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Lot 202
* BET LOW RSW ARSA RGI DLitt (SCOTTISH 1924 - 2007), BEACH HEAD watercolour on paper, signed, titled versomounted, framed and under glass image size 48cm x 61cm, overall size 71cm x 82cm Label verso: T. & R. Annan & Son, Ltd, GlasgowNote: Bet Low was a Scottish landscape and figurative painter whose career spanned the majority of the twentieth century. Her mystical and beguiling landscapes offer great insight into the career of this prolific artist. Born into impoverished conditions in Gourock, Low studied at the Glasgow School of Art during the Second World War before going on to study briefly under James Cowie at Hospitalfield House. Low had a great love of Scottish landscapes and they are a typical theme in her oeuvre - notably of Orkney where she spent numerous summers with her family in Hoy. By the 1960s her works moved further into abstraction, and she is best known for her works in this style. After her studies, Low co-founded the Clyde Group with J.D. Fergusson in 1942. With this group, Low co-organised Glasgow's first open air exhibition in 1956 at the Botanical Gardens. In 1963, she went on to open the New Charing Cross Gallery in Glasgow with John Taylor and Cyril Gerber, which received great critical acclaim for encouraging contemporary art in Scotland. Throughout her career she exhibited widely - including a retrospective of her work in 1985 at the Third Eye Centre (now the Centre for Contemporary Arts), and her work is held in numerous public and private collections.
Lot 379
The square stem formed as eight conjoined columns, topped with floral rim, and bound by three ridged sheet bands, atop a cast drip-tray, screwed to a square base with downswept sides and broad band cast with foliage and dolphins, height 18cm, base width 12cm Literature: For a very similar pair of candlesticks see R. Gentle & R. Feild, ‘Domestic Metalwork 1640-1820’ (1998), pp. 127, figs. 22 and coloured flysheet. See also Schiffer, ‘The Brass Book’ (1978), p.180, fig. A (I); C. Bangs, ‘The Lear Collection’ (1995), p. 346-7, pl. 137 & 138 & pp. 154-5; and E. Koldeweij, ‘The English Candlestick 1425-1925’ (2010), p. 82, no.48. See also Christie’s, London, The Lear Collection, 1998’, Lot 182, (£6900).
Lot 389
The central Royal coat of arms and W R above, the edge with a hole for the tronators strap and ring to the arched top and stamped with dagger marks for London, various other devices and the name JOHN SNART twice punched also, 19cm high, 13cm wide Literature: See Herbert C. Dent, Old English Bronze Wool-Weights (1927), p. 16, where it is noted that '14lb. wool-weights are exceedingly scarce as compared with the 7lbs., and were probably reserved for use in the big wool centres'.
Lot 275
AFTER R SIMKIN “The Worcestershire Regiment”, “The Gloucestershire Regiment”, “The Royal Sussex Regiment”, “The Royal Engineers”, “The Duke of Edinburgh's Wiltshire Regiment”, “The Oxfordshire Light Infantry”, “The Devonshire Regiment” and “The Highland Light Infantry” - a set of eight chromolithographs, 29.5 cm x 24 cm each, together with four further similar military chromolithographs by the same hand including “The South Wales Borderers” (x 2), “6th Dragoons” and “23rd or Royal Welch Fusiliers” (12)
Lot 74
A collection of Egyptian/Egyptian influenced items including a painted papyrus panel with figure decoration framed and glazed, a brass plate with simulated turquoise head medallions 26 cm diameter, a plaster wall mask after a design by R. Scali 29 cm high, a turquoise glazed pottery stand with relief mask decoration 18 cm high and two marble and onyx book ends with mask decoration 18 cm high
Lot 1040
Six cased Paul’s Model Art Minichamps Formula 1 diecast models to include Honda RA108 J. Button 2008, Honda RA108 R. Barrichello 2008, Honda RA107 J. Button 2007, Honda Racing F1 Team Showcar 2007 R. Barrichello, Honda Racing F1 Team Showcar 2006 R. Barrichello & Honda Racing F1 Team Showcar 2006 J Button, diecast ex, cases showing discolouration but otherwise vg
Lot 1107
Seven boxed / cased slot car models to include 2 x Carrera Evolution models featuring 25437 BMW Williams FW23 Ralf Schumacher and 25789 Evolution Formula 1 Type AYB, 1 x Scalextric C6009 Troy Bayliss Ducati, 1 x Pioneer P005 '68 Bengal Charger R/T, 1 x Fly Car Models 88264 March 761 GP Alemania 1977 Alex Ribeiro and 2 x Slot Power Slot Quad models, all in ex condition, cases vg
Lot 389
Radio Control - Collection of eight R/C helicopters / drones to include Flying Gadgets X-Cam Quadcopter Drone, YD-911 Military Defender Helicopter, WLtoys Micro Heli V911, 3 x Silver Wing Helicopters (2 x blue and 1 x red), Flying Gadget Quadcopter Drone and HM Trojan Quadcopter Drone with a quantity of associated controllers and chargers (3 boxes)
Lot 397
Collection of 16 boxed toys and games to include Grandstand Astro Wars Electronic Game, Corgi CC96603 USS Enterprise - D, Lego Star Wars 9493 X-Wing Star Fighter, NewRay R/C B/O Racing Car 2010 Renault F1 Team, Red Dwarf Starbug Electronic Playset, Texaco Old Timer Collection, Star Wars Electronic X-Wing Fighter, Star Wars The Clone Wars General Grievous Spinning Electronic Lightsaber, Star Wars Boba Fett Blaster, Doctor Who Mini RC Dalek Battle Pack, Construx Fisher Price, Mattel Star Trek Barbie & Ken 30th Anniversary Collector Edition, etc (2 Boxes)
Lot 448
Collection of Early 20th C onwards bisque headed dolls to include 2 x Armand Marseille dolls (1 x marked 370 0 DEP, approx. 46cm tall and 1 x marked 390 9/0, approx. 24cm tall) 1 x Ernst Heubach doll (marked 1902 4/0 to neck, approx. 38), 1 x Société Française de Fabrication de Bébés et Jouets / SFBJ doll (marked 60 Paris 10-0 to neck, approx. 26cm tall), 1 x doll marked with a sun with possible initials G R approx. 21cm tall and 3 x unmarked examples along with 17 x doll / teddy reference books and magazines (2 boxes)
Lot 456
Two Early 20th C Heubach Koppelsdorf Bisque Headed Dolls to include 1 x marked 267-13 D-R-G-M Thuringia to neck with sleeping blue glass eyes, open mouth with teeth and jointed body, approx. 61cm tall and 1 x marked AW W to back of neck with sleeping blue glass eyes, open mouth with teeth & jointed body, approx. 71cm tall
Lot 16
Greek Coinages, CYPRUS, Kition, Obol, c. 450-400, head of youthful Herakles right, rev. lion preying on stag right, dotted border around, all within incuse square, 0.98g (McClean 9140; BMC 52-5). About very fine, well centred, rare £30-£40 --- Provenance: R. Plant Collection, DNW Auction 188, 9 February 2021, lot 538
Lot 128
Roman Imperial Coinage, Valens (364-378), Solidus, Rome, 364-5, d n valens p f avg, diademed and draped bust right, rev. restitvtor rei pvblicae, Emperor standing front, holding victory on globe, and labarum Christogram cross, r. and wreath in exergue, 4.46g (RIC 2c var. [mint mark]; RCV 19546). Good very fine, scuffed across the reverse; the mint mark seemingly unrecorded in the standard references £400-£600
Lot 168
A mid-century 18ct gold, platinum, mine-cut topaz and diamond cluster ring - unmarked, tests as 18ct and platinum, the approx. 10.5 x 7.75mm cushion cut topaz within a platinum set border of rose cut diamonds, over bifurcated shoulders set with rose cut diamonds, size R.* Condition: Tiny chip to the edge of the crown & girdle (right beside the gold setting). Also a tiny facet-corner chip to the underside, and some scratching along the culet line. Some white and silvery flecked inclusions are visible through a 10x lens (but not to the naked eye). The diamonds are all secure and original to the ring. The setting is in good condition, with just expected age-related wear. The shank has been strengthened at some stage, with some slightly yellower gold used to build it up in thinning areas.
Lot 531
Flemish school, follower of Bernard van Orley (1490-1542): Our Lady and Child behind a table, oil on panel, early 17th C.Work: 27 x 21,5 cm Frame: 36,5 x 31 cm The iconography based onthe interior of the left wing of a diptych byVan Orley, nowadays part of the collection of the Museum of Fine Arts, Ottawa, Canada (link). The dating of the painting was confirmed by 'Laboratoire d'Etude de Oeuvres d'Art par les Methodes scientifiques' (Louvain-la-Neuve; Prof. R. Van Schoutte, Prof. H. Verougstraete).
Lot 364
Cornelis Cornelissen van den Steen: 'Commentarii in Ecclesiasten...', Antwerp, Martinum Nutium, 1638Folio. Full title: 'Commentarii in Ecclesiasten auctore R. P. Cornelio Cornelii a Lapide e Societate Jesu, S. Scripturae olim Lovanii, postea Romae Professore: indicibus necessariis illustrati. Spine with five raised bands.
Lot 85
William Turnbull (British, 1922-2012)Female signed with monogram, numbered and dated '5/6 89' and further stamped with foundry mark 'Livingston Art Founders' (on the base)bronze with a black patina194 cm. (75 1/2 in.) highConceived in 1989 and cast in 1993Footnotes:ProvenanceWith Waddington Galleries, London, 1993, where acquired by the present ownerPrivate Collection, U.S.A.ExhibitedLondon, Waddington Galleries, William Turnbull: Recent Sculpture, 25 September-19 October 1991, cat.no.10 (another cast)Caracas, Galeria Freites, William Turnbull, 18 October-10 November 1992 (another cast)Berlin, Galerie Michael Haas, William Turnbull, 17 October-28 November 1992 (another cast)London, Serpentine Gallery, William Turnbull, 15 November 1995-7 January 1996 (another cast)Chatsworth, Chatsworth House, William Turnbull at Chatsworth, 10 March- 30 June 2013, cat.no.66 (another cast)Munich, Galerie Thomas, William Turnbull: Skulpturen, April-June 2002 (another cast)London, Waddington Galleries, William Turnbull: Beyond Time, 9 June-3 July 2010, cat.no.19 (another cast)LiteratureVeronique Jaeger, William Turnbull: Recent Sculpture, Waddington Galleries, London, 1991, pp.24-25, 52, cat.no.10 (ill., another cast)Amanda Davidson, The Sculpture of William Turnbull, Lund Humphries, London, 2005, pp.25, 176, cat.no.265 (ill., another cast)William Turnbull (ed.), William Turnbull: Beyond Time, Waddington Galleries, London, 2010, pp.58-59, 103, cat.no.19, (ill., another cast)Patrick Elliott and Clare Lilley, William Turnbull at Chatsworth, Trustees of the Chatsworth Settlement, Chatsworth, 2013, p.47, cat.no.66 (col.ill., another cast)'Turnbull, like Giacometti, was more concerned with establishing an arresting, frontal image (as Giacometti once said, you don't walk around a person you meet, so why do it in sculpture?), one which tends to dominate space and radiate out into it' (R. Morphet, William Turnbull sculpture and paintings, London, Serpentine Gallery, 1996, p.34). William Turnbull was one of the leading sculptors of Post-War British Art and (along with Henry Moore and Barbara Hepworth) turned away from the long-established preoccupation with naturalism to uncover a new notion of what sculpture was meant to be and how viewers should interact with it. As a student at the Slade, he was often to be found at the British Museum studying archaic figures as well as ancient tools and weapons. The timelessness of these archaeological and anthropological artefacts appealed and, in addition to a period spent in Paris where he was exposed to the work of Alberto Giacometti and Constantin Brancusi, they were the foundation of the pared down modernity for which Turnbull is so celebrated. And whilst he identified with aspects of many artistic groups of the period, he allied with none, instead offering a staunch independence in both his life and work.In 1973, Richard Morphet curated a major retrospective of Turnbull's work at the Tate. When the artist saw the extensive exhibition, spanning every part of his career up to that point, he became conscious of the common themes and ideas that had informed his early career. In response to his experience of the Tate show and feeling inspired, he decided to redefine his earlier ideas about sculpture and form. After an interval of about twenty years, in 1979 Turnbull returned to making monolithic figures and developed a new series of idols that would preoccupy him for the rest of his career. The present lot is one such example.Dating from 1989 Female embodies, quite literally, all the hallmarks of Turnbull's oeuvre – a totemic form, pitted surface and schematic markings – all working in harmony to inform the viewer that this is woman, in her most fundamental form. Breasts, hands and genitals are all delineated with an economy of expression that recalls Turnbull's famous question: 'How little will suggest a head?' (quoted in David Sylvester, William Turnbull: Sculpture and Paintings, Serpentine Gallery, London, 1995, p.10). Indeed, the present work suggests the human figure with graceful sparsity - the upright blade which swells and narrows, the functional handles as arms and head, and fingers scoured onto the surface, both designs and anatomy. However, rather than reduce the range of images and interpretations of the work, this simplification intensifies the effect. By reducing any naturalistic element to a minimum, this formal concentration focuses attention on the symbolic flexibility of the works and the archetypal nature of its shape. Female is also unambiguously frontal, in the way that archaic Greek and ancient Egyptian art is with the artist focussed on producing an arresting, anterior image (unlike his aforementioned contemporaries whose concerns were more 'in the round'). The surface is rough much like weathered stone (or skin?) and etched with markings that recall tribal shields, masks and tattoos; the sweep of hair is scraped and grooved like an ancient stele. As ever though, the antiquarian source material is merely alluded to rather than overtly represented.Standing in space at almost 200 centimetres high, Female is a powerful and poised example by an artist confident in his vision and the figure asserts itself as a enduring statement of modern sculpture at its most avant-garde. Here, Turnbull has successfully navigated the distant past and the immediate present, combining and confronting the two to establish a timeless visual language, that was uniquely his own.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR TP* 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.TP 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 40
Emily Young (British, born 1951)Blue Angel Head Brazilian sodalite55.7 cm. (21 7/8 in.) high (excluding the base)Carved in 2005UniqueFootnotes:ProvenancePrivate Collection, U.S.A., since 2005Emily Young is an artist highly tuned in with and aware of the past. She has always theorised on a scope of ideas much larger than the immediate artistic context, bringing 'the human project of meaning into conjunction with geological time' and beyond, taking into consideration the cosmic origins of the stone she works (R Trew, Emily Young, www.emilyyoung.com). Emerging from the block as if over aeons, her work participates in an idea of sculpture that dominated the artistic paradigm of the pre-eminent Renaissance sculptor, Michelangelo – who in turn drew very consciously from Ovid's mythical Pygmalion: the idea that the work lies imprisoned within the block of stone, waiting to be released. Considering Young's Heads alongside Michelangelo's group of Slaves (Accademia, Florence) brings this idea to the fore, and ties the present piece, and its place within Young's wider oeuvre, both to a deep sense of sculptural inheritance and to the more 'geological' context that the idea itself implies. But to think of Young's work as paying homage to the past without an eye to the present and future would be mistaken. Tied in thematically with the geological past of her work is where this has taken us to, and the direction to which it leads: in her own words, 'Hyper-industrialisation has encouraged us humans of the developed world to profoundly misread the planet we live on', and this misreading has resulted in the debate over whether we are entering a new geological age – the Holocene – one that is defined by our own impact on the world around us (Emily Young, Emily Young, www.emilyyoung.com). A testament to Young's focus toward this is her part in this year's 60th edition of Venice Biennale, titled Carbon II: Carbon Capture Art, where her work is now on display at the Palazzo Mora as part of an exhibition based on the importance of the arts in tackling climate change. Within this context, Blue Angel Head comes in as a work in many ways typical of Young's output, but in others, crucially outstanding. In its emergence from the stone, it firmly partakes in the ideas that so preoccupied Young's sculptural predecessors. However, where some of her works lie more passively within the stone – as if serenely dormant in expectation of being meticulously and painstakingly drawn out – this feels emphatically active, almost assertive. It has an agency in its emergence from the stone, like it is working with the artist, breaking free as Young loosens the chains. As outstanding as the energy of Blue Angel Head is the material it is worked from: Brazilian sodalite, which is rare within Young's oeuvre. An ornamental stone, the strong blue adds an incredible depth to the work, punctuated powerfully by the streaks of white that separate sodalite from its cousins lazurite and lapis lazuli – reminders of the geological vein running thematically throughout Young's work. Where others avoid the unpredictability of these inclusions in the mineral, Young embraces them, delighting in its faults, veins, splits and idiosyncratic form that inject an urgency to the work's unquenchable desire to escape. Sodalite is opaque in massive blocks, but has a translucence in thinner areas that give the present work a subtle, transient glow, something that cannot be replicated in mineral of a duller tone. Young seems keenly aware of the sense that her work will outlast us, that in freeing the stone of its prison and into its human form, she is preserving an image of ourselves that is timeless in its still beauty and empathy, yet intensely contemporary in its concern. She recognises the vulnerability of that which she depicts: 'the short-lived and organic' humanity (Emily Young, Emily Young, www.emilyyoung.com). As Young grapples with our vulnerability, Blue Angel Head breaks free from its block, eager to animate as if by Pygmalion himself.We are grateful to the Artist and EY Sculpture UK Ltd for their assistance in cataloguing the present work.This lot is subject to the following lot symbols: * AR TP* 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.TP 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 90
Of oval form, having a push-on lid, with a faint pattern of arcs and circles, the underside engraved with a coat of arms of three cockerels in a shield within a laurel wreath, atop the name and date ‘Mr William Cock 1673’, 9cm by 7.5cm Literature: The simple form and size of this rare tobacco box bears resemblance to another Charles II example, dated 1691 and engraved with the arms of Thomas Jameson, illustrated R. Gentle & R. Feild, Domestic Metalware 1640 - 1820 (1994), p. 423, Fig 8.
Lot 32
Rolex. An extremely fine and rare platinum automatic diamond set calendar bracelet watch with mother of pearl dialModel: Day-Date MasterpieceReference: 18956Date: Circa 2000Movement: 31-jewel Cal.3155 automatic, adjusted to 5 positions and temperature, No.38454139Dial: Mother of pearl, applied diamond set hour markers, magnified date aperture at 3, day aperture at 12, polished baton hands, centre secondsCase: Brushed and polished tonneau form, screw down back, bezel set with 41 baguette cut diamonds, No.P197981Strap/Bracelet: Fitted platinum bracelet with diamond set centre linksBuckle/Clasp: Signed platinum folding clasp, stamped MASigned: Case, dial & movementSize: 39mmFootnotes:For nearly 70 years now the Day-Date has been an icon of luxury and sophistication for 20th and 21st century watch connoisseurs. A mainstay of Rolex production since 1956, the Day-Date has enjoyed a long history of collaboration and customisation with some modifications being more elaborate than others. The current example is cased in platinum and features a striking mother of pearl dial and diamond set bezel.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 54
Rolex. A fine 18K white gold automatic chronograph wristwatch with diamond set mother of pearl dialModel: DaytonaReference: 16519Date: Purchased 1st July 1999Movement: 31-jewel Cal.4030 automatic, adjusted to temperature and 5 positions, No.138001Dial: Mother of pearl, applied diamond set hour markers with polished Arabic numeral quarters, black outer 1/5th second divisions, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, polished baton hands with black accents, centre chronograph handCase: Brushed and polished tonneau form, screw down back, shouldered screw down crown flanked by twin screw down pushers, calibrated bezel, No.U412683Strap/Bracelet: Brown Rolex alligator leatherBuckle/Clasp: Signed 18K white gold folding claspSigned: Case, dial & movementSize: 40mm Accompaniments: Rolex box, outer card, punched Guarantee, Official Chronometer Certification, brochures, swing tagsFootnotes:For almost 60 years the Rolex Cosmograph Daytona has drawn collectors and enthusiasts around the world together in a shared passion. First introduced in 1963, the Daytona was designed for the demands of professional racing drivers and was named after the famous racing site Daytona, Florida.The varying configurations of case material, use of precious stones and dial options continue to expand to this day. The current lot is presented in 18K white gold as denoted by the 9 to the end of the reference number and features an attractive mother of pearl dial. The watch is fitted with a Zenith based movement and is amongst the last of its kind before Rolex switched to their in house movement in the year 2000.This lot is subject to the following lot symbols: Y RY Subject to CITES regulations when exporting items outside of the UK, see clause 13.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 47
Patek Philippe. A lady's fine 18K white gold, diamond set quartz bracelet watch with mother of pearl dialModel: GondoloReference: 4874/3Date: Circa 2005Movement: 6-jewel Cal.E15 quartz, No.1654781Dial: Mother of pearl, diamond set inner chapter, diamond set quarters, polished baton handsCase: Brushed and polished square form, back secured by 4 screws, diamond set bezel and crown, No.4085232Strap/Bracelet: Fitted diamond set brick linkBuckle/Clasp: Signed double folding claspSigned: Case, dial & movementSize: 22mmFootnotes:Patek Philippe first introduced a ladies version of their celebrated Gondolo line in 1993. Over the years they have played with the dial and case materials presenting the watch in both white and yellow gold, with and without diamonds and also available both on a leather strap or bracelet.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 73
Registration No: NSY 228 Chassis No: HBT7/9376 MOT: ExemptFinished in Colorado Red and White with a Red interior trimUK RHD example with matching engine and chassis numbersOffered with a BMHIT Heritage Certificate and a collection of invoicesFull weather equipmentThe star of the 1952 London Motor Show, the 'Big Healey' enjoyed steady development, with the early four-cylinder cars giving way to the 100-Six in 1956, which in turn was replaced by the first of the 3000s in 1959. By now the engine capacity had risen to 2912cc and the power output to 124bhp - sufficient to grace the standard car with a 0-60mph time of 11.4 seconds and a top speed of 114mph. There was the option of Laycock de Normanville overdrive for the four-speed gearbox and braking had been improved by the adoption of discs at the front. There were two body options - a two-seater (BN7) or an occasional four-seater (BT7). By the time the MkI 3000 was superseded by the MkII in 1961, a total of 2,825 BN7s and 10,825 BT7s had been produced.Recorded by the DVLA as first registered in the UK on 21st February 1961, chassis number HBT7/9376 is the ‘BT7’ 2+2 iteration of the Austin-Healey MkI. Believed to be a correct numbers car, with engine number 29D/R/YH14777, a BMIHT certificate shows the Healey to have been configured in right-hand drive for the home market in Colorado Red and Black with Red trim and a Black soft-top. Built 10th -11th May 1960, it was despatched on 24th May 1960 to Lankester's Limited, Surbiton, Surrey (then 're-despatched' 20th February 1961) with overdrive, wire wheels, heater, laminated windscreen and road speed tyres. Little is clear about the ownership history before c.1989, however, a Mr Boxall of Solihull owned the car around this time and oversaw restoration work on the Healey in late 1989 into the summer of 1990. A May 1991 sales invoice is on file from Anthony Coyne Classic Cars, Birmingham regarding the sale of the car to Mr Stenning of Bolton, and in February 1998 Grundy Mack Classic Cars, Huddersfield sold the car to Mr Howard of Rotherham with the mileage of 25,928 recorded on an invoice. H&H Classic Auctions presented the car at auction on 23rd September 1998.In summary, maintenance work on 'NSY 228' includes: October 1989 - July 1990 £4668.33 spent on restoration work including bodywork, respray, re-chroming and parts and labour; May 1992 brake fettling and a leaf spring by T & W Motors of Bolton; June 1992 (mileage reading 20,207) brake overhaul Barcol Auto Centre, Oldham; June 1993 brake and clutch master cylinder purchased from AH Spares; March 1998 silencer fitted by Swift-Fit, Rotherham. Evidently, the Healey relocated to the Republic of Ireland in May 1999 before coming back to UK ownership in 2015. Offered with a collection of old MOT paperwork and a number of Eire tax and insurance discs, there is a current V5C on file along with many receipts and notes from some of the historical work carried-out. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
Lot 67
Registration No: XBL 41E Chassis No: DB6/3048/R MOT: ExemptFinished in Silver complemented to a Black leather interiorMatching chassis and engine numbersCurrent ownership since 2015ZF five-speed manual gearboxOffered with a collection of specialist invoices and old MOT certificatesPLEASE NOTE: The engine number stamped into this lot’s cylinder block – 400/3094 - matches that recorded on its chassis plate. However, we have been informed that the sales ledger records held by Gaydon list the engine number as 400/3034. We presume the discrepancy is as the result of a typographical error. H&H are indebted to Aston Martin historian, Steve Waddingham, for his assistance in this matter.Unveiled at the 1965 London Motor Show, the DB6 was notable for being the first Aston Martin model to be engineered following the company's move from Feltham to Newport Pagnell. Although, a direct development of the DB5, with the same visage, the newcomer enjoyed notably better high-speed stability thanks to the provision of a Kamm tail with built-in spoiler, and superior interior space courtesy of a 3.7-inch longer wheelbase and taller roofline. Grafted over a sheet steel platform chassis, the four-seater's hand-finished aluminium panels helped contribute to the claimed kerb weight of 3,232lbs that was actually only 17lbs heavier than its predecessor. Praised by the contemporary motoring press for its poise and handling, the DB6 employed all-round coil-sprung suspension, four-wheel disc brakes and rack-and-pinion steering. Powered by the fabulous Tadek Marek designed 3995cc DOHC straight-six engine, the model boasted some 282bhp and 280lbft of torque in standard tune and could be had with five-speed ZF manual or three-speed Borg Warner automatic transmission. A contemporary road test found a manual DB6 to be capable of 0-60mph in 7.4 seconds and 150mph. A total of 1,327 MkI Saloons were produced between October 1965 and the MkII's July 1969 arrival. Built to right-hand drive specification complete with the preferred ZF five-speed manual gearbox, chassis DB6/3048/R was supplied new in Berkshire (or so its ‘XBL 41E’ number plate would imply). Re-registered with the DVLA during the late 1980s as it is understood the Aston resided in the USA for a number of years, the DB6 passed to renowned physician and serial Aston Martin owner, W.V. Carlin Esq in early 1992. Entrusted to marque specialist The Aston Workshop for appraisal shortly thereafter, they overhauled the cylinder head as well as rejuvenating the propshaft, brakes and suspension (the latter being uprated with a Harvey Bailey Engineering handling kit and telescopic Koni shock absorbers). Sourced from Aston Martin Lagonda Ltd, new lower sills, door sill panels and stoneguards were installed by Ivydene Garage of Betley in late 1993, while the decade’s end saw another marque specialist - Chris Shenton – fit upgraded Lockheed brake servos, renew the clutch and recondition the steering rack etc at an indicated 19,000 miles. Acquired by fellow Aston Martin enthusiast, T. Burndred Esq., during 2004, he utilised the services of Aston Engineering Ltd not to mention treating ‘XBL 41E’ to a full respray (changing the colour from Black to Silver), partial re-trim and new windscreen etc. Briefly part of Stuart Beech’s collection prior to entering the current ownership in 2015, the DB6 has been maintained by CBR Classic Restorations in recent years. A true marque aficionado, the vendor has owned many of its rarest and most valuable models. Sparingly used over the past three decades and currently showing an unwarranted 23,000 miles to its odometer, this handsome, 'matching numbers' DB6 is offered for sale with V5C Registration Document and history file. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
Lot 37
Registration No: BSK 478 Chassis No: SRH88 MOT: ExemptSupplied new to W. Furlong Esq by York Motors of Sydney, AustraliaNicknamed 'Phoebe' and the subject of much expenditure including a full re-paint and cylinder head overhaul etcMatching chassis and engine numbers and believed to still retain the majority of its original upholsteryWell specified with an oil bath air cleaner, automatic gearbox, sunroof and fog lampsUnveiled in 1949, the Silver Dawn had the distinction of being the first Rolls-Royce to wear standardised coachwork. Visually and mechanically indebted to its Bentley MkVI stablemate, the newcomer was initially powered by a 4257cc straight-six engine (though, capacity was increased to 4566cc during 1951) and boasted 90mph plus performance. Updated to resemble the Bentley R-Type in 1953, it was aimed squarely at export markets. Thus, the majority of the c.761 made were to left-hand drive specification. Although, some 116 were reputedly despatched to Australia. According to its accompanying paperwork (including RREC copy build records), chassis SRH88 was supplied new by York Motors of Sydney to W. Furlong Esq. A comparatively late Silver Dawn benefiting from the larger 4566cc OISE straight-six engine, high compression cylinder head, four-speed automatic transmission, more commodious boot and twin exhaust system, it appears to have remained in Mr Furlong’s care until 1968. Exhibited at a Canberra Motor Museum thereafter, the luxury saloon changed hands twice during the 1980s before entering the current family ownership in 1990. Purchased from Ristes of Nottingham for the princely sum of £29,000 plus shipping and import duty etc, the Rolls-Royce returned to the renowned marque specialist for fettling later that same decade. More recently treated to a bodywork refurbishment and repaint in Navy Blue by a Rippon-based firm, ‘Phoebe’ (as chassis SRH88 has long been known) has only just returned from Alan Turner Motors of Thormanby where it received attention to its head gasket, ignition system and exhaust etc. Starting readily and running well during our May 2024 photography session, the Rolls-Royce pleasingly retains its factory-fitted engine (number S-44-H) and what is understood to be the majority of its original Maroon leather upholstery not to mention a sliding sunroof, period radio, export bumpers and twin fog lights. Rare and elegant in equal measure, this appealing Silver Dawn is offered for sale with V5C Registration Document and history file. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
Lot 99
Registration No: LJ05 LKK Chassis No: SCBLC37F75CH10895 MOT: June 2025Warranted 49,000 miles from newBenefitting from a comprehensive maintenance historyFinished in Silver Tempest paintwork, with a Cream leather-trimmed interior, with Blue piping, carpets, dashboard top and steering wheelPrevious five-year ownership with the President of the Bentley Owner's Club and in a private collection sinceThe Bentley Arnage and its Rolls-Royce sibling, the Silver Seraph, were phased in during the spring of 1998 as replacements for derivatives of the long-serving Mulsanne (Bentley) and Silver Spirit (Rolls-Royce). The bodies for the new cars were built at the Bentley factory in Crewe, while the engines were outsourced. Initially available as a single model, the Arnage was powered by a DOHC 4.4-litre BMW engine force-fed by twin turbochargers. However, it was around this time that Bentley passed into the hands of the Volkswagen Group and Rolls-Royce was acquired by BMW. Not surprisingly, BMW declined to see a rival marque powered by one of its engines, so Volkswagen was forced to find an alternative powerplant for the Arnage. After offering the Green Label and Red Label, those models gave way to the Arnage R in 2002. In common with the long wheelbase Red Label launched the previous year, it was powered by a completely reworked version of Bentley's venerable 6.75-litre V8 engine. Courtesy of Bosch Motronic engine management and a pair of Garrett T3 turbochargers it produced 399bhp and a colossal 616lb-ft of torque.Manufactured in 2005, the Arnage R offered was registered new in the United Kingdom on the 6th of June that year. Finished in attractive Silver Tempest paintwork with complementary Cream leather interior upholstery with Blue piping, the interior also features Blue carpets, Blue leather dashboard top and steering wheel, and a wood veneered dashboard, centre console, and door card inserts. Factory-fitted equipment includes an electric tilt and slide sunroof, electrically operated and heated front and rear seats with four-position driver seat memory, dual-zone climate control, rear tray tables, a multifunction steering wheel, cruise control, and front and rear parking sensors. Previously in the ownership of the President of the Bentley Owner’s Club for five years, thereafter the Bentley has resided in the vendor's private collection and is now offered with just 49,750 miles from new (at the time of consignment).Benefitting from a comprehensive maintenance history, the Arnage has only been serviced by main dealers and specialists, with services at 4,339; 6,297; 7,597; 8,235; 8,809; 16,647; 23,594; 28,489; 30,747; 43,090; 46,559, 49,425 miles completed by Broughtons of Cheltenham Bentley, Bentley Newcastle, Bentley Services Cheshire, GT Services Cheshire, Prestige Services and Silver Lady Brentwood Ltd. Further to the servicing, the Arnage has received a new oil pressure transmitter, electrical improvement, front brake discs and pads and some brake pipes in 2021; re-gassed air-conditioning in 2023; and a new main system battery and paintwork improvements this year. Riding on a set of 19-inch alloy wheels shod in Pirelli P-Zero tyres, this particularly nice example is accompanied by its original owner’s manuals and service book, along with a collection of maintenance invoices and a NavTrak tracking device. Offered with an MOT certificate until June 2025, the Bentley also has a current V5C document.PLEASE NOTE: The registration number shown in the images is being retained by the vendor. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Lot 46
Registration No: LJ58 CTX Chassis No: ZHWGE22T68LA07638 MOT: June 2025Just 40,800 miles from newUK-supplied, right-hand drive exampleDocumented main dealer and specialist service historyMost recently serviced in March this year with less than 400 miles sinceA true supercar and with a price tag of over £135,000 when newStylistically indebted to the Lamborghini Cala concept car penned by Fabrizio Giugiaro at Italdesign, the Gallardo entered production in 2003. A landmark model for the Santa Agata concern, its outlandish looks were allied to improved reliability. More of a ‘walk on the wild side’ than its Audi R8 sibling, the baby Lambo retained a character all its own. Based around a notably stiff spaceframe chassis, the mid-engined two-seater was equipped with all-round independent suspension, power steering, four-wheel ABS disc brakes and permanent four-wheel drive. Powered by a 5-litre V10 engine developing some 493bhp and 376lbft of torque, the Gallardo could be specified with a conventional six-speed manual gearbox or an advanced six-speed, electro-hydraulically controlled, semi-automatic which Lamborghini christened 'E-gear'. The latter enabling far quicker gearchanges than the 'old school' three pedal set-up. Unveiled at the January 2006 Los Angeles Auto Show, the Spyder variant featured a retractable soft-top and some 100kg worth of chassis reinforcement. To compensate, engine power was boosted to 513bhp and the gear ratios lowered. A true supercar, the Gallardo Spyder was reputedly capable of 0-60mph in 4.3 seconds and 196mph. Rarer than the equivalent Ferraris, just 4,352 Spyders were sold worldwide by the time production ceased in 2013 (with right-hand drive variants being in the minority).Finished in Ballon White with Nero leather upholstery and a matching soft-top, chassis 07638 was earmarked for the UK market and first registered here on 7th November 2008. Upgraded with a Pioneer touch screen sat nav (incorporating Apple Car Play and Android Auto), the two-seater also boasts a rear-view camera, front lift, PPF front end, remote roof opening / closing, heated electric seats, Yellow brake callipers, and 19-inch Callisto alloy wheels. Entering the current (fifth) ownership during 2020, the Gallardo is warranted to have covered a modest 40,800 miles from new. The service book contained within the accompanying original book pack displays nine main dealer and specialist stamps the most recent of which is from GC Motors Lamborghini in March 2024 at 40,489 miles. Entrusted to Project-R for paint protection four years ago, ‘LJ58 CTX’ is descried by the vendor as being in ‘very good overall’ condition with regards to its engine, E-gear transmission, electrical equipment, interior trim, bodywork and paintwork. Costing some £135,000 when new, this Gallardo is said to be ‘great to drive with a fabulous sounding engine and exhilarating performance’. A good opportunity to acquire a low mileage, well maintained, RHD example with two keys and a no advisory MOT certificate until June 2025. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Lot 58
Registration No: EYH 406 Chassis No: 3CM167 MOT: ExemptFull restoration in Drophead Coupé guise by Vintage car specialist David Wall of WroxhamEngine overhaul by well-respected marque specialist M. J. PicklesOver £121,000 worth of expenditure while in the vendor's ownership with less than 150 miles covered since the restoration's completionMatching numbers example1 of just 727 Phantom IIIs thought to have been manufacturedAlthough unveiled to the public at the October 1935 Olympia Motor Show, the Phantom III did not enter series production until May 1936. A fabulous design that reasserted Rolls-Royce's right to be considered as the world's pre-eminent car manufacturer, its cruciform-braced chassis featured independent coil-sprung front suspension, a fully-floating 'live' rear axle, hydraulic shock absorbers, and gearbox driven servo-assisted four-wheel drum brakes. Drawing on decades of aero-engine experience, it was powered by a 7340cc OHV V12. Fabricated largely from aluminium alloy, this technically advanced unit boasted a seven-bearing crankshaft, eight-bearing camshaft, hydraulic tappets, and dual downdraught Stromberg carburettors. Effortlessly potent and eerily smooth, it required a level of care and maintenance not dissimilar to that of its Schneider Trophy winning siblings. Allied to a four-speed manual gearbox (complete with synchromesh on second, third, and fourth gears), it gave most variants a 100mph top speed. Only built for three short seasons, just 727 Phantom IIIs are thought to have been despatched worldwide.Chassis ‘3CM167’ was manufactured the year before the outbreak of World War Two, originally being provided with Sports Saloon coachwork by James Young Ltd., and registered new on the first of June 1938. Finished in two-tone Black and Grey paintwork from new, the Phantom is known post-war to have been in the ownership of a World War One veteran D. R. Pusser, who served with the Royal Navy, before transferring into the ownership of Douglas Cashill Farquharson Esq in the 1960s. Latterly known to have been on the road in the mid-1970s, before being partially dismantled during the 1980s and then placed into storage. Purchased by the vendor in 2010 in return for a restored XK150 Roadster, the Phantom was found to be highly original and complete but remained partly dismantled.Thereafter, the vendor embarked on providing ‘3CM167’ with a comprehensive adaptation and restoration. The coachwork was reconfigured and restored by Vintage car specialist David Wall of Wroxham into a two-door Drophead Coupé, retaining some 80% of the original James Young coachwork, and using an original 1930s hood frame. The chassis was refreshed, restoration of the wood frame was provided, coachwork adaption and doors bespoke produced, the remainder of the coachwork was fully restored, repainting in the original two-tone Black and Grey colour scheme, and comprehensive interior re-fresh, with the expenditure with David Wall over £72,000 in total. Subsequently, the original engine was fully overhauled by highly well-respected marque specialist M. J. Pickles with work including cylinder heads skimmed, all new starting equipment, the carburettor renovated, the block cleaned, and the radiator re-cored. The Phantom also received clutch renovation, steering refreshed, re-wiring, and renewed fuel lines with M. J. Pickles, with the total expense surpassing £44,000.In total, the restoration expenditure totals over £121,000 with ‘EYH 406’ MOT tested upon completion in July 2020, which it passed with no advisories. Covering less than 150 miles since the completion of the restoration, the Rolls-Royce is now ready for use and enjoyment. Boasting matching chassis, engine and gearbox numbers, ‘3CM167’ has pleasing features such as the original jacking system in full working order, original secluded storage compartments, and believed original cigar and cigarette boxes accessories. Supplied with a large history file, it includes the aforementioned invoices, extensive technical literature, an MOT from the 1970s, two folders of images of the work completed by David Wall and M. J. Pickles, and a current V5C document.Epitomising the very best of 1930s style, this Rolls-Royce represents an opportunity to purchase a fabulous open pre-war touring car. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Lot 397
dating: 1843 provenance: Austria, Round, smoothbore, 17.5 mm cal barrel with square breech marked 'R', 'FI', 'IR 27 C8 119', dated '843' and with a large imperial mark. Tang with fixed rear sight and marked '1836'. Augustin lock with imperial mark and dated '843'. Two-snap working mechanism. Full wooden stock in good condition. Iron mounts with remains of 'P' marks, butt plate with markings. Muzzle ring provided with sight. Iron ramrod with various markings (of modern times). Socket bayonet (length: 56 cm) with cross-section blade and marks at the base. length 146 cm.
Lot 23
dating: 1863 - 1875 provenance: USA, Octagonal, rifled, 7-1/2', 44 cal barrel (clean bore, visible rifling), provided with high foresight (subsittuted?), featuring the two-line mark of the old model on the back, with remains of marks (not clearly legible). Six-shot cylinder marked 'W' and 'P' on the back. Frame marked 'R' and 'L'. Working mechanism. Brass trigger guard marked 'L'. Matr. '81xx' under the barrel, with the same serial number preceded by 'l' inside the handle. The cylinder's pin probably replaced. Wooden grips, the left one with military inspection stamp. length 35,5 cm.
Lot 425
dating: 1863 provenance: Austria, Round, rifled, 13.9 mm cal barrel with square and grooved base, with marks 'R' and 'W', front sight. Lock dated '863' and with imperial mark. Wooden stock with iron mounts and suspension ring. See Erich Gabriel 'Die Hand- und Faustfeuerwaffen der habsburgischen Heere', page 472/73 length 40.4 cm.
Lot 400
dating: 1852 provenance: Austria, Rifled, two-stage, 18 mm cal. barrel, round and octagonal, the base marked 'CP' and 'R', with foresight, foldaway rear sight, clutch for the bayonet. Lock with Augustin system and lock plate dated '852' and with imperial mark. Wooden, full stock with 'K' and 'B' stamps, brass trigger guard and butt-plate, iron barrel bracket and ramrod. Complete with its bayonet with barely legible marks, length: 71.4 [cm]. length 122.1 cm.
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