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Lot 3236
Kit-built wooden dolls house, possibly by Honeychurch, as a 19th century style double fronted two-storey residence; with stucco walls and flat roof with circular skylight and parapet with balusters; central door with fanlight, Corinthium columns and balcony over; simulated sash windows to three sides; hinged front facade opening to reveal a partially furnished interior with central hall, stairs and landing, two ground floor rooms and two first floor en suite bedrooms; wired for electric lighting W69cm H70cm D41cmCondition Report:Reasonably good condition consistent with age and use.Wiring not electrically tested.Minor damage to parapet.
Lot 370
Johanna Grawunder (American 1961-) for Glas Italia XXX Low Table, designed 2009 laminated glassDimensions:39cm high, 50cm diameter (15 1/4in high, 19 3/4in diameter)Provenance:ProvenancePrivate Collection, UK.Note: Drawing from her experience in the world of lighting, Johanna Grawunder designed the XXX table to emanate coloured light without the need of electrical aid.
Lot 24
Lemak (British b. 1980)The Fifth Layer2016Stencil spray paint on boardSigned, dated. titled and numbered 6 of 10 in pen to the verso46 x 82 cm (18" x 32")Lemak is a self-taught urban street and gallery artist. Born in 1980, he is currently based in Bristol but originates from Fleetwood, UK. He was inspired to pick up a spray paint can by stencil artists such as Snik and Tank Petrol and started creating art in 2011. He is developing a signature style of his own, merging the skills of his previous trade as a joiner with his artistic talents, and now specialises in reverse stencilling on glass. The lighting elements of the art bring out different features of the work, such as the intricate patterns of tattoos, in a distinct and unique way. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 1
Betty JoelConsole, designed for Marion Brownlie Blackwell, 1937White sycamore, glass.80.2 x 74 x 36.5 cm Produced by Betty Joel, Ltd., Knightsbridge, London.Footnotes:LiteratureRoger Shuff Yatol, 'A Moderne Home for a Modern Woman: Marion Brownlie Blackwell and 1 The Ridings, Ealing', The Decorative Arts Society Journal, 2020, p. 67Bonhams wishes to thank Clive Stewart-Lockhart, Betty Joel's great-nephew, for his assistance with the cataloguing of the present lot. Lizzie BroadbentFounder of the project 'Women Who Meant Business' (www.womenwhomeantbusiness.com)Betty Joel (1894-1985) was one of the foremost designers in the inter-war period. She had a rapid rise to prominence. Self-taught, she began designing furniture for her own home and then for friends, made by her husband, David. In 1921, when she was 27, they set up Betty Joel Ltd. The company's first public outing was at the (Daily Mail) Ideal Home Exhibition in March 1922 where their 'Token' range of furniture, so named because of it was made of teak and oak, was widely praised for its beauty and craftsmanship. Key to the business's ongoing success was Betty's ability to create furniture that was both functional and beautiful.In 1924, Betty and David opened their first London store at 177 Sloane Street and three years later moved to much larger premises at 25 Knightsbridge which revealed a dozen carefully-styled rooms displaying furniture, rugs, lighting and curtains. During the 1930s Betty expanded further into the area of interior design, creating complete show rooms and apartments. Lord Mountbatten and Winston Churchill were just two of her high-profile private clients. Her work could be seen in some of the most iconic buildings of the 1930s: the Daily Express building on Fleet Street; Shell Mex House on the Strand; and Viyella House in Nottingham. Her panelling adorned the walls of Coutts' Bank in Park Lane. Harley Street patients leant on her reception desk. Guests at the Savoy Hotel and transatlantic voyagers on the RMS Queen Mary sat in her armchairs. A radio she designed for Kolster-Brandes Ltd in 1933 was 'one of the sensations' of Radiolympia, with 2,500 sets sold on one day alone. Even HRH The Duchess of York bought one. That year Betty was named alongside Gracie Fields, Madeleine Carroll, Jessie Matthews and Gertrude Lawrence as one of the highest-earning women in the country and a new factory was built in Kingston-upon-Thames to cope with demand. In the spring of 1935, the Royal Academy held its now famed exhibition of British Design in Industry, with work on show by Duncan Grant, Vanessa Bell, Susie Cooper and Oliver Hill. Betty designed a bed on a revolving platform as the controversial centrepiece for a bedroom design. In 1936, a national newspaper described Betty as 'one of Britain's leading designers of furniture and among the few women in the history of furniture designing who have touched anything like eminence in this most specialised craft.' It predicted that in a couple of hundred years, collectors would be running after Joel furniture 'as today they chase Chippendale or search for Sheraton'. However, a year later, Betty's marriage to David unravelled. She left both him and the business and never did any more design work. The company was re-established as David Joel Ltd. and Betty's reputation faded. For many decades it seemed that the forecast of greatness would be remarkably inaccurate. However, since the mid-1980s her profile has started to rise again and now finally her work is attracting the attention it deserves.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 54
Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 7278
Vintage Lego to include Set 911 Universal Building Set 1976 in original hinged box, 970 17-piece Lighting Brick Set, 661 Aeroplane, several early sets without box but with instruction leaflet including 692 Dumper Truck, 663 Hovercraft, 691 Helicopter, 310 Cargo Ship, 693 Fire Engine plus others, 4 x Road Base Sets and a mixed quantity of early catalogues - Fair to Good, sets not checked for completeness in Fair to Good packaging where applicable.
Lot 264
The Chapman Collection. During Hollywood's Golden Era he perfected the "glamour" portrait." Here, 275 of his classic duotone photos are brilliantly reproduced, using archival prints that preserve his dramatic lighting effects. Includes protective plastic encasing. Contains 223 pages. Artist: Mark A. VieiraIssued: 1997Dimensions: 9.25"W x 12.25"HManufacturer: Harry N. AbramsCountry of Origin: United StatesCondition: Age related wear.
Lot 82
Portrait depicts young Caucasian man looking up in a quarter turn pose with Rembrandt-like lighting.Sepia toned portrait photograph printed on fiber-based paper. Legible handwritten text reads, "To my side-kick Marion, in memory of our waltzes with love... 4/2/25." Signature illegible. Dimensions: 7.75"W x 10"HCondition: Age related wear.
Lot 440
A Chinese porcelain blue and white lamp base, 20th century, the baluster shaped vase decorated with floral sprays, and zoomorphic lugs flanking the flared neck, with hardwood base and insert, 57cm high including fitting Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 484
A Moorcroft table lamp in the "Clematis" pattern against a cobalt blue ground, impressed makers marks and painted Walter Moorcroft monogram to base, 37.5cm high excluding fitting, 64cm high with shade (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 531
A Waterford Crystal table lamp, 20th century, modelled as an oil lamp with hobnail decoration, etched maker's mark, 47cm high (small nibbles to inner rim) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 534
Christopher Wray, London, a pair of lacquered brass floor standing reading lamps, late 20th century, each with an adjustable arm upon an extendable column and weighted circular base, extends to 164cm high (tarnishing to one base, at fault) (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 535
A lacquered brass floor standing reading lamp/table, late 20th century, the adjustable arm upon an extendable column with mahogany tray and weighted conical base, extends to 164cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 538
An F S & Co Ltd oil lamp of large proportions, late 19th or early 20th century, the dimpled cranberry glass shade above a cut glass reservoir, raised on a wrythen brass Corinthian column on stepped base, 88.5cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.Condition reportChimney has very minor manufacturing fault to the top rim, very minor nibbles to the shade bottom rim, along with some very minor blown/manufacturing faults.Reservoir appears to be good with no visible chips or cracks, however this is some 'misty' deposits to the interior.
Lot 540
A French brass 'wheel' chandelier, late 19th/early 20th century, the supporting arm cast as ribbon and curtain swags, extending to the six branch wheel, with foliate and ribbon detail cast to the rim, below the acanthus sconce fittings, 72cm H x 50cm D Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 94
A TRADE CATALOGUE FOR THE LAMP MAKER WILLIAM MCGEOCH & CO., GLASGOW, 1900approximately 75 pages with engraved illustrations for a wide variety of domestic and marine lighting with accessories including bells, foghorns, ventilators etc. towards the back, bound within embossed card boards -- 10 x 15in. (25.5 x 38cm.); together with two trade catalogues for Alfred F. Genton, October 1912, containing a wide variety of lighting and marine accessories (some content missing)(3)McGeoch in good but used condition, the Gentons comprise one complete volume as content is missing from both but not duplicated.
Lot 369
Hornby-Dublo 00 Gauge 2-Rail 5005 and 5006 plastic Engine Shed kits unbuilt and made up, six road Shed made up, F, some supports painted, all chimneys present, small damage to roof edge, lighting fitted to one two road shed, two plain red empty 5005 boxes, 5006 Extension Set with roof and two supports and 5005 unmade Engine Shed, both , in plain red boxes, F-VG, boxes G, grubby (5)
Lot 375
Hornby-Dublo 00 Gauge small boxed Electrical Accessories, including 1511 Brush Arm Assembly (11), 1506 Brush Spring (3), R190 Brush Arm Assembly for LT25 (4), No 1 Fuses for Transformers, Six Pairs of Wheels and Axles (2 boxes), 1561 Bulbs, 3 boxes ( 18 bulbs in three boxes, various colours), Dinky Toys 787 Lighting Kit and No 24 Fuse wire on a card circle, G-VG, contents not checked, boxes F-G (26 with contents and one untitled empty box),
Lot 52
N Gauge American Steam Locomotive with Tender and Coaching Stock, cased, Bachmann 1175 4-4-0 American 124 locomotive in black Great Northern livery, Micro Trains Great Northern coaches 144 00 020, 143 00 020, 142 00 020 in dark green livery, Walthers 932-55031 Great Northern sleeper, 932-55032 Santa Fe sleeper, uncased Minitrix Union Pacific vista dome coach in silver livery and four Union Pacific clerestory coaches in blue/grey (one with loose body) and two Walthers 933-1099 boxed sleeper coach interior lighting kits (packaged appear unused), F-E, cases VG-E, (13)
Lot 517
Two heavy-duty flight cases both on castors - containing two lighting rigs that would form an important part of Blur's stage show c 1991 - 1994. The two rigs are detachable, with all four pieces measuring 153 x 15 x 93cm. A plastic covering sits above the array of fluorescent tubes and allows for a controllable display, as seen in the video below. The rig was used at many of the band's performances during that period including a Glastonbury appearance. https://www.youtube.com/watch?v=MEH6tDCxRUk The vendor, an experienced concert promoter in the Birmingham area who was heavily involved in the Brit-Pop scene would purchase the lighting rig directly from Blur, when they retired it from use. Not suitable for shipping - note that a van is required to transport the two heavy flight cases. Note that the lights in their present state are untested.
Lot 466
THREE BOXES OF ASSORTED VINTAGE CAMERAS, to include a Zero88 Level12 Plus lighting desk, a Pulsar Super spot light serial No. 6069, a boxed Nikai PDS 35mm System, over seventy assorted cameras in varying states of condition, a Wega -Sport 30x30mm coated telescope, etc. (s.d) (3 boxes + loose)
Lot 509
TWO BOXES AND LOOSE SUNDRY ITEMS ETC, to include an LED ring light on a tripod, two LED lighting strips, onyx cigarette box and lighter, carved Chinese sculpture with a broken base, a carved African Ashante fertility sculpture, brass bells, papier mâché tray with mother of pearl inlay - damaged, a BND doll in need of some attention, Hornby train box with some track pieces and a damaged coach, large picture frame etc
Lot 553
North Africa, Ca. 400-500 AD. A terracotta oil lamp of a round body with a spout on one end and a lug on the other. The body of the lamp is decorated with a recessed tondo in the center, and it features a palm tree, which is a symbol of victory, peace, and abundance in the Roman world. The palm is depicted with a slender trunk and a crown of fronds that spread out in all directions. The fronds are finely detailed and create a sense of movement and energy. The tree is surrounded by a raised border of relief decoration. The lug to the back of the lamp would have been used to hold the lamp while it was being used. The spout was used to pour oil into the lamp, while the two holes in the tondo would have allowed air to enter the lamp and help to regulate the flame. The lamp would have been filled with oil and then a wick made of linen or cotton would have been inserted into the spout. The wick would have been lit and the lamp would have provided light for the household. Oil lamps were an essential part of daily life in the Roman world. They were used for lighting homes, temples, and public spaces and were also used in funerary rituals. Oil lamps were typically made of clay, bronze, or glass and were fueled by olive oil.Size: L:130mm / W:80mm ; 125gProvenance: Private UK collection; From an old London collection formed in the 1990s.
Lot 451
Original vintage movie poster for the classic spy film James Bond 007 A View to Kill - Has James Bond finally met his match? - directed by John Glen and starring Roger Moore (in his last film as James Bond), Christopher Walken, Grace Jones as May Day and Tanya Roberts with music composed by John Barry and the title song performed by Duran Duran. Classic design by Dan Goozee (b 1943) shows Roger Moore wearing his trademark black tie / tuxedo suit, holding a gun, standing back to back with Grace Jones wearing a black costume, and lighting up a cigarette. Horizontal. Good condition, folds, small tears, minor staining. Country of issue: UK, designer: Dan Goozee, size (cm): 76x101, year of printing: 1980s.
Lot 493
1916 Coventry Eagle 269cc Model 1Registration no. DS 6733Frame no. 1750Engine no. A2201Dating from 1916, this Coventry Eagle Model 1 has the Villiers 269cc two-stroke engine and Sturmey Archer two-speed gearbox with belt final drive. Notable features include a bulb horn; leather fronted tool boxes; and Powell & Hanmer acetylene lighting. The current vendor, John Hodson, purchased the machine in November 1991 from a motorcycle auction in Rochester, Kent (invoice on file). The machine had been on display for many years in an estate agent's shop window in Rochester. Since its acquisition the engine and magneto have been overhauled and new silencers fitted.Used on various motorcycle club runs, this machine was last ridden circa two years ago, since when it has been kept dry stored in the garage under a sheet. John Hodson is the Sunbeam Motor Cycle Club's Coventry Eagle marque specialist. John has written the most comprehensive publication on the make, Coventry Eagle – The History of a Motorcycle Company. The machine is only being sold due to John's advancing age and a recent hip operation.Following a period of inactivity, this Coventry Eagle will require recommissioning to a greater or lesser extent and thus is sold strictly as viewed. Accompanying paperwork includes old/current V5/V5C documents; DVLA correspondence; an expired MoT (1993); the 1991 auctioneers' invoice; and an invoice for a magneto rebuild. Key not requiredFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 429
1972 Laverda 750 SFC ReplicaRegistration no. Not RegisteredFrame no. 750X10885Engine no. 750X10885•Offered from a private collection•Built in 2012 using factory drawings•Modified swinging armThis Laverda 750 SFC Replica was purchased from Bonhams 2015 Stafford Sale and has been on display in the vendors collection since. The previous owner advised that this 750SFC replica was built in 2012 using factory drawings for the Series '11000' batch. It is the final model fitted with the drum brakes (the optional Ceriani 4LS). The machine features a modified swinging arm with reinforced pivot and rear-axle; steeper shock absorbers; V-shaped asymmetrical centre stand (to accommodate the original 2-into-1 competition exhaust); an original Laverda road-use exhaust system; original Borrani wheel rims; Dunlop TT tyres; an all new electrical system using the original switches and lighting equipment; Verlicchi handlebars; Magura twist-grip; ethanol-resistant vinyl ester fuel tank; Carello headlamp; and Smiths rev-counter.Highlights of the engine specification include a rebuilt, lightened crankshaft; new Asso pistons; new valves and springs; new 2/C camshafts; Dell'Orto 36mm carburettors; and all new bearings and seals. Only some 500-or-so kilometres had been covered since the rebuild' s completion and the machine is presented in commensurately good condition. On offer at a fraction of the price of an original, this beautiful 750SFC replica comes with Netherlands registration papers, technical inspection and a 2015 'NOVA acknowledgment' to assist UK buyers to apply to the DVLA to register an imported motorcycle. The machine will require recommissioning.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 234
c.1955 Excelsior 98cc Consort F4Registration no. GFV 365 (see text)Frame no. F4S/2014Engine no. 652A 3858During WWII Excelsior created the Welbike for British paratroopers, which later transformed into the Corgi. Before the war, they had started the manufacture of an autocycle, the Autobyk, which continued post-war and spearheaded the upsurge in autocycles which provided cheap transport for many of the population. Capitalising further on this trend, they once again utilised Villiers engines to turn out a range of economy machines for the populace. One of these was the Consort, which was introduced in 1953, with a 98cc Villiers 4F motor and two speed gears, it had a rigid frame and direct lighting. GFV 365 is fitted with the optional leg shields, and was acquired by the vendor some years ago. Whilst the bike has not been used since that time, it has been kept in good, dry storage. The engine turns, but it will require re-commissioning or restoration to some degree. It requires no key, has no documentation, and the displayed registration number does not appear on the DVLA database.Key not requiredFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 393
Property of John Cooper1978 Yamaha TY175 TrialsRegistration no. ACH 132TFrame no. 525-120557Engine no. 525-120557Having come to dominate the spheres of road racing and moto-cross, the major Japanese motorcycle factories turned their attention to the trials world in the early 1970s, recruiting top British riders to assist with machine development. In Yamaha's case this meant Mick Andrews, late of Ossa, who began work on the TY250 in 1973. A conventional, air-cooled, single-cylinder two-stroke equipped with Yamaha's reed-valve induction, the TY250 proved good enough for Andrews to win the arduous Scottish Six Days Trial in 1974 and the model and its derivatives went onto establish a formidable reputation in observed trials. Mono-shock rear suspension and a six-speed gearbox were among the innovations tried, both of which later found their way onto production models. Currently displaying a total of 1,598 miles on the odometer, this immaculate Yamaha TY175 has been completely restored to original specification by former racer John Cooper. Run recently, the machine is offered with a V5C Registration Certificate and comes complete with a set of road lighting. This must be one of the very best of its kind currently available. Key not required.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 107
A quantity of assorted lamps and lightingincluding Powell & Hanmer; Miller; Lucas King Of The Road and others, all in various condition, completeness and condition unknown, close inspection advised. (Qty)Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 506
c.1915 Sunbeam 3½hp Registration no. CF 1973Frame no. 3373Engine no. 3385 G.S● Owned by well-known moto-cross competitor, the late Jack Hubbard, from 1988● An older restoration● Comes with a Lucas acetylene lighting setThe first Sunbeam motorcycle - a 350cc sidevalve single - left the Wolverhampton premises of John Marston, manufacturer of finest quality enamelled goods, bicycles and - latterly - cars, in 1912. Designed by Harry Stevens (later to found AJS) the 2¾hp Sunbeam was equipped with a two-speed countershaft gearbox and fully enclosed all-chain drive, proving an instant success in an era when the norm was hub gears and belt-drive. Like Marston's other products, his motorcycles soon established a reputation for sound construction and exemplary finish. Their racetrack performances did nothing to discourage sales either. Howard Davies (later to found the HRD marque) finished 2nd in the 1914 Senior TT on his and Sunbeam's first visit to the Island. Sunbeam's second model was the John Greenwood-designed 3½hp of 1913. A sidevalve single like its predecessor, the 3½hp came with a three-speed hand-change gearbox and fully enclosed oil-bath chain cases, the latter first seen on the company's bicycles. With the coming of WWI, most of Sunbeam's production was earmarked for Allied forces, the biggest 'home' user being the Royal Naval Air Service (forerunner of the Fleet Air Arm), which ordered the 3½hp as its favoured model. Believed to be an older restoration, this 3½hp Sunbeam was formerly owned by well-known moto-cross competitor Jack Hubbard, who died in 2008. A former 'works' rider for AMC, Jack won his ACU Centre's Scrambles Championship many times; the Channel Islands' Sand Racing Championship; and the Eastern Centre Grass-track Championship. Jack Hubbard purchased the Sunbeam at the Beaulieu auction in July 1988 (catalogue extract on file). Notable features include a Senspray carburettor, Brooks toolboxes and a Splitdorf magneto.The machine is offered with continuation RF.60 logbook, issued 1925, listing the date of first registration as 24th January 1921, this being shortly after the introduction of the Roads Act of 1920, which required local councils to register all vehicles at the time of licensing and to allocate a separate number to each. (Many vehicles, although in existence for several years in some cases, were only registered for the first time after the Act's passing). The logbook records the 'Year of Engine' as 1915. However, both frame and engine numbers appear to fit the Sunbeam range for circa 1915. Additional documentation includes a current V5C and HPI check, and the machine also comes with a Lucas 'King of the Road' headlamp, acetylene generator, rear light and numberplate.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 310
1966 Triumph 649cc T120 Bonneville TT SpecialRegistration no. not registeredFrame no. T120TT DU31492Engine no. T120TT DU31492The café racer's favourite since its launch in 1959, the Bonneville continued as Triumph's top-of-the-range sports model after the switch to unitary construction of the engine/gearbox in 1963. An alloy cylinder head equipped with twin carburettors helped the 'Bonnie' motor produce 46bhp at 6,500rpm, and the model was reckoned good for a top speed approaching 120mph. The USA had long been Triumph's most important export market, and to cater for local tastes a 'TT Special' (also known as the 'Competition Sports') Bonneville was introduced in 1964. The Triumph twin was already a formidable force in American flat-track racing, and the TT Special's stripped-down look, smaller fuel tank and short, open exhaust pipes echoed the style of the racers. By this time a maximum output of 52bhp was claimed for the Bonneville, while the TT Special engine produced 54bhp courtesy of 11.2:1 pistons (up from the T120 roadster's 9.0:1). A crankcase under-shield, tachometer-only instrumentation, larger-section front tyre, and an absence of lighting further distinguished the TT, which came with lowered overall gearing reflecting its intended role as primarily a dirt bike. This matching-numbers TT Special was purchased as a restoration project (in pieces) and has been restored by the vendor. It should be noted that the compression ratio has been returned to the roadster's 9.0:1. There are no documents with this Lot. Recommissioning advised.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 4278
Marklin O Gauge post-war unnamed Station measuring 48 x 20 x 17cm (19 x 8 x 7") approx finished in cream, green and brown with double storey building fitted with electric lighting, the front with double opening doors "Gepack" (Luggage) and to the left hand side of the building Wirtschaft (Economy). There is a imitation clock to front and rear of the building. The left hand side has a luggage building and to the far right is an exit barrier. Overall Excellent.
Lot 18
SALVADOR DALÍ (1904-1989)Visage féminin pour l'hologramme 'Submarine Fisherman' signed 'Dalí' (lower left)oil on glass11.4 x 14cm (4 1/2 x 5 1/2in). (within the mount)Painted in 1972Footnotes:The authenticity of this work has been confirmed by Nicolas Descharnes.ProvenanceDr. Maury P. Leibovitz Collection, Connecticut (possibly acquired directly from the artist through M. Knoedler & Co., circa 1972).Private collection, US, UK and Greece (by descent from the above in 1992).Private collection, UK (by descent from the above).ExhibitedNew York, M. Knoedler & Co., Holograms Conceived by Dalí, 7 April - 13 May 1972 (as part of the hologram installation titled 'Submarine Fisherman').LiteratureS. & L. Lissack, Dalí in Holographic Space, Charleston, 2013 (illustrated p. 12; illustrated pp. 18 & 23 as part of the hologram installation titled 'Submarine Fisherman').S. Lissack, 'Dalí in Holographic Space, Salvador Dalí's contributions to art holograms', in Spie. The international society for optics and photonics, online article, January 2014 (illustrated as part of the hologram installation titled 'Submarine Fisherman').Salvador Dalí's enthusiasm for holography was proudly declared in his introduction to the catalogue for the important 1972 Knoedler Gallery exhibition dedicated to his holographic exploration: 'all artists have been concerned with three-dimensional reality since the time of Velázquez, and in modern times, the analytic cubism of Picasso tried again to capture the three dimensions of Velázquez. Now with the genius of Gabor, the possibility of a new Renaissance in art has been realized with the use of holography. The doors have been opened for me into a new house of creation' (Dalí quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 1).This interest started in the late 1940s with the discovery by British-Hungarian scientist, Dr. Dennis Gabor, that a three-dimensional image could be recorded on a two-dimensional space. It took several years and a few technical advancements before holograms finally took the shape they have today: a transparent photographic plate which has recorded a phenomenon of diffraction of light of a three-dimensional object. Then, when illuminated at a certain angle by a beam of light, the plate reproduces a relief image of the photographed object. This major discovery earned Dennis Gabor the 1971 Nobel Prize in Physics.Coincidentally, that year also marked Dalí's introduction to holography, when South African artist Selwyn Lissack approached him at the St. Regis Hotel in New York. Lissack recalls Dalí's immediate enthusiasm for the medium and what seemed like the endless possibilities it created, with laser lights now becoming the artist's brush. The hotel suite at the St. Regis became Lissack and Dalí's impromptu studio office as 'Dalí was thrilled with the notion of working with a medium which gave him the ability to create beyond the confines of linear space' (S. Lissack, 'Dalí in Holographic Space', in SPIE. The international society for optics and photonics, online article, 1 January 2014).The present work, Visage féminin pour l'hologramme 'Submarine Fisherman', is part of Dalí's second holographic work, executed under the guidance of Selwyn Lissack: Submarine Fisherman. It consisted of a holographic installation mixing different media: first, a holographic plate of a diver was isolated in a metallic box with laser. This was then incorporated within another larger box which had a separate source of lighting shining onto a transparency of Pablo Picasso's masterpiece, Les Demoiselles d'Avignon. This second box projected the image around the hologram – contained within the first box - like stained glass. Finally, Dalí painted an oil portrait of a Catalan girl on a glass plate – the present work – which he superimposed over the holographic plate. The multi-layered result showed the portrait of the Catalan girl projected over the hologram of a diver in the sea, superimposed on the reproduction of Les Demoiselles d'Avignon. The superposition of the oil portrait and the hologram was measured by Dalí so that the nose of the girl would coincide with the elbow of the diver in the holographic image projected. Dalí thus produced a three-dimensional image while mixing media and merging artistic and scientific dimensions, at the crossroads of painting, sculpture, and photography. Selwyn Lissack, who witnessed the creation of Submarine Fisherman, recalls that he 'stood mesmerized as Dalí created a perfect merging of three-dimensional space on a two-dimensional plane' (S. & L. Lissack, Dalí in Holographic Space, Charleston, 2013, p. 23).Dalí's choice of imagery for the final hologram was no coincidence and the individual images each have their own importance. Picasso's Les Demoiselles d'Avignon depicts prostitutes in a Spanish brothel on Avignon Street in Barcelona, and Dalí's Catalonian face is thought to be one of the young girls, her visage certainly reminiscent in appearance to the figures in Picasso's work, with her abstracted features and Cubist appearance. For Dalí, the underwater world, with its deep and dark waters, was the place of all buried secrets and a perfect metaphor for the human subconscious. As such, the diver is projected onto the Picasso, which we can interpret as a materialisation of the deeply buried sexual desire in the human psyche. This interpretation is further confirmed by the luscious red lips which recall Dalí's lifelong obsession with Mae West, a sex-symbol and an often recurring motif in his oeuvre. Visage féminin pour l'hologramme 'Submarine Fisherman' is an extremely rare piece, as Dalí only ever conceived of six other holograms. Thus, creating a new way of painting using light and technology and contributing to a new artistic paradigm, Dalí's process recalled the Renaissance geniuses who had been revolutionising painting with camera obscuras. The Nobel Laureate Dr. Gabor himself saw in Dalí, 'a genius [...], creating a new art of which old, great painters may have dreamed, but which could only be realized by combining art with the most modern technology' (Gabor quoted in Exh. cat., Holograms Conceived by Dalí, New York, 1972, p. 2).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 12
2014 Ferrari FF 6262cc V12 3 door coupe Guide £95,000 to £105,000 Registration: BT14TZG Odometer: 26,800 Colour: Nero Daytona Metallic Black Fuel Type: Petrol Engine Size: 6262cc Transmission: Auto MOT: 10th April 2024 -- Very high spec FF, costing over £278,000 when new -- Replacement of the PTU last year at Stratstone Ferrari in Wilmslow, costing £24,000 -- Over £40,000 of extras when new -- Panoramic glass roof and carbon fibre everywhere Outside - The Nero Daytona metallic black is in near perfect condition with the only imperfections being a small hair line scratch on the front edge of the bonnet and a similar scratch on the top of the boot lid, both may be treatable with a professional paint correction process. - 20 inch forged diamond cut alloy wheels were a £4608 cost option, 3 being in excellent condition however the n/s front will need a refurb, all 4 matching Michelin Pilot Supersport tyres are in excellent condition - Must have panoramic glass roof costing over £10,000 when new - Giallo Modena yellow brake calipers - Scuderia Ferrari wing shields - Stunning looking car from every angle Inside - Crema leather with diamond pattern and contrast stitching seats all in immaculate condition - Every interior carbon fibre option seems to have been ticked along with leather lower dashboard and embroidered prancing horses in the headrests, all interior options are listed below in the history section - Interior is in perfect condition with that lovely Ferrari leather smell, all the switch gear is also excellent with none of the sticky problems of earlier models Mechanicals - The Ferrari 6.3 litre V12 Enzo derived engine sounds sublime in all zones of the rev counter - Gearbox performs seamlessly through the gears as do the carbon ceramic brakes when asking to haul this beast up - A recent 4 wheel geometry check and set up is also evident with the accuracy of the steering - Everything works perfectly with no warning lights showing - Comes with 2 keys, Ferrari trickle charger and red indoor car cover with prancing horse logo History - Supplied new by Graypaul Ferrari and included were the following options; 20" forged diamond cut alloy wheels - £4,608 Giallo Modena brake calipers Advanced front lighting system headlamps Front grille with chromed edges Sports exhaust system Scuderia Ferrari wing shields Privacy glass (rear) Panoramic glass roof - £10,560 Carbon fibre central zone - £2400 Carbon fibre driver zone plus LED's - £4,434 Carbon fibre central bridge - £1,920 Carbon fibre dashboard inserts Sat nav phone prep entertainment system Leather lower dash board Embroidered prancing horse on headrests - £1,248 Heated electrically adjusted memory front seat Cruise control Diamond pattern style seats - £2,832 Passenger display - £2,400 Rear seat entertainment with headsets and remotes - £3,168 TV tuner Nero contrast stitching - V5C shows only 4 previous owners - Recent replacement of the PTU at Stratstone Ferrari at a cost of £24,000 - Full Ferrari service history, with stamps annually - From 2015 to 2019 the first 5 services were carried out at Graypaul Ferrari in Birmingham - 2020 and 2021 services were carried out at JCT 600 Leeds - Last service was carried out at Stratstone Ferrari in August 2022 which included a 4 wheel geometry check Our Opinion THE best colour combination for an FF, this particular example had all the right boxes ticked when ordered new and has wanted for nothing since. Fitted with a new PTU less than 1000 miles ago this is probably the best 2 plus 2 money can buy and ready to be enjoyed either locally or on that quick trip to Nice.
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