed cuff fastened with 8 small mother of pearl buttons, metal zip closure to rear (broken), some faint spotting and light soiling, a few tiny holes in train, bust 74cm (29ins), waist 60cm (23.5ins), sleeves 60cm (23.5ins), length at front 139cm (55ins) and at back 172cm (68ins), with accompanying long-tailed satin bow, full-length underslip, and net tiara edged with pearls and bugle beads; and a small child's green hand-smocked frock with puffed sleeves and peter pan collarQty: (12)
* Shawl. An embroidered Chinese shawl, late 19th/early 20th century, hand-embroidered overall in polychrome silk threads on a cream silk ground, with elaborate floral and foliate pattern incorporating exotic birds, some scattered light marks and tiny holes, occasional loose ends, wide cream silk hand-knotted macrame edging, dimensions excluding edging 150 x 150cmQty: (1)
* Shawl. A woven silk satin and gauze shawl, circa 1810-1820, shawl of green, black, brown, and pink silk satin stripes woven with repeating angular flower pattern, between cream gauze stripes, cream silk knotted fringe border, occasional light marks, 3 small holes to one corner, fringe slightly tangled in places, and several short sections missing, one 3cm section of hem replaced and with new fringe (knotted differently and slightly shorter), 159 x 155cm, fringe 15cm, together with 2 other items of ladies' clothing, comprising a pale gold silk bonnet, circa 1830-1840, hand-stitched and quilted, silk beginning to perish slightly at edges in places, lined with pale pink glazed linen (a few small marks), silk ties sometime replaced, crown approximately 21 x 16cm, plus a dark cream linen and lace collar, probably 18th century components and later construction, the linen hand-embroidered with a flower, berries, and leaves, in silks and metal threads, 18.5 x 32cmQty: (3)
* Shawls. Two Norwich shawls, circa 1860-1880, 2 large printed shawls, 1 with dainty sprigged pattern in red, blue, green, and black, and wide border in similar tones (incorporating yellow) of botehs between a scrolling floral border and border of flower swags, on a cream ground edged with burgundy, some light toning, a few small holes, a number of careful darns, fringing to short ends defective in places, 248.5 x 182cm, the other with wide border of green, red, and pink botehs and foliate fronds, on a cream ground, a couple of areas of foxing, worn, with a number of tears and holes, and some stitched repairs, 242 x 171cm, both with Sotheby's stock label still attachedQty: (2)NOTESProvenance: Castle Howard, Sotheby's, November 1991.
A Third Reich style grey wool M38 cap, bearing white metal WWII National Air Raid Protection League (Reichluftschutzbund) 'RLB' Cap badge to the front, with silver coloured piping, the grey silk style interior bearing label, K H Flauder, Minden 1938, together with a Third Reich style grey wool M38 cap, bearing appliqued white RMBO motif to the front , the grey interior indistinctly stamped 42, a Third Reich style khaki wool side cap, with single white metal pebbled button to the front, bearing appliqued silver thread RMBO motif on green triangle to the side, with khaki coloured silk style interior, a Third Reich style light brown cotton M38 cap, bearing appliqued RMBO motif to the front , with brown cotton interior, and a German Third Reich style M43 field cap, in black wool, with appliqued NSKK RMBO motif to the side, having two white metal NSKK buttons to the front and silver cord piping, the black interior with brown leather sweatband.
A Third Reich style M38 side hat, in black wool, having appliqued yellow RMBO motif to the front, above an appliqued cockade, with black cotton interior, together with a Third Reich style M38 side hat, in brown cotton, having worn white RMBO motif appliqued to the front, with red piping, the light brown interior bearing RZM label, and stamped 53, and a grey cotton side hat, with Hitler Youth badge to the front, the grey cotton interior indistinctly stamped, 57
A Third Reich style Gauleiter's visor cap, in light brown cotton with matching hat band and black piping, gold coloured braid, with yellow metal RMBO badge to the front above oak leaf cockade with central Swastika, the brown interior bearing label Karl Kunz Herrenartike Ossweil, with leather effect sweatband
AN ALEXANDRITE AND DIAMOND CLUSTER RING the cushion-shaped alexandrite is set within a surround of ten circular old cut diamonds, in 18ct gold. Size R Accompanied by report number 11160 from The Gem & Pearl Laboratory dated 22nd April 2015 stating that the natural alexandrite weighs 3.77 carats and measures 9.6 x 8.9 x 5.8mm The alexandrite appears green in daylight and pinkish green in incandescent light
Vinyl - Six Led Zeppelin LPs to include In Through the Outdoor (cover D) SSK59410, Coda 790051, 2 x II (588198 red/maroon, Killing Floor credit, and K40037 green/orange label) and 2 x Four Symbols (K50008 green/orange label & 240102 red/maroon label), vinyl vg+ with light marks, sleeves vg overall (6)
Vinyl - Aphrodite's Child 666 (Vertigo 6673 001) gatefold, Vertigo swirl inners. Sleeve VG with buffering, shelfwear, and creasing as well as some sticker residue front and back, bottom seams need reglue inner sleeves have some creasing and one has considerable tear to one side, Vinyl has some light scratches but at least VG overall
Vinyl - Led Zeppelin 3 LP's to include One (K40031) green & orange Atlantic label, sleeve & vinyl VG+. Two (588198) plum & orange Atlantic label, sleeve has buffering to corners and edges with some losses to spine but VG overall, vinyl at least VG+. The Song Remains The Same (SSK89402) sleeve is well worn with various scuffs and losses to edges, corners and spine, vinyl VG grubby with some marks and light scratches
Vinyl - Taste / Rory Gallagher 6 LP's to include Taste (583042) fully laminated sleeve showing some signs of possible damp crinkling as well as laminate creasing and lifting but very little signs of shelfwear so at least VG, vinyl has some non-feelable light scratches VG+, Live Taste (2310 082) sleeve has buffering and some losses to spine VG. vinyl VG+, Tattoo (2383 230) VG+/VG+, Blueprint (2383189) sleeves needs reglue to top and bottom seam but VG+, vinyl EX, Self Titled (2383 044) sleeve has signs of shelfwear and losses to spine VG, vinyl VG+, Live In Europe (2383 112) sleeve VG+, vinyl VG+
Vinyl - Def Leppard The Def Leppard EP (Bludgeon Riffola SRTS/78/CUS 232). Sleeve has some minor wear, creases and marks but EX overall. Vinyl has a few very light marks on both sides but nothing that would affect play and is EX overall. Signed on reverse of sleeve by Joe Elliott, Steve Clark, Pete Willis and Rick Savage in blue biro. Signatures are clear and readable. Also comes with a hand written letter from Joe Elliott on Def Leppard headed paper that reads "Dear Mr Baxter, enclosed please find one copy of the DEF LEPPARD EP. Sorry about the delay in sending it, but the demand has been very high and has now sold out. Hope you enjoy listening to it. Best wishes"
Vinyl - The Smiths / Morrissey 10 LP's to include Self Titled x 2 (Rough 61), Meat Is Murder x 2 (Rough 81), Hatful Of Hollow x 2 (Rough 76 two cover variants), Rank (Rough 126), The World Won't Listen (Rough 101), The Queen Is Dead (Rough 96) and from Morrissey Southpaw Grammar (74321299531) with booklet. Sleeves VG+ overall, Vinyl VG+ overall with only light non-feelable scratches
Garlick BARNES (1891-1987)Man Asleep at his DeskOil on canvas Signed41 x 51cmGarlick Barnes 1891-1987Garlick Barnes moved to St Ives at the outbreak of WWII. Living previously in London and Kent, she had raised her twin sons John & William (born in 1920) before she could dedicate herself to art, she then studied in Canterbury and in 1936 had become a pupil of Walter Sickert in Thanet, exhibiting with him in Margate. After moving to Cornwall, she became an active and popular member of the artists community in St Ives and exhibited regularly, was a member of the NSA and served on the Hanging Committee. Her work included portraiture but her love of gardening and flowers featured predominantly in her work as did the back streets of St Ives and the Cornish countryside. The Salt Gallery St Ives held a retrospective of her work in 1984 by which time she was in her 90s. William (Bill) Barnes 1920 -2019William and his twin brother John began filmmaking as teenagers, committing to film the lives of the coastal, rural and Gypsy communities in Cornwall and Kent that had so interested them from an early age. In 1939, they studied film with Edward Carrick in Soho who was film director for Ealing Studios and The Crown Film Unit, (later GPO films). During the Second World War they both served in the Navy and afterwards joined their mother in St Ives where they exhibited their amazing collection of artefacts which formed the Barnes Museum of Cinematography. In the late 1980s the collection was sold to the Museo Nazionale del Cinema in Turin, with some British material going to Hove Museum. Bill was a leading authority on many aspects of the optical media that preceded cinema and in particular of the early years of cinema itself. In 1997 John and William were awarded the Jean Mitry prize by the Pordenone Silent Film Festival in Italy for their distinguished contribution to silent cinema and in 2006 both brothers received an honorary doctorate from the University of Stirling.Condition report: Canvas taught and stretcher in good condition. The thick impasto paint is loosely applied and there are some bare areas of canvas but this is not loss of paint. Would benefit from a light clean. No damage or repairs.
17th-century portrait of a gentleman wearing a ruffOil on canvasInscribed and dated 1639, charged with sitter's coat-of-arms63x51cmCondition report: This lined work is unframed. There is an area of paint loss to the upper left section of the forehead and a few other small areas of minor paint loss. When inspected under a UV light there was no evidence of overpainting. Please see images for further condition.
Garlick BARNES (1891-1987)Still Life - Vegetables Oil on canvas Signed 41 x 51cmGarlick Barnes 1891-1987Garlick Barnes moved to St Ives at the outbreak of WWII. Living previously in London and Kent, she had raised her twin sons John & William (born in 1920) before she could dedicate herself to art, she then studied in Canterbury and in 1936 had become a pupil of Walter Sickert in Thanet, exhibiting with him in Margate. After moving to Cornwall, she became an active and popular member of the artists community in St Ives and exhibited regularly, was a member of the NSA and served on the Hanging Committee. Her work included portraiture but her love of gardening and flowers featured predominantly in her work as did the back streets of St Ives and the Cornish countryside. The Salt Gallery St Ives held a retrospective of her work in 1984 by which time she was in her 90s. William (Bill) Barnes 1920 -2019William and his twin brother John began filmmaking as teenagers, committing to film the lives of the coastal, rural and Gypsy communities in Cornwall and Kent that had so interested them from an early age. In 1939, they studied film with Edward Carrick in Soho who was film director for Ealing Studios and The Crown Film Unit, (later GPO films). During the Second World War they both served in the Navy and afterwards joined their mother in St Ives where they exhibited their amazing collection of artefacts which formed the Barnes Museum of Cinematography. In the late 1980s the collection was sold to the Museo Nazionale del Cinema in Turin, with some British material going to Hove Museum. Bill was a leading authority on many aspects of the optical media that preceded cinema and in particular of the early years of cinema itself. In 1997 John and William were awarded the Jean Mitry prize by the Pordenone Silent Film Festival in Italy for their distinguished contribution to silent cinema and in 2006 both brothers received an honorary doctorate from the University of Stirling.Condition report: This unframed oil is in original condition, it may benefit from a light clean but doesn't really need it.
Terry FROST (1915-2003)UntitledGouache and collage Signed and dated '7414 x 19cmBeaux Arts gallery label to versoCondition report: No obvious condition issues, there are very slight light areas to the red semi circle but we do not think this is fading. The yellow background is a little dirty but this is as it would have come from the studio. The Beaux Arts label to verso is incorrectly dated 1970.

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