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Lot 811
BMW ISETTA 300 (UK) lhd (c.1961) (property of a deceased estate) Reg 138 LWL VIN A3-20520 Engine NO (number not found) Originated with the Italian firm of Iso SpA In the early 1950s. The company was building refrigerators motor scooters and small three-wheeled trucks. Iso`s owner decided his company should build a small car for mass distribution. By 1952 the firm had designed the car that used the motorcycle engine of its Iso Moto 200 and named it Isetta-(little ISO.) BMW saw the mass market potential and in mid-1954 they bought not just a license to produce the cars but the complete Isetta body tooling as well. BMW made the Isetta its own. They redesigned the car around their own BMW single cylinder, four-stroke, 247 cc motorcycle engine Although the major elements of the Italian design remained intact, BMW re-engineered much of the car, so much so that none of the parts between a BMW Isetta Moto Coupe and an Iso Isetta are interchangeable. The first BMW Isetta appeared in April 1955. And in various guises of the 250, 300 and 600 (a four seat version) production totaled 161,360 before ceasing in 1962. In 1957, Isetta of Great Britain began producing Isetta 300 models in both left and right hand drive at their factory in the former Brighton railway works under licence from BMW!. Production of the cars in the UK also ceased in 1962. 138 LWL is a UK produced Isetta 300. first registered in April 1961. Left hand drive This example does require restoration however, on cursory inspection, the requirements appear to limited to cosmetic and minor mechanical. The car is principally complete and offers an exciting and relatively simple project. Although we have not been able to confirm, it is believed that the car was on the road 2 years ago. No Documents for this vehicle have been located at the time of cataloguing however the registration is correct to the vehicle according to the DVLA. No Reserve
Lot 812
BMW ISETTA 300 (UK) Lhd. (property of a deceased estate) WHF 115 VIN A3-14807 Engine NO (number not found) Originated with the Italian firm of Iso Spa in the early 1950s. The company was building refrigerators, motor scooters and small three-wheeled trucks. Iso`s owner decided his company should build a small car for mass distribution. By 1952 the firm had designed the car that used the motorcycle engine of its Iso Moto 200 and named it Isetta-(little ISO.) BMW saw the mass market potential and in mid-1954 they bought not just a license to produce the cars but the complete Isetta body tooling as well. BMW made the Isetta its own. They redesigned the car around their own BMW single cylinder, four-stroke, 247 cc motorcycle engine. Although the major elements of the Italian design remained intact, BMW re-engineered much of the car, so much so that none of the parts between a BMW Isetta Moto Coupe and an Iso Isetta are interchangeable. The first BMW Isetta appeared in April 1955 and in various guises of the 250, 300 and 600 (a four seat version), production totalled 161,360 before ceasing in 1962. In 1957, Isetta of Great Britain began producing Isetta 300 models in both left and right hand drive, at their factory in the former Brighton railway works, under licence from BMW Production of the cars in the UK also ceased in 1962. This BMW Isetta, produced in the UK around 1958-59 in LHD has been in storage for some while although it is understood that it was in use within the past 3-4 years. The engine is removed but present with the car. On cursory inspection we would suggest that other than cosmetic restoration and re-assembly, very little work should be required to get this very good example back on the road . No documents have been located for this vehicle at time of cataloguing. An excellent prospect to acquire such an iconic vehicle. No Reserve
Lot 819
1948 PACKARD SUPER 8 SALOON VIN 22923906 Engine NO G218472 The Packard motor company founded in 1899 and for nearly 40 years was one of America`s leading luxury car manufacturers. During the war years 1941-1945, Packard converted their full efforts to producing aircraft and watercrafts engines for the military approaching some 55,000 units in total. By the end of the war, Packard were in good financial shape however, had perhaps lost sight of the market for civilian vehicles and relied on slight variation in styling to their 1941 clipper model becoming the Super Eight and nicknamed the "bathtub" despite not being as up-to date as the competition over 200,000 cars were sold in 1948 and 1949. This 1948 super eight four door saloon has had considerable work undertaken in around 1995 The chassis was stripped, blasted and painted. The 288 cu in straight 8 engine was rebuilt as was the Ultramatic transmission, rear axle, brakes and springs replaced. The bright work was re-chromed, new carpets, roof lining, trim and seat upholstery. It appears that everything is with the car, even the original radio. The project has since 1995 been mothballed and in dry storage, with the principle "hard work" already done, this Packard offers an excellent opportunity as a first time restoration. Offered as viewed with numerous spares and V5C
Lot 1035
A pair of mid Victorian Renaissance Revival style oak armchairs, each with an acanthus and scroll carved crest rail with a cherub's head to centre, the sides with heavy turned columns, each with a central upholstered back panel, padded arms and grotesque arm terminals, overstuffed seat with an acanthus and scroll carved apron to front and raised on heavy turned tapering legs with porcelain castors, 147 cm high, 68 cm wide and 60 cm deep, (2)
Lot 1054
A George III mahogany corner chair, circa 1770, the shaped back rest sitting on a curved top rail with curved arm terminals, with turned uprights and pierced vase shaped back splats, fitted with a drop in seat and raised on square legs, united by square stretchers, 75 cm high, 75 cm across and 45 cm deep,
Lot 1097
A Regency ebonised armchair, c1810, some areas retaining simple gilt decoration, the plain crest rail over a simple spindle back, with spindle arms and arm supports, fitted with a rush seat, raised on turned legs and joined by turned stretchers, complete with loose seat cushion, 83 cm high, 50 cm wide and 45 cm deep.
Lot 1127
An early Victorian walnut armchair, circa 1840, the elaborately shaped crest rail with foliage carved centre, having a deep buttoned back with acanthus and scroll carved arms, the overstuffed shaped seat with carved seat rail and raised on scroll carved legs, 90 cm high, 70 cm wide, 80 cm deep.
Lot 729
A longcase clock, the 32.5 cm arched square brass dial signed JOHN HARTLEY HEBREW HALL to the arch, having a phase of the moon, the chapter ring with Roman numerals, the centre with subsidiary seconds and calendar dials, fitted an eight day movement, in a mahogany case, 244 cm high (over finial) See illustration Condition report Report by RB From a local deceased estate. Very much in a market fresh condition, all three finials present, but two detached, the top right hand moulding on the side is missing, the seat board has quite a bit of age, most of the painting to the phase of the moon is good, the trunk door is locked, and we do not have the key, and there is an area to the top left hand part of the door moulding which is removed and has a slight area missing from it, the case is generally good, and would benefit from a clean, with two lead weights and a pendulum.
Lot 731
A longcase clock, the 28 cm square brass dial signed W Barrow, London, the silvered chapter ring with Roman numerals, the matt brass centre with a calendar aperture, fitted a 30 hour movement, in an oak case, 204 cm high See illustration Condition report Report by MW Please note that Charterhouse do not guarantee the working condition of any watch or clock. The clock comes complete with pendulum and weights. The movement looks complete but no guarantee is implied or given. The case has several modifications, the seat board has been replaced, the cheeks have been modified to take the seat board. There is new wood put in on both sides, both cheek boards have new wood. The remainder of the case would appear short in length. The bottom plinth has been replaced. The trunk door has a very slight warp, and I would suggest that the movement and case are an association.
Lot 517
A `BATAVIAN` PADOUK ARMCHAIR of `Burgermeister` type with a dished swept back with three caned panels and turned uprights, above a rushed drop in seat on four cabriole legs with turned stretchers, 18th century, 36" highProvenance: Acquired from McWhirter, London on the 21st March 1996The collection of James Fairfax A.C. Stanbridge Mill, Gussage All Saints, Dorset
Lot 522
A PAIR OF ""EMPIRE"" MAHOGANY BERGERE CHAIRS, each with hooped moulded backs above a pierced and carved crossrail with broad seat rails with caned seats and squab cushions, on lion monopodia front legs, 30.5"" high (2) Provenance: Acquired from Carlton Hobbs, London in 1993 The collection of James Fairfax A.C. Stanbridge Mill, Gussage All Saints, Dorset
Lot 526
A GEORGE II WALNUT ARMCHAIR with an oval dished back with carved cresting and Chinese style lattice back, above a leather upholstered seat with round-head nailed decoration, on an ""X""-form base with turned stretchers, basically 18th century, 38.5"" high. See illustration Provenance: Acquired from Carlton Hobbs, London in 1993 The collection of James Fairfax A.C. Stanbridge Mill, Gussage All Saints, Dorset
Lot 529
AN 18TH CENTURY COLONIAL AMERICAN VIRGINIA WALNUT ARMCHAIR, the scrolling top rail with foliate carving above a broad vase-shaped splat, the arms issuing from low relief carved scrolls with narrow arm rests and scrolling supports, above a drop-in seat and shaped seat rail with central shell, on broad cabriole legs with carved knees and ball and claw feet, 40"" high. See illustration
Lot 554
DIEGO GIACOMETTI (1902 - 1985) `Fauteil aux Pommeaux de Canne`, designed c. 1963, Bronze with black patina and tan suede seat, 32"" high x 19 ½"" wide. Provenance: A gift to David and Pamela Sylvester from Diego Giacometti, c. 1963-1965 David Sylvester (1924-2001) and Pamela Sylvester enjoyed a long relationship with the brothers Alberto and Diego Giacometti. A first trip to Paris in 1947 and curious about Alberto`s peculiar new figure sculptures, David Sylvester secured a visit to Alberto Giacometti`s studios through his friend Daniel-Henry Kahnweiler. There began a relationship which would see David Sylvester, in his role as critic, author, friend and patron, curate and review exhibitions of Alberto`s work , gathering together in the process, the bones and flesh of his acclaimed book `Looking at Giacometti`. His wife Pamela Sylvester was crucial in translating David`s interviews with Alberto and Diego Giacometti as he acknowledges in the book: `Â…my oldest debts are to Â…Pamela Sylvester, who from 1950 on shared many of my meetings with Giacometti, gave help with research and, above all, drafted translations of passages from his writings and interviews, including all of my own interviews with him`. Such was the regard that the Giacometti brothers had for David and Pamela Sylvester, that in the summer of 1960, Alberto Giacometti embarked on a portrait of David, who sat more than twenty times for the artist. Today, Diego Giacometti is considered in his own right as one of the 20th century`s most important sculptural designers. Over 50 pieces of his furniture can be found in the Picasso Museum in Paris and many more embellish the homes of American and European collectors. Until Alberto`s death in 1966, Diego had largely been in the shadow of his elder brother, as a technical assistant in the production of Alberto`s bronze sculptures and a collaborator in the design of a range of household furnishings produced for interior decorator Jean-Michel Frank in the 1930`s. In his book `Giacometti: A Biography`, James Lord describes the beginnings of an autonomous Diego: `It was in the early fifties that Diego began making the bronze furniture for which he would finally be famous. The objects made for Jean-Michel Frank had never included tables, chairs, large itemsÂ…Because Diego had little work of his own to sell, he had few clients. His friends told their friends. The first happy few advertised their satisfaction. Gradually a clientele began to grow, with the result that one day a perfect stranger in search of an authentic Diego presented himself unannouncedÂ…In the passageway he chanced upon Diego himself, who inquired his business. The stranger said, ""Are you Monsieur Giacometti?"" To which Diego replied, ""No. You will find him in the Café at the corner of rue Didot`. As a symbol of gratitude for the recognition David and Pamela Sylvester had given his work, Diego gifted this chair to the couple shortly after the design for the chair was first conceived, between 1963 and 1965. Housed at the Sylvester`s London home, the proportions of the chair and it`s unfussy yet organic lines, were enriched by the multiple Francis Bacon studies, de Koonig drawings and eclectic Primitive and Islamic work of art they amassed during their marriage.
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217092 item(s)/page