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Lot 280
Doctor Who and Peppa Pig: A small collection of actor, David Graham’s personal memorabilia – Peppa Pig: British pre-school animated television series (2004-) Four Original draft Scripts for unreleased episodes, Karrotone Limited,unbound, 9-pages, stapled, titles include: 'Caring For Grandpa!' (2022) by Philip Hall, Draft two; Sticks, Bells and Ribbons (2022) by Jen Upton and Philip Hall, Draft three, 9-pages, with printed yellow highlights to Grandpa Pig's lines and yellow text for singing parts; Hospital Sleepover (2022) by Philip Hall, Draft two, 9-pages; Houseboat (2022), by Matilda Tristram and Philip Hall, Draft three, 9-pages, with line count of all characters to cover page, and yellow printed highlight for Grandpa Pig's lines; Magnets (2022) by Phil Hall and Seyi Odusanya, Draft five, 9-pages, with line count of all characters to cover page, and yellow printed highlight to Grandpa Pig's lines;Peppa Pig (2021) black Production crew T-shirt with Peppa Pig characters to front and Peppa pig character and text, ‘The Elf Factory’ on reverse, label reads, ‘Fruit of the Loom, size M’; David Graham signed photograph of Grandpa Pig, 10 x 8 inches; Peppa Pig, Afternoon Tea, Brigit’s Bakery thermal cup; Peppa Pig Thank You card, with a further Dalek drawing in pen, sent to David Graham to thank him for his work on Doctor Who: The Daleks in Colour (1963) ‘To Dear David, Just a quick note to say thank you for recording our Dalek voices last week. Very much appreciated!. All best wishes/ Mark & Ben’;Doctor Who: The Complete History: The Crusade, The Space Museum, The Chase and The Time Meddler, signed photograph by Maureen O'Brien and Paul Purves,10 x 8 inches; Doctor Who The Complete History: Farewell Great Macedon and The Son of Dr. Who, Peter Purves autographed photograph, signed in gold marker pen, 10 x 8 inches; Doctor Who: The Gunfighters (1966) Shane Rimmer signed photograph, dedicated in silver pen to David Graham, ‘Dear David, You're always getting in the picture/ love Shane R’, 8 x 10 inches; Doctor Who, The Daleks, 33 RPM mini album CD, 21st Century Records; Doctor Who: The Dalek and the Cyberman; a pair of collectors cards. (11)Provenance:The Collection of the late David Graham (1925-2024) who was an English actor and voice-artist best known for his portrayals of numerous classic Gerry Anderson supermarionation characters, Grandpa Pig in Peppa Pig, the Daleks in Doctor Who, and other early television series including, The Avengers, The Saint and Danger Man.Following service in the Royal Airforce as a radar mechanic, David Graham trained at the Neighbourhood Playhouse School of Theatre, New York and later, recommended by director, Michael Blakemore, he auditioned for Laurence Olivier’s theatre company, eventually appearing alongside him in Saturday Sunday Morning (1978) using an Italian accent.Graham’s long association with British producer, director and writer, Gerry Anderson began in 1958 and he went on to become the voice of many of Anderson’s characters throughout the 1960s including, his debut puppet roles, Grandpa Twink and Fernando, in Four Feather Falls, Dr. Beaker, Zarin and Mitch the Monkey in Supercar, Mat Matic and Lieutenant Ninety in Fireball XL5, various guest characters in Stingray, and Johnny in Crossroads to Crime.His most well-known role would come in Thunderbirds with his portrayal of Aloysious ‘Nosey’ Parker (whose voice he based on a waiter at the King’s Arms pub in Cookham), alongside his other regular roles as the voices of aquanaut Gordon Tracy, International Rescue engineer Brains, and the Tracy family’s faithful manservant Kyrano.
Lot 34
AN 18TH CENTURY WROUGHT IRON TRAMMEL LOOM ADJUSTABLE PENDANT RUSH NIP AND CANDLE HOLDER. English, having a slender hooked tapering stem, adjusting on a fifteen-position trammel topped by a leaf shaped finial, issuing at its end a nip and candle socket, 60cm length unextended. *CR Nicely patinated and in good order. A good example.
Lot 1211
Sinclair C5 A 1985 Sinclair C5 Serial No: 100050600211, 250 watt, 12 volt, 3300rpm, manufactured by Hoover on behalf of Sinclair Vehicles.the C5 is untested, the wiring loom to the best of our knowledge is complete , one connection block is detatched at the back of the console some extra images showing the loom and motor are being added to the lot information
Lot 318
Registration No: SFR 584J Frame No: DC02984 MOT: ExemptEarly drum-braked version of the Trident T150TFitted with an electric start and Tri-Spark ignitionSupplied with many receipts and a current V5CTriumph is one of the most iconic and revered names in the history of motorcycling. Established in Coventry in 1885, by the start of the 1900s the company had made its first motorcycle beginning a continuous run of production under various ownership until its eventual closure in 1983. In 1937 the Edward Turner-designed Speed Twin was released, thus launching a range of Triumph twins that went on to epitomise British motorcycles in the post-war years. The 3-cylinder 750cc Trident was essentially one and a half 500cc twins and proved to be the last success story for the company, with the bike going on to dominate the early years of the Formula 750 race series. Styled by Ogle Design with its distinctive 'Ray Gun' silencers and squared-off petrol tank, the first models were fitted with front drum brakes. This look proved to be unpopular at the time and later models resorted to a more traditional Triumph layout with a rounded fuel tank and round silencers. Today, classic collectors look at the first models with more affection and they have become the most collectible of the triple series. The numbers reveal this machine was manufactured in April 1969, the first year of production but was first registered in 1970. In 2020 it was the subject of a full restoration by the vendor, a former owner of Triumph specialist L. P Williams, as a bike to be ridden and enjoyed. The cycle parts were refinished, a quality UK wiring loom has been fitted together with a Tri-Spark ignition kit and a Madigan electric starter motor fitted using T160 clutch housing. The engine has had a major overhaul, the crank has been lightened and balanced with +020" shells and mains, bores honed with good quality Goetze rings fitted and the head inspected and fitted with short valves, springs and mushroom adjusters. The primary drive has also been overhauled, the clutch lightened and balanced with a new thicker clutch plate and all engine and gearbox bearings replaced with quality items. Fuelling has been looked after by a bank of new Amal carbs. The bike comes supplied with over 40 receipts, including ones from the recent restoration adding up to over £4,000, and a current V5C. A very well-sorted early Trident that has been rebuilt to ride by a recognised marque specialist for his own personal use. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189
Lot 149
Registration No: YYA 869 Frame No: 7521 MOT: ExemptRestored conditionRunning scooter in attractive black colour schemeV5C ready for the roadThe Dayton Cycle Co built motorcycles from 1913 to 1922 then in Shoreditch, London from 1939. In 1955 the company moved production to North Acton, to add scooter production. In 1955 they entered the scooter market and introduced the Albatross, powered by a 224cc Villiers 1H engine. Other versions were added, fitted with Villiers engines of various capacities up to 250cc. The final model was the Flamenco designed to be more ‘Lambretta’ in appearance but it failed in the market. In 1960 production ceased. Today the Albatross is a highly respected scooter and is often described as the real Rolls Royce of Scooters. At the time it was designed to appeal to a more refined scooter buyer and pitched against luxury machines produced by German manufacturers Heinkel, Maico and Zundapp. Due to its size, weight and design it sold poorly and production ceased in 1960. This example in an attractive all black colour scheme is complete with the key.Late information on this scooter from the client: new wiring loom/brake shoes/tyres/seat and all the brackets/original number plate with docs.. runs and engine built properly. Also new pics are now up online of the registration in the Somerset archives and a receipt of the purchase price paid in 2014 of £3250. Further to previous information the key has now been found. For more information, please contact: Paul Diamond info@vintagescooters.co.uk 07768 313001
Lot 240
An homage to Herbie, superbly finished and offered from ten years ownership. Built in 1960 and supplied to Sweden, this fabulous car was later imported into the UK in 2001 and registered on 17th JanuaryIn 2007 the chassis was blasted and repainted. The body was taken back to metal and repainted in the original Herbie colour of VW L87 and a new wiring loom was fittedThe 1,500cc engine was stripped and rebuilt in 2007. In 2023, new barrels and pistons were fitted by John Gurney, the noted VW SpecialistThe interior was fitted with new carpets, seat covers, door cards, roof lining. Herbie has the very rare Factory fitted sunroof, as did the original Love BugHerbie, the Love Bug was a sentient 1963 Volkswagen Beetle racing car which had been featured in several Walt Disney motion pictures starting with The Love Bug in 1968Bought by our vendor in 2015, a successful restauranteur and proprietor of a wedding venue, to convey newly married couplesNaturally kept in superb order and currently has an odometer reading of some 9,000 miles and was last serviced some 100 miles agoSpecification Make: VOLKSWAGEN Model: BEETLE Year: 1960 Chassis Number: 3246470 Registration Number: YSJ 399 Transmission: Manual Engine Number: AD787441 Drive Side: Left-hand Drive Odometer Reading: 9000 Miles Make: LHD Interior Colour: WhiteClick here for more details and images
Lot 1318
Postcard collection containing near 100 postcards of Egypt and Egyptian interest, card including removal of artefacts from temples, women and children in a stream, children working a loom, obelisks, temples, views of Assuam Niledam, Karnak, Philae, Luxor, Thebes, Temple of Horus, Temple of Ombo, Bisharin peoples, etc. (~100)
Lot 135
A collection of various toys and games including Britains tractor and loader (boxed), animal transporter (9580) (boxed), Fisher Price play family camper, lithograph decorated block puzzle, Victory jigsaw puzzle "The Circus", Spear's size 4 weaving loom, Wemyss style cherry decorated conserve pot, Rank Aldis slide projector, Harry Juniper of Bideford water jug "The Golden Hinde Appledore 1973" together with a similar larger jug, Victory jigsaw puzzle "Elizabethan England", Ainsley table bell for Charles and Diana Royal Wedding (boxed), box of vintage Spanish pottery and Japanese pottery figures, basket of Thermos and other picnic items and a bag of assorted Lego
Lot 44
WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.
Lot 365
Trade Tokens/Coins: 1791 Rochdale Halfpenny O A fleece R Man on Weaving Loom Rim payable At Warehouse Of John Kershaw: 1792 Rochdale Halfpenny O Arms and Crest R Man on Weaving Loom Rim Payable at Warehouse Of John Kershaw: 1791 Liverpool Halfpenny O Ship in Full Sail R Liverpool Arms and Crest Rim Payable at Warehouse Of Thomas Clarke: 1794 Hampshire Halfpenny O Earl Howe & The Glorious First Of June R Britannia Seated. R Payable at London Liverpool or Bristol: 1793 Manchester Halfpenny O Porter Carrying a Pack R Shield of Arms Success To Navigation. 5 in Total.
Lot 349
Norfolk 1794 Halfpenny Token Obverse A Bottle, MORE TRADE AND FEWER TAXES, Reverse, Standing Figure PROSPERITY TO OLD ENGLAND, E RICHARD DINMORE & SON NORWICH. F: 1798 NORFOLK (Norwich) Obverse The figure of Hope standing in flowing drapes her left hand supports an anchor. PROSPERITY TO OLD ENGLAND, Reverse Dove flying above cornucopia PEACE AND PLENTY VF. 1794 Norfolk (Norwich) Halfpenny Token, Obverse Figure Of Hope Standing, Reverse Ship Sailing VG: 1792 Norfolk (Norwich) Obverse Arms Of City Of Norwich, Reverse Man Working On Loom. VF. 1794 Norfolk (Norwich) Obverse View Of Norwich Castle, NORWICH CASTLE, Reverse Image of a sheep hanging by a ribbon around its belly, GOOD TIMES WILL COME. F. 1791 Hampshire (Portsmouth) Halfpenny token, Obverse Helmeted head of Sir Bevois, SR. BEVOIS SOUTHAMPTON, Reverse Shield of arms below date, PROMISSORY HALFPENNY VF. 6 tokens in total.
Lot 357
1794 Hampshire Portsmouth Halfpenny Token O: John Howard R: Arms Of The Borough: E: Payable At Sharps Portsmouth And Chichester. 1794 Essex Colchester Halfpenny Token O: A view Of Colchester Castle R: A Loom E: Payable At Charles Heaths Bay Maker Colchester. 1794 Hampshire Emsworth Peace And Plenty Halfpenny Token x 2 O: A Dove Flying R: Female Seated E: Current Everywhere. 1793 Hampshire Petersfield Halfpenny Token O: A Man On Horseback R: A Stork Standing Upon A Piece Of Ground E: Eames Holland & Andrew Petersfield. 5 in total.
Lot 523
* Chinese. Five panels of painted silk brocade from a court dress, circa 1750, 5 irregular pieces of brocaded cream silk, with woven pattern of 4 lines of dainty flower sprigs forming stripes, hand-painted with all-over polychrome pattern of sinuous flower and leaf stems, including roses, carnations, lilies, anemones, and morning glory, 2 pieces with yellow selvedges (loom width 59.5 cm), some small holes and light staining, smallest piece 288 x 19.5 cm (113.5 x 7.5 ins), largest piece 119.5 x 59.5 cm (47 x 23.5 ins), together with a number of other fragments of Chinese painted silk, comprising two originally part of a garment, depicting floral garlands and sprigs, and boughs of foliage with beribboned flower posies, on a cream ground, some wear and discolouration, 145 x 73 cm (57 x 28.75 ins) and 36 x 41 cm (14.5 x 16 ins), and 12 small scraps similarQTY: (19)NOTE:Made in China, most likely for the European export market.
Lot 80
MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004) ⊕ MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004)STARRY NIGHT signed with initials lower right; signed and dated Miriam Sacks 1962 on the reversehandmade tapestry81 x 103cm; 32 x 40 1/2in unframedMIRIAM SACKS (1922-2004) (LOTS 80-87)Introduction Miriam Sacks’ work is something of which one can properly use the word unique; it is the only one of its kind I know of, and it is a very particular and extraordinary kind. Maxwell FryMiriam Sacks’ remarkable tapestries cover a wide range of themes with her work capturing a variety of images and ideas. Some are abstract, some symbolic and some realistic; all deploy vivid colours and explore diverse themes relating to man’s condition and struggles, his relationship with nature and mechanisation. Sack's artistic vision was inspired by her childhood in South Africa: its distinctive landscape and coastline, its fauna and flora and its ethnic diversity. Her rigorous schooling was also formative: she became a talented pianist, studied ballet and was awarded a Masters in Social Anthropology at Cape Town University. But it was a trip to New York in 1956, and a visit to The Cloisters, an outpost of the Metropolitan Museum of Art, that transformed her artistic production. At The Cloisters Sacks was captivated by the seven late sixteenth century tapestries that comprise The Hunt of the Unicorn. Immediately thereafter she embarked on her unique, highly distinctive and much-fêted method of tapestry making. Sacks had moved from South Africa to London after the Second World War while her husband was studying medicine at Oxford. Upon his graduation as an eye surgeon in 1950 they moved to Bulawayo, Southern Rhodesia (now Zimbabwe). There Sacks collaborated with the painter Thea Hunt who had trained at the Slade School of Art and had set up an art school offering lessons for children. After Hunt stepped back from teaching due to ill health, Sacks took over running the school and championed the showing of children’s art both in the USA in the late 1950s and in London at the International Exhibition of Children’s Art in 1961. The following year she had her own first solo exhibition of her work at the Henry Lidichi Gallery, Cape Town. Returning to the UK in 1964, Sacks’ gained international prominence when her tapestries were exhibited at the British Embassy in Washington. Four were shown to great acclaim at the Embassy in May 1965; the following year Sacks sent over a further sixteen works to form the highlight of a group exhibition promoting British tapestry in the Embassy’s Rotunda; the exhibition subsequently toured to other locations across America. Sacks’ acclaim in the USA brought her to the attention of curators in the UK. In 1967 her work was included in exhibitions at the Design Centre, the Whitechapel Art Gallery and Camden Art Centre. And two years later she had a solo exhibition at the Ben Uri Gallery, then in Soho, where the opening address was given by the prominent architect, artist and writer Maxwell Fry. In 1970 she shared an exhibition at Kettle’s Yard in Cambridge with leading potters Bernard Leach (1887-1979) and Lucie Rie (1902-1995), and her work was shown in Edinburgh, Leicester and at the Stellenbosch Museum in her native South Africa. More exhibitions followed: at Royal Festival Hall (1971), the Victoria and Albert Museum (1971 & 1973), the South African National Gallery, Cape Town and the Bevilacqua La Masa Art Foundation, Venice (1972), and a series of shows at Leighton House (1977, 1981, 1985, 1988). The last international exhibition of her work was at the Irma Stern Museum, University of Cape Town in 1996. It was post-apartheid, Nelson Mandela was President and the exhibition was opened by the new South African Minister of Culture. As well as medieval tapestries, Sacks acknowledged other formative influences in her work including Louise Bourgeois, whose mother had been a weaver, and Jean Lurçat, arguably the leading tapestry maker of the twentieth century. However, she found the latter’s loom woven tapestries too machine-like and precise in surface finish for her taste. Describing the influences that shaped her work over the years Sacks wrote ‘Threads physically and spiritually interconnect with my life experiences, talents and knowledge, gained over decades. It combines sight and insight, enhanced by my knowledge… as a social anthropologist… as well as music, not to mention dance. It goes back to memories of childhood.’
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