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Lot 63
Luxus-Tisch-Stereobetrachter, um 1870Smith, Beck & Beck, London. Nr. 1910, zum lichtdichten Anlegen von Stereo-Glasdias und Stereokarten 9 x 18 cm, Okulare signiert: "Smith, Beck & Beck – Achromatic" und "31 Cornhill London – Stereoscope", für Basisänderung drehbare achromatische Prismen-Linsen in Messingfassung (dazu für unterschiedliche Fehlsichtigkeit einzeln herausziehbar), beide Okulare zusammen fokussierbar durch Zahnstangentrieb, mit umsteckbaren Spiegel zur Beleuchtung, mit einer Tissue-Karte einer Schönheit, die ihr Bein (bei Kerzenlicht) zeigt, Mahagonigehäuse mit Tragegriff, dient gleichzeitig als Sockel und Transporthaube, Maße geschlossen 20 x 18 x 13,5 cm. Start Price: EUR 450 Zustand: (3/2-)Table Stereo Viewer by Smith, Beck & Beck, c. 1870London. No. 1910, for light-tight viewing of 9 x 18 cm glass stereo slides and stereo cards, with polished mahogany body with inset brass handle and box-form case that serves as a base and a transport cover, removable mirror for lighting, rotating brass-bound achromatic prism lenses with rack-and-pinion and pull-push focusing, the lens mounts marked: "Smith, Beck & Beck – Achromatic" and "31 Cornhill London – Stereoscope", dimensions closed 20 x 18 x 13.5 cm, with suggestive tissue stereo card of a young woman by candlelight. Start Price: EUR 450 Condition: (3/2-)
Lot 109
AN EMBROIDERED SILK 'DRAGON' ROUNDELWanliFinely embroidered in multi-coloured floss silk and gold-wrapped thread with a front facing dragon pursuing the flaming pearl above the terrestrial diagram, beneath a large double-gourd lantern enclosing the Shou character and Leiwen symbol, flanked by further gourd lanterns and sprouting stems of lingzhi fungi, all interspersed amidst wispy ruyi clouds and on a coral-red ground, mounted with silk on frame. 37.7cm (14 3/4in) wide.Footnotes:明萬曆 壽字龍紋圓補Provenance: Spink & Son Ltd., LondonA European private collection, acquired from the above on 25 September 1997來源： 倫敦古董商Spink & Son Ltd.歐洲私人收藏，於1997年9月25日從上處獲得 Published, Exhibited and Illustrated: Spink & Son Ltd, The Art of Textiles, London, 1989, cat.no. 49.展覽著錄： Spink & Son Ltd，《The Art of Textiles》，倫敦，1989年，圖錄編號49 The present badge would have likely been applied on the front or back of a festive robe worn by one of the highest-ranking members of the Ming court, likely a Prince, as he attended the New Year celebrations. New Year was a time for wishing good fortune. It was celebrated at the time of the second new moon after the Winter Solstice, blending Imperial ceremonial grandeur and vibrant popular customs. The Lantern Festival signalled the end of the New Year's festivities. It was a three-day event held at the time of the full moon, fifteen days after the start of the New Year. This celebration likely originated during the Han dynasty and is believed to be linked to the spread of Buddhism in China. Emperor Ming of the Eastern Han dynasty (25-220 AD) learned that Buddhist monks honoured relics by lighting lanterns on the 15th day of the first lunar month. Embracing the practice, he commanded that lanterns be illuminated throughout the Imperial palace and all temples on the same day. The tradition of hanging colourful lanterns, often adorned with riddles, soon spread widely among the Chinese populace; see G.J.Melton, Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations, Goleta, CA, 2011, pp.514–515. At the time of the Wanli Emperor, known for his consumption and demand of luxurious silks, garments worn during the New Year festivities appear to have been restricted for wear by the highest-ranking members of the Court. These were often decorated with gourds, traditional symbols of abundance, which were often embellished with characters of a congratulatory nature and other emblems underscoring auspicious symbolism, such as displayed by the present example; see J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.50. On the present badge, the largest gourd is embellished with the Shou character and the Leiwen symbol which, together with the lingzhi fungi, form the rebus 'May you live for ten thousand years'.Compare with a nearly-identical red-ground silk embroidered dragon roundel, Wanli, in the collection of the University of Alberta Museum, Edmonton, Canada, illustrated by J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.52.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 187
LIN FENGMIAN (1900-1991)Fishing Boats off the CoastInk and colour on paper, signature and seal of the artist mounted, framed and glazed. 33cm (13in) square. Footnotes:林風眠(1900-1991) 江邊漁船 設色紙本 鏡框 款識：林風眠鈐印：林風暝印Provenance: an English private collection, acquired by the owner's parents in China, and thence by descent來源： 英國私人舊藏，由現所有者父母購自中國，並由後人保存迄今Lin Fengmian, a native of Meixian, Guangdong Province, is one of the most important artists in 20th-century China. His grandfather was a stone carver, and his father was a local painter. Lin learned both trades during his childhood and in 1919 travelled to France, where he studied and worked for six years at Dijon Art College and the École Nationale Supérieure des Beaux-Arts in Paris. In France, Lin studied European painting, particularly the works of Matisse, Picasso, and Modigliani. In 1923, he travelled extensively in Germany. In 1979, he settled in Hong Kong, where he spent the remainder of his life. Lin's work integrated the Impressionists' technique of working with outdoor lighting with traditional Chinese ink and wash, successfully blending Western principles of composition with Chinese colour and ink figure sketches. For more details, see Three Thousand Years of Chinese Painting, New Haven, 1997, pp.323-324.In the mid-1950s, the new Communist government encouraged artists to serve the people and depict scenes of common folk at work. Along with artists from the Shanghai Artists Association, Lin Fengmian travelled several times to the fishing grounds at Zhoushan, Zhejiang Province. Since then, Lin created a series of paintings portraying the life and work of fishing villages. For more details, see Art 60 Years in China 1949-1979, Shijiazhuang, 2009, pp.72-73.Compare with a related painting by Lin Fengmian, of cormorants by the fishing boats, which was sold at Sotheby's Hong Kong, 30 April 2022, lot 3175.For further information on this lot please visit Bonhams.com
Lot 236
A pair of 19th century Continental hand-painted wall mounting shallow bowls, one painted with a gentleman lighting his pipe, the other of a young lady holding a candle, unmarked, diameter 24cm, both in matching ornate gilt wood frames, 37 x 37cm (2).Condition Report: The plates are in good condition, some scratching and grazing as you would expect with age and wear and some of the frame decoration is missing or has been repaired, otherwise still look good.
Lot 661
A collection of 00 gauge railway modelling lineside accessories including boxed Hornby Dublo Colour Light Signals ES6 and ES7, unboxed greengrocer stall, station hoardings and timetable board by Wardie Master Models, Hornby Dublo Loading Gauge, Lighting kit 1575 and Insulating Tabs and Dublo Dinky truck and Lansing Bagnall Tractor with 5 trailers.
Lot 620
Make & Model:Austin Healey , 100/6 Date of Reg:OSJ324 Colour:Green cc:2639 Fuel Type:Petrol Mileage:10288 Transmission:manual Summary:When new in 1958, this Austin-Healey 100/6 (BN4) was exported to the USA but returned to the UK in 1995 in poor condition. It was restored (and its colour changed from original Ivory White) and then UK-registered in April 1998 (with photographs and invoices supporting this in the paperwork file). The odometer shows 10,288 miles and the last MoT expired in January 2024 after being tested the previous year at an indicated 9752 miles. However, as an historic vehicle, the Austin-Healey no longer requires annual testing. The V5C notes six registered keepers, one of whom was Anthony Hamilton, the father of Formula One champion Lewis Hamilton. Our vendor bought the car in January 2023 to satisfy a long-term desire but never intended to own the car for too long, hence its sale now. He reports that it runs and drives well, and is reliable on the local classic car trips he has used it on, but notes some engine oil leakage at the front. Upgrades include LED lighting with indicator conversion. Paperwork includes the V5C, MoT certificates back to 1999, some Alabama paperwork, and a collection of invoices. There's also the restoration photos, SU carburettor tuning, adjustment and servicing instructions, a Heritage Certificate, workshop manual and a notebook detailing work done between August 2018 and October 2024, which includes a recent full service.
Lot 73
Three trade sales catalogues for accessories,comprising Stedall & Company 'Coach and Motor Section', paper covers (rear cover torn, spine worn, with drawing to outer leaf), 254 numbered pages, 4to; Bischoff & Cie, French text, 48 pages of lamps and lanterns includes 9 pages of cycle lighting, 4to; and Dunlop Trade List 1910, 4to with two Dunlop patches, various conditions. (5)Lot to be sold without reserve.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![A white Anglepoise lamp, model 82, and two pieces of wall mountable vintage lighting. [2]. [W]](https://cdn.globalauctionplatform.com/e5446863-0fed-4fc2-9544-b1e200d7a611/a22e752e-d9f7-472f-af09-b211010c8861/468x382.jpg)
![A Protector Lamp & Lighting Co Ltd safety lamp, Type 6, 25 cm (h) not including handle. [W]](https://cdn.globalauctionplatform.com/e5446863-0fed-4fc2-9544-b1e200d7a611/f525099b-c806-48a6-ba3b-b20600e817e6/468x382.jpg)
Lot 34
Two versions of lighting offered to miners - wide lamp with hook clip on (4"L x 4.25"W x 5"H) and small brass clip on with narrow light (3.25"L x 2.5"W x 4.25"H). Universal Lamp Co. impressed mark. Issued: 20th centuryDimensions: See DescriptionManufacturer: Universal Lamp Co. Country of Origin: United StatesCondition: Age related wear.
Lot 406
ETTORE SOTTSASS (ITALIAN 1917-2007) FOR STILNOVO TWO 'DORAN' TABLE LIGHTS, DESIGNED 1978 applied Murano labels (to the glass), glass and enamelled metal 22cm high, 19.5cm wide (8 5/8in high, 7 5/8in wide) and 20cm high, 19.5cm wide (7 7/8in high, 7 5/8in wide) (2) ‘When I was young, all we ever heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting.’Ettore Sottsass.Ettore Sottsass was a renowned Austrian-born Italian architect and designer whose work is instantly recognisable for the manner in which it disrupted tradition and expectation with bold colours and innovative forms. Born in 1917, he followed in his father’s footsteps by studying architecture, graduating from the Politecnico di Torino in Turin in1939. Following on from the Second World War, he set up his own architectural and industrial design studio experimenting and exploring with a wide range of materials: from ceramics to furniture and from jewellery to architecture. In 1958, Sottsass became a design consultant with the manufacturer Olivetti, and it was during this period that he started developing his use of bold colours, that began blurring the boundaries between pop culture and industrial design. Amongst the designs concepts that he created for Olivetti, was the Valentine typewriter in 1969, that ‘subverted the status quo’ of typewriter design, and it remains a milestone in the fiel, capturing the ethos of the counter-culture emerging in the late 1960s. Throughout this decade and the 1970s, Sottsass travelled widely, absorbing what he experienced and reproducing it in his larger, sometimes abstract work. Following his time at Olivetti, Sottsass formed the influential and groundbreaking Memphis Group, or Memphis Milano, in 1980. Active until 1987, its postmodern furniture, lighting, fabrics and objects were characterised by colourful and abstract decoration, asymmetrical forms, and references to earlier and exotic designs and styles. One of their great breaks from the immediate past was the idea that form and function should stand in equal partnership – the Memphis artists believed in an uninhibited creative freedom. As a result, the Memphis Group changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look. Its legacy is significant in allowing a new generation of designers to break all the rules.This autumn we are delighted to offer four works that convey Sottsass’ diverse and bold practice throughout his career. The Ultragragola mirror, produced for Poltronova, was designed by Sottsass in 1970 as part of the Mobili Grigi - the only piece from the collection to proceed beyond the prototype phase, and possibly one of the most iconic of his early designs. Compared to the Park Lane coffee table, produced for Memphis Milano in 1983, and the eye-catching large Claire de Lune Totem, designed around 1988 for Mirabili, it conveys his ability to master a range of materials and styles and to produce strikingly confident forms instantly recognisable in the history of twentieth-century design.
Lot 371
GAETANO PESCE (ITALIAN 1939-2024) 'O SOLE MIO', 1972/1991 aluminium hoop with steel fixings, resin 'sun' fitted to aluminium transport housing electronic and lighting, purported to be one of three prototypes 180cm diameter (70 ¾in diameter) Urban Architecture, New York, from whom acquired by Steve Allison, March 2004.The Steve Allison collection. On O Sole Mio Pesce wrote 'I made the model only, because the technology of that time was not able to develop such a complex project. It is a round rail with the sun moving - a superb piece because this is a lamp that works like the sun. The idea is that [with] a sensor switch on the light, the sun appears during the actual night, and when the day starts, the sun of the lamp disappears - it turns off…we did finally work with Meritalia to realize the round one, but they were not able to do it…But it is a fantastic object. I want to repeat that. The sun is something so powerful - it is always moving…and the lamp does the same thing. And it's a figurative object. This is also very very powerful.' (Quoted in Gaetano Pesce: The Complete Incoherence) Literature:Adamson, Glenn, Gaetano Pesce: The Complete Incoherence, The Monacelli Press, 2003, pp.144-5, an example illustrated.
Lot 401
ETTORE SOTTSASS (ITALIAN 1917-2007) 'CLAIR DE LUNE' TOTEM, DESIGNED 1988 wood, metal and glazed ceramic, outside the edition of 29 190cm high (74 ¾in high) including wooden base, 175cm high (68 7/8in high) excluding wooden base P. Brillet Esq, from whom acquired by the current vendor;Private Collection, London. ‘When I was young, all we ever heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting.’Ettore Sottsass.Ettore Sottsass was a renowned Austrian-born Italian architect and designer whose work is instantly recognisable for the manner in which it disrupted tradition and expectation with bold colours and innovative forms. Born in 1917, he followed in his father’s footsteps by studying architecture, graduating from the Politecnico di Torino in Turin in1939. Following on from the Second World War, he set up his own architectural and industrial design studio experimenting and exploring with a wide range of materials: from ceramics to furniture and from jewellery to architecture. In 1958, Sottsass became a design consultant with the manufacturer Olivetti, and it was during this period that he started developing his use of bold colours, that began blurring the boundaries between pop culture and industrial design. Amongst the designs concepts that he created for Olivetti, was the Valentine typewriter in 1969, that ‘subverted the status quo’ of typewriter design, and it remains a milestone in the fiel, capturing the ethos of the counter-culture emerging in the late 1960s. Throughout this decade and the 1970s, Sottsass travelled widely, absorbing what he experienced and reproducing it in his larger, sometimes abstract work. Following his time at Olivetti, Sottsass formed the influential and groundbreaking Memphis Group, or Memphis Milano, in 1980. Active until 1987, its postmodern furniture, lighting, fabrics and objects were characterised by colourful and abstract decoration, asymmetrical forms, and references to earlier and exotic designs and styles. One of their great breaks from the immediate past was the idea that form and function should stand in equal partnership – the Memphis artists believed in an uninhibited creative freedom. As a result, the Memphis Group changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look. Its legacy is significant in allowing a new generation of designers to break all the rules.This autumn we are delighted to offer four works that convey Sottsass’ diverse and bold practice throughout his career. The Ultragragola mirror, produced for Poltronova, was designed by Sottsass in 1970 as part of the Mobili Grigi - the only piece from the collection to proceed beyond the prototype phase, and possibly one of the most iconic of his early designs. Compared to the Park Lane coffee table, produced for Memphis Milano in 1983, and the eye-catching large Claire de Lune Totem, designed around 1988 for Mirabili, it conveys his ability to master a range of materials and styles and to produce strikingly confident forms instantly recognisable in the history of twentieth-century design.
Lot 402
ETTORE SOTTSASS (ITALIAN 1917-2007) 'PARK LANE' COFFEE TABLE, DESIGNED 1983 fiberglass and marble 36.5cm high, 97cm diameter (40 3/8in high, 38in diameter) Private Collection, London. Literature:Radice, Barbara, Memphis: Research, Experiences, Results, Failures and Successes of New Design, London, 1984, p. 177;Memphis Milano, manufacturer's catalogue, Milan, 1986, p. 19. ‘When I was young, all we ever heard about was functionalism, functionalism, functionalism. It’s not enough. Design should also be sensual and exciting.’Ettore Sottsass.Ettore Sottsass was a renowned Austrian-born Italian architect and designer whose work is instantly recognisable for the manner in which it disrupted tradition and expectation with bold colours and innovative forms. Born in 1917, he followed in his father’s footsteps by studying architecture, graduating from the Politecnico di Torino in Turin in1939. Following on from the Second World War, he set up his own architectural and industrial design studio experimenting and exploring with a wide range of materials: from ceramics to furniture and from jewellery to architecture. In 1958, Sottsass became a design consultant with the manufacturer Olivetti, and it was during this period that he started developing his use of bold colours, that began blurring the boundaries between pop culture and industrial design. Amongst the designs concepts that he created for Olivetti, was the Valentine typewriter in 1969, that ‘subverted the status quo’ of typewriter design, and it remains a milestone in the fiel, capturing the ethos of the counter-culture emerging in the late 1960s. Throughout this decade and the 1970s, Sottsass travelled widely, absorbing what he experienced and reproducing it in his larger, sometimes abstract work. Following his time at Olivetti, Sottsass formed the influential and groundbreaking Memphis Group, or Memphis Milano, in 1980. Active until 1987, its postmodern furniture, lighting, fabrics and objects were characterised by colourful and abstract decoration, asymmetrical forms, and references to earlier and exotic designs and styles. One of their great breaks from the immediate past was the idea that form and function should stand in equal partnership – the Memphis artists believed in an uninhibited creative freedom. As a result, the Memphis Group changed the course of design history, creating an aesthetic that represented a distinct moment in time immediately recognisable as a 1980s look. Its legacy is significant in allowing a new generation of designers to break all the rules.This autumn we are delighted to offer four works that convey Sottsass’ diverse and bold practice throughout his career. The Ultragragola mirror, produced for Poltronova, was designed by Sottsass in 1970 as part of the Mobili Grigi - the only piece from the collection to proceed beyond the prototype phase, and possibly one of the most iconic of his early designs. Compared to the Park Lane coffee table, produced for Memphis Milano in 1983, and the eye-catching large Claire de Lune Totem, designed around 1988 for Mirabili, it conveys his ability to master a range of materials and styles and to produce strikingly confident forms instantly recognisable in the history of twentieth-century design.
Lot 40
Hand painted resin of a Snowman Magician, with birds and a bunny. Incorporated lighting. Lenox backstamp on the underside. This item has its original box. Box measures 12.5"L x 11.5"W x 8.5"H. Certificate of Authenticity included. Artist: BywatersDimensions: 10"L x 9.75"W x 6.5"HManufacturer: LenoxCountry of Origin: United StatesCondition: Age related wear. As is. Functionality not guaranteed.
Lot 1220
G-Plan - mid-20th century 'Fresco' teak illuminated wall unit, three shelves over two-door cupboard with single shelf, raised on plinth baseDimensions: Height: 199cm Length/Width: 81cm Depth/Diameter: 46cmCondition Report:Minor scuffs to the top of the double cupboard base, lighting untested.
Lot 115
Registration No: Unregistered Frame No: 125SL 211159 MOT: ExemptComplete and in excellent original conditionComes with a NOVA for UK registrationSubject to recent recommissioning work and described as 'running very well'Matching numbers with excellent bodyworkKeys presentIn 1952 a group of Basque businessmen trading as Lambretta Locomociones SA obtained a license to build Lambretta scooters in Spain. Production began two years later at a purpose-built factory in Eibar. Sales were good and around 1964 the company began to use the name Serveta SA for its own commercial activities. In 1982 the company changed its name to Lambretta S.A.L. following a change of ownership. Servetas were initially only produced for the Spanish domestic market. However, by 1970 Spanish built machines were being sold in the UK by Lambretta Concessionaires alongside their Innocenti equivalents as Italian supply was known to be stopping. By the end of the decade, Serveta scooters were being sold in the United States and the UK under their own name. Spanish Lambretta production finally ceased completely in 1989.The Series 80 (Serie 80) was launched some time in 1980 and was essentially the same scooter as the preceding LI Special and Jet 200 models but with different styling. The ‘Series 80’ decals followed the line of the side panels. Ignition and lighting were the same as the earlier models, but on most models a new style of indicator was fitted to the edge of the leg shield and side panels. A new thicker rear shock was also introduced, so that the frame and engine suspension pins became longer. The most noticeable difference was that the front mudguard and horn casting were now made of plastic and the horn grille was similarly that of the Italian GP/DL. More comfort was gained by a new coffin-style lockable seat and a Puig leg shield box. This 125 Lynx model, with original paint and engine throughout, has all the keys present. We are advised the scooter starts and runs 'perfectly'. An excellent beginner's Lambretta, these Lynx models were the equivalent of the Vespa PX in the Lambretta world, very robust and reliable. It is being offered with the NOVA number and Dating Certificate, in order that it can be UK registered.
Lot 385
Registration No: LH 1362 Frame No: 11219 MOT: ExemptIn current ownership since 2014Purchase receipt on fileUsed on the Loch Ness ChallengeA current V5C is on fileThe AJS Model D was a British motorcycle made by A. J. Stevens & Co. Ltd in Wolverhampton between 1912 and 1925. With production halted by WWI, AJS managed to develop the Model D into a popular sidecar machine, eventually being replaced by the larger capacity AJS Model E.This very handsome AJS Model D is an outstanding and eminently usable Vintage machine, very capable of many of the VMCC events that it has already completed, with many more to come. It has completed the very challenging Loch Ness Run with no known faults. Used by the current vendor since it was purchased in 2014, the paperwork file includes purchase receipts, various invoices, copies of the handbook and parts book and old MOTs. It also has the very effective ‘easy lift’ stand attachment and full lighting set. An excellent opportunity to acquire a very nice and very capable V-twin machine from one of the premier motorcycle manufacturers of the Vintage era. For more information, please contact: Stewart Parker info@handh.co.uk 07836 346875
Lot 382
Registration No: SSJ 576 Frame No: 59710 MOT: ExemptThe Rudge has been owned since 2007A fast late Vintage machine, in good running order and used regularlyThe engine was overhauled by Chris OdlinA current V5C on filePLEASE NOTE: The registration number is: SSJ 576 and not SSY 576 as printed in the catalogue.The Rudge Ulster was made famous by Graham Walker's victory in the 1928 Ulster Grand Prix thus giving the bike its name. It was one of the first occasions a road race had been won at an average speed of more than 80mph, setting a lap record of over 82mph. The bike became the mainstay of road racing in the day, with even Enzo Ferrari running a race team in Italy using Rudge machines. It was supplied ready to race to privateers and was comparatively inexpensive, so the Ulster went on to win many honours in the Isle of Man TT and other international events.This 1937 Rudge Ulster was acquired by its present owner in 2007 as a restored machine, 'SSJ' has been in regular use since. It has been fastidiously cared for and maintained by its enthusiastic owner, with a paperwork file that includes the 2007 purchase receipt along with other receipts, including those for an engine overhaul by Chris Odlin, old MOTs, tax discs etc. Renowned as one of the 1930s ultimate sporting motorcycles, the Ulster needs little in the way of an introduction and 'SSJ' is a fine example of the marque, still in good order throughout and until recently regularly exercised, even the lighting is fully operational. An excellent opportunity to acquire a fine example of the 1930s' most fabled sporting motorcycles and following the ‘usual checks’ will be ready for the road once more. For more information, please contact: Stewart Parker info@handh.co.uk 07836 346875
Lot 366
Registration No: NU 6932 Frame No: 8002 MOT: ExemptA very sporting Vintage JamesMarque specialist owned for 38 yearsCurrent V5C presentThe James Engineering Co, were a Birmingham based company, having produced bicycles, and the progressed onto motorcycles of very high quality, their slogan being 'The Famous James'. By the mid 20s they were very prominent in off road events of all types and their road machines reflected their development and durability. One of their sporting machines was the very sporty 'Model 11A', which was a lightweight, side-valve 350 machine. This little James is an ideal Banbury Run machine, which was owned by the mark specialist at the time Don Mitchell in 1973. He then restored NU 6932 to a high standard and owned it for 38 years, it is complete with a full, acetylene lighting set, it starts with ease and runs with a lovely vintage exhaust note, advised by the owner it pulls very well, it is complete with a V5, an RF.60, and other papers including copy manuals, and will be ready for next summer's road events after the normal safety checks. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217
Lot 599
Retro Toys - x2 Vintage Japanese Yonezawa robots, featuring a missile robot, housed within an associated box and a gear robot. Featuring walking action, lighting inside the chest, gear action and talking. Tested and both are in part working order, where the missile robot has no lights and the gear robot's gears don't move. Largest measuring approx. 27cm, including the box.
Lot 310
PAIR OF FRAMED CHINESE RICE PAPER PAINTINGS, 19TH CENTURY One image depicts a pair of gentlemen playing Chinese Checkers overlooked by another lighting a pipe and a lady bringing tea. Other image depicting tradesmen and prospective buyers. Watercolour on paper, each in a red velvet couch frame, width 39cm, height 27cm. (2)
Lot 218
Joos de Momper (Anvers, 1564-1635) et Jan Brueghel Le Vieux (Bruxelles 1568-1635 Anvers)Grotte avec service religieux et vue panoramique huile sur panneau, le revers marqué avec le chatêau et les mains d'Anvers et marque du fabricant du panneau Guilliam Aertssenoil on panel, the reverse stamped with the castle and hands of Antwerp55.5 x 97.5cm (21 7/8 x 38 3/8in).Footnotes:ProvenanceCollection of Thomas Green, LadbrookHis sale, Christies 1819 (bt. Cubitt)With Cubitt, from whom acquired byCollection of W. T. Hartcup (1848-1911) and by descent until offeredHis sale, Phillips, London, 13 May 1986, lot 47 (as Property of a Gentleman)With De Jonckheere, Paris, where purchased by the present owner in 1990Private Collection, SpainLiteratureK. Ertz, Josse de Momper der Jungere (1564-1635), Freren, 1986, p. 594, no. 475, ill.This collaboration between Joos de Momper and Jan Brueghel the Elder showcases their combined mastery of landscape and figure painting. The present work shows a fantastical rocky cave, with foliage and lighting that evokes a sacred atmosphere. De Momper's skill in rendering dramatic, rugged landscapes is perfectly complemented by Brueghel's delicate figures, which add a human element to the otherwise sublime setting.We are grateful to the RKD Marks on Art for identifying the panel makers mark of Guilliam Aertssen and for dating it to after 1618. The Antwerp brand dates to 1617-1626.For further information on this lot please visit Bonhams.com
Lot 109
Meccano - An unboxed 1930s Constructor Car (Assembled). Item appears to be in fair plus condition with some age related wear and damage to the wind screen. Item contains its original driver figure and comes with additional construction parts and a key. Item has been tested and works. Also contains a boxed M251 Motor car Lighting Set; good box. Items unchecked for completeness. (This does not constitute a guarantee) RG
Lot 132
Metcalfe - Faller - Railscenix - A collection of railway accessories and kits including Red Brick Corner Shop kit in N gauge # PN174, a water tower # 230, figures, lighting, fencing and more. Some kits are unmade, some items are used, Fair to Good overall. (This does not constitute a guarantee) [ba]
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13370 item(s)/page