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Lot 19
Irish railway history. Correspondence 1848-53 of 23 letters between Lewis Demay and the management of the Dublin and Belfast Junction Railway and the Waterford and Tramore Railway; five notices 1850-51 to various railways from the Postmaster General regarding carriage of mail; and two Irish railway share certificates.
Lot 22
Irish scripophily 1864-1933. A collection of seven Irish share certificates. Holyford Copper Mining Company Ltd. 1864; The Navan and Kingscourt Railway Co. 1871; Waterford, Dungarvan and Lismore Railway Co. 1878; Bernard Hughes Ltd. 1895; Belfast City and District Water Commissioners, 1895; The Island Spinning Co. Ltd. 1906; The Fishguard and Rosslare Railways and Harbours Co. 1933.
Lot 167
A QUANTITY OF FOOTBALL MEMORABILIA to include six 1940s Wolverhampton Wanderers programmes and one 1950s, Wolves Fan Fare History of Wolverhampton Wanderers, Official Handbook 1951/52, vintage rosette, share certificate dated 13/04/67, two Sheriff type badges featuring Mike Bailey and Dave Wagstaffe, together with a copy of Aston Villa 1948/49 season player signatures, and a folder containing seventeen FA Cup and League Cup Final Programmes dating from 1969 - 1989 to include 1974 League Cup Final Manchester City v Wolves, 1975 League Cup Final Aston Villa v Norwich, 1980 League Cup Final Nottingham Forest v Wolves
Lot 451
Cardiff City original share certificate, issued on 6th December 1910,No.145 for two shares in club, issued at the formation of Cardiff City Association Football Club from its original name of Riverside. Issued to W Walker and signed by two directors F Burfitt and W D Riden and signed by W Bartley Wilson who developed and founded Cardiff City from Riverside in 1910, with club seal, 23 by 25cm., bears minor paper loss from edge, with tears on fold line, foldlines
Lot 866
TEN BOXES OF CERAMICS, GLASS, GAMES, BOOKS, CDS & VHS CASSETTE TAPES, etc, to include over two hundred and forty book titles in 6 boxes to include Golf, Pop and Rock Music, Guides, Dictionaries, Cookery, Gardening, Children's Annuals, twenty four vols of The Knack, an Encyclopaedia of Home Improvements and ten vols. of Newnes Pictorial Knowledge, plus two boxes of CDs and VHS Cassette Tapes, 'Unicorn' Dartboard, Kodak Easy Share SV710 digital picture frame in box with accessories, vintage games etc (ten boxes)
Lot 9
Sharing & Caring - Our Joy of the Seaside - Mixed Media - all gathered from Pakefield beach. I can remember that feeling of elation having been released from a long car journey to run to the beach to play, rock pool and have such great, magical adventures, in my case with the family dog. I am lucky to share the joy of it with others, passing on how we can care for the fragile land and the creatures that live there and still have fun!
Lot 866
A collection of Share Certificates for Asia including Malaya, China, The South Eastern Gold Mining also USA seen along with Bank Receipts, Dividends, a Lung Tsing U Hai Railway Bond numbered 211268 dated 1913 in frame, overall size 38cm x 60cm, UK and Scottish blank cheques etc CONDITION REPORT Lung Tsing U Hail Bond is in mount and stuck down at either end, will come away with help, Coupon Page present as extra image shows
Lot 343
1989 Ford P100 1.8 TD Pick-UpMake: FordModel: P100 Turbo DieselYear: 1989Mileage: 0VIN: TW2PXXCPTPKB51863Configuration: Right Hand DriveRegistration: G297OKKTransmission: ManualYes, it's a Sierra, but not as we usually know it. The P100 was Ford's medium-sized family car-based pick-up, initially using the Cortina platform, but switching to the Sierra shape in late 1987. This 1989 example has the 1753cc 74bhp Endura-D turbo diesel engine, and has been in storage for some years. It comes with maintenance and parts invoices dating back to 2006 and MoTs back to 1997, which back up the comparatively low mileage. A check of the MoT history reveals that, from 2005 to 2015, a mere 2,346 miles were covered, with that latest MoT being undertaken at 74,303 miles. The V5 is present, as are some spare keys. As a practical workhorse, this vehicle has seen its fair share of use over the years, which is reflected in its general overall condition.
Lot 1121
Pink Floyd 'Astronomy Domine' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 64 cm. Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger. These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 1122
Thin Lizzy 'Bad Reputation' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm. Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger. These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 1123
Cream 'Strange Brew Sunshine of your Love' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm. Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger. These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 1124
Ramones 'Blitzkrieg Bop Adios Amigos' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm. Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger. These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 1125
Iggy Pop and the Stooges 'Metallic K.O.' - Original hand painted artwork on thick paper by John Judkins, signed and dated, flat, 56 x 76 cm. Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger. These posters were later produced by John Judkins but share the same flair and style of the early artwork.
Lot 1
A GROUP OF FOUR CARVED PANELS MOST LIKELY EARLY 19TH CENTURY, POSSIBLY EARLIER carved oak, depicting fruiting vines, flowering thistles, daisies and a coat of arms, 29.8cm x 26.7cm; daisies 30cm x 25.5cm; thistles 30.2cm x 26.7cm; vines 30.2cm x 26.7cmFootnote: Note: During the early nineteenth century in Scotland the Romantics of the period, fuelled by the literary works of Sir Walter Scott, expressed a desire to revive aspects of early medieval life and philosophy in an attempt to escape from urban growth and industrialisation. Striking in design and boldly carved, it is likely that these panels are a product of this Revival period, and they undoubtedly share a resemblance to surviving examples of sixteenth century Scottish carvings. Early Scottish oak panelling was often used to front large doors, decorate interior schemes or certain pieces of furniture such as chests, seating or cupboards. Eighteenth century cabinet makers would have certainly looked to a number of historically important examples for inspiration, reproduced in various books, print and exhibitions. A closer look at the present lot reveals three distinct motifs feature prominently: stylised grape clusters sprouting from young vine plants; a series of Scottish thistles in bloom; and an array of more delicate flowering roses or daisies. The use of the rose, thistle and other flowering vine plants is evident in other important examples of early Scottish woodwork, such as The Montrose Panels, currently on display in the National Museums of Scotland, and the St Andrews Cupboard, from the University’s own collection. The St Andrews Cupboard is particularly interesting as it is thought that the featured motifs in these panels are part of an iconographic scheme used to symbolise the marriage of King James IV and Margaret Tudor. The carved thistles in that context are therefore of Royal as well as National significance, representing King James IV and the Scottish Crown. Meanwhile, the delicate scattering of roses and daisies are recognised as emblems of the House of Tudor, thus a reference to Margaret Tudor. In the present lot, the armorial does not appear to have been officially registered and therefore it is difficult to determine whether they link to a particular Scottish family. Nevertheless, the stylistic affinity shared with early medieval oak panelling is clear and they offer a fitting tribute to past traditions in Scottish art and furniture design.
Lot 2017
A Collection of Approximately 250 Foreign Banknotes, wide range of denominations & countries including Rhodesia, Netherlands, France, Brazil, Israel, Turkey, Poland, Hungary, Serbia, Mexico etc, various grades, majority UNC, together with a few fantasy notes, German Notgeld, reproductions of Bank of England white £1, £5, £10, £20, £50, £100, £200, £500 & £1,000,000 notes, all with Nairne signature, USA wooden nickels, and specimen notes promoting the Euro; the collection is housed in four albums and the lot includes a fifth album containing a collection of 18 share certificates including The Anglo-California National Bank, The Blue Ridge Shirt Manufacturing Company & 11 x 19th century Adelphi Bank, all in pristine condition
Lot 66
A collection of Lilliput Lane and Cherished Teddies to include Lilliput Lane The Sidings and Stokesay, boxed , Cherished Teddies Grandpa Share Lots of Love, Mum's Love, Grandpa is God's Special Gift, A Mother Gives, Grandma is God's Special Gift , boxed, a small teddy unboxed and one Regency Fine Arts Bookworm.Condition ReportVery good condition, nothing to report.
Lot 319
An Italian late 16th/early 17th century carved walnut credenzaprobably of Tuscan originThe rectangular top with a fluted edge moulding, above three panelled entrelac carved frieze drawers interspersed with four strap-fluted scrolled corbel angles, over three ovolo and bead-and-reel moulded panelled doors, the two end doors applied with large carved lion mask handles, enclosing one shelf, interspersed by four stop-fluted Tuscan pilasters, each panelled end carved with a large central flowerhead roundel, on a stop-fluted plinth base terminating in lion paw feet, the top rests loose, the underside of the top is applied with a 19th century paper label with an ink inscription which reads: 'Sgr. Giuseppe Bellini, Firenze', 209cm wide x 64cm deep x 109cm high, (82in wide x 25in deep x 42 1/2in high)Footnotes:ProvenanceDuring the late 19th century the present lot was evidently acquired by Irene von Hildebrand, wife of the major German sculptor Adolf von Hildebrand (1847-1921), while the couple lived in the then secularized monastery of San Francesco in Florence. Irene Schauffelen (her maiden name) had married Adolf in 1877. This credenza was apparently purchased by Irene from Giuseppe Bellini who was a major antiques dealer based in Florence. In fact the Bellini family, who today have been involved in the fine and decorative arts for well over 250 years, had by that time already established themselves as arguably one of the most important dynasties within the realm of Italian antiques. During the 1890s, or perhaps just prior to then, this walnut cabinet was most likely re-located to Munich in tandem with the von Hildebrands, since the Wittelsbacher Brunnen (an impressive Neoclassical fountain sculpture) in Lenbachplatz, which was designed by Adolf von Hildebrand, actually underwent construction in that city over the period 1893-1895. The offered lot is then listed as 'ein italienisches grosses buffet mit lowenkopfen' in an inventory, dated 18 January 1921, undertaken at the Munich estate of the von Hildebrands following Adolf's death.It re-appears in the will of Irene Georgii, recorded as 'I grosses alt italienisches buffet mit lowenkopfen, Renaissance, sehr wert voll', forming part of a 1936 inventory produced in Kleinhohenrain.Thereafter, this Italian late Renaissance low cabinet passed by descent within the same family. Irene Georgii bequeathed it to her daughter, Maria, whose surname after marriage changed to Wetzel. Subsequently Maria's son, Johannes Wetzel, inherited this piece following her death in 1990.Remarkably the previous owner, Dr Johannes Wetzel, is the grandson of Irene Georgii and thus by extension the great grandson of Adolf von Hildebrand.ComparablesA late Renaissance walnut credenza, which is dated 1550-1600, forms part of the Victoria and Albert Collection, No. 1375:1-1904, http://collections.vam.ac.uk. As with the present example this closely related piece was probably made in Tuscany. They share numerous characteristics in common which include; conforming stop-fluted Tuscan pilasters; a virtually identical drawer and door configuration; similar bead-and-reel moulded panelling and fluted scrolled corbel angles; related low relief entrelac or guilloche frieze decoration; while their plinth bases and lion paw feet are also very alike.Nonetheless, there is an interesting and potentially important variation between these two models, as is to be expected. Unlike the rather plain turned roundel door handles evident on the Victoria and Albert model, the present low cabinet incorporates two highly characterful and beautifully carved large lion masks. These appear to be a rare feature on credenzas of this type and possibly allude to some crest device or coat of arms element, perhaps in reference to the original family who commissioned it for their home.For a further, albeit slightly plainer, comparable see G. Chiesa, Il Cinquecento, 1972, Milan, fig. 25, p. 30. Adolf von HildebrandHildebrand, who worked predominantly in the Neoclassical style, first learned sculpture at the Fine Arts Academy of Nuremberg before being taught by Kaspar von Zumbusch at the Munich Academy, and then finally studying under Rudolf Siemering in Berlin. By 1873 Adolf had moved to Florence where he resided, as previously mentioned, at a former Franciscan monastery which had been founded during the 16th century. In the same year, the sculptor assisted his friend Hans von Marees (1837-1887) by designing the architectural framework for von Marees' painted murals housed in the library of the German Marine Zoological Institute, located in Naples.Although officially resident in Italy during the period 1873-1897, it is clear that from 1890 von Hildebrand lived mostly in Munich, since the vast majority of works he was commissioned to make from that time onwards were in Germany. Despite the fact that during his life the sculptor produced a total of five impressive and immense fountains, he is arguably principally renowned for the Wittelsbacher Brunnen and the Bismarck monument, Bremen, the latter of which was completed before 1910. In his Das Problem der Form in der Bildenden Kunst ('The Problem of Form in Painting and Sculpture'), which was published in 1893, von Hildebrand espoused the aesthetic autonomy of sculpture from painting. And this ideal or doctrine essentially formed the basis for most 20th century sculptural movements and consequently it is now justly considered of major importance. In 1904 Hildebrand received his ennoblement from the King of Bavaria, www.britannica.com & en.wikipedia.orgThis lot is subject to the following lot symbols: TPTP Lot 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 406
Don Balke (North Carolina, B. 1933) "Bullfinch, Goldfinch, Greenfinch" Signed lower left. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood Mint Stamps of the World Panel for the Birds of Belgium stamps issued February 2, 1993. Popular as a cage bird both in Europe and the Orient, the Bullfinch is treasured for its sweet song. The male is easily identified by its rich, rosy-pink throat and neck which are highlighted by a soft, gray back. Less striking is the female, whose plumage is soft brown above and pinkish below. The Goldfinch, which commonly feeds on thistle seeds, is part of the carduelinae subfamily whose name is derived from the Latin word for thistle, cardus. Cherished for its striking looks, sweet song and adaptability to captivity, this finch became a popular cage bird. At one time it was a familiar sight in the smoke-filled bistros of Europe. The demeanor of the Greenfinch is gentle and gregarious. Although it is extremely fond of sunflower seeds, this generous finch is known to readily share its provisions with fellow birds. And when it is time to nest, the Greenfinch chooses the confines of evergreens to raise its young. Image Size: 19.75 x 13.5 in. Overall Size: 27 x 22.5 in. Unframed. (B14159)
Lot 419
Erik Nitsche (Swiss, 1908 - 1998) "Honey Bee" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The honeybee is among the world's oldest domestic animals. More than 3500 years ago, in the land of ancient Egypt, people enjoyed the delicious honey produced by bees ... man's first source of sweets. And these industrious insects are also treasured for many other gifts as well. They actively pollinate crops and fruit trees, and most flowers. Almond, apple, cherry and plum trees, and alfalfa, clover, pumpkin and sunflowers will not bear fruit or reproduce without the presence of bees. But to do its work, the honeybee must follow a proper life cycle. The stages it passes through are egg, larva, pupa and adult. Each colony consists of a queen bee, a few drones (males) and some 30,000 to 60,000 worker bees. The workers are females, but are unable to mate, so their eggs only hatch drones. At certain ages, the adult worker performs different tasks, from cleaning the hive, to feeding the larvae, to guarding the hive, to gathering food. When bees find a new source of food, they share the information with other workers in intricate "honey dances," which tell their peers the direction and distance to the food supply. Thus, the bees share a "social" existence which is both fascinating to observe and beneficial to all. Image Size: 12 x 14 in. Overall Size: 17.5 x 20 in. Unframed. (B08695)
Lot 109
ALVIN HOLLINGSWORTH (AMERICAN 1928-2000)Equality, circa 1965oil on canvas76 x 92 cm (29 7/8 x 36 1/4 in.) signed on stretcher, possibly in another handLOT NOTESThe pioneering Afro-American comic-book illustrator, poet, painter and educator Alvin Carl Hollingsworth was born in Harlem in 1928 to Barbadian emigrants. He began his career, aged twelve, as an artist assistant at Holyoke Publishing Company for Catman's Comics. He continued working in comics throughout the 1940s and 50s before transitioning to painting and printmaking. With his background in commercial illustration, Hollingsworth was an experienced draftsman with an eye for bold colors and compositions, who oscillated seamlessly between styles, genres, media, and influences as diverse as Henry Ossawa Tanner and Gustave Dore to contemporaries Salvador Dali, Tom Wesselman and Nicholas de Stael.Equality evidently dates to Hollingsworth’s early painting years, characterized by naturalistic modelling and earthy color palettes with fluorescent accents, as well as an interest in found materials and urban life (or, the social inequalities it perpetuates). It is closely related to the artist’s most notable body of work from the period: a series entitled Cry City, the subject of a solo exhibition at Terry Dintenfass Gallery. Using material salvaged from the streets -- tar paper the artist found on tenement roofs; fishbones, broken cement, stones, teeth and bits of glass -- Hollingsworth presented the city as a psychologically and physically difficult terrain (John H. Hewitt, “The Themes of Alvin C. Hollingsworth,” Black Art – An International Quarterly 2:1 (1977): 5).Compared with the sober, alienated character of many paintings from this time, Equality is rather more emotionally inscrutable. Here, the blackboard -- evidently bearing a lesson on the 14th and 15th Amendments to the Constitution -- has already been partly erased, and class appears to be in recess. Space is collapsed, figures disjointed. Superimposed over the right side of the board is a portrait of a 19th century man in a European military uniform, whose implied gaze looms over the sea of racially ambiguous but pale faces streaming this way and that. The frontality of the man’s portrait is repeated by the two boys at the lower corners of the frame, but they too don’t make direct eye contact with the viewer or the figures around them. (Hollingsworth used a similar composition and narrative device in Group of Children, also circa 1965, sold by Swann Galleries, October 8, 2009, lot 55). Equality however, shares in the dynamism of Jacob Lawrence’s Migration Series, and perhaps also its reticent optimism for the future.Hollingsworth attributes the crystallizing of social issues in works from the 1960s to his involvement with Spiral, a Black artist’s collective founded by Romare Bearden, Norman Lewis, Hale Woodruff and James Yeargans. A dozen or so members initially gathered in Bearden’s and Charles Alson’s shared Greenwich Village studio in July 1963 to discuss the March on Washington for Jobs and Freedom, planned for August 28th. Realizing their galvanizing potential went beyond the scope of the march, the group began planning their first (and only) group exhibition: “Spiral: First Group Showing (works in black and white)”, which ran in May-June 1965 at a rented Christopher St. storefront. (Black and white was chosen both as a universal political appeal and an organizing principle, since Spiral’s members did not share any specific aesthetic sensibility). Though the group was active for some two and a half years, their praxis and unifying outlook were enormously influential on future generations of artists. (This contribution was the subject of a 2011 show, Spiral: Perspectives on an African-American Art Collective, at the Studio Museum in Harlem).Between 1960 and 1970, Hollingsworth expanded his reach to muralism and lithography, as well as hosted a popular ten-part series for NBC titled "You're Part of Art". From 1980 until his retirement in 1998, he was a full Professor of Art at Hostos Community College of the City University of New York. Hollingsworth’s role during the Golden Age of Comic Books has recently been covered by Ken Quattro in nvisible Men: The Trailblazing Black Artists of Comic Books (San Diego: YOE Books/IDW Publishing, 2020).CONDITION Observed in frame, the painting appears in good condition. No apparent issues visible to the naked eye with no significant issues to report. Inspection under UV shows no apparent sign of restoration. framed dimensions: 90 x 105 cm (35 3/8 x 41 3/8 in.) N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
Lot 609
First registered “1 WO” to Bentley Motors as a press car, one of 63 in right-hand drive and the only example in Sequin Blue.Just 63 right-hand drive Continental R Mulliners were built out of a total production of 148 carsBelieved to be the only example finished in Sequin Blue, the black leather interior is complemented by a turned aluminium dashboard with a subtle tintThe history file incudes factory build-sheets and the car was serviced and MOT'd at Bentley Bristol in December 2020Suppled to auction with an odometer reading of some 38,500 miles (atoc) and blue lambswool over-rugsVery few Bentleys have been registered as “1 WO” when new as this car was to Bentley Motors on 29/11/2001With regular fair weather use of his Rolls-Royce Corniche Convertible and the purchase of a new Bentley GT this delightful car is regretfully offered to auction by our enthusiast vendorIntroduced in 1991, the Continental ‘R’ was the first Bentley in 26 years to not share a body style with a concurrent Rolls-Royce and was inspired by the highly collectable Continental R-Type of the 1950s. The elegant two-door coachwork was styled by John Heffernan and Ken Greenley, a duo whose résumé included sports cars like the Aston Martin Virage. Five years later Bentley introduced a short-wheelbase version dubbed the Continental ‘T’ that was equipped with an uprated engine developing 420bhp and an impressive 650 foot-pounds of torque available at only 2,200 rpm. Bentley customers soon expressed interest in equipping the “wide-body” Continental R model with the T’s more powerful engine, and the Continental R Mulliner was consequently introduced at the 1999 Geneva Salon. The nomenclature was an homage to H.J. Mulliner, the British coachbuilder responsible for the original R-Type’s breath-taking fastback bodywork. The R Mulliner’s wide-body configuration offered spacious interior elegance, whilst the twin-turbocharged V8 could rocket the car to a top speed of nearly 170 mph, with brisk 5.6-second sprints to 60 mph from standstill. Individually tailored to customer order, the R Mulliner was Bentley’s ultimate 20th-century combination of luxury and performance, produced in a modest total quantity of 148 cars with 63 in right-hand drive. It's understood that this very handsome motor car is the only example produced in Sequin Blue, a shade of blue that represents modernity without vulgarity and a colour chosen perhaps deliberately by Bentley to represent their vision for the new millennium. It was first registered to Bentley Motors on the 29th November 2001 with the famous “1 WO” prefix, reserved for important launch or continuation cars and used for media purposes. Very few Bentleys over the years have been registered with “1 WO” and as the initials are those of founder Walter Owen Bentley, it is as good as an autograph in establishing any car thus-registered on the 102-year old Bentley family tree. Complementing the rare shade of blue is the tinted turned-aluminium dashboard and inserts so very rarely seen in this model. The turned-aluminium dashboard has always been a feature of the sportier Bentleys, a nod to the 1930s racing Blowers, but can seem severe and industrial by today’s standards, this car’s subtle tint is both discreet and stylish, perfectly matched to the black leather seats and blue lambs wool rugs. After an exhaustive search for the 'right' Wide Body, our vendor, a lifelong Rolls and Bentley enthusiast, bought this car in July 2018, stabled initially alongside a very fine Rolls-Royce Corniche Convertible. However, since the recent purchase of a new Bentley GT and using the Corniche for fair weather motoring the reluctant decision has been made to offer the “Conti” for the next enthusiast to enjoy. The car’s service record shows a majority of Bentley main dealer services and the most recent service was carried out by Bentley Bristol on 10th December 2020. Bentley Bristol issued the MOT Certificate which is valid until January 2022. The history file includes handbooks, receipts, RREC-supplied build-sheets and a copy of Car Magazine 2001 where the Bentley was reviewed by comedian Alexei Sayle. The odometer reading, at the time of cataloguing, is some 38,500 and it is the vendor’s intention to drive the car to the auction as one last hurrah. SpecificationMake: BENTLEYModel: CONTINENTAL R MULLINER WIDE BODYYear: 2001Chassis Number: SCBZB25EX2CH01766Registration Number: DA51 ZBFTransmission: AutomaticEngine Number: 103193L410M/T2W Drive Side: Right-hand DriveOdometer Reading: 38500 MilesMake: RHDInterior Colour: BlackClick here for more details and images
Lot 628
A beautifully restored, home-market Sprint FHC in Pistachio and Cirrus White.Home market, right-hand drive Elan Sprint Coupe, indicating just 53,000 milesBeautifully presented in the desirable Sprint livery of Pistachio over Cirrus WhiteReplacement chassis in 1997 then subject to an extensive restoration between 2001-2003Offered with a large history folder documenting the life of this remarkable exampleA fabulous little Lotus. Elan by name and Elan by natureWhen Colin Chapman was drawing up plans to replace the slightly troublesome Elite, he was intent on sticking to the glass fibre monocoque principle and using a Ford-based twin cam 1000cc engine. However, serendipity got in the way and a steel backbone chassis, designed for testing the prototypes - mainly because the mechanical parts needed to be attached to something for testing - had proved such a successful and cost-effective solution that it was adopted for production. Meanwhile, other larger variants of the Ford Kent block, up from 997cc to 1340cc, became available and Chapman was eager to exploit the potential for extra performance. So, by the time the 1962 Type 26 Elan Roadster took to the roads, it had moved up a class.The glassfibre-bodied Elan may only have been available initially as a Roadster Kit but its specification was very advanced and adhered to Chapman's “just add lightness” engineering philosophy. Power came from Harry Mundy's Ford-based Lotus 1558cc DOHC engine, it was fitted with disc brakes all round, and the independent suspension was set up to optimise ride quality and handling finesse, qualities for which this little car is still admired. It soon sired other derivatives including the Type 26R racer, the Type 36 fixed-head coupe, the Type 45 drop-head coupe, and the Type 50 Elan +2 of 1967.The 1971 Elan Sprint was essentially based on the Series 4 Elan bodyshell and was primarily designed to rekindle demand and improve the performance of the nine-year-old sports car. Conceived by Lotus Sales Director, Graham Arnold, the Sprint's most notable feature was the horizontally-split two-tone paintwork echoing the livery of the Gold Leaf Team Lotus Formula One cars. Meanwhile providing the 'go to match the show' a new big-valve cylinder head with high-lift cams and a raised compression ratio, the work of Engineering Director Tony Rudd, provided a 25% increase in power to 126bhp. The drivetrain was suitably toughened and braced, and the front callipers were redesigned to cope with the increased performance.The car presented here is a genuine home-market FHC Sprint model that was first registered in 1972 and is particularly striking in the more rarely seen Sprint livery of Pistachio Green over Cirrus White. We are advised that the car was fitted with a new chassis in circa 1997 and that between 2001-2003 it underwent extensive restoration. The latter involved a complete strip-down and re-spray, an engine rebuild (believed to have been done by marque specialist 'Nick Stagg Engineering'), conversion to unleaded compatibility, an overhaul of the steering, suspension and brakes, a new interior, and the fitting of a host of new parts (see image attached for details).An interesting history file accompanies the little coupe and includes a record of all journeys from 1979 at 23,377 miles through to December 1985 at 47,133 miles, showing just how cherished this car has been. In the years that followed, it appears that it was only lightly used after being restored, as by 2007 the mileage indicated was still just 48,000 (approximately) and to date is only 52,525. There is an invoice for a recent service at 52,498 miles, MOT Certificates from 2006 to 2018, plus numerous invoices for work/maintenance/parts (from 2002 up to 2018, totalling almost £15,000) from specialists 'Christopher Neil Lotus', 'Paul Matty Sports Cars', and 'QED Motorsport Ltd'. Furthermore, there are specific invoices from 2008 that might indicate further restoration, plus £3,131 spent with Paul Matty in 2012 for various maintenance items.There is no doubt that NHN 620K has received more than its share of care and attention and continues to look crisp and fresh. We understand that it's as agile and eager as a 'Sprint' should be and imagine that Mr Chapman, whose signature is etched into the steering wheel, would be proud that his inspired creation is as desirable now as the day it rolled out of Hethel all those years ago. SpecificationMake: LOTUSModel: ELAN SPRINTYear: 1972Chassis Number: 7110260379ERegistration Number: NHN 620KEngine Number: N25297Make: Click here for more details and images
Lot 140
A Japanese katana, acquired during the Second World War but probably a late Edo/Meiji period civilian family sword with military fittings fishskin grip with a brown leather cover and a leather-covered lacquered scabbard, affixed with a plaque inscribed 'Captured by 1st Bn 10th Gurkha Rifles at Bishenpur May 26th 1944', remnants of the printed label below inscribed '*Stal Property 3/10. G.r 8 May 1946, Maj. Spit' signed to the tang, blade length 66cm, overall length 92cmThe torn paper label originally read "[REGIM]ENTAL PROPERTY, "3/10. G.R." "Maj. Spit[...]" refers to EC/9660 Major Ralph Alexander Spitteler, who sadly died of wounds age 30 in Java on 14th March 1943, after sustaining injuries in an ambush a few days early whilst commanding B Company of 3/10 GR. He is buried in Jakarta War Cemetery. Given that his date of death precedes the date on the inscription, this sword was probably held at the 10GR Regimental Centre at Alhilal, Punjab and had been destined to Maj Spitteler in the share-out pool of captured swords, but upon his death was later allocated to an officer of the 1/10 GR who added the white metal inscription commemorating the action at Bishenpur.With thanks to David Harding, former Regimental Archivist of 10th Princess Mary's Own Gurkha Rifles for providing further detail on this lot.
Lot 441
Vinyl - Rock / Pop / Blues fantastic collection of approx 45 LP's including The Beatles Hard Days Night (PMC 1230 mono), Savoy Brown Lions Share (SLK 16782-P stereo), John Mayall x 2 Back To The Roots and Empty Rooms, The Incredible String Band, Jeff Beck, Creedence Clearwater Revival, Fleetwood Mac x 3 (Rumours, Tango In The Night, Greatest Hits), Humble Pie, Mick Ronson, Hot Tuna, Bonzo Dog Band, Eric Clapton and more. Condition varies throughout but is mostly at least VG to VG+ with some examples EX
Lot 23
NORTHERN/SOUL/MOTOWN - 60s UK ORIGINAL 7". More wicked grooves with these 8 x in-demand UK og 7" from the 60s. Titles are Bobby Bland - Share Your Love With Me (Vocalion Pop demo V-P 9229 - clean Ex condition), June Bateman - I Don't Wanna (Sue WI-347 - nice clean Ex condition), Billy Stewart - Sitting In The Park (Chess CRS 8017 - another clean Ex copy), Soul Survivors - Expressway To Your Heart (Stateside green/white demo SS 2057 - Ex+ lovely copy), Tony Clarke - Ain't Love GOod... (7N 25251 - glossy VG), Benice Swanson - Lying Awake (Chess demo CRS 8008 - VG), Wynder K. Frog - Green Door (WIP-6006 - VG+) and Jay And The Americans - Livin' Above Your Head (UP 1142- glossy VG).
Lot 126
The Important Battle of Britain fighter ace’s C.V.O., D.S.O., D.F.C. and Second Award Bar group of eleven awarded to Group Captain Peter Townsend, Royal Air Force, who in February 1940 became the first pilot to bring down an enemy aircraft on English soil, later commanding No. 85 Squadron from May 1940 until June 1941, a period that witnessed him completing over 300 operational sorties, twice taking to his parachute - once when wounded - and raising his score to at least eleven enemy aircraft destroyed. Appointed Equerry to H.M. King George VI in 1944, and Comptroller to the Queen Mother’s Household in 1953, his famously controversial and ultimately forlorn romance with the Queen’s sister, Princess Margaret, brought him further celebrity status to add to his spectacular wartime achievements. Turning his attention to writing, in later years he authored the classic Battle of Britain memoir ‘Duel of Eagles’ whilst his well regarded 1978 autobiography ‘Time and Chance’ tells the story of his eventful personal life. To be sold with the recipient’s original Flying Log Books, bound in one volume - with later annotation in his own hand - covering the entirety of his operational career. The Royal Victorian Order, C.V.O., Commander’s neck badge, silver-gilt and enamels, the reverse officially numbered ‘C1106’; Distinguished Service Order, G.VI.R., silver-gilt and enamel, the reverse of the suspension bar officially dated ‘1941’; Distinguished Flying Cross, G.VI.R., with Second Award Bar, the reverses of the Cross and the Bar both officially dated ‘1940’; 1939-45 Star, 1 clasp, Battle of Britain; Air Crew Europe Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Coronation 1953, unnamed as issued; Jubilee 1977, unnamed as issued; Netherlands, Kingdom, Queen Juliana’s Coronation Medal 1948; Order of Orange-Nassau, Officer’s breast badge, silver-gilt and enamel, with rosette on riband, breast awards mounted court-style in this order, and all housed in an attractive custom made glazed leather display case, with sterling silver plaque, engraved ‘Gp. Capt. P. W. Townsend R.A.F. C.V.O. D.S.O. D.F.C.’, last with enamel damage, contact wear overall but generally good very fine unless otherwise stated (11) £160,000-£200,000 --- Provenance: Sotheby’s, November 1988 (when titled as “The Property of the Recipient”); Dix Noonan Webb, December 2004. D.S.O. London Gazette 13 May 1941. The concluding paragraphs of the original three page recommendation state: ‘Acting Wing Commander P. W. Townsend, D.F.C., has been engaged in active operations against the enemy without respite, except for the very short period when he was wounded, since the outbreak of War. He has flown over 300 operational flights including 95 at night. During the Battle of Britain he led every patrol against the enemy except one and it will be noted that the Squadron total was excellent in comparison to its losses. This very light loss of pilots by No. 85 Squadron can only be attributable to the excellent, courageous and well thought out leadership of its Commanding Officer. No. 85 Squadron was the first Squadron in the R.A.F. to reach treble figures in conclusively destroying enemy aircraft. Though some of this number was destroyed before Acting Wing Commander Townsend took over command of No. 85 Squadron, the balance can without doubt be credited to the training, personal leadership and high devotion to duty of its Commanding Officer. Acting Wing Commander Townsend since taking over command of No. 85 Squadron has infused into his pilots and ground personnel a spirit of tremendous keenness and devotion to duty by his example and personal character. Apart from his ability as a leader he is a gallant, determined and courageous fighter. Acting Wing Commander Townsend in all has destroyed eleven enemy aircraft, probably destroyed three, as well as damage others.’ D.F.C. London Gazette 30 April 1940. The original recommendation states: ‘On the 8 April 1940, whilst on patrol over the sea off the north east coast of Scotland, Flight Lieutenant Townsend intercepted and attacked an enemy aircraft at dusk and after a running fight shot it down. This is the third success obtained by this pilot and in each instance he has displayed qualities of leadership, skill and determination of the highest order, with little regards for his own safety.’ D.F.C. Second Award Bar London Gazette 6 September 1940. The original recommendation states: ‘This officer assumed command of a Squadron after its return from France at the end of May 1940, and in a very short time, under his leadership and guidance, it became a keen and efficient fighting unit. On 11 July 1940, whilst leading a section of the Squadron to protect a convoy, he intercepted about twenty or thirty enemy aircraft, destroying one and severely damaging two others. The enemy formation was forced to withdraw. Under his command, the Squadron has destroyed eight enemy aircraft while protecting convoys against sporadic enemy attacks. On 18 August 1940, his Squadron attacked some 250 enemy aircraft in the Thames estuary. He himself shot down three enemy aircraft, the Squadron as a whole destroying many others. The success which has been achieved since Squadron Leader Townsend assumed command, has been due to his unflagging zeal and leadership.’ M.I.D. London Gazette 11 July 1940. Peter Wooldridge Townsend was born in Rangoon, Burma on 22 November 1914 and was brought home to be raised in Devon. Educated at Haileybury, he entered the R.A.F. College, Cranwell in September 1933, and graduated top of his entry, his first official posting being to No. 1 Squadron. In 1936 he transferred to No. 36 Squadron in Singapore, during which period he flew Vildebeest Torpedo Bombers - ‘a big biplane as ugly as its African namesake’ - but before the outbreak of hostilities, Townsend had returned to the U.K. and joined the “Fighting Cocks”, No. 43 Squadron. Within a very short space of time, he was to be wounded by cannon-shell, twice shot down, and awarded the D.S.O., D.F.C. and a Second Award Bar to his D.F.C. In fact, Townsend epitomised the very spirit of Churchill’s famous “Few” and rapidly became a household name. The sort of conditions under which Townsend achieved such fame are best summed up by the Royal Air Force Museum at Hendon’s description of a typical Battle of Britain pilot: ‘In 1940 he had total control of a 350 m.p.h. fighter but, no radar, no autopilot and no electronics. His aircraft was armed with eight .303 machine-guns (the same calibre as a soldier’s rifle). His opponent had cannon. His aircraft was unarmoured yet over 90 gallons of fuel was situated in front of his lap. He had no helmet or protective clothing, save a silk parachute. He had three seconds to identify his foe and little more to pull himself clear of the cockpit if hit. He could have been only nineteen years old.’ First Pilot to Bring Down a “Raider” on English Soil By the outbreak of war, Townsend was a Flight Commander but, like most of his contemporaries, without combat experience. In comparison to their Luftwaffe opponents, this was a serious shortcoming which would result in terrible casualties. However, the R.A.F. possessed its fair share of “natural aviators” and it was these men who rapidly asserted themselves during those bleak days of 1940. Among their ranks was Peter Townsend, who, following his very first combat, emerged with the envious accolade of having brought down the first German raider on English soil. The Heinkel III had fallen victim to his Hur...
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