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Lot 125
Gent's Omega Seamaster Professional chronograph watch, no. 80137045, stainless steel, with papers, guarantee, box, and other items, 2001.CONDITION REPORT: There is a warranty and guarantee (31.03.01) with the number. It has come from a deceased estate. The case has not been opened but it is unlikely that this isn't the watch's origin. Watch is going with no issues. Papers: warranty (as above), guarantee (also numbered), international warranty, operating instructions, service centres network. Red leather wallet, scuffed box etc. Bracelet approximately 21cm with approximate 10mm spare links. Bezel is stiff to turn. Bezel 41mm diameter. Watch glass 30mm diameter. No rust, poor lighting when photographed.
Lot 1073
MADONNA - THIS IS NOTHIN' BUT MADONNA - JAPANESE LP PROMO (PS-311). Super scarce Japanese only promo of This Is... Nothin' But Madonna (Sire PS-31). The record Ex+ condition showing only a couple of very light and wispy markings under intense lighting. The sleeve is in Ex+ condition showing only a couple of very minor creases around the edges.
Lot 965
DECCA SXL 6426 - MSTISLAV ROSTROPOVICH/BRITTEN - SCHUBERT & BRIDGE SONATAS LP (ORIGINAL UK STEREO EDITION). Wonderful to see extremely scarce original UK stereo edition recording of Mstislav Rostropovich and Benjamin Britten performing Franz Schubert and Frank Bridge Sonatas (SXL 6426). The record (original edition with 'Made In England' text, unboxed ffss labels) is in superlative Ex+ condition showing just a couple of extremely faint and wispy paper marks that are only really noted under intense LED lighting. The sleeve is in top Ex+ condition showing some slight paper 'rubbing' on the reverse, this only very faint.
Lot 607
DICKIE PRIDE - THE SHEIK OF SHAKE EP (COLUMBIA SEG 7937). Extremely hard to find and beautifully presented original EP release from the extremely talented yet hugely troubled Dickie Pride; this was his only EP release issued on Columbia (SEG 7937) at the age of 18. The record is in outstanding Ex+ condition showing only one or two extremely faint and wispy paper marks that are only really witnessed under intense LED lighting. The picture cover is in fantastic Ex+ condition with just a little, very light 'lifting' on the opening edge and some rather minor ringwear.
Lot 6404
Fairground: fantastic scratch built fairground vehicles made by a Derbyshire man who’s passion was vintage Fairground. These models all have electric lighting (not tested) and are superbly made and decorated. The two tractor units house model compressors and pull showman’s caravans, each complete unit 34 inches long. In addition there is a fairground organ housed in a separate trailer unit.
Lot 220
Jake Clark Plastic Chairs Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings depict suburban European seaside architecture: its houses, people and details. I sometimes choose viewpoints with objects in the foreground, for example posts; an effect seen in photographs taken from a moving car. The scale is often confusing, like you are looking at a model village. The palette is very important in trying to capture faded and sun bleached colours. Recently I have been exploring a cinematic eeriness in the lighting.
I mix styles of painting together to create different textures and speeds of painting. The collaged linoleum is a pattern, as well as a reference to the period when the houses were built. The scale of the linoleum pattern is often at loggerheads with the painted image on top.
I am particularly interested in seaside towns in the UK, but also the built up resorts found in places like Mallorca. This fascination comes from being brought up in these sorts of environments.' Jake Clark studied Fine Art at Brighton Polytechnic from 1989-91, and MA Painting at the Royal College of Art until 1993. During the Masters program at the RCA, Jake Clark won the Mario Dubsky Travel Exchange to Houston and in 1993 Susan K Summer Fellowship, Connecticut. In 2010 Jake won the FRINGEMK Painting Prize.
Lot 221
Jake Clark Plastic Chairs II, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings depict suburban European seaside architecture: its houses, people and details. I sometimes choose viewpoints with objects in the foreground, for example posts; an effect seen in photographs taken from a moving car. The scale is often confusing, like you are looking at a model village. The palette is very important in trying to capture faded and sun bleached colours. Recently I have been exploring a cinematic eeriness in the lighting.
I mix styles of painting together to create different textures and speeds of painting. The collaged linoleum is a pattern, as well as a reference to the period when the houses were built. The scale of the linoleum pattern is often at loggerheads with the painted image on top.
I am particularly interested in seaside towns in the UK, but also the built up resorts found in places like Mallorca. This fascination comes from being brought up in these sorts of environments.' Jake Clark studied Fine Art at Brighton Polytechnic from 1989-91, and MA Painting at the Royal College of Art until 1993. During the Masters program at the RCA, Jake Clark won the Mario Dubsky Travel Exchange to Houston and in 1993 Susan K Summer Fellowship, Connecticut. In 2010 Jake won the FRINGEMK Painting Prize.
Lot 277
Susanna Coffey EST. Sunflowers 1, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Lot 278
Susanna Coffey EST. Sunflowers II Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Lot 279
Susanna Coffey EST. Sunflowers III, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Lot 280
Susanna Coffey EST. Sunflowers IV, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Lot 547
Rosie Emerson Dreamer, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model. Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Condition Report: Condition Report Disclaimer
Lot 548
Rosie Emerson Ebony Rose AP, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.)Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model. Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.
Lot 1196
BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venedig Titel: Junge Venezianierin mit violettem Kopftuch. Technik: Öl auf Holz. Maße: 32,5 x 24,5cm. Bezeichnung: Signiert oben rechts: Eug.v. Blaas. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Neben den meist großformatigen Genredarstellungen Eugen von Blaas' waren seine kleineren Brustbilder weiblicher Modelle bei einem internationalen Publikum sehr gefragt. Es handelt sich hierbei nicht um Portraits im eigentlichen Sinn, sondern um die Wiedergabe eines aparten italienischen Frauentypes in unterschiedlicher Charakterisierung. Diese Spezialität de Blaas' brachte ihm den Beinamen "Maler der Venezianischen Schönheiten" ein. In die Reihe dieser Werke gehört das hier angebotene Werk "Mädchen mit Kopftuch". Eugen de Blaas zeigt hier eine ganz andere Seite seines malerischen Könnens. Die Konzentration richtet sich ganz auf die charaktervolle Mimik der jungen Frau, Kopftuch und Haar sind flüchtig, fast impressionistisch gemalt, der Pinselstrich darf bei dieser leichten Technik gezeigt werden, die Spitze des Kleides ist pastos tupfend gebaut. Die Lichtführung in diesem kleinen Bild ist besonders raffiniert: Das starke, von oben einfallende Licht liegt gleißend auf dem Kopftuch, der weißen Spitze der Bluse und dem Dekolletee. Vor dem tief dunklen Hintergrund entsteht ein starker Kontrast in dem das, durch die krausen roten Haare leicht verschattete Gesicht den ausgleichenden Mittelpunkt bildet. Der Blick aus den mandelförmigen Augen, das leicht Lächeln und der schräg gelegte, von dem hellblauen Kopftuch ganz umspielte Kopf vermitteln einen herausfordernden Eindruck, dem sich der Betrachter kaum entziehen kann. Anders als bei dem Bild "Zwei Venezianerinnen", bei dem die Blicke der beiden Schönen auf die neue Preziose konzentriert sind und der Betrachter außenstehender Beobachter der Szene bleibt, ist der Blickkontakt zwischen dem rothaarigen Mädchen mit dem Kopftuch und ihrem Gegenüber gleichsam das Thema des Bildes selbst. Erläuterungen zum Katalog Eugen von Blaas Deutschland Romantik 19.Jh. Gemälde Porträt Malerei Venedig BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venice Title: Young Venetian with Purple Headscarf. Technique: Oil on wood. Measurement: 32,5 x 24,5cm. Notation: Signed upper right: Eug.v. Blaas. Frame/Pedestal: Framed. Provenance: Private collection, Europe. Besides the mostly large-format genre depictions of Eugen von Blaas, his smaller bust images of female models were in great demand by an international audience. These are not portraits in the true sense of the word, but rather the reproduction of a distinctive Italian type of woman in different characterizations. This speciality of de Blaas' earned him the nickname "painter of the Venetian beauties". In the series of these works belongs the here offered work "Girl with Headscarf". Eugen de Blaas shows here a completely different side of his painting skills. The concentration is entirely directed towards the young woman's facial expressions, full of character; headscarf and hair are fleeting, almost impressionistically painted, the brushstroke may be shown in this light technique, the tip of the dress is built pastos dotted. The lighting in this small image is particularly refined: The strong light coming from above lies glistening on the headscarf, the white lace of the blouse and the décolleté. Against the deep dark background, a strong contrast is created in which the face, slightly shaded by the curly red hair, forms the balancing centre. The view from the almond-shaped eyes, the slightly smiling face and the slanting head, completely surrounded by the light blue headscarf, create a challenging impression that the viewer can hardly escape. In contrast to the image "Two Venetian Women", in which the glances of the two beauties are concentrated on the new preciousness and the viewer remains an outside observer of the scene, the eye contact between the red-haired girl with the headscarf and her counterpart is, as it were, the subject of the image itself. Explanations to the Catalogue Eugen von Blaas Germany Romanticism 19th C. Paintings Portrait Painting Venice
Lot 74
Promotional Material.- Stone & Company, Ltd., of Deptford (J.) Stone's Latest Electric System of Lighting...Cooling...Heating...for Railway Carriages, deluxe brochure, photographic plates, tipped-in folding plan, original fake crocodile cloth with coat-of-arms to upper cover, slightly rubbed, [c.1907] § Chapman & Furneaux. Catalogue of Locomotives, illustrations, original cloth, gilt, Gateshead-on-Tyne, 1898; and a large collection of catalogues, pamphlets & ephemera from British and American railway manufacturers including Barclays of Kilmarnock, Fowler of Leeds, Hudwell Clarke of Leeds, Sentinel of Shrewsbury, North British Loco Co. of Glasgow, Hunslett of Leeds, Kerr Stuart of Stoke-on-Trent, Beyer-Peacock of Manchester, Vulcan Locomotives of Lancashire, and a few American including Baldwin Loco. of Philadelphia, v.s., v.p., v.d. (4 boxes)
Lot 226
JOHN JACKSON R.A. (BRITISH 1778-1831) PORTRAIT OF FREDERICK, DUKE OF YORK AND ALBANY (1763-1827) oil on canvas(75cm x 62cm (29.5in x 24.5in))Footnote: Provenance: Private Collection, England. Formerly in the collection of Derek Sherborn. Note: John Jackson R.A. (1778- 1831) was a celebrated English painter, best known for his high society portraits. Jackson received early support from the landed gentry, notably Sir George Beaumont, 7th Baronet, who offered him residence at Castle Howard, where he could study and copy from Beaumont’s extensive collection. He also received £50 per year which permitted him to attend the Royal Academy Schools. He was then elected as a member of the Royal Academy on 10th February 1817. Jackson was a prolific portraitist, with numerous notable sitters including the Duke of Wellington, the explorer Sir John Franklin, and Prince Frederick, Duke of York and Albany. Prince Frederick (1763- 1827) was the second son of King George III and Queen Charlotte, and served as the Commander-in-Chief of the British Army during the Napoleonic Wars. On 27th November 1784, Frederick was created Duke of York and Albany as well as Earl of Ulster. From 1820, he was the heir presumptive to his elder brother, King George IV, until his death in 1827. This portrait of the Duke of York and Albany is an excellent example of Jackson’s skill as a portraitist. Jackson was particularly influenced by Sir Thomas Lawrence and Henry Raeburn, which is notable in this piece in the remarkable realism and personality evoked, as well as his dramatic and unusual use of lighting. Several versions of this portrait were made by Jackson, which allows us to speculate that this was painted circa 1822, by comparing it to another very similar composition after John Jackson in the National Portrait Gallery in London, also dated circa 1822.
Lot 1388
John Kabel was an American photographer from Dayton, Ohio. He was born, raised,and died in Dayton, and outdoor photography was his bread and butter for a long time.His works have appeared in books and magazines, on calendars, and in advertisementsfor railroads and national parks. John found most of his material in the countryside andin the woods and streams near his home town, and in Ontario, Canada, where he spenttime on summer vacations. He was known for composition and lighting in his works.(From Birds, Scenery, and Folks, !in Outing: Sport - Adventure Travel - Fiction, page 16,Volume LXXI October 1917 - March 1918). The photo is signed in the lower right. Overall: 19 1/2 x 15 1/4 in. Creasing in lower right corner.
Lot 2141
A Dunhill Silver Plate Charleston Giant Table-Lighter with Watch, by Dunhill, 1986, Number 14 From a Limited Edition of 200, oblong and with wavy engine turned decoration, the front set with a clock, the dial signed Dunhill, the top with lighter mechanism, in fitted gilt-tooled black leather case, with certificate numbered 14/200 with facsimile signature of Richard Dunhill, booklet and with three packs of nine lighter flints, the lighter 13.5cm high the case 17cm high. Stamped Dunhill Made in England underneath and numbered 14/200. There is some scratching underneath and some marks on the lighter overall. The lighter is sparking properly not not lighting, possibly due to no lighter fluid. The clock is not functioning and may require a new battery. With two red pack of flints and one blue pack of flints. There are some scuffs to the case.
Lot 32
A 1940 Triumph Tiger 70 250 Excellent condition, completely rebuilt, just finished, 10 miles Newly built wheels, rims, stainless steel spokes New Dunlop TT K70 tyre and tube front, nearly new Dunlop rear Updated brakes, refurbished teleforks Rebuilt gear box, new clutch and chains Completely rebuilt engine including new Amal carb, rebuilt magneto and dynamo, new wiring throughout including 12 volt conversion and DVR2 Stainless steel front mudguard, nickel bars, chrome headlight, Smiths speedo, stainless kickstart and brake components Finned alloy oil pump cover and sump plate Chrome exhaust Alloy steering damper, chrome levers, turned brass detailing New gaskets, washers, nuts and bolts throughout It was built as a lightweight easy to use classic that has improved braking, handling and lighting 5 digit transferable original number plate V5 tax and MOT exempt. This bike could be taken back to original spec with girder forks, instruments in the tank and the tank reformed for under £1000 if you wanted to Since owning the bike I have had a Triumph specialist who has done more work for me which includes, Doherty brake and clutch levers, new HT leads made and fitted, new plug cap and spark plug, rocker feed fitted with new washers and a lot more besides The bike is unique and very rare, I have been told there are about 20 left registered in the UK Motorcycle location: Ringwood All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding Please read our terms and conditions
Lot 12
AMANCIO D'SILVA - INTEGRATION LP (ORIGINAL UK MONO PRESSING - COLUMBIA SX 6322). Introducing the stunning guitarist Amancio D'Silva (along with an all-star ensemble featuring Ian Carr and Don Rendell) with this incredibly hard to find original UK copy of the 1969 LP (Columbia/EMI Lansdowne Series mono, SX 6322). The record is in superlative Ex+ condition showing just a couple of extremely faint, tiny and wispy paper marks that are only really witnessed under intense LED lighting. Matrix: XAX 3790-1U & XAX 3791-1U. Complete with original company inner. The sleeve is in VG+ condition - there is some ringwear and general edgewear, though this is not too heavy and the spine is fully legible. The reverse flipback design is in clean order.
Lot 26
OASIS - DEFINITELY MAYBE - FULLY SIGNED ORIGINAL PRESSING LP (CREATION - CRELP 169). Totally wicked to see fully signed (original UK pressing) copy of the seminal debut album from Oasis. Signed on the front sleeve by the original line-up; Noel Gallagher (signed 'NG'), Paul McGuigan, Paul Arthurs (nicely signing as Bonehead), Liam Gallagher (signing as 'Liam') and Tony McCarroll (signing 'Best wishes Tony Mc). The records (CRE LP 169 A1/B1/C1/D1, DAMONT etchings on all four sides) are in superb archive condition showing only one or two extremely faint and wispy paper marks that are only really visible under intense LED lighting. The original gatefold sleeve is in Ex+ condition showing some very slight edgewear.
Lot 18
DAVID BOWIE - LOVE YOU TILL TUESDAY 7" (ORIGINAL UK COPY - DERAM DM 135). Really fantastic condition original UK copy of this early Bowie 45. The record is in tremendous Ex+ condition, the A side presented in wonderful archive condition showing few discernible marks of any nature, with one very faint paper mark on the B side that is only really visible when viewed under intense LED lighting. Housed with original company sleeve.
Lot 11
EDDIE COCHRAN - SINGIN' TO MY BABY LP (ORIGINAL US PRESSING - LIBERTY LRP 3061). Superbly kept copy of tragically Eddie Cochran's only studio LP - this the original US mono pressing on Liberty (LRP 3061). The record (dark green deep grooved Liberty labels, this original copy with no 'shield') is in outstanding Ex+ condition - a supreme example, there are just a couple of extremely faint and wispy paper marks that are only really visible under intense LED lighting. Matrix: LRP-30611-1 A1 & LRP-30612-1 A1. Complete with original company inner. The sleeve is in strong Ex condition - in fantastic condition, there are just a few very light and minor creases which are not heavier at all. Wonderful.
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13370 item(s)/page