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Corgi 1/50 Diecast Model Truck issue comprising No. CC14014 Volvo FH, Nooteboom Step Frame & Thwaites Dumper in the livery of J&M Murdoch & Sons Ltd. Generally, appears Very Good.

Corgi 1/50 Diecast Model Truck issue comprising No. CC14109 DAF 105 Step frame with Atkinson Borderer Load in the livery of Smiths of Bury Haulage Contractor. Appears Good to Very Good.

Corgi 1/50 Diecast Model truck issue comprising 1) No. CC13408 ERF ECT Olympic Curtainside in the livery of Richard Reed Transport Ltd. Appears Excellent with no obvious signs of fault. 2) No. CC11912 ERF EC Series Step Frame Curtainside in livery K &P Iddon Transport Ltd. Appears Excellent with no obvious sign of fault.

Corgi 1/50 Diecast Model Truck issue comprising 1) No. CC13227 DAF XF Space Cab Curtainside in livery of L.V. Transport Ltd. Appears Excellent with no obvious signs of fault. 2) No. CC12111 MAN Renault Premium Step Frame Box Trailer in the livery of TNT. Appears Excellent with no obvious signs of fault.

A contemporary floor Lamp having a triple step ebonised plinth and with a cream coloured hexagonal shade, 105 cm. high.

Three sets of step ladders. COLLECT ONLY.

An adjustable aluminium step ladder. COLLECT ONLY.

A large four tread step ladder. COLLECT ONLY.

A ten rung wooden step ladder.

A Ramsey aluminium six rung step ladder.

Two metal two rung step ladders.

A 1996 Pennine Pullman folding trailer tent. Can be used without pegging out. Has full awning that doubles size of area (awning does require pegging). All interior linings and curtains present. Lightweight, easy to tow and pitch and very comfortable to sleep in.Includes step, Aquaroll and waster water containers. Upgrades since manufacture:- Mains 230V hook-up.12V integrated battery charger. 12V socket points.

A wooden 3 rung step ladder.

A red five rung metal step ladder.

An aluminium five rung step ladder.

A wooden seven rung step ladder.

De La SoulOriginal Artwork Study for the De La Soul '3 Feet High and Rising' Debut Album Artwork, 1988/89designed by Grey Organisation/Toby Mott, original hand-drawn mock up for the 12inch vinyl album record sleeve, consisting of a black and white photographic print with Posca paint pen art work on acetate overlays bearing the band and album name with floral design motifs, adhered with small pieces of tape to each side, stamped Grey Organisation twice along lower right margin 32.5 x 32.5cm (12 3/4 x 12 3/4in)Footnotes:ProvenanceIn 1988, Tommy Boy Records contracted the Grey Organization to create a visual graphic identity for the hip hop group, De La Soul, comprising Kelvin 'Posdnous' Mercer, Dave 'Trugoy the Dove' Jolicoeur, and Vincent 'Pasemaster Mase' Mason, including art direction for their debut album, 3 Feet High And Rising. Released on March 3, 1989, the album became a critical and commercial landmark of late 20th century pop culture, selling millions of copies worldwide and expanding the vocabulary of hip hop as an emerging art form.In 1998, 3 Feet High And Rising was named as one of 'The Source' magazine's '100 Best Rap Albums' of all time. In 2010, the US Library Of Congress selected the album for inclusion in the National Recording Registry, which identifies American sound recordings 'that are culturally, historically, or aesthetically significant.'In an article for 'The Guardian' newspaper on the occasion of the album's 25th anniversary, Toby Mott recounted his collaboration with the group. Their starting point was De La Soul's psychedelic 'D.A.I.S.Y. age' concept (according to Posdnous, '...we coined the term 'the daisy age' after we noticed a nightgown in a store that had a picture of Minnie Mouse holding a daisy on it. Although the daisy stood for 'Da Inner Sound Y'All', it was also about suggesting a sunnier style of rap.') and Grey Organization developed a visual concept that incorporated the now iconic dayglo flower motifs associated with the group's early period.For the album cover photo shoot, De La Soul visited the Grey Organization's loft, where Mott asked Posdnuos, Trugoy and Mase to lie down on the floor, facing up, so their heads would form a triangle. 'We [Mott and photographer Marie Hennechart] photographed them precariously from the top of a step ladder, one idea being that the cover would not have a right way up.' Since compact discs had not yet become the dominant musical format, the design process centred on production for the album's 12inch LP record sleeve. Working at scale, Mott layered brightly coloured hand-drawn flower designs made with Posca paint pens on acetate as an overlay for Hennechart's black and white portrait of the group. 'This was well before the time of Apple Macs and scanning,' Mott recalls. 'Our intent was to be new and bright, with the overlaying of the fluorescent flowers and text reflecting a synthetic pop cartoon look. For De La Soul, it was a self-conscious move away from the prevailing macho hip hop visual codes of the era, which continue to dominate today.' [Note: The final album cover layout based on this artwork is credited to graphic designer Steven Migilo]. Grey Organization provided tour support and directed two videos for the group, Potholes On My Lawn and Say No Go, 1988 and 1989 respectively.Toby Mott's relationship with music started when he was a teenager. Mott was 13 in 1977, when Punk exploded in London. His career encompasses co-founding East London art group, the Grey Organisation, in the early 1980s, creating the cover artwork offered here and designing the fashion line, Toby Pimlico.For further information on this lot please visit Bonhams.com

A George IV silver-gilt bowlEdward Farrell, London 1824 Embossed with heraldic symbols and the Royal arms of James I, within a stylised arcade, on a matted ground, with stylised Gothic script, reading 'He that loveth pastime shalbe a poore man and he that loveth wine and oyle shall not be rich:' and a band of smaller script below, height 11cm, diameter at top 15cm, weight 17.8oz.Footnotes:A series of these bowl were based on a 17th century James I fruitwood bowl, dated 1610, see 'Domestic Utensils of Wood', O. Evan-Thomas, London 1932, plate 14.Duke of York sale, Christie's 19 March 1827, part of lot 79 (a set of ten). A similar bowl was offered: Christie's English and Foreign silver sale, 12 November 1980, lot 71.The Duke of York, purchased a phenomenal amount of silver, both antique and modern, during his lifetime, often advised by the retailer and salesman Kensington Lewis. He commissioned several innovative and eclectic pieces from Edward Farrell showing a love of historicism years before it became popular in the later 19th century.The Duke of York died in 1827 leaving debts of over £200,000, a huge amount at the time. In an attempt to clear some of the debt his executors took the unusual step of offering a royal Collection for sale at Christie's.Kensington Lewis (born Lewis Kensington Solomon), c.1790-1854, was a retailer and businessman who suggested Edward Farrell sought inspiration from 16th, 17th and 18th century pieces, studying the form and decoration to produce some of the most distinctive pieces of the period.Literature 'English and French Silver-gilt from the collection of Audrey Love', A. Phillips & J. Sloane, Christie's books.For further information on this lot please visit Bonhams.com

A SET OF VINTAGE WOODEN STEP LADDERS

An emerald and diamond cluster ring, featuring a step-cut emerald with a translucent light green-coloured body, approximately measures 14.7 x 15.4 x 9.7 mm, double claw set in a square surround with two tiers of pavé diamonds, millgrain edged, with openwork under gallery, to tapering D-section shank, yellow metal marked '18ct', ring head measures 2.2 cm across, ring size P, total weight of item 12.7 grams.

A large aquamarine and diamond cluster ring, featuring a rectangular step-cut aquamarine with pale blue body colour, approximately measures 21.7 x 15.7 x 11.5 mm, framed by an array of brilliant-cut diamonds, to tapering D-section shank, white metal marked '18ct', ring size N, total weight of item 17.7 grams.

An aquamarine and diamond cluster ring; the cut-cornered rectangular step cut aquamarine, in claw mounts above a border of circular cut diamonds and diamond set shoulders, to a 9 carat white gold shank. Total diamond content estimated to be 0.15 carats. Ring size O, 3.4 grams

An emerald and diamond cluster pendant, featuring a tablet-like step-cut emerald with a translucent light green-coloured body, approximately measures 14.2 x 13.6 x 6.1 mm, claw set in a square surround framed by brilliant-cut diamonds, to a pavéd hinged bail, yellow metal unmarked, tests as 18ct, drop length measures 4.1 cm, total weight of item 17.5 grams.

An emerald and diamond-set ring: the central rectangular step-cut emerald set to either side by an old brilliant-cut diamond to the pierced and scrolling yellow gold shank stamped '18CT', ring size I (gross weight 3.4g) (emerald possibly a replacement)

An Edwardian amethyst and diamond white metal brooch, rectangular step cut amethyst to the centre within a fine border of rose cut diamonds, floral diamond set motifs to either side, length approx 33mm x 20mm, scrolled pierced setting with pin and C clasp fittings, setting numbered 5533, French marks to pin, possibly platinum/18ct gold, metal safety chain, total gross weight approx 14.4gms Further details: good very minor marks to amethyst, all stones present, some minor wear and tear commensurate with age  

Elizabeth Graydon-Stannus - Graystan - A large 1930s pedestal bowl of fluted cup form with everted rim, above a knopped step and raised to a fluted domed circular folded foot, all in an emerald green ground, engraved signature, height 26cm.

Jacob Hendrik Pierneef (South African, 1886-1957)Four South African Views (i-iv): (i) Study of a Treesigned and dated in pencil 'J.H. Pierneef impr./ 1920' (lower margin); Johan Coetzee label affixed to the reverseetching on paperimage size: 19.5 x 28cm (7 11/16 x 11in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(ii) Okahandjaberg, South West Africasigned, dated, titled, numbered and inscribed in pencil 'J.H. Pierneef. impr. Proefdruk no I./ Okahandjaberg. SW.A./ aan Marita Pierneef./ 1930.' (lower margin)etching on paperimage size: 20.5 x 27cm (8 1/16 x 10 5/8in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(iii) Street in Tulbagh, Capesigned, dated and titled in pencil 'JHPierneef impr. Street in Tulbagh. CP./ 1938.' (lower margin)linocutimage size: 29 x 35.3cm (11 7/16 x 13 7/8in)sheet size: 21 x 29cm (8 1/4 x 11 7/16in).(framed)(iv) Vissershawe, Hermanussigned, dated and inscribed in pencil 'J.H. Pierneef impr. Hermanus./ Druk. 1944.' (lower margin)linocutimage size: 19.5 x 25.5cm (7 11/16 x 10 1/16in)sheet size: 21.3 x 27cm (8 3/8 x 10 5/8in).(framed)(4)Footnotes:ProvenanceThe collection of the artist's family;Thence by descent to the artist's grandson Exhibited(ii) Okahandjaberg, South-West AfricaJohannesburg, Standard Bank Gallery, A Space for Landscape: The work of JH Pierneef, 8 July - 12 September 2015, pp. 16 & 131 (another edition illustrated and exhibited; etching plate illustrated, p. 139)(iii) Street in Tulbagh, CapeDurban, Durban Art Gallery, The Complete Woodcuts of Pierneef, 1970, no. 10 or no. 14 (iv) Vissershawe, HermanusJohannesburg, Johannesburg Kunsgalery, Rykstentoonstelling: Empire Exhibition, 1970, no. 83, p. 11 (another print exhibited)Durban, Durban Art Gallery, The Complete Woodcuts of Pierneef, 1970, no. 10 or no. 33 (another print exhibited)Literature(i) Study of a Tree (Boomstudie)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 6 (illustrated)(ii) Okahandjaberg, South-West AfricaJ.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 6 (another print illustrated; titled 'Mountain at Okahandja, South-West Africa')P.G. Nel, JH Pierneef: His life and his work (Cape Town & Johannesberg, 1990), p. 115 (illustrated; titled 'Okahandjaberg, Suidwes-Afrika')Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 8 (illustrated)(iii) Street in Tulbagh, CapeJ.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 29 (another print illustrated)F.E.G. Nilant, Die Hout- en Linosneë van J.H. Pierneef (Cape Town & Rotterdam, 1974), no. 8, p. 38 (titled in Afrikaans 'Straat in Tulbagh'; earlier print illustrated)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 59 (illustrated)(iv) Vissershawe, HermanusA.C. Bouman, Painters of South Africa (Cape Town & Pretoria, 1944), p. 25 (another print illustrated, p. 24)J.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work (Pretoria, 1947), no. 30 (another print illustrated)A.J. Werth, Kuns uit die Staatsargief, cat., Pretoria Art Museum, 1971, no. 68 (another print listed)F.E.G. Nilant, Die Hout- en Linosneë van J.H. Pierneef (Cape Town & Rotterdam, 1974), no. 5, p. 34 (earlier print illustrated)Hans Fransen, Three Centuries of South African Art: Fine Art, Architecture, Applied Arts (Johannesberg & Cape Town, 1982), p. 348 (another print illustrated, no. 4; titled 'The old harbour, Hermanus')Esmé Berman, Art & Artists of South Africa: An illustrated biographical dictionary and historical survey of painters, sculptors & graphic artists since 1875, enlarged edition (Cape Town & Rotterdam, 1983), p. 330 (another print illustrated)Gerard de Kamper and Chris de Klerk, JH Pierneef in Print (Limpopo, 2014), no. 8 (illustrated)Pierneef was first introduced to printmaking techniques in 1903 when he was taught the basic principles of etching while studying at the Rotterdam Academy. However, printmaking did not become a core component of his artistic practice until seven years later when he received informal tutelage in etching and linocut techniques from the Irish artist George Salisbury Smithard (1873-1919). In 1911, at Smithard's request, Pierneef submitted two etchings to the first exhibition organised by the Guild of South African Artists in Johannesburg. Two years later, he sold his first linocuts.Pierneef was intimately involved in all aspects of the printmaking process. In addition to creating the etching plates and lino blocks, he undertook the physical labour of printing each individual work. He consequently signs his graphic works 'J.H. Pierneef impr.' ('impr.', from imprimere meaning 'to print') to signify his direct role in the creation of each print. These were made on demand, rather than in numbered editions. Therefore, typically only a small number of prints were produced from each master block. This printing method highlights the careful control that Pierneef retained over his graphic works which allowed him to keep creative oversight at each step of the production process. The present group of four works represents the diversity of Pierneef's printmaking activities. Study of a Tree (1920) and Okahandjaberg, South West Africa (1925, printed 1930) illustrate the softer, romantic language of his fine line etchings. Notably, the latter work is numbered as the first print made from the etching plate and is dedicated to Pierneef's daughter, Marita Pierneef-Bailey. In contrast to the detailed perspective offered in these etchings, the linocuts Street in Tulbagh, Cape (1931, printed 1938) and Vissershawe, Hermanus (1931, printed 1944) exemplify the bold, graphic style that he achieved through the relief print method. Vissershawe was a particularly popular work, and a print of the Hermanus harbour scene was included in the Empire Exhibition organised by the South African government at the Johannesburg Art Gallery in 1936. Here, the work was shown alongside pieces by other prominent South African artists including Maggie Laubser (1886-1973), Hugo Naudé (1869-1941), Irma Stern (1894-1966), and Maud Sumner (1902-1985).Pierneef's engagement with printmaking is closely interrelated to his approach to painting. In both mediums, he cultivates an attentiveness to line and tonal contrast. The consistency in his approach to both mediums is demonstrated in his use of the prints Okahandjaberg and Vissershawe as models for his acclaimed station panel paintings for the newly built Johannesburg train station, commissioned in 1929. The translation of these subjects from print to paint demonstrates the integral interrelationships between these two key aspects of the artist's practice.For further information on this lot please visit Bonhams.com

A VINTAGE PINE FOLDING STEP LADDER, the four tread ladder with a fold down table top, 114 x 45 cm

2 CARTONS OF DOLLS HOUSE STEP BY STEP MINIATURE HOUSE COLLECTION, FOLDERS, KITS & BAG OF MISC

5 STEP ALUMINIUM STEP LADDER

ALUMINIUM STEP STOOL & A METAL KITCHEN STEP

TOOL BOX WITH MISC TOOLS & A STEP UP TOOL BOX WITH MISC FASTENERS & FIXINGS

A Victorian emerald and diamond 18ct gold ring, comprising two rows of alternating step cut emeralds and old cut diamonds, head measuring 15mm x 7mm, all claw set to a tapering plain polished shank, marks for 'E&B' Chester 1884, ring size M, weight 3.1gms

A diamond three-stone 14ct gold ring, the central round brilliant cut diamond weighing approximately 0.30 carat, with a further diamond to each side weighing 0.20 carat, claw set to step shoulders and reeded 14ct white gold shank, ring size N 1/2, weight 3.8gms

VITTORIO BONACINA (Italy, 20th c.) for BONACINA.Pair of egg-shaped armchairs, 1950s.Structure in bamboo rods.Producer Bonacina, 1889.May show signs of use.The lot will be available after approximately 10-15 days.Measurements: 75 x 72 x 62 cm.Giovanni Bonacina started his business in 1889 in Lurago d'Erba, located in the north of Milan, an area known as Brianza. Combining two traditional crafts practised in the area, basketry and furniture making, using the local materials of cane and reed, with rattan from Southeast Asia, Bonacina started one of the most renowned companies dedicated to the design and creation of furniture. Over time, the management of the business passed into the hands of Vittorio Bonacina, who continued and expanded what his father had passed on to him, taking the company a step further. With an eye to the revolution in design and art that was taking place in the 1950s, a new era in the company's future began, made possible by a winning combination of production expertise, visionary collaboration with talented designers and the intention to push materials and forms into new expressive forms.For over a century the company has followed the styles and trends of the time while keeping its quality and design characteristics intact. Today Vittorio Bonacina and Pierantonio Bonacina have joined forces in Bonacina1889. The company remains faithful to the natural raw materials that defined the majority of its culture, while consolidating its know-how in the outdoor world. Now, as then, each piece is handcrafted by specialised craftsmen who carefully and finely bend the rattan canes, weave and bind the rattan core, giving rise to projects by architects and designers, and carrying out an international dissemination process. The fourth generation, building on its heritage, looks to the future, constantly evolving and innovating with a dynamic and passionate spirit.

A step cut Imperial Topaz, 0.65 carat, 5.25 x 4.25mm

Kit built white metal 00 gauge LBSC and SECR Tank Locomotives, LBSCR umber class A1 tank locomotive 0-6-0 82 Boxhill (one loco step broken), SECR green class P1 tank locomotive 0-6-0 27 in, G-VG, (2)

Kit built 00 gauge LMS black class 7F 0-8-0 tender locomotive, No 9580, Portescap motor, built and finished to a very good standard, VG, one step missing

Kitbuilt 00 Gauge LMS maroon Jubilee Class 5734 'Meteor', built and finished to a good standard, with piece of track to display, F-G, damage to front left side step area, lacks step and metal backing creased, small area paint loss to upper left side of tender

An emerald and diamond ring, with three step cut emeralds, in gold marked 18, 8.5g, size L Good condition

An English thirty hour clock movement and dial, Step Wilde Farnham, early 18th c, the 10" brass dial engraved with birds to the matted centre, having steel hands, silvered chapter ring, mask spandrels and lantern type movement Dusty / dirty, replacement hand rusty

An English walnut thirty hour longcase clock, F Bayley Uttoxeter, c1730, the 11" brass dial with matted centre, date segment, pierced steel hands and mask spandrels, in step top case with blind fret cornice and pillars flanking the glazed door, the trunk enclosed by a breakarched crossbanded and star-inlaid door, on bracket feet, pendulum and weight, 203cm h Much dust and cobwebs, seat board not packed, case with some old veneer repairs, blind fret work worn and lost in places

Corgi - Hauliers of Renown - 2 x limited edition boxed 1:50 scale trucks - Lot includes a #CC13422 'Beck and Pollitzer' truck, and a #CC11912 ERF EC Series Step Frame Curtainside truck. Boxes appear in excellent condition with some minor storage wear. Die-cast models appear in mint condition. (This does not constitute a guarantee) (2)

Art Deco style 18ct white gold ruby and diamond ring. Step cut and calibre cut rubies 1.00ct approx. R/C diamonds 0.50ct approx

A wooden step ladder

Two aluminium step ladders

A blow up sofa bed; a plastic container and step stools

A traditional set of wooden step ladders

A traditional set of wooden step ladders, decorators or similar, large 8 rung design

A pair of 925 silver drop earrings set with step cut blue topaz, L. 3cm.

Midland Railway Shut and Fasten Gate broken in two ex Ripple together with qty 5 Signal Box Step treads one of which is Midland Railway which is broken in 2 and qty 4 L(M)S. (6 items)

Kunzit von ca. 14,2 ct im Treppenschliff (17 x 12 x 9 mm), augenrein, Facettenkanten leicht berieben, WBW: ca. 20 €/ct. Alle Steine ohne detaillierte gemmologische Prüfung! (03/2022, 50)| Kunzite approx. 14.2 ct, step cut (17 x 12 x 9 mm), eye-clean, slightly abraded facet edges, replacement value approx. 20 € per ct. All stones without detailed gemological testing!

Konvolut von 4 Citrinen im Treppenschliff von zus. ca. 74 ct, größter Stein ca. 20 x 18 x 12 mm, Facettenkanten tlw. best., Tafel des größten Steins leicht verkratzt. WBW: ca. 4 €/ct. Alle Steine ohne detaillierte gemmologische Prüfung!| Bundle of 4 step cut citrines totall. approx. 74 ct., largest stone approx. 20 x 18 x 12 mm, some chippedfacet edges, table of the largest stone scratched. Replacement value approx. 4 € per ct. All stones without detailed gemological testing!

2 braune Topase von ca. 28,7 ct., 1x im dreieckig geschliffen (14,4 x 13,7 x 10,3 mm), 1x im Treppenschliff (20,5 x 9,1 x 7,2 mm), augenrein, sehr guter Zustand. Alle Steine ohne detaillierte gemmologische Prüfung!| 2 brown topazes, totall. ca. 28.7 ct., 1x triangular cut (14.4 x 13.7 x 10.3 mm), 1x step cut (20.5 x 9.1 x 7.2 mm) eye clean, very good condition. All stones without detailed gemological testing!

Konvolut Turmaline von ca. 5,45 + 4,15 + 3,61 + 2,29 ct, Baguetten und Carrees im Treppenschliff, vermutlich afrikanisch, guter bis sehr guter Zustand. Alle Steine ohne detaillierte gemmologische Prüfung! (4x52)Bundle of turmalines of ca. 5.45 + 4.15 + 3.61 + 2.29 ct, baguettes and carrees in step cut, probably African, good to very good condition. All stones without detailed gemological testing!

Aquamarin im Treppenschliff von 26,7 ct, 20 x 15 x 10 mm, augenrein, neuwertig. WBW: ca. 15 €/ct. Alle Steine ohne detaillierte gemmologische Prüfung!| Step cut aquamarine of 26.7 ct (20 x 15 x 10 mm), eye-clear, mint condition. Replacement value approx. 15 € per ct. All stones without detailed gemological testing!

Konvolut 4 Granate von 10,01 (Rhodolith, Treppenschliff) + 1,38 (Rhodolith, Treppenschliff) + 3,61 (Granat, Facettenschliff) ct, guter bis sehr guter Zustand. Alle Steine ohne detaillierte gemmologische Prüfung! (179,180,180)| Bundle of 4 garnet of 10.01 (rhodolite, step cut) + 1.38 (rhodolite, step cut) + 3.61 (garnet, facets cut) ct, good to very good condition. All stones without detailed gemological testing

1973 Honda ST70 Dax 'Mini Bike'Registration no. HOX 737LFrame no. ST70-144249Engine no. ST70E-128699With the launch of the CZ100 in 1960, Honda created the class of machine known as 'monkey bikes', so called because of their diminutive stature. The power unit was the C100 step-thru's reliable four-stroke single, and an ultra-short wheelbase, small wheels and a vestigial fuel tank were all features of a machine which, in the case of the folding handlebar version, could be fitted into the boot of car.This Dax has been in current ownership since 1976. Unfortunately, due to health reasons it has been unused since approximately 2000. Following a period of long-term storage, the machine is offered for restoration and sold strictly as viewed, its mechanical condition being unknown. Offered with an old V5 and expired 1981 MoT.Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

1995 Honda C90 CubRegistration no. N146 GNWFrame no. HA025305984Engine no. HA02E-2303689Introduced in 1958, Honda's classic Cub 'step-thru' gave millions of people the world over their first taste of two-wheeled mobility. Better built, more powerful and more reliable than the majority of contemporary mopeds while endowed with handling superior to that of the small-wheeled scooter, the Cub set new sales records for motorcycle production and continues to be immensely popular today. This C90 Cub was purchased new by the vendor's father-in-law in November 1995. Passed on to the vendor in 2010, the Cub was ridden for 21 miles before being stored in the garage (the current odometer reading is 2,406 miles). It has not been used since and will require re-commissioning before further use. Offered with a V5C document and expired MoT (2011). Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

1981 Honda 72cc Mini Trail 70 'Monkey Bike'Registration no. FNP 736WFrame no. DD010XBS205067Engine no. DD01E-5205089With the launch of the CZ100¬ in 1960, Honda created the class of motorcycle known as 'monkey bikes', so called because of their diminutive stature. The power unit was the C100 step-thru's reliable four-stroke single. An ultra-short wheelbase, small wheels, and a vestigial fuel tank were all features of a machine which, in the case of the folding handlebar version, could be fitted into the boot of car. A 72cc version, the ST70 Dax, with the overhead-cam engine and slightly larger and more practical frame was introduced in 1969, becoming the CT70 for 1971, by which time telescopic front forks had been adopted. Imported from the USA and first registered in the UK in September 2020, the Mini Trail 70 offered here is the 'off-road' version of the CT70 Dax. The machine was purchased by the vendor in December 2021 and is said to have been running well at that time. This little 'fun machine' is offered with an expired MoT (August 2021) and a V5C document. Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com