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Lot 44
French school of the late 18th century."Portrait of a lady as Hebe".Gouache on vellum.It presents faults on the pictorial surface.It has an early 19th century frame with faults.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 10,5 x 9 cm; 26,5 x 24 cm (frame).Miniature in which a lady is represented carrying a cup, in such a way that she is identified with the goddess Hebe. This type of depiction of ladies adopting attributes of classical divinities became widely popular during the 18th century and later. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or as gifts, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century onwards, in parallel with the development of photography.The most common type of work of this type in the 19th century were historicist representations, often set in the preceding century. However, the portrait we present here takes up the spirit of the eighteenth-century portrait-jewel and applies it to modern times, capturing the image of a real woman of her time, no longer an ideal recreation of the Romantic type.
![(Bumpus Binding), Noel Coward: [Works], a collection of works by Coward in fourteen volumes , including first editions of the](https://cdn.globalauctionplatform.com/00cb7519-64fb-443f-8bcf-afb000dc08be/4b299c39-b4fd-45c9-a740-afb300a993ce/468x382.jpg)
Lot 5159
(Bumpus Binding), Noel Coward: [Works], a collection of works by Coward in fourteen volumes , including first editions of the authors first three books, all specially bound for Jack [John C.] Wilson, comprising: 'A Withered Nosegay', L, Christophers, 1922, 1st edition, 'The Young Idea', [1924], bound together with "I'll Leave It to You", 1920; 'Chelsea Buns', [1925]; 'Three Plays (The Rat Trap; The Vortex; Fallen Angels)', 1926, 2nd impression; 'Three Plays with a Preface (Home Chat; Sirocco; This Was a Man)', 1928; 'The Queen Was in the Parlour', L, Benn, 1932, 3rd impression, bound with 'The Marquise', 1930, 2nd impression, and 'Easy Virtue', 1937, 4th impression; 'Spangled Unicorn', [1932]; 'Conversation Piece', 1934; 'Point Valaine', L, Heinemann, 1935; 'Operette', 1938, 1st edition, 'Present Indicative', 1937, 1st edition; 'Tonight at 8.30', 1937, first one volume edition; 'Collected Sketches and Lyrics', [nd], 14th thou., uniform fine full crushed blue green morocco gilt by Bumpus Ltd, Oxford, front covers each with single fillet gilt borders, each front cover with central "JN" monogram (the initials of the first names of Coward and Wilson) intertwined with a circle gilt, spines in compartments with raised bands, gilt rules and lettering, all edges gilt, inner dentelles gilt, spines a little suned and just a little wear, a very nice set. Bookplates of the New York collector Herbert Schimmel to front pastedowns. John C. Wilson (1899-1961) was an American theatre director and producer. During the run of The Vortex by Noël Coward in 1924, Wilson met Coward and soon became his business manager and lover. Wilson used his position to steal from Coward, but the playwright was in love and accepted both the larceny and Wilson's heavy drinking. Wilson began his theatre career in 1931 as General Manager for the original Broadway production of Coward's hit play Private Lives. He began producing shows on Broadway in 1935, including Coward's Tonight at 8.30 in 1936 and Set to Music in 1939. Wilson's first project as a director was another Coward work, Blithe Spirit, in 1941. (14)
Lot 34
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Ink and pencil on card.Slight damage to the paper in the corners.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.A desolate face opens its mouth in an expression of pain, captured by a great technical handling of the artist who manipulates the brushstrokes in a horizontal way, and manages to capture the breathing of the protagonist. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 35
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura con sombrero y flor en la boca (Figure with a hat and flower in its mouth), 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.In this portrait we can appreciate a clear influence of the surrealist movement where the forms have been reinterpreted by the artist in a free way without abandoning the figuration. This work is part of an exceptional and unique period in which the artist approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 36
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the lower left-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 37
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Figura", 1939.Charcoal on paper.Slight damage to the paper in the corners.Signed and dated in the central area.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 62,5 x 48 cm.This work is part of an exceptional and unique period of the artist where he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. However, his grandfather died shortly afterwards, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 38
LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Female Figure", 1939.Watercolour and pencil on paper.It has slight damage to the paper in the corners.There is a slight yellowing in the lower part of the paper.Signed in the lower left corner. Dated in the upper right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.The present drawing shows the clear influence of Picasso's work, especially in the torso of the protagonist and in the faceted way in which the artist treats the face. However, Fernández's personality transcends cubism, providing a lyrical and symbolic value of great delicacy. This work is part of an exceptional and unique period of the artist's career in which he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.
Lot 330
A GENESIS FINE ARTS / HEREDITIES FIGURE 'SPIRIT OF EARTH' AND FIVE FIGURINES, comprising bronzed resin Spirit of Earth figure, from a limited edition of 5000, height 33.5cm, together with Royal Doulton Buttercup HN2309, Coalport Age of Elegance 'Royal Gala', Franklin Porcelain A Rose for Genevieve, Elizabeth I, and Isabella of Spain (6) (Condition Report: most pieces appear in good condition, A Rose for Genevieve has some losses to 'lace' areas, would benefit from a clean)
Lot 425
A GROUP OF VINTAGE TOOLS, to include a Crown fluting iron, having raised letters reading 'Crown, Pat. Nov. 2 1875, July 3 1877, Reissued Mar. 23 1880' marked to underside 'North Bro's M'F'G Co, Philadelphia, PA', with two iron heating rods, together with seven assorted flat irons, a steel footed block plane stamped with the owner's name W Brown, the blade marked Thos Ibbotson, a spoke shave plane, a marking gauge marked I or J Bowden, flower shaped mark to handle, a spirit level by J Rabone & Sons, a boxed vintage RPM gauge, a cased Buttner pipe reamer, a pair of novelty callipers in the form of a pair of legs, drawing instruments, etc (Qty) (sd)
Lot 759
BOX OF GAMING AND ANIME FIGURES, including the Assassins Creed 2 Ezio collector's figure, Final Fantasy Dissidia trading figures of Cloud, Squall, Zidane, Tidus and the Warrior of Light, Professor Layton & The Lost Future gacha figure of Clive, Inuyusha with the Tetsusaiga sword figure, Pocco Kaiyodo from Sweet Dreams, the Fallout 3 Vault-Tec tin launch box, a Gundam Deathscythe model kit, Pokemon Soul Silver promotional Lugia figure, The Legend of Zelda Spirit Tracks Phantom figure, .Hack Kite and Black Rose figures, and numerous Fullmetal Alchemist figures, condition report: some of the Fullmetal Alchemist figures are not attached to their bases, the Warrior of Light figure is missing his horns
![The Spirit 8 (1947) [vfn]. With Super Comics Spirit 12 (1964) (reprinting The Spirit # 17). Discoloured staples [fn+] (2). No](https://cdn.globalauctionplatform.com/e82e1b1d-ae31-474c-99fe-afa300b68d71/5263a2db-a055-4758-b258-afa500d1fd5a/468x382.jpg)
Lot 19
Pair of silver plated Corinthian column candlesticks, each on a beaded stepped base, by J P & Co., H.31cm; plated 3 light candelabrum with 2 scroll branches, on a tapering column, stepped circular base, H.36cm; late Victorian silver plated fluted oval 3 piece tea set with chased thistle and fern decoration, with ceramic spacers, by James Allan, Sheffield, and a similar Britannia coffee pot by Phillip Ashberry & Sons, H.20.5cm; 3 cruets, 2 casters, cakestand, 2 spirit flasks, vase, tea strainer, and 3 sets of tea knives, cased. (a lot)
Lot 309
Diecast model aircraft comprising the following issues. 1) Fox 1/200 Airbus A320 in the livery of WOW. Looks to be complete, not previously displayed but there may be some minor cosmetic fault. In original packaging. 2) Inflight 1/200 Boeing B737 - 200 in the livery of Delta Express featuring Power Puff Girls. Looks to be complete, not previously displayed but there may be some minor cosmetic fault. In original packaging. 3) El Aviador 1/200 DC - - 9 - 32 McDonnell Douglas in the livery of Spirit. Looks to be complete, not previously displayed but there may be some minor cosmetic fault. In original packaging.
Lot 54
A silver-plated four piece Tea service cast flowers, two plated trays, two stands, spirit kettle on stand. Also a mixed collection of cruet sets on silver plated stands , a case plated fish knives and forks set , a plated wine bottle holder , plated mirror and brush , a pot with a silver lid and other items
Lot 1
The Greatest Jersey | Sir Gareth Edwards’ Barbarians Rugby Union Jersey match-worn versus The All Blacks in 1973Jersey & Provenance: in original and complete condition without fault. The personal collection of Sir Gareth Edwards CBE & family.The Match: The Barbarians vs New Zealand match was played at Cardiff Arms Park to a capacity crowd on 27th January 1973. It remains one of the most famous rugby matches of all time, in which certainly the most famous try of all time was scored. ‘That try’…commonly described as ‘the greatest try’ was scored by Sir Gareth - wearing this jersey. The match was the final contest for New Zealand’s 1972/73 tour of the British Isles. It was regarded by the All Blacks as a chance to revenge their test series loss against the British Lions in 1971 - all but three of the Barbarians having been on the ‘71 tour. It was also an opportunity for the British public to see their victorious British Lions in action with some of the most exciting players of a golden era or rugby, including JPR Williams, David Duckham, John Dawes, Phil Bennett, and Wille John McBride. The All Blacks with Sid Going opposite Sir Gareth at scrumhalf and captained by one of the best flankers, Ian Kirkpatrick.The match was spectacular, with some of the best passers, runners, and side-steppers playing in their prime. It was a high energy game full of adventure, running breaks, improvisation, and spontaneity. Especially from the Barbarians, who, coached by Carwyn James, had an appetite to play rugby ‘in the spirit of the Barbarians’. Nigel Starmer-Smith said, 'the match set such a high standard of excellence that it will forever be a yardstick by which games of rugby football union will be judged’. Sean Fitzpatrick said the match ‘inspired me to take up rugby’.The Barbarians won 23–11 with tries from Edwards, Slattery, Bevan and JPR Williams. Grant Batty scored two for the All Blacks.That Try: In the 2nd minute, New Zealand winger Bryan Williams kicked the ball over Phil Bennett deep into the Barbarian’s half. Bennett retrieved it under his own posts, then with virtually the entire field between him and the All Black’s try line, he sidestepped and evaded three tackles. He then passed to JPR, who managed to offload, despite a high tackle. Still deep in their own half, the ball passed through four pairs of Barbarians hands (Pullin, Dawes, Tommy David, and Quinnell) while heading up-field on the left, before Gareth Edwards shot between two team- mates to take the pass from Quinnell.Edwards dived in the left-hand corner for the try at the Taff End, to a rapturous reception. It was 22 exhilarating seconds after Bennett had gathered under his own posts. It would be a try forever etched in rugby folklore and that epitomized all that was good about rugby and teamwork. The Barbarians were not regular team-mates so the try was not one of coaching and drills, instead it was of talented athletes expressing themselves while enjoying the time of their lives. Still to the day, 50 years later the try is known as ‘that try’ and considered the greatest scored. The try is the most iconic in rugby union history bolstered by Cliff Morgan’s spine-tingling commentary, said to be the second most repeated UK TV sporting commentary after Wolstenholme’s ‘They think it’s all over…’.‘Kirkpatrick to Williams. This is great stuff. Phil Bennett covering, chased by Alistair Scown. Brilliant, Oh, that’s brilliant….John Williams. Pullin, John Dawes….great dummy, David, Tom David, the half-way line. Brilliant by Quinnell….this is Gareth Edwards. A dramatic start. What a score!’A moment later ‘Oh that fellow Edwards’ and ‘If the greatest writer of the written word would have written that story, no one would have believed it. That really was something’Arguably it was ‘that try’, ‘the greatest try’ which served as Gareth Edwards coronation as the greatest ever player.Sir Gareth Recalls: The game against the All Blacks is one I will never forget and those of us who played in it will never be allowed to forget. It is a match that will live with me forever. People tend only to remember the first four minutes of the game because of the try, but what they forgot is the great deal of good rugby played afterwards, much of which came from the All Blacks. I remember that I was cursing just minutes earlier because Sid Going (New Zealand scrumhalf), hoofed the ball downfield, JPR Williams hoofed it back, Bryan Williams (New Zealand wing) hoofed it downfield once again, I was running in all directions. You are out of breath in the first 10 minutes of any game because your heartrate isn’t settling down, there is a bit of tension and you are a bit nervous, especially in this match. When that ball went back to Phil, I thought ‘he will kick it to touch, we will have a lineout, I will have a bit of a breather’ but just when I was thinking all those glorious things, I looked up and thought ‘where the hell is he going now?I was trying to get out of the way, initially. The movement was all coming towards me, I could see John Dawes, I could see JPR, so I thought I would get out of the way and let the move continue, but then as a scrumhalf I thought I had better get out of there. I did then get there. When I saw the gap, I shouted to Derek Quinnell ‘Twl e ‘ma’ (throw it here). I still remember the thrill, the surge of adrenalin as I took the pass and hit the gain line before sweeping around Karam. I am often asked what was going through my head when I took the pass from Derek. Well, the only thing in my mind was whether my hamstrings would stand up to the all-out sprinting.‘I prayed they wouldn’t seize up in that mad dash for the corner’. Wherever I go in the world, people want to talk about it. In the 1990s, I was fishing in the middle of nowhere in Russia – it was a three-hour helicopter ride from Murmansk. I was staying in a village where the mayor, who was a former nuclear submarine commander, took me back to his house, brought out a DVD, shoved it on the telly and up came that try!“What I loved about it more than anything was the improvisation and the decisions off the ball. There were loads of fabulous play from both teams, some stupendous improvised rugby of playing with the ball in front of you.”Auctioneer’s Note: Eight years ago, we sold captain Dave Gallaher’s All Black jersey from their 1905 tour for £180,000 and I have been asked whether I think another jersey will come close or exceed that world record. Sir Gareth’s Barbarians jersey was always my answer. Gallaher’s jersey was the most significant example from the early years of rugby. But Gallaher was not known of widely beyond New Zealand. Sir Gareth’s Barbarians jersey is not only historic, it is iconic and known the world over. Dreamed of in schoolyards, terraced gardens and bedrooms, it was a try which inspired a generation of children to play the sport. As a Welshman it is good to remind people that the famous match and ‘that try’ is thoroughly Welsh in its character; the match was played in Cardiff, the accompanying iconic commentary from the Welsh voice of Cliff Morgan, the move was started sensationally by Phil Bennett’s sidesteps and then the ball went through a succession of Welsh hands, before being finished emphatically by Sir Gareth. Further, it should be noted that the try was linguistically Welsh too, with Sir Gareth yelling ‘Twl e’ ma’ to his fellow Cymro, Derek Quinnell. For the people of Wales this greatest try reverberates deeply. This is the jersey worn by Sir Gareth – considered the greatest ever, playing in the most famous rugby match. It was – and still is, ‘that try’, the greatest try. It follows, that this is the ‘greatest jersey’. A sporting icon.
Lot 29
1973 New Zealand-Barbarians | Sir Colin MeadsRugby Union jersey match-worn by Sir Colin MeadsJersey & Provenance: Red jersey with white collar in complete and original condition. Bears label for Canterbury, embroidered leaping lamb to red canvas outline badge applied to chest, white cotton No.5 to reverse. A few marks and small hole noted and ‘Barbarians 1’ inscribed to back of collar. Possibly faded as thought it may have been used after the match, perhaps worn at the Meads’ farm.Provenance: the personal collection of Sir Gareth Edwards CBE & family.Sir Colin Meads: There is no figure more iconic in rugby union than Colin Meads (1936-2017), one of the finest rugby players ever seen. In 1999 Meads was named New Zealand rugby player of the (20th) century, a huge accolade in a country which breathes rugby union.Meads made his test debut against Australia in 1957 and went on to play 133 All Blacks matches, including a then record 55 tests until his final appearance in 1971. These are remarkable statistics in an era when the All Blacks seldom played more than four tests a year. Colin Meads was inducted into the International Rugby Hall of Fame in its inaugural year, alongside Sir Gareth Edwards.He was a sportsman who defined the spirit of New Zealand and embodied the best qualities of an All Black: he was tough, uncompromising, loyal, and humble. In a relatively young nation, he helped to define qualities which were seen to be essential to the New Zealand character.Colin Earl Meads was a descendant of three generations of sheep farmers. He was born in Cambridge, in the Waikato region of New Zealand’s North Island. When he was 7, his parents moved to a hill farm in the rugged King Country, in the heart of the North Island. As a child, Meads contracted scarlet and rheumatic fevers, which left him so weakened that he was taught to knit lest his hands become deformed.Nevertheless, the young Mead was hardened by farming life and developed great strength, stamina, and toughness. He played his entire club career for Waitete club and amassed 139 appearances for King Country province.He played rugby with incredible skills for a large lock forward and was said to have revolutionised forward play by running the ball. More crucially he had enormous will to win that inspired his teammates. Yet he was uncomfortable with fame, describing himself as a ‘country hick in the big time’, he always saw himself as a father first, a farmer second and an All Black incidentally.Meads was nicknamed “Pinetree” by teammate Kevin Briscoe during a Japan tour with the under-23 team in 1958. The sobriquet stayed with him for the rest of his life, epitomizing his strength, presence, and indomitability. In 1972, he broke his back in a car crash and his body was encased in plaster but incredibly he was back on the field within five months.This was typical of a man who had played on with a broken arm against Eastern Transvaal in 1970, and a man who returned to the field against France in ’67, after being viciously kicked in the head as he lay on the ground.Throughout his playing career, Meads was an almost permanent fixture in the All Blacks squad. He missed the first Test against the British and Irish Lions in 1959 but the following year he had an outstanding tour of South Africa. His try in the second Test clinched victory for the All Blacks and cemented his place for many years to come.Meads played a major part in the tour to Britain and France in 1963 and helped to clock up series victories in 1965 and 1966 over the Springboks and the British Lions in 1967.Colin Meads was the only player present for an All Blacks winning run of 17 matches. He captained the All Blacks eleven times including the inexperienced All Blacks team who lost the 1971 series to the British Lions - which remains New Zealand’s only defeat by the Lions. That series would mark the end of his long and illustrious 18-year rugby career.He is still regarded as New Zealand’s finest All Black, even when players of the modern era such as Richie McCaw, who played 148 tests, surpassed Meads’ record for test appearances. After his retirement Colin Meads continued farming but also worked as an All Blacks selector and manager, mentoring generations of players to wear the famous black jersey. Former All Blacks captain and coach Brian Lochore said of Meads ‘Nobody has done more for New Zealand rugby, at any time in my view’.Mervyn Davies, the Wales No 8 who played in the 1971 Lions series wrote of Meads, ‘No player encapsulates a nation’s attitude to sport like Colin Meads does for New Zealand. In a land of rugby giants, he still reigns supreme and is regarded by many as the greatest ever All Black. He was the flag-bearer of New Zealand manhood’.Meads succumbed to a long battle with cancer at the age of 81, but not before seeing his image immortalised in bronze in his hometown of Te Kuiti.The Match: This jersey was Colin Meads’ New Zealand ‘Baa-Baas’ jersey for whom he was selected for only two matches in ‘73. It is likely that the jersey was retained for both matches therefore the only one of its kind.The New Zealand Barbarian Rugby Club, founded in 1937, adopted the philosophies of free-flowing rugby synonymous with the original Barbarians Club in the UK.Sir Gareth Recalls: ‘What else is there to say about the great man? We became friends after many matches against each other and meeting after our playing days were over. Colin was a colossus of a man in every sense, the type of player you would always want on your side’.Auctioneer's Note:Each lot will be accompanied by the auction prospectus, signed by Sir Gareth Edwards CBE.
Lot 322
Only six of these powerful, bespoke Morgan Roadsters were built, with five remaining in the UK.On its introduction in 2014, the AR V6 was the most powerful racing car that Morgan had ever sold and the ultimate race-prepared Morgan. Based on their 3.7-litre V6 Roadster, the AR V6 benefited from a range of track-focused enhancements and was the first-ever Morgan to feature 5-link rear suspension and a body with no doors, and a weight-saving heightened passenger side panel. Also aiming to reduce weight as much as possible, a lightened battery, brake system, split-billet wheels and interior were all utilised, ensuring a dry weight of 850kg. Technical enhancements included a digital dashboard display, a first for any Morgan, a 320bhp ECU with single mass flywheel and a modified timing chain tensioner resulting in a Marque-best, power to weight ratio of 376bhp per tonne.Morgan’s motorsport division, AR Motorsport, were very bullish with press releases, stating the ARV6 “has been designed with one thing in mind – competing in motorsport and winning races. While offering performance and handling that goes beyond any Morgan-produced race car that has previously been available, AR Motorsport assures prospective buyers that the AR V6 will be ''the perfect Morgan race car for experienced racers and novices alike”However, it wasn’t to be, as given its comprehensive specification, it simply wasn’t commercially viable. Only six were built and five of these remain in the UK.Over recent years, several AR V6 have competed in the Morgan Challenge Series, now in its 42nd year, a one-make series featuring at circuits around the UK. The Challenge regularly attracts significant grids with Morgans racing in many classes. The competition is fierce, however the gentlemanly spirit of the series has earned a high level of respect amongst fellow motorsport enthusiasts.This particular example was bought new by its current owner in 2016 and has been enjoyed with some success at various events over the years. Our vendor is particularly fastidious and we understand that has spent over £50,000 on further developing and upgrading the car following its delivery from Morgan, however it remains road-legal and has been supported and generally looked after by Richard Thorne, a respected specialist in competition and fast-road Morgans. As with any competition car, it’s recommended that prospective purchasers check the validity and currency of any safety-related equipment.This AR V6 is undoubtedly the coolest Morgan racer on the planet and, given that only six were built globally at over £60,000 new, it would take a brave person to say no at this very sensible guide, considering the level of investment involved in preparing the car to this level.SpecificationMake: MORGANModel: ARV6Year: 2016Chassis Number: SA94437H280004116Registration Number: K400 MOGTransmission: Manual Engine Number: E4289008NB Drive Side: Right-hand DriveMake: RHDClick here for more details and images
Lot 444
A fascinating, rare and bespoke XJR-S, coming from 22-years ownership, just 59,000 miles and a full service history.Between 1992 and the early 2000s, Paul Bailey’s Bristol-based company, PBB Design, offered a series of modifications for the XJ-S under the name Monaco, completely changing the car’s look and character. Built in tiny numbers, it was one of the better-designed, modified examples of Jaguar’s big GT that were prevalent at the time.Following a career in the aircraft industry, Bailey moved to Bristol-based Glenfrome Engineering, which produced lengthened five-door and open versions of the Range Rover, plus a futuristic design based on the SUV called the Facet. It also experimented with a long wheelbase version of the XJ-S. While Paul had long admired the XJ-S in terms of its dynamics, its angular styling had never impressed him – so he penned his own version ensuring the changes would be possible. “There’s no point in dreaming up a design that couldn’t be built,” he said in the April 1992 issue of 'Jaguar Quarterly'; “I wanted my car to be exactly as I drew it.”His design included a longer, rounder nose that featured a downturned oval grille, and much wider wheel arches front and back to cover huge alloys. The glass-fibre panels simply attached to the car’s bodywork, requiring no structural changes, although Bailey had considered producing them in steel. He even involved Park Sheet Metal – which produced many of Jaguar’s own concepts, including the first XJ220 – during the early stages of the project. However, the metal around the arches had to be cut away, along with a little around the headlight area to make room for larger light pods where Bailey planned to use small projector lamps by Bosch. The bonnet was also new, again made from composite, and required a redesign of its hinge mounting due to the lower rake of the front. The result was a handsome, modern car that still harked back to Jaguar’s past, “There is probably more ‘spirit of the E-Type’ in the PBB than in anything built yet,” was Jaguar Quarterly’s 1992 view.It wasn’t a cheap conversion, though, since the body-kit alone cost £24,500 when fitted at PBB Design’s Bristol premises. This did include handsome 17'' split rims from Compomotive, plus a suspension package developed by handling experts, Harvey Bailey Engineering. PBB Design was also able to offer various drivetrain upgrades, including a Rob Beere Engineering-developed 7.3-litre V12, and a totally bespoke interior that featured better-quality leather for the seats, a suede-covered dashboard and plush carpets.Unsurprisingly, at this price only a handful were made. The consensus is 12, mixed between coupés and convertibles, V12s and straight-sixes, but this can’t be confirmed. What also comes as no surprise is that the Sultan of Brunei was said to be a customer (as he had been at Glenfrome), purported to have bought the first two production examples of the Monaco.Sadly, Bailey wound up PBB Design in 2001 following a heart attack and sold the moulds for the Monaco to a Texas-based engineering firm.The car presented here has a story to tell in two parts: its first incarnation was as the very first Monaco example, produced as a prototype by PBB Design ( c.1991) and was used as the company’s ‘poster car’ for numerous magazine shoots in the early 1990s. The most famous of which was probably for Performance Car later morphing into Harry Metcalfe’s ‘EVO’) in 1992, which gathered together a real ‘who’s who’ of Jaguar design engineers and their cars of the time – there was Paul Bailey in this particular car, William Towns in his Railton Claremont, Laurence Pearce in his Lister XJ-S and Paul Hands in his Hyper XJ-S.Subsequently, this very special car was sold to its first owner, understood to have been in the Scottish oil industry, and later acquired by its next owner, based in High Wycombe, who would go on to keep it for the next 22 years. The original car used as the PBB prototype had been a standard X-JS V12 and, by the late 1990s was feeling a bit underwhelming, so in 1999, the owner approached Paul Hands about updating the car’s specification to a bit closer to the high-performance examples PBB were currently producing. The decision was made to extract all the original PBB elements, source a newer, later-production Jaguar and rebuild it to the same exacting standards, all done by one of the best in the business, Paul Hands. The car chosen to receive this expert treatment was a low-mileage, fully serviced 1990 Jaguar XJR-S 6.0-litre (SAJJSAES3BB170057), an example of the final evolution of the Jaguar XJ-S, hand-built at JaguarSport at Bloxham, the high-tech facility that had been home to XJ220 production.The JaguarSport XJR-S may have looked like its production counterparts but differed immensely with many parts unique to the model and, of course its 6.0-litre V12 engine. The engine was rated at 318bhp and was 700cc larger than the previous 5.3-litre V12. A modified intake system and a low-loss true dual exhaust system was part of the car’s advanced specification. The suspension was further developed by TWR with increased coil spring rates and the Bilstein shocks, front and rear, were specially tuned for the XJR-S. Only 115 were built in right-hand drive.The transformed car was then routinely serviced by Paul Hands and Hyper for the following decade and more, receiving, in May 2000, an uprated Hyper 3-speed clutch less manual gearbox (costing £1,650), said to transform the driving performance. Silverstone Auctions have chatted at length to Paul Hands, and he recalled the car and its long-time owner immediately, confirming that he did the transformative rebuild of it and the subsequent servicing. There is a Valuation Report/Certificate written by him and numerous invoices for servicing in the accompanying history file. Present also are the original book-pack, service booklet and paperwork relating to the XJR-S that was utilised, helping verify the mileage. The car was last fully serviced at Jaguar specialists Powerbell Services of Taplow in May 2022 at 58,763 miles and is said to drive and perform as one would expect.If you’ve ever hankered for a Jaguar XJ-S, why not choose one with a fascinating backstory and unique appeal, conceived in the heyday of XJS design evolution. SpecificationMake: JAGUARModel: XJR-S 6.0-LITRE V12 'MONACO' BY PBB DESIGNYear: 1990Chassis Number: SAJJSAES3BB170057Registration Number: XIJ 326Transmission: Automatic Engine Number: 8W010150HB Drive Side: Right-hand DriveOdometer Reading: 59000 MilesMake: RHDClick here for more details and images
Lot 503
Back to basics for purity of performance, this beautifully presented and spritely little sports car offers unrivalled excitement at a very attractive price point.Offered here at Race Retro 2023 is a quick and very well-presented example of a factory-built Caterham Seven Superlight. Under the bonnet is a Dave Andrew (DVA Power) 1.8-litre, naturally-aspirated K-Series engine offering superb performance. This Superlight features carbon-fibre front wings, composite race seats, four-point racing harnesses and a carbon-fibre wind deflector. It's finished in glorious yellow paintwork with a black interior, and rides on a correct set of 13'' black alloy wheels with polished rims, complete with semi-slick AR-1 tyres (less than 100 miles since new).With no expense spared, the engine was professionally rebuilt by Dave Andrew (DVA), and includes race liners, Jenvey throttle bodies, Emerald ECU, VHPD cylinder head with ported valves, modified to match forged pistons and fully balanced then remapped at Track’N’Road showing a healthy 211bhp.On inspection, the yellow paintwork is in very good overall condition, with only minor chips on the nosecone, the front wheel arches, and the rear wheel arch protectors. The alloy wheels present very well and, inside the cabin space, the black interior also shows in good condition, with light signs of use on the seat bases but no substantial wear. The Seven also benefits from a four-into-one stainless exhaust, a limited-slip differential and a removable MOMO steering wheel. The car will come fitted with windscreen and half door skins as pictured, and a new full wet weather hood.The car is accompanied by a history file which includes the original Caterham build documents and the most recent MOT Certificate carried out on 20 April 2022 at 30,145 miles resulting in a clean, first-time pass. Our vendor reports no known electrical or mechanical faults describing the little sports car as "absolutely on-the-button and performing well". The private registration number will not form part of the sale with new V5C registration paperwork to follow.During the Caterham's current ownership, it has competed in the 2022 Abingdon CAR-nival Sprint, winning its class by 6 seconds, and again at the Brooklands Autumn Motorsport Day, where it again took a Class win. It was awarded 3rd Overall in the Brooklands “Spirit of Motorsport” which is a combined sprint and Concours award, testifying to its overall condition along with the Superlight's legendary performance and handling.SpecificationMake: CATERHAMModel: SEVENYear: 1999Chassis Number: SDKRDSLR8X0030690Registration Number: TBATransmission: ManualDrive Side: Right-hand DriveOdometer Reading: 30500 MilesMake: RHDInterior Colour: BlackClick here for more details and images
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