Registration - LCV 215EChassis No. - 237109354M.O.T. - ExemptOdometer - 24,433Attractively presented in an eye-catching ‘ice cream colour combination’ of Cumulous White over Turkis Green ‘LCV 215E’ has been in current ownership since 2014, and was acquired from a private individual who imported it from the American state of Pennsylvania. While under its present guardianship, this iconic vehicle has undergone a meticulous restoration by a renowned VW Camper restoration company, with a comprehensive collection of invoices totalling in excess of £50,000 substantiating the extensive work carried out during the ground-up, bare-metal restoration process. The camper has also benefited from a completely new interior and is fitted with a rock and roll bed and ‘pop-top’ roof, enhancing its versatility and comfort ready for its next adventure. It has further benefited from the installation of a brand-new engine, which has covered approximately 2000 miles since its fitting. This carefully restored, left-hand drive 'Splittie', presents a superb opportunity to acquire a highly desirable split-screen camper which has been restored with no expense spared, and with impeccable attention to detail and a commitment to preserving its original character. It is now waiting to share adventures with a new owner.Attractively presented in an eye-catching ‘ice cream colour combination’ of Cumulous White over Turkis Green ‘LCV 215E’ has been in current ownership since 2014, and was acquired from a private individual who imported it from the American state of Pennsylvania. While under its present guardianship, this iconic vehicle has undergone a meticulous restoration by a renowned VW Camper restoration company, with a comprehensive collection of invoices totalling in excess of £50,000 substantiating the extensive work carried out during the ground-up, bare-metal restoration process. The camper has also benefited from a completely new interior and is fitted with a rock and roll bed and ‘pop-top’ roof, enhancing its versatility and comfort ready for its next adventure. It has further benefited from the installation of a brand-new engine, which has covered approximately 2000 miles since its fitting. This carefully restored, left-hand drive 'Splittie', presents a superb opportunity to acquire a highly desirable split-screen camper which has been restored with no expense spared, and with impeccable attention to detail and a commitment to preserving its original character. It is now waiting to share adventures with a new owner. The Volkswagen Type 2 (the Beetle was Type 1) dates back to 1949, and has long since acquired cult status courtesy of such diverse celebrity owners as Jamie Oliver, Martin Clunes, Roger Daltrey and Jenson Button. It has been home to generations of travelling Australians, helped hippies survive the ‘60s/‘70s and become the transport of choice for many a surfer. Variously available in van, bus, single and double cab pick-up, Kombi and camper guises etc, it would probably have been nicknamed the ‘car that changed the world’ if the Model T hadn’t got there first. The immortal ‘split screen’ T1 variant remained in production until 1967, when it was replaced by the single screen T2. Currently in its sixth generation, what is now known as the Volkswagen Transporter continues to be successfully marketed worldwide. In summary : Desirable Split-screen model 'Splittie' Meticulous, ground-up restoration, with invoices on file totalling more than £50,000 A new engine which has covered circa 2000 miles since fitting
We found 4924 price guide item(s) matching your search
There are 4924 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
4924 item(s)/page
Registration - M421 MRPChassis No. - SCBZB15C4TCH53016M.O.T. - April 2025Odometer - 60,176Resplendent in deep red, this Bentley Continental R comes with an interesting history, and is presented with a year’s MOT, in ‘excellent’ condition throughout. Powered by Bentley’s famed 6.75-litre V8 petrol engine – turbocharged here – and four-speed automatic transmission, ‘M421 MRP’ is a superb example of Bentley’s Grand Tourer. The two-door, 2+2 coupe is offered in Wildberry Red – similar in colour to Bentley’s royal models – over cream leather interior with burgundy piping and wood veneer dash. Coach-built by Mulliner Park Ward, this Continental R comes with original features such as factory-fitted phone and electric seats.Documentation shows that ‘M421 MRP’ was initially an Bentley demonstrator, and has since been owned by Weetabix owner Sir Richard George; it also has a class win rosette from the Bentley Drivers Club. The current owner is just the eighth in a history that is approaching 30 years old, having owned ‘M421 MRP’ for more than a year. The indicated distance covered on the odometer shows 60,176 miles, and the seller rates all areas of the Continental R as ‘excellent’, from engine and transmission, to electrics, interior, paint, and bodywork. Bentley’s Continental R was launched in 1991, and was the first model from the Crewe-based marque to not share a body with Rolls-Royce since the 1965 S3 Continental. When new, the Continental R was the fastest and most expensive Bentley of the time, and also the most expensive production car in the world. Offered only as a 2+2 coupe – a convertible version was called the Azure – the Continental R used Bentley’s turbocharged 6.75-litre V8, and versions featured self-levelling hydraulic suspension, and a sport button to sharpen up gear changes. Many wealthy buyers requested special alterations to suit tastes, with fewer than 2,000 models built before it ceased production in 2003. · Rare opportunity to own a Bentley Continental R coupe.· Extensive and interesting documented history.· Powered by Bentley’s legendary 6.75-litre V8.
The Mercedes-Benz 300 SE entered production in saloon, coupé and cabriolet form and was one of four models to share the new ‘Fintail’ body style first seen at the Frankfurt Auto Show in 1959. It became the flagship model at the time of its introduction in 1961, superseding the 300 ‘Adenauer’ and would remain so until the arrival of the 600 ‘Grosser Mercedes’ in 1963. Although similar in appearance to the contemporary 220, the 300 SE was mechanically more refined, featuring self-levelling air suspension, power assisted steering, servo assisted disc brakes on all four wheels and, from August 1963, dual-circuit braking. From 1964 the 2,996cc, Bosch fuel-injected, six-cylinder all-alloy engine produced 170bhp (DIN), an output sufficient to propel the luxuriously equipped 300SE to around 200km/h, or 195km/h when equipped with the optional four-speed automatic transmission. As is the case with all of Mercedes-Benz’s many flagship models, ownership of the 300 SE was confined to a wealthy few. At the time of its launch in 1961, coincidental with that of the Jaguar E-Type, one could have bought two of the British sports cars for the price of a single 300 SE! Only 5,202 had been sold when production ceased in 1965.Finished in the original colour scheme of beige with a turquoise leather interior trim, this highly original automatic transmission 300SE was first registered in the UK on 18th February 1965 and had been well maintained and dry stored for some 28 years before the vendor bought the car in 2018. Under his ownership the car has undergone a significant, but sympathetic restoration to make it the best 300SE we have ever seen. New old stock wings were sourced and fitted along with having new sills and new spare wheel well fitted. New chrome was ordered, the car fully repainted in its factory colour and new old stock carpets fitted, new seat flutes fitted, the wood dash restored and a Becker radio sourced. As well as all this, the car benefitted from having a complete mechanical overhaul with the engine being refreshed, the fuel injection pump being rebuilt, a new radiator and a new sump pan fitted, the power steering pump was rebuilt, air suspension was fully serviced, the gearbox overhauled, as were the brakes and every other part of the car. Almost all of this work was carried out by renowned classic Mercedes-Benz specialist John Haynes at a cost of over £77,500 since 2019 with the vendor reporting the car to run and drive extremely well.The history file comes complete with its V5C, previous MoT test certificates, original books in their original wallet, invoices, copy of its build sheet that also confirms its engine and gearbox are both original.With just over 56,000 miles on the odometer, this 300 SE represents a wonderful opportunity to acquire a rare, top-of-the-range Mercedes-Benz luxury saloon. Consigned by Will Penrose. JOHN HAYNES RESTORATION£77,500 SPENT ON RESTORATION SINCE 2019PROBABLY THE BEST IN THE COUNTRY
Airstream is an American brand of caravans which are easily recognized by the distinctive shape of their rounded and polished aluminium coachwork. This body shape dates back to the 1930s and is based on designs created by Hawley Bowlus. Airstream trailers and recreational vehicles are manufactured in Jackson Center, Ohio. The company, now a division of Thor Industries, employs more than 800 people, and is the oldest in the industry. Airstreamers are a group who share a community spirit because of their common love of the trailers. In the early 1950s, Airstream company founder Wally Byam began leading groups of owners on travels to many parts of the world, where the towed trailers were quite a remarkable sight. Photos taken of the trailers in front of many famous tourist sites were common. This promoted a mystique which surrounded Airstreams that persists to this day.This well preserved 1967 26ft Overlander by Airstream International is presented here in its iconic polished aluminium found outside and within. Offering modern creature comforts after an interior restoration which kept the retro feel but introduced modern plug points and electrics, cookers/hob and lighting. The seating/dining area is trimmed in red to match the diner style and the food preparation area is equally as impressive. The kitchen surface is finished in a light beech and complemented with wipe clean white doors to form a space more commonly seen in high-end domestic kitchens than in anything on wheels. Cooking equipment is a combined oven/grill and a four-burner hob. Ample storage/cupboard space is available as you would expect. Sleeping six with a double bed to one end and the seating area converting to bunk beds. This twin UK axle caravan has been recently residing at the vendors address in the UK but, due to work commitments is no longer used and thus presents the ideal opportunity to own and tour the UK or Europe. Pull up at a nice, secluded spot, open a bottle of wine and watch the world go by in the coolest way to camp. Consigned by Dominic Lake. 6 BERTH WITH OVEN AND HOBRESTORED EXAMPLE
1746 King George II silver 'LIMA' Halfcrown with 'DECIMO NONO' edge (S 3695A, Bull 1688, ESC 606). Obverse: older laureate bust of King George II, facing left, wearing armour with the face of a lion on his shoulder, 'LIMA' below. Legend: 'GEORGIUS · II · DEI · GRATIA ·'. Reverse: crowned cruciform shields with the garter star in the centre, plain angles. Legend: 'M · B · F · ET H · REX · F · D · ET · L · D · S · R · I · AT · ET · E · 1746'. Edge: raised lettering that reads 'DECVS · ET · TVTAMEN · ANNO · REGNI · DECIMO · NONO'. Weight: 14.92g. Diameter: 33.7mm. Grade: GF - grainy under magnification, otherwise Good Fine. Some British coins minted in 1745 and 1746 feature a privy mark in the form of the word 'LIMA' below the bust. This includes Five Guinea, 'full' Guineas, Half Guineas, Crowns, Halfcrowns, Shillings and Sixpences. These King George II coins were struck using gold and silver captured from European treasure ships on the way back from Peru, hence the use of 'LIMA', the Peruvian capital. The capture is often attributed to Admiral George Anson, later 1st Baron Anson, with the ships said to be Spanish galleons. However, archival research reveals that the captured ships were French (the Louis Erasmus and the Marquis d'Antin). These vessels were taken by British privateers, government-sanctioned pirates whose prize money was shared between sponsors and crew.The Gentlemen's Magazine reported in September 1745 that the 'privateers waited on the King and offered £700,000 - their share of the prizes - to be immediately employ'd for his majesty's service, which was accepted and the money is to be repaid by Parliament.'. The loot, consisting of Spanish coin and bullion, was then transported to the Royal Mint. The application to place the word 'LIMA' under the royal portrait was made by the Bank of England in December 1745.
DALWHINNIE 8 YEAR OLD JAMES BUCHANAN 1980S 75CL HIGHLAND SINGLE MALT 40% ABV / 75clDalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
DALWHINNIE 1988 DISTILLERS EDITION HIGHLAND SINGLE MALT Distilled: 1988Bottled: 2003Double matured in Oloroso Sherry wood.43% ABV / 70cl Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
A stunning limited edition crystal figure with only 9999 others to share the majestic joy and pride of owning such a masterpiece. This admirable artwork features a clear crystal eagle perched on a rock. Solid silver beak and talons in a rhodium plated finish. A fantastic craftsmanship that captures power and grace. Swarovski marked. Certificate of Authenticity, The Eagle Winging to Glory, and polishing cloth included. This item has its original box: 14.5"L x 9.75"W x 9.25"H. Artist: Adi StockerIssued: 1995Dimensions: 6.5"L x 5.25"W x 8.5"HEdition Number: 317 of 10000 Manufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
A collection of specimen Debentures and investment certificates, circa late19th Century to early 20th Century, including mortgage debentures, share certificates, and capital investment certificates, mostly on paper mounted to a card backing, in generally poor condition with discolouration and foxing, twenty seven items in total
W H Smith & Son Ltd Specimen share certificate, likely produced by Bradbury Wilkiinson & Co, red and black print and measuring 25.4cms x 20.2cms, one cancellation hole, in good condition, one or two minor spots and dirty marks, some crumpling and creasing evident along top edge and corners, some handwritten digits in black ink are evident in central area including the date 19/8/59
Lynn Chase Designs Porcelain ' Tiger Raj' Pattern Dinner Service in a beautiful green, blue and orange colour design with 24 Karat gold decoration featuring Bengal tigers and other mammals incl elephants, monkeys, antelope, red squirrel etc and various birds, native to India. "Tiger Raj celebrates the tiger of India and the magnificent wildlife which share his realm". The dinner service comprises of 8 place settings to incl eight dinner plates, eight soup bowls, eight starter plates, eight side plates, eight teacups and eight saucers, eight coffee cans and eight saucers, teapot with lid, sugar bowl with lid, milk jug, 5 serving bowls of varying sizes, 4 large serving platters and 3 small serving dishes (79 pieces in total)
Ephemera, Huntley Bourne & Stevens, a collection of 43 items to comprise 1899 price lists and meeting minutes, Transfer Share documents, some with Palmer and Stevens signatures, photographs of tins, staff, Royal visits, machinery, steeplejack, factory demolition (some small duplication) (gen gd)
A BOX AND LOOSE CAMERAS, PROJECTORS AND PHOTOGRAPHIC EQUIPMENT, to include a cased Goldeck camera, a Ferrania Tanit, a Kodak Easy Share C643 digital camera, various compact cameras including Vivitar EZ250, Olympus AZ-210, Halina 150, Miranda A-X and box Brownies, slide projectors, etc. (1 box + loose) (sd, untested)
A copper alloy torch stand (Mashal) with Armenian inscription,Safavid Iran, 17th century,Of typical form, the decoration consisting of three bands of plain double chevrons on a field of elegant scrolling tendrils bearing trefoils on hatched ground, a flange above and below, the upper register with nasta'liq inscriptions within cusped cartouches, a register of scrolling tendril above and below, inscription in Armenian script within a stylised cartouche below the flat lip31.6cm. high Footnotes: There are a group of Safavid torchstands with Armenian inscriptions, most of which share the same quatrain which appears around the top band of the torch stand, two are in the Victoria and Albert Museum, London, published in Melikian-Chirvani 1982, pp.312-5, nos.140 and 141, both attributed to Western Iran, late sixteenth century; one appeared at Sotheby's June 10, 2020 Lot 112; and another sold at Christie's as part of the Wildenstein Collection, London, 14-15 December 2005, lot 381.Condition Report: Overall good condition with some surface pitting and dulling of details
A substantial Scythian bronze terminal,circa 7th century B.C.,with openwork bell, surmounted by a griffin’s head, with side loop for attachment, 30cm high Provenance: Private English collection, acquired in the 1990s; Dreweatts, Donnington Priory, Chinese Ceramics and Works of Art (part 1), 11 November 2020, lot 44. Footnotes: For a similar bronze terminal, cf. St John Simpson and Svetlana Pankova, Scythians warriors of ancient Siberia (British Museum 2017), pp254-255, no.178. The function of these terminals or “pole tops” is unclear, but they appeared to play a role in funerary rituals and were probably attached to horses and carts. While the designs vary, all other excavated examples contain small bells or balls within a hollow cage. The earliest type of such bells had their origins in the Western Zhou Dynasty in China (circa 1046-771 B.C.). The griffin heads share some features with examples from Eastern Greece.
A fragmentary calligraphic cobalt and turquoise blue and lustre pottery tileIlkhanid Iran, circa 1270 ADWith elegant calligraphy reading "was the light of heavens (budh chiragh-e behesht)" within a lobed pointed arch, amidst simplified scrolling motifs, swaying leafy vines above and below, their leaves of zoomorphic shapes, the upper register with a split palmette30 x 17.5cm. Footnotes: This lot finds a direct comparable in the British Museum where a tile attributed to Takht-i-Suleyman and date circa 1270 is kept (1878,1230.573.2). Our tile and the British Museum's share the same calligraphy contained in a lobed arch, the elegant intertwined vine and the hidden zoomorphic heads they bear.For more about luster tiles inscribed with verses from the Shahnama see Journal of Material Cultures in the Muslim World Volume 2 Issue 1-2, Leiden, 2021
1874 (Mar 25) Cover from London to Singapore only franked 1d with boxed "DEFICIENT POSTAGE (1/2) / BRITISH SHARE OF FINE (6)" applied in London, scarce "SINGAPORE / UNPAID" arrival c.d.s (Proud UP8, 27 Dec. 74, earliest recorded use), manuscript charges of "1/8" and "52", repaired tear at upper edge, otherwise fine and scarce. Photo on Page 174.
1886-1938 Covers and ephemera with Rhodesia 1901 Certificate of Transfer of a mining claim bearing £5 and £10 block of eight tied by "MINES OFFICE / GWELO" cachets; 1912 cover from the Eldorado Banket Gold Mining Co. with 1d Double Head tied by "ELDORADO MINE / S. RHODESIA" c.d.s; 1928 (Apr 13) "The Whitehorse Star" newspaper flown from White Horse to Carcross, handstamped "POSTAGE PAID" and bearing a Yukon Airways 25c stamp; other Canada first flight covers (9); and share certificates or cheques for gold mines in Transvaal (8, four with revenue stamps). (20).
1858-59 Covers to Calcutta sent via Marseille, the first franked 6d from Newark with "INSUFFICIENTLY / PRE-PAID" and "St. Bg / As 4", equivalent to the single 6d deficiency; the second franked 9d from Doncaster to H.M.S "Nemesis" with red boxed "DEFICIENT POSTAGE 3 / BRITISH SHARE OF FINE 3" and "St. Bg. As 6", equivalent to 9d, redirected without charge to Akyab with oval "FORWARDED" on reverse. (2).
1860-68 Covers via Marseille charged the deficiency + 6d, with boxed "EXCG OZ / DEFICIENT POSTAGE / BRITISH SHARE OF FINE (3)", franked 6d with 4d deficiency charged 6A, franked 9d with a 3d deficiency charge 6A, franked 10d with a 10d deficiency charged 10A 8P, or franked 2d with a deficiency of 8d charged 9A. (4).
1868-70 Covers franked 6d sent via Southampton, all underpaid by 3d with a fine of 9d, charged 8A. All with differing London handstamps comprising unframed "DEFICIENT POSTAGE 3 / BRITISH SHARE OF FINE 4½ } 7½", boxed "DEFICIENT POSTAGE 3d / FINE 9d } 1/-" or "EXCG OZ / DEFICIENT POSTAGE (3) / FINE 9d", one with a few edge faults, otherwise fine, an interesting trio. (3).
Registration No: DN 933 Chassis No: 942464 MOT: ExemptAn original Trafford Park-built, right-hand drive Model TBodied as a Landaulette and understood to have served as a taxi for many yearsFeatured on screen in 'Peaky Blinders', 'Downton Abbey' and 'Mr Selfridge' etcEntered from a private collectionPLEASE NOTE: Since the catalogue went to press we have spoken to Neil Tuckett of Tuckett Bros whose opinion of ‘DN 933’ is that it is “Probably the best surviving Town Car in the UK”. Mr Tuckett confirms that he sorted the Ford’s engine out and believes he has quite some paperwork on file relating to the car which he is more than happy to share with a new keeper including (perhaps) a copy of the 1967 bill of sale from the original owner.Launched in 1908, the T's chassis and mechanical components were made from exceptionally durable, high-grade vanadium steel. The Ford also featured a compact 2890cc, side-valve, four-cylinder engine that pioneered the use of a detachable cylinder head. Mounted in unit with the clutch and two-speed epicyclic gearbox assembly, it developed some 23hp at a leisurely 1,600rpm and 80lbft of torque. Top speed was limited to around 45mph depending upon bodywork, whilst brakes operated on both the transmission and rear wheels. With the introduction of a moving assembly line in 1913, Henry Ford famously turned his Model T into the world's first mass-made car. A year later, Model Ts represented 56% of all automobiles manufactured in the USA. However, it was not just the sheer volume of Model Ts rolling off the production line that motorised America, it was the inherent quality of the design. A real rarity, this right-hand drive Model T is understood to have been built at Ford’s Trafford Park factory complete with the Landaulette body it retains to this day. The registration number ‘DN 933’ was issued in York during January 1921 and the Ford is believed to have seen service there for many years as a Hackney Carriage. The engine currently installed (number 942464) dates from October 1915 and is assumed to be original to the chassis. The leather upholstery (including the fold down occasional rear seats) has a great deal of age to it but remains usable. Proudly sporting a supplier’s plaque from the renowned Model T specialist Tuckett Bros., ‘DN 933’ entered the current family ownership in February 2008. Part of a large private collection that was hired out for film and television work from time to time, the Landaulette has reputedly starred in ‘Peaky Blinders’, ‘Downton Abbey’, ‘War Horse’ and ‘Mr Selfridge’ being repainted different colours depending upon the production crew’s wishes. Starting readily upon inspection, ‘DN 933’ exhibits a pleasing patina and benefits from coil ignition, electric start and a two-speed rear axle. Surely, a ‘must have’ acquisition for a UK Model T collector? Offered for sale with V5C Registration Document, period Halda taxi meter and sundry paperwork. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
λ ROBIN FOOTITT (BRITISH B. 1982) SHARE Screenprint in colours Signed in pencil and numbered 1/8 71 x 101cm (27¾ x 39¾ in.)Together with another screenprint by the same hand, LIKE, signed in pencil and numbered 1/8. Condition Report: Share - In good original condition, some slight undulation to the sheet. Under glass and unexamined out of frame. Like - There is extensive staining to the paper along the right hand edge. There is creasing to the extreme bottom left and top right corners. Framed and glazed. Condition Report Disclaimer
Péry & Fils, a Retro gold and sapphire watch, France, 1950s, the circular brushed gold dial with black enamel indicators and blue steel hands, within a floral gold bezel, to an integrated bracelet of beaded gold linking set with two lines of circular-cut sapphires, case width 2.5cm, length 16.5cm, French assay mark for 18ct gold, partial maker' mark for Péry & Fils, gross weight 98 grams Péry & Fils were an important Parisian family jeweller, established in 1875, who manufactured jewels for some of the most prominent French jewellers. Most notable among these was Van Cleef & Arpels, for whom they created many important designed including the 'Zip' necklace and the 'Passepartout' jewels, as well as the 'Pélouse' or 'Couscous' bracelets which share very similar construction with the present jewel.
JAMES BOND: THUNDERBALLAmerican Full-Bleed Multi-Use Four-Unit Display (30" x 40")Very Fine- on Linen; Artwork by Frank McCarthy and Robert McGinnis United Artists , 1965An unusual and uncommon item is a piece so scarce that this poster may be the only copy known. This unique American poster takes its cue from the advanced "quad crown" style British quad, closely resembling the quad in size, image, and purpose. The press book encourages theater owners to cut the poster into panels so that the images can be displayed separately or arranged vertically or horizontally. Though both the American and British posters share many of the same images, courtesy of longtime Bond artists Frank McCarthy and Robert McGinnis, the American poster provides a section for the film's title, credits, and even an imprint area for theater information.This poster has been professionally restored to address pinholes, small tears, and a tear from the left edge into the smoke from Bond's jetpack in the center-left. A few places at the edges and outer background have been airbrushed, rounding out the poster's restoration.The fourth Sean Connery Bond film pitted 007 against SPECTRE Number Two Emilio Largo (Adolfo Celi) and was initially intended to be the first. However, it was delayed due to a rights dispute over the novel, eventually resulting in 1983's rival Bond film Never Say Never Again.This lot will be auctioned on Thursday, April 18th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on April 19th.
THE GRAPES OF WRATHFirst Post-War Release French Moyenne (23.5" x 31")Very Fine+ on Linen; Artwork by Constantin Belinsky 20th Century Fox, 1947Though 20th Century Fox Studio was known for using stone lithography long after other studios had abandoned it for the cheaper offset, they sadly produced a campaign for this film, which, in many instances, could have been better. The one-sheet was a photographic paste-up that left so much to be desired. They used Thomas Hart Benton's artwork for some of the campaign but ineffectively. This gorgeous Belinsky painting is glorious in its use of the highlighted faces against the dark and somber background depicting the era's struggles.This linen-backed poster has had minimal restoration, including touch-up work on the folds and centerfolds and some work in the artwork, but otherwise, the poster is very clean.Legendary director John Ford won his second Oscar for directing this impactful adaptation of John Steinbeck's Great Depression-era odyssey. Henry Fonda stars as Tom Joad, whose impoverished share-cropper family must make a dangerous journey from Oklahoma to California in search of employment.This lot will be auctioned on Thursday, April 18th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on April 19th.
Lladro Porcelain Figurine, Kissing Girl 1004873 and Boy 1004869. A glazed porcelain figurine featuring a girl and a boy, both adorned in flowing white robes, delicately bent forward with puckered lips, poised to share a gentle kiss. Lladro backstamp. Artist: Fulgencio GarciaIssued: 1974-1997Dimensions: 4.25"L x 1.5"W x 7.5"HManufacturer: LladroCountry of Origin: SpainCondition: Age related wear.
‘Of course, I did not know this would be my last assignment in mines disposal work when I left the Admiralty before breakfast that morning and was carried by car to Hoxton. At the back of the minds of us who did this work was an acceptance that there probably would be a ‘last.’ In defence of our sanity, perhaps, to stop us leaping from the cars that carried us to each assignment, or maybe just in case we began to think ourselves heroes, we did not dwell on this probability. It was there. But suppressed. If and when the ‘last’ mine came … well it came. Several of our section had found it; some, less fortunate than I, did not live to tell the story. My ‘last’ buried me in rubble for several hours with my back broken and other injuries, and it kept me in plaster for the best part of a year.’ Lieutenant Jack Easton, G.C., R.N.V.R., as quoted in Wavy Navy: By Some Who Served. The outstanding ‘London Blitz’ G.C. group of seven awarded to Sub. Lieutenant J. M. C. Easton, Royal Naval Volunteer Reserve, a member of the Admiralty’s secretive Land Incident Section who was buried alive by the detonation of a parachute mine in London’s East End in October 1940. When eventually pulled from the debris, he was found to have suffered a fractured skull, a broken back and broken legs: his gallant assistant – Ordinary Seaman Bennett Southwell – was less fortunate, his decapitated body being discovered six weeks later Easton was no stranger to the nerve-wracking business of mine disposal, having earlier made safe 16 such devices, including one which had crashed through the roof of the Russell Hotel in Bloomsbury and ended up hanging from the chandelier in the main dining room: the grateful hotel owner presented Easton with a cheque for £140 - and an offer of Sunday lunch for his family for life - but both had to be rejected ‘as a matter of honour’ George Cross (Sub-Lieut. Jack Maynard Cholmondeley Easton, R.N.V.R. 23rd January, 1941.); 1939-45 Star; Atlantic Star, 1 clasp, France and Germany; Defence and War Medals 1939-45; Coronation 1953, unnamed as issued; Jubilee 1977, unnamed as issued, mounted as worn, very fine (7) £80,000-£120,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- G.C. London Gazette 23 January 1941: ‘For great gallantry and undaunted devotion to duty.’ Jack Maynard Cholmondeley Easton was born at Maidenhead, Berkshire on 28 May 1906 and was educated at Brighton College and Pangbourne Nautical College, prior to training as a solicitor and joining his grandfather’s law firm in the City of London. Understated designation: The Admiralty’s ‘Land Incident Section’ A keen sailor, Easton was a perfect candidate for the Royal Naval Volunteer Reserve and attended the training establishment H.M.S. King Alfred at Hove, Sussex prior to being appointed a probationary Temporary Sub. Lieutenant in September 1940. As related in Wavy Navy: By Some Who Served, it was at King Alfred that he was one of twelve officers who volunteered for a secret mission: ‘I was, with others, to learn that, as far as the Navy was concerned, volunteering for anything is foolish vanity. Within eight hours of volunteering for this intriguingly phrased ‘secret mission’ I, with eleven brother officers, was reporting to H.M.S. Vernon, the gunnery and mines school at Portsmouth.’ Here, they discovered their pending fate, namely immediate membership of the Admiralty’s Land Incident Section and a crash course in mine disposal: ‘So many unexploded mines were sticking in the ground or hanging by their parachutes that the small, trained band of R.N. specialists engaged in rendering mines safe where they could be approached was unable to cope with the work. Somewhat grudgingly, perhaps out of consideration for our complete rawness or from an expert’s distrust of the amateur, the R.N.V.R. was being called in to share the Navy’s task.’ Easton continues: ‘There were many speculations as to why the mines had not exploded, even on contact. But that their mechanisms would start operating again to even the slightest movement or tap (as you might start a stopped watch by the gentlest finger-nail tap on its face glass) was something known. Our warning that the mine was alive again was the ticking of its mechanism, and when we heard that we knew we had a maximum of twelve seconds to get to safety. In certain situations, this time margin meant nothing … as it meant nothing to a Sub. Lieutenant who died while dismantling his first mine: no part of him was found, not even a uniform button or badge. He just disintegrated.’ Easton’s first mine was located at a farm in Norfolk, buried to half its length in a chicken run: ‘I confess to feeling very much alone in the world at that moment: the farmhouse was, of course, evacuated, and my police inspector, and his assistants had gone. We worked entirely alone on our tasks, for although each officer had the assistance of a trained rating, it was the ‘etiquette’ of the job to keep the rating out of the danger area until the real fang of the mine, the bomb fuse, had been drawn. So I was in that farmyard quite alone. I don’t think I have ever been so much alone in my life. Our instructor had not mentioned this, as he had not mentioned the queer chill at the base of the spine. I gave one last look at the empty world I inhabited, then got on my knees beside them mine and began scraping away the earth … ’ After careful digging to reach the fuse, he emerged triumphant, as he did from his next fifteen assignments. 12 seconds to live As cited above, however, disaster struck on 17 October 1940. Easton takes up the story: ‘It was, as I have said, in Hoxton in the East End of London. One morning before breakfast a car took me to the district. As usual, I was greeted by the A.R.P. authorities, and, with my rating [Ordinary Seaman Bennett Southwell] by my side, I listened to what information they had. A large area of tenement property had been evacuated and ‘Unexploded Bomb’ notices erected round it. The tenant of the house, a bit excited and self-important, described what he believed to be the position and size of the mine. Then, supplied with all available information, the rating and I set off down the drab street. Those solitary walks towards the location of a mine always reminded me of the last scenes in the pictures of Charlie Chaplin. I had the feeling that a vast audience was watching the way I walked. It had been a last scene for several men I knew, though such morbid thoughts were absent that day. I was looking for the house described. It was easily discovered for the mine had crashed through the roof and made a great ragged-edged hole, and the slates littered the street and pavement. It was the usual type of working class home in the East End of London, one of a continuous structure of two-storied, drab erections, more miserable than usual because of the stillness, the emptiness of the houses. Through the windows one saw the miserable interiors, the little proud possessions in ornaments, plants, enlarged and coloured photographs of soldier and sailor sons, the parlour luxuries of poor folk. There was a rigidity and pathos in the long rows of small homes. The shattered roof was an outrage, somehow. The front door was open and I entered a narrow hall. The thick dust here was familiar and eloquent to me now, and I moved cautiously, in case a too heavy footfall set the mine mechanism going again. The door on my...
* Prints & Engravings. A collection of approximately 60 prints, mostly 19th-century, including A View of Messrs Barclay Perkins & Cos Brewhouse, Southwark, London (aquatint, numerous repairs, laid on card, framed and glazed), together with other engravings and prints including portraits, topographical views, natural history, equestrian, pastoral and nautical scenes, including examples by or after Gillray, T. Alken, Graphic Illustration of Animals, James Basire, W. Ward, G. Vertue, C. Hunt, W. Sharp, W. Say, P. G. Langlois, Baxter Licencees, Wilson Lonry, John Charles Bromley and others, occasional duplicates, various sizes and conditions. QTY: (approx. 60)NOTE:Barclay, Perkins & Co Brewhouse began as Anchor Brewery in Southwark, established by James Monger the Elder in 1616, next to the site where the original Globe Theatre stood. It was successively owned by James Child, Edmund Halsey, Ralph Thrale and then his son Henry Thrale (1758-1781). Thrale, with his wife Hester Lynch Piozzi, both friends of Dr Samuel Johnson (who had his own room at the Brewhouse and wrote many of his famous works there), continued to expand the business. Johnson initially wished Mrs Thrale to keep the Brewhouse after her husband died in 1781 but it was sold to the Barclay family. The Barclays took Henry Thrale's manager, John Perkins, into partnership with a quarter share of the profits. The business continued to flourish and by 1810 with production at over 200,000 barrels a year. It became the biggest brewery in the world and attracted some famous individuals including the Prince of Wales, the German statesman Otto von Bismarck, Prince Louis-Napoléon Bonaparte, Ibrahim Pasha of Egypt, Giuseppe Garibaldi and the Austrian general Julius Jacob von Haynau.
A collection of share certificates and banknotes, including two early 20th century share certificates from The Rock Island Company New Jersey, two early 20th century share certificates from The Wabash Railroad Company, a selection of five Bank of England £1 notes from circulation (Peppiatt x 2, O'Brien x 1, Beale x 1 Page x 1), two Bank of England O'Brien10 Shillings notes from circulation, a small selection of six world banknotes including a Zimbabwe Ten Billion Dollars note in good condition, along with approx. 27 Barclays Bank cheques from the 1930's and 1940's, and some ephemera relating to warrants for the payment of interest on shares
Steve Lazarides (British, b. 1969) after Banksy Get a move on 320gsm Hahnemuhle Photo Rag Pearl print Limited Edition No. 20 of 200 Signed, numbered & stamped by Steve Lazarides Printed by Magic Max 59 x 42cm (23.5" X 16.5") With certificate of authenticity from Steve Lazarides' private collection. Steve Lazarides is a British-Greek Cypriot publisher, photographer, collector and curator. He has helped popularise street art and underground art. In the 1980s, he started out with a Nikon F-mount camera documenting his surrounding environments as a photography student. He subsequently worked as a photographer for Sleazenation, where he was employed as photography director from 1996 till 2001. Commissioned by Sleazenation to photograph Banksy's portrait in 1997, he continued to work with the artist, including as the anonymous artist's driver and photographer, before eventually becoming his gallerist. Lazarides and Banksy also launched the 'Pictures on Walls' website in 2001 to promote graffiti art, and widened their scope to work with a larger roster of street artists. He created an in-house print studio, Lazarides Editions, and worked with the artists to create prints to share with the art community. In 2016, Lazarides began curating his personal photography archive of 100,000 images containing roughly 12,000 photographs he took whilst documenting the career of Banksy, and self-published them as two books, Banksy Captured Volume I & Volume II. Lazarides self-distributed the first and second editions of the two volumes, resulting in sales of over 5,000 copies within a month, at the end of 2019. Banksy Captured Volume II, features further photography and commentary, and was published in March 2021. Volume Two includes reportage from Banksy's 2006 Los Angeles exhibition "Barely Legal", images of the artist's unauthorised installation inside London's Natural History Museum during 2004. Banksy Captured Volume I & Volume II were both self-published via Lazarides' Laz Emporium venture. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
An 18th-century Tibetan painted mandala thangka depicting various lamas, an outer ring of repetitive mantra script, and protective inscription at all eight gates leading into the central square buildings. With provenance affixed to the verso.Accompanied by a letter which reads:Tibetan Mandala, gouache on cotton.Mandala of Samsara.The painted mandala is a two-dimensional, symbolic and representational blueprint. It is believed that two-dimensional mandalas have a remarkable ability to intensify the beholder's power of imagination and to stimulate the creativity needed by the practitioner to visualize the three-dimensional. Looking at mandalas is thought to help create a model for the practice of contemplative visualization.This Mandala has an outer circle of flames protecting the inner residence. Moving toward the center this is followed concentrically by what is thought to be a Vajra fence, a repetitive mantra script and then finally the lotus base containing the lotus petal within a circle. The square within the circle represents the building, in the center of which lives the deity. The building is constructed to face in four directions.According to Tibetan convention, East is in the front, and South, West and North follow in a clockwise direction. A door faces from each direction location and is guarded by gate protections. The inner square contains a circle divided into nine parts, that contain what looks to be a mantra of um.Tibetans share with all Buddhists a belief in a cycle of beginningless rebirth called samsara, where beings are reborn according to the law of Karma. Briefly, virtuous actions result in happiness in the future, while non-virtuous deeds result in suffering. It is considered desirable to be reborn as a human or god, however, the goal of the Buddhist path is to escape entirely from the cycle and to end suffering and future rebirth forever. This state beyond suffering is called nirvana.Sight; height: 13 1/4 in x width: 11 3/4 in. Framed; height: 23 in x width: 21 1/2 in x depth: 3/4 in.Condition:Study images closely. The work is of significant age and therefore show signs of wear as expected, numerous areas of minor paint loss, and evidence of creasing or folding. Close inspection with a black light reveals no evidence of restoration or inpainting. Some of the lettering appears to be faded or have been vulnerable to cleaning.
DALWHINNIE 1966 36 YEAR OLD HIGHLAND SINGLE MALT Bottled: 2002Bottle Number: 997 / 150047.2% ABV / 70cl Dalwhinnie is the highest distillery in Scotland and, as such, it also boasts the lowest average temperature range. The obvious benefit of this is a lower “angel’s share” lost from casks in their warehouse, but it also keeps their external worm tubs cool, causing the spirit vapour from the stills to condense very quickly. Combine this with a distillation process which strives to minimise copper contact, and Dalwhinnie distillery produces a heavy, sulphury new make spirit that needs to mellow in refill wood for 15 years before its signature sweet, honied style fully emerges.
Mamma Mia West End Experience with Catherine Johnson - four tickets to Mamma Mia! at The Novello Theatre in the West End as guests of the show’s acclaimed writer Catherine Johnson. Catherine says that she will ‘join the winners in the auditorium, buy you drinks in the interval, and afterwards share all the behind-the-scenes gossip about the stage and film productions!’ A unique experience. This lot is part of the Circomedia Spring Gala Fundraiser - tickets for the evening can be purchased via their website: www.circomedia.com/spring-gala/ or by calling their Box Office on 0117 947 7288. Access to the live Gala in Bristol is by ticket only. Circomedia (Charity No.1056852) is a school for contemporary circus and physical theatre based in Bristol, England. They offer a variety of training courses and workshops that teach circus skills in the context of physical theatre, performance, and creativity. Alongside this, they also present a busy programme of professional circus shows and events each year. The proceeds from this lot will be used to support Circomedia’s life affirming circus programmes for children, young people, communities, and circus artists.
2003 Jaguar S Type, 2.5 V6 Sport. Registration number BJ53 UTR. VIN number SAJAC03N94JN03059.Sold with the V5C, receipts for parts and MOT until May 2024.The S-Type Jaguar unveiled at the Birmingham Motor Show of 1998 had strong echoes of the company's glorious past. Not only did it share the name of one of the company's popular 1960's saloons, but the Geoff Lawson styling appeared to have been heavily influenced by an array of iconic Jaguar models from the same era - not least the immortal MKII.UTR presents well with a MOT history going back to 2006. It has recently had the rear subframe replaced along with the suspension receiving a rebuild. It also benefits from a new battery and radiator. There are six stamps in the service book and a good selection of receipts for parts and servicing.
Matchbox Superfast Factory Working Drawing for an unreleased model of a Tri-Axle Leyland Ergomatic Container Truck based on an extended 60a Leyland Site Hut Truck, the front plan of which clearly shows the model fitted with wide Superfast wheels. Unfortunately the date of the drawing has not been recorded and was probably one of many similar models the R&D department would suggest as modifications of existing but obsolete tooling. In the mid 1970's the German Market had made it's wishes known that more realistic models were required to compete against Majorette & Siku, both of which were hurting market share within Germany. One of the models mentioned was a Container Truck, which was eventually released as 42c Mercedes Container Truck, but perhaps this was an initial proposal to satisfy that request? An interesting drawing nevertheless - Good to Good Plus factory folded with some staining & graffiti, please also note that this drawing is in a reverse mirror image to the original!
ILLUMINATED MANUSCRIPTDE PAPE (FERDINAND AND CHARLES) Recueil de pieuses prières, ILLUMINATED MANUSCRIPT ON VELLUM, 209 pages (numbered in lower margin), illuminated throughout including title, 33 full-page illuminations, and 264 pages of text, each within elaborate borders of different colours (gold, green, blue, lilac, red and white) filled with flowers, birds, insects and butterflies, the last 12 pages with gold floral corner-pieces left blank for additions, illuminated initials heightened in gold throughout, illumination on p.7 neatly restored, original brown morocco by De Samblanx-Weckesser, covers and spine with blind-stamped floral decoration, green and red inlaid monogram on upper cover, red morocco doublures with all-over pattern of gilt stars, crescent moon and roses, gilt dogtooth border, red watered silk endpapers, leather ties with decorative metal clasps, g.e., contained in original diced roan box with gilt monogram on upper cover (light wear), small 4to (150 x 330mm.); together with a note by Charles de Pape, SIGNED and DATED, 4-page vellum bifolium in brown ink (160 x 120mm.), Bruges, 1908 (2)Footnotes:AN EXQUISITE AND RARE EXAMPLE OF NEO-MEDIEVAL ILLUMINATION. Ferdinand De Pape (1801-1885) was a Belgian painter and foremost representative of the revival of medieval illumination who attained national and international success. Ferdinand described himself as a 'peintre en moijen âge'; and his known works suggest that he drew most of his inspiration from the fifteenth- and sixteenth-century Brugean illumination. Ferdinand worked with his brother François (1814-1863) and later, from 1859, with his son Charles who eventually took over the workshop in 1882 when Ferdinand retired due to his failing eyesight. (see W. Dumond, 'The Bruges Illuminator Ferdinand de Pape', in The Revival of Medieval Illumination, 2007, pp.245-67).No other complete manuscripts have been traced at auction. The only other comparable example is held at the Morgan Library & Museum in New York, MS M.1115, Legende et déscription de la châsse de St. Ursule par Memling à l'hôpital Saint Jean à Bruges.The manuscript offered here was made for 'Monsieur and Madame Norbert Le Gallais-Metz' as is explained in the accompanying note in Pape's note. The manuscript, which celebrated the marriage between Norbert Le Gallais and Juliette Metz, was started as a collaboration between Ferdinand and Charles, and it was eventually finished by Charles in 1908. The 33 full-page fine illuminations depict scenes from the New Testament and various Saints, including St Norbert and St Juliet, who share the first names of the couple the manuscript was made for.ILLUMINATIONS: p.1 Le Gallais coat of arms; p.2 Salvator Mundi; p.4 Virgin Lactans crowned by angels; p.5 Angel musicians; p.6 Donor in prayer; p.7 Donor in prayer; p.8 Annunciation; p.15 St Peter; p.16 Visitation; p.21 St John the Evangelist; p.51 Annunciation to the Shepherds; p.29 St Catherine of Alexandria; p.30 Nativity; p.39 St Paul; p.40 Flight to Egypt; p.47 St Anthony; p.48 Presentation to the Temple; p.64 St Catherine of Alexandria; p.75 St Nicholas; p.76 St Barbara; p.81 St Luke; p.82 Agony in the Garden; p.107 St Mark; p.108 Altar with Host; p.125 St Matthew; p.126 Crucifixion; p.145 Bishop martyr; p.146 St Louis; p.158 Angel musician; p.176 St Francis receiving the stigmata; p.177 Coronation of the Virgin; p.197 St Norbert; p.198 St Juliet.TEXT: pp.9-38 Prières du Matin; pp.41-63 Messe de Mariage; pp.65-83 Exercice Pour la Confession; pp.83-107 Exercice Pour la Communion; pp.109-157 Prières durant la Saincte Messe; pp.160-176 Prières pendant la salut; pp.178-195 Prières du Soir; pp.194-209 Souvenirs de Famille LGM.The fine binding is by the Belgian master craftsman Charles de Samblancx [or Samblanx] (1855-1943), who began his binding career at age 11, as an apprentice to Coppens. He worked in partnership with the gilder Jacques Weckesser from 1889 to 1909. Samblancx worked in a variety of period styles, masterfully reproducing the bindings of previous centuries.Provenance: Norbert Le Gallais (1860-1934) and Juliette Metz; by descent to the present owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Transportation, Naval and Shipping, an early 20thC scrap album belonging to George William Bowyer, White Star Pilot, containing large format photographs, smaller photographs, postcards, newspaper cuttings, invitations etc. SS Olympic, American Line Chester, Cable Ship George Ward, US Tug Goliath, SS Saxon, St Louis, HMS Beryl in camouflage, British Minesweepers Stord Norway 1919, Southampton Docks, Dornier DO-X Calshot, Polish troops, Cruiser Konigsberg 'proceeding to surrender', naval funeral, invitation to the formal opening of the Southampton Floating Dock in 1924, US SS Leviathan being towed into dock, Japanese Battleship Shikeshima and crew, Patrol Boat HMS P28 and much more. Also, 12 P&O 1920s passenger lists from the Dumana and a qty. of 1950s dated Cunard Steam Ship Co. share certificates. Many annotated. A unique and fascinating historical collection in good condition.
Ephemera, a selection tom include Squire of Walton Hall book, Panorama of Rhein 1890’s, Cunard Share Certificate £375, magazines, travel brochures, postal history, theatre programmes, Health & Efficiency 1958, Singer sewing instructions 1958, town guides inc. Woking, Barnet, Norwich, Merton/Mordon; Farnborough Air Show 1961, WWI newspaper cartoons scrapbook, maps, shipping etc. (mixed condition) (approx. 100)
BANKSY (b.1974) "Special Sauce, Custom-Made Corsetry", hand-painted acrylic to both sides of an A-Frame advertising board, 123 x 62cms.Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990s. Houghton had a bespoke corsetry shop at BS8, on Park Street, Bristol, and Banksy designed this board for outside the shop door.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.
BANKSY (b.1974) "Boing!" - characters on a spacehopper, A birthday card, hand-painted in coloured pencils and felt pen, cut-out collage, opening to reveal the inscription "A very happy birthday to the bounciest groover on planet funkiness. Long may your birthdays continue and your foxiness grow, Much Love XXX, Robin", 41 x 19.5cms, in glazed box frame (50.5 x 29cms overall).Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990sExhibited: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.
BANKSY (b.1974) and Emma Houghton (b.1973) Babble Sound System, event tickets screen print on linen, 54.5 x 47cms, in frame.Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990sExhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023.The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.Notes: In 1993 a small group of students from Leicester started babble collective sound system, inspired by the likes of Smokescreen and legendary midlands deep house proponents DiY. They borrowed as much money as they could from friends and relatives and invested in a small second-hand sound system. By 1994 babble had become a firm favourite with an enthusiastic Leicester crowd, and over the next few years the collective staged sell out nights at (amongst other places) the Mud Club, Luxor (now Industria) and the Fan Club, and all-night events at Starlite 2001. DJ’s playing from the collective back then include Long Jon, Peter Pan & Jay, often joined by guests from Smokescreen.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.
BANKSY (b.1974) Bad Girl ("Emma"), A birthday card, hand-painted in felt-tip pen and crayon, cut-out collage on gold cardstock, opening to reveal the inscription "Bad Girl, You Ugly, You Stupid, You Smell Bad, XXX, But We Likes You All The Same, Robin Banksy Gunge", 16 x 14cms, in box frame (26.5 x 24.5 overall).Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990s.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023 The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.
BANKSY (b.1974) "happy birthdi ema" - animal party, birthday card, hand-painted in felt-tip pen and crayon, cut-out collage, inscribed to interior "best wishes from all the country folk, Robin", 41.5 x 29.5cms, in box frame (51.5 x 39.5cms overall).Provenance: Emma Houghton, close friend and collaborator of Banksy throughout the 1990s.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.
BANKSY (b.1974) Heavy Weaponry (Space) (c.1998), A birthday card, hand-painted and spray-painted with aerosol and acrylic paint, and felt pen on silver card, opening to reveal the inscription "Ema, Happy Birthday Slappa! You Don't Half Make Me Smile Sometimes, Stay Beautiful, Mr. Banks", tagged BANKSY in blue to back, 27 x 24cms (opened out), in frame (33.5 x 37cms overall).Note: This is one of the earliest examples of Banksy's tag signature known, if not the first. It is well documented that he got his tag from the font 'STOP'. Initially utilising the capital 'A' we see in this example in around 1998, he very quickly changed the tag to the rounder lower case letter 'a' we see today.Provenance: Emma Houghton, close friend and collaborator of Banksy from 1993-1998.Exhibition: The Art of Banksy: Unauthorised, Manchester, October 2022- January 2023. The Art of Banksy: Unauthorised, Regent Street London, January 2024-February 2024.LETTER OF PROVENANCE:In reference to the provenance of the birthday cards, flyers and shop sign, I met ‘Banksy’ in 1992, through mutual friends. We were friends throughout our 20’s, during the politically charged, hedonistic and creatively potent era of the 1990’s and early 2000’s. In the DIY ethos of the time, we set our own agenda; we worked, played, protested, travelled and established our independent professions, following our own unique course. His work-ethic, humour and moral stance were powerful even then. The birthday cards were given to me by the artist over four consecutive years depicting his evolution from Robin, in a cuter pencil drawn cartoon style to Mr Banks and finally with the edgy stencilled wit, characteristic of Banksy. The flyers were designed by the artist and hand screen printed by him and myself to promote a club night put on by our sound system the Babble Collective in the mid 90’s. Most were cut apart and distributed for advertising, now collected world wide, but I gave this un cut sheet to a family member who unearthed them years later. The A board was commissioned for my corsetry business, to advertise my first shop in BS8 on Park Street in Bristol, I like to think she was me in my prime. To watch Banksy’s career grow meteorically from its roots to become this national treasure has been incredible – not least due to the privately held knowledge of these works existence. Deciding to share them with the public through The Art of Banksy exhibition has allowed fans and followers to see this charming and sentimental side that is less of the known Banksy brand of today. Putting them up for auction is intended to allow others to fully appreciate their unique beauty in this current time. These details and my identity have been shared to avoid speculation, to better establish authenticity and provenance of the pieces. It must be noted that there is no dirt to dish on the artist. That there is no axe to grind, nor will I disclose or confirm Banksy’s identity. I have had little to no contact with him in the last 20 years.
Mahatma Gandhi (1869-1948) - an early to mid 20th century Indian brass water pot (lota), once owned and used by Mahatma Gandhi during his time in Narsingdi Gram. Flared foot with a bulbous body and a screw lid with two holes for a swing carry handle. Measures approx 17cm. Provenance; this pot was once owned by Satish Chandra Roy - Indian politician and freedom fighter. Several documented meetings between Gandhi and Satish Chandra Roy are known. In 1945/46 Mahatma Gandhi stayed with Satish Chandra Roy at his house in Narsingdi Gram (district), now Bangladesh, for a period of three days. Whilst staying with Satish Chandra Roy, Gandhi carried out all his meetings with local politicians and dignitaries. When leaving, Gandhi left behind this item it was kept as a souvenir. A letter of provenance is supplied by the vendor (a relative of Satish Chandra Roy), and the vendor is happy to share their contact information with the winning bidder should any further provenance be required. The exact contents of the provenance letter will be supplied to the winning bidder only.
A Group of Notes, from Scotland, Ireland, other UK islands, British Military, as well as a sizeable selection of postal orders, lottery tickets, ration and fuel coupons, premium bonds and other assorted financial objects, as well as a few bonds and share certificates, all sorts of grades and conditions (approx. 200 items) £200-£260
Loading...-
4924 item(s)/page