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Lot 112
1966 Ford Mustang Notchback Transmission: automaticMileage:81630When you talk about classic cars and Americana, there is only one brand and model that comes to mind, the Ford Mustang. No other car has been so successful and produced in so many configurations as this car. Used both on the road and track, this was and still is popular with both the youth of the USA as well as some of its more wealthy collectors.This Ford Mustang Coupé was assembled at the San Jose factory and was originally fitted with a 2v V8 289ci engine mated to a C-4 automatic gearbox. Presented in very good order throughout, this Mustang has been in its current ownership for 15 years and has been treated to a replacement V8 engine during this time which was extensively rebuilt thirteen years ago. Since then, it has covered circa 6,000 miles and as such it still presents in very good condition. Having clearly been restored at some stage during its life the paintwork and chromework retain a deep shine, and the interior also presents very well with very few blemishes to show. The power steering has more recently been replaced and the braking system has been upgraded with disc brakes at the front. The vendor reports that the car runs and drives as it should having been maintained to a very high standard and has also benefitted from being dry stored during the current vendors tenure. Accompanying the vehicle is a history file containing sundry invoices, many old MoT test certificates, the current V5C registration document and a current MoT test certificate valid until 31st July 2023.
Lot 201
1959 Volkswagen Karmann Ghia 1200 Lowlight Transmission: manualMileage:99151The Volkswagen Karmann Ghia combined the chassis and mechanicals of the Type 1 Beetle, with styling by Italy's Carrozzeria Ghia and handbuilt bodywork by German coachbuilding house Karmann. More than 445,000 Karmann Ghia’s were produced in Germany over the cars production life, not including the Type 34 variant.This type 14 Karmann Ghia ‘lowlight’ is a stylish classic 2+2 coupé, offered in the subdued, yet appealing, hue of Agave Green with pale green vinyl and grey cloth interior. Powered by the numbers matching, 1.2 litre, flat-four, coupled to a four-speed manual gearbox. The original purchase invoice issued on 3rd June 1959 from Merryweather’s Volkswagen in Pietermaritzburg, South Africa is still with the vehicle. The car then remained in the same family until 2019 and has now been in the possession of its current UK based keeper for three years. Apart from a repaint, this car is in extremely original condition. The vendor believed 95% of the correct original nuts and bolts are still fitted to the car and states the body has never been removed from the chassis.The interior of the car, although it shows some discolouration from age and use, is mostly in great original condition. It has its original 1959 steering wheel, the vinyl is still taught on the cards and panels and the door pockets are as new having retained their elasticity and not stretched. The front carpets were replaced with charcoal versions however, the rear carpets and trunk area are still the original tan German square weave. Importantly, the heater channels which normally rust are all solid and the original 1200 engine runs beautifully and is very reliable. We are informed the car recently completed a 1,600km trip over ten days without a hiccup. Apart from basic service parts and oil changes the motor has not been changed or modified at all, however a recent in-depth overhaul of the suspension and braking system with a number of rubber seals having been replaced is detailed in the paperwork. The car maintains the original six-volt electrical system with generator and rides on a set of steel wheels with Volkswagen branded polished hub caps.The originality continues with original Sekurit glass, windscreen and all windows. Original spare key with very rare factory key tag, original Bilstein jack and tool roll with tools. The history file shows the original South African registration certificate, early road licenses up to 1961, various change of ownership documentation and original brochures and dealer pamphlets. This Volkswagen Karmann Ghia is a characterful classic coupé, featuring re-sprayed Agave Green paintwork and offered in solid, unmodified condition. Having been cherished by the same family until 2019, it has since been imported to the UK from South Africa, and would make a good, usable companion to its next owner, with the potential to become a particularly impressive example with some relatively minor cosmetic restoration work.*Interested parties should note that this vehicle is not currently sold with a V5 registration document. However, one has been applied for by the vendor with the DVLA and should arrive in due course.Guide Price £20,000 - £28,000
Lot 229
A large vintage wool Turkish Oushak rug (Ushak carpet), decorated with 'The Tree of Life' with geometric stylized flower heads on a teal blue field, within guard stripes, 390cm x 300cmCondition reportThis rug was clearly once a very dramatic example, however it has had long use in a Scottish Borders home and at some point it has suffered some water damage and significant wear. Further images have been added to give a clearer picture. The pink in the border in particular has faded or washed out. The deep wool pile has now been heavily worn over much of the carpet, showing the weft of the rug base. There is a small hole dead centre, which has been previously repaired (2 inches). The Kilim ends are completely worn at both edges.The strongest colour is the umber (orange) which is still effective throughout. The general pattern of the central field of flower heads within a vinework frame is still easy to discern and which some restoration this could look very dramatic on any floor.
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 3
1967 East Wales | Sir Gareth EdwardsRugby Union jersey match-worn by Sir Gareth Edwards versus The All BlacksJersey & Provenance: Red jersey with white collar in original and complete condition. Bears label for Umbro (two globes), applied badge to chest with embroidered leek for Wales and silver fern for New Zealand, cotton No.9 to reverse.Provenance: the personal collection of Sir Gareth Edwards CBE & family.The Match: In 1967 the New Zealand All Blacks toured Great Britain, France, and Canada. The series consisted of 17 matches with four Tests against the Home Nations.The New Zealand team finished the tour undefeated, the first time they had achieved this in the Northern hemisphere since the 1924–25 ‘Invincibles’ team.The nearest the All Blacks of 1967 came to defeat was a drawn match against a hastily assembled East Wales at Cardiff Arms Park, captained by Sir Gareth Edwards.The match had originally been scheduled for Saturday, December 9th, but due to a heavy snowfall the terraces were deemed too dangerous for supporters and so the match was rescheduled for the following Wednesday afternoon.Despite the kick-off rescheduled to the middle of the week just before Christmas, 40,000 rugby fans filled the stadium, most expecting an easy win for the unbeaten, physically impressive All Blacks.But East Wales had a strong side out, including established Internationals such as the Cardiff backs Keri Jones, Gerald Davies, Barry John, and 20-year-old Gareth Edwards who had been made captain for the match. There was mobility in the pack too with Jeff Young, John Hickey and Tony Gray featuring. And from the start, the East Wales pack made the New Zealand forwards look ponderous, consequently the All Blacks half-backs were under pressure throughout.In the 22nd minute, East Wales won a line-out and Barry John tried a dropkick which swerved away to the left of the posts, but Frank Wilson, the East Wales, winger was alert enough to follow-up, gather and touchdown to make the score 3-0.Shortly afterwards the home side could, and maybe should, have been awarded a penalty try, when a diagonal kick intended for winger Keri Jones, saw him race to the line with McCormick, only for the New Zealander to barge him out-of-the-way off the ball. The poor luck continued for East Wales as later in the first half Wilson went over for another try, only to be called back for an infringement.It remained 3-0 to East Wales at the end of the half but in the second-half East Wales had their tails up and launched waves of attack on the stunned All Blacks.However, several kickable penalties were missed by the Welsh and the tension began to build.Then 10 minutes from time, completely against the run of play, All Black Lochore raced away from the scrum on halfway with Bill Davis in support, Davis passed it out to Steel who had 50 yards to go. A try did not look likely, but Steel beat off tacklers to score a fabulous solo try to level the match.It was a huge blow to the East Wales side who had been in command for most of the game. To their credit, they fought back and there was almost a sensational finish whenBarry John’s drop goal in the closing moments of the game, grazed the right upright.Tony Steel’s try avoided embarrassment for the All Blacks, and it proved to be the most important try of the 1967 tour as New Zealand’s unbeaten record was saved. But it was a match that East Wales should have won.Sir Gareth Recalls: ‘I remember the match vividly for a number of reasons. For a start I was made captain, which was a feeling of pride and apprehension. I was barely 20, though it was only a few months later that I captained Wales for the first time. Dai Hayward, the former Cardiff and Wales wing, was asked to coach the East Wales side, though coaching was very much in its infancy then.He said we’d better meet up and have a chat about the game, so we met in what was then the Cockney Pride, a pub in Cardiff, where over a lunch of curry and chips and a bit of half and half, we discussed our tactical approach to this enormous event. I can still remember Dai’s opening line: “Well boy, there’s no point complicating anything.” If we get hold of the ball, he said, let’s move it.We were supposed to be playing them on the Saturday. I was in college at the time and my room- mate Nick Williams who’s still my friend and business colleague went to the window in the morning and said: “I tell you, you won’t be playing the All Blacks today.” The whole town was covered in snow. I went down to the Angel Hotel, where we were due to have lunch, to find out what was going on. It turned out the All Blacks were staying there as well, so we had a few beers together. We played on the Wednesday instead, but we still got about 40,000 there.It might be a case of the old memory playing tricks, but I think we completely outplayed them and should have won it. For a long time we led 3-0 and it didn’t look for a moment like they were going to score. At one stage the All Blacks were trying to summon a bit of energy, and one of them shouted out loud: “Come on boys, we’ve got them on the run here.” And John Hickey, in no uncertain terms, said: “You have got to be joking!” He used a few expletives as well. The look on his face was an absolute picture.Afterwards the All Blacks’ manager, Charlie Saxton, spoke to us, and said they were very, very fortunate not to have lost. It was a harsh lesson for a young player like me to learn, but the All Blacks absolutely never gave up until the game was over. Tony Steel went on a great run down the wing, and that was 3-3. It was just about the only chance they had. Even then, Barry John had a drop-goal chance at the death that just took the paint off the upright. Had we won it, against one of the greatest teams I ever played against, people would still be talking about it with great reverence. It was a wonderful performance by a side that had been put together literally in a week’.* the preceding is an extract from Sir Gareth’s autobiography. Sadly, Nick Williams OBE, a life-long friend of Sir Gareth’s from Millfield School, died in 2022.Auctioneer’s Note by Ben Rogers Jones: A rare rugby union jersey from a famous match from the early days of Sir Gareth’s playing career. A hastily assembled team stopped the New Zealand juggernaut in sweeping away all that faced them on the 1967 tour. Although perhaps a disappointing result for the East Wales players, having outplayed the formidable All Blacks for much of the match, it was one of the most famous draws and was a massive coup for the regional side.Auctioneer's Note:Each lot will be accompanied by the auction prospectus, signed by Sir Gareth Edwards CBE.
Lot 303
One of nine cars built by Arnott's Garages in Harlesden, this JAP-engined 500 has been a regular in motorsport paddocks for over 70 years. The name of Arnott has long been associated with high-performance motoring and the manufacture of superchargers, so it’s a little ironic that the cars that bear the Arnott name were built for Formula 3 (500), a Formula that specifically excluded superchargers. Daphne Arnott was born into a family with a deep-rooted passion for motorsports, her grandfather ran the Werner Motorcycle Company and her father designed the Arnott Supercharger. Daphne joined the family business in 1948 and soon became equally passionate about motor racing which was just developing again after the war years.It was a trio of visits to Brands Hatch and a chance meeting with George Thornton that changed her life. George convinced her that atmospheric induction could still produce potent vehicles despite her family's belief that forced induction was the way forward. She was intrigued and enthusiastic about George’s ideas for a new Formula 3 car (lightweight tube-frame chassis powered by 500cc motorcycle engines) and committed to support his plans. Arnott’s management don’t appear to have been impressed, so it was up to Daphne and George to treat the whole thing as a private venture, however, they were able to reserve a corner of the company’s general garage section at Harlesdon to build the cars as long as they worked outside of normal working hours.The first car used a tubular ladder-frame with torsion-bar suspension and achieved some success both in racing as well as in breaking Class 1 records at Montlhery in 1953. A supercharged Austin A30-engined sports car was offered from 1954, and a 1,098cc Coventry-Climax model was introduced in time for the 1955 race at Le Mans. The Arnott 500 was intended for series-production and was aimed at the growing number of young drivers who were becoming interested in Formula 3.This well presented example of the Arnott 500 is fitted with a Jap 498cc engine mated to a 4-speed Norton clutch and gearbox driving the rear wheels, motorcycle-style, with a chain to the rear axle. It has the added benefit of being fitted with a self-starter, making this car extremely easy to run and obviating the need to push it around the paddock, trying to avoid everyone else doing the same thing, until it starts. The steering is rack and pinion and the car sits on period cast alloy 15'' wheels.It was originally campaigned in 1952 by R D Beenan and has been raced on circuits and Hill Climbs ever since. The car is well known in the 500 Owners Association who confirmed that it still retains its original chassis and has been very competitive over the years.A superb, early single seater which would undoubtedly be welcomed by the Half-Litre Car Club, the 500 Club and the 500 Owners Association.SpecificationMake: ARNOTTModel: 500 F3Year: 1952Chassis Number: 500/5Registration Number: N/ATransmission: ManualEngine Number: JOS/4075766/4Make: Click here for more details and images
Lot 423
Series 3 ✓ V-Spec ✓ Midnight Purple ✓ Service history ✓ Originality ✓GT-R examples don't come much better; one of the best available.Perhaps underrated, but quietly influential compared to its forbears, the R33 incarnation of the GT-R still offers a pure sports car experience, but now aided by some of the most revolutionary handling technology to influence modern performance driving.The new R33 Skyline GT-R was launched in January 1995 with a base GT-R and the V-Spec model which offered a sportier suspension set-up, resulting in lower ground clearance, and also featured the newer ATTESA-ETS PRO all-wheel drive system which included an Active Limited-Slip Differential. The engine in the R33 was nearly identical to the previous R32 using the same turbochargers and the same specification for the manual gearbox, although the synchros were made to be stronger.At the heart of the V-spec was the ATTESA-ETS PRO Electronic Torque Split System which, at the time, made it arguably the most technologically advanced production car in the world. The system was conceived in the 1990s for the JTCC to enable some 600bhp to be fed through the wheels and on to the racetrack efficiently. ATTESA-ETS PRO satisfied the purists by offering all the advantages of rear-wheel drive until the conditions dictated otherwise. The V-Spec also featured an active LSD on the rear axle which further aided traction by calculating the optimum torque-split between the left and right rear wheels, variable from fully-locked to totally free. Working along with ATTESA-ETS PRO, is the SUPER HICAS rear-wheel steering. This uses a series of sensors to monitor vehicle motion, rate of turn and the driver's action on the steering wheel. Complex software then compares this information to the computer predictions of the car's ideal turning characteristics, adjusting the angle of the rear wheels to reflect the driver's intentions. The result of this type of technology? Neutral steering and unrivalled cornering capabilities.The increased body rigidity and improved handling potential necessitated several specially designed cross-members being incorporated into the monocoque, and extra torsion bars were added to the multi-link suspension to further enhance stability. Working closely with Bridgestone technicians to perfect the Potenza tyres, Nissan put the prototype R33 GT-R through its paces in all weathers at the notorious Nürburgring, earning them a daring reputation amongst other manufacturers. Tested in the wind tunnel and capable of around 175mph, the Skyline GT-R's adjustable rear spoiler lets you find the best compromise between wind resistance and grip. To equalise front/rear weight distribution, the bonnet and front wings were made of aluminium instead of steel and the battery was fitted at the base of the car's boot, lowering the centre of gravity and further improving handling.Inside the Skyline GT-R, form followed function. Mono-form bucket seats with integrated headrests, that are lightweight yet immensely tough, provided the ideal driving position and supported the body against the G-forces endured under hard acceleration and cornering.The braking system was designed by Italy's famous Brembo Spa, suppliers to many of the world's Formula 1 teams at this time. Four-piston calipers were fitted on the front with two-piston calipers on the rear to bite into the discs with a diamond shaped ventilation bores which increased the surface area to aid heat dissipation. The GT-R's braking system utilises the same wheel rotation sensors used to control the ATTESA-ETS PRO, to activate the high-performance ABS, ensuring that the huge Brembo calipers always deliver optimum performance.The car presented here is a 1998 Nissan Skyline R33 GT-R V-Spec (being a sought-after and improved 'Series 3' example, the informal nomenclature that refers to 1997 and 1998 R33 GT-R models, i.e. the last 2 years of production, hence chassis #BCNR33-04082020) in arguably the model’s 'signature colour' of Midnight Purple.The car was first registered by Nissan Fukushima in November 1998 and resided in the Osaka prefecture under the first owner (and Nissan Fukushima's care) for the first decade of its life. In around 2009, it was sold to a gentleman who lived in the Saga prefecture, where it was serviced at Nissan Fukuoka until 2017. The car then came to the UK in January 2019, sourced by marque specialists Torque GT, for our discerning vendor. The car was a Grade 4 import (having covered just 94,000 km, BIMTA certified) with low/known ownership and, unusually, was accompanied by full Japanese service history from 1998 to 2017 (detailed in history file). It was a highly original example and in superb condition but was given a full service and clean bill-of-health from Torque GT before ownership.The car’s specification pre-import was refreshingly astute, with a nod to just modernising and reliability, and included aftermarket brake discs, a SARD high-flow catalytic converter, a Reimax exhaust, a Nismo equal length downpipe, and an R34 GT-R steering wheel (with receipt). Since importing the car, our vendor has added a Splitfire coil pack, a Link G4+ ECU (Abbey Motorsport stealth install) with two-stage boost switch hidden under gearstick gaiter (original ECU retained), a Tomei fuel pump, and a Blaupunkt DAB/Bluetooth radio and hands-free kit, whilst having had its R33 GT-R turbos rebuilt in 2020, by Turbo Dynamics, with steel internals (original turbos retained and are in fully working order, and will accompany the car) and the roof, rear wing and boot lid resprayed to rectify minor sun damage.The Japanese performance car market has woken up and there is an opportunity to be part of it with this original, well-cared for, low-ownership R33. We welcome any inspection of this example, it will not disappoint.SpecificationMake: NISSANModel: SKYLINE R33 GT-RYear: 1998Chassis Number: BCNR33040820Registration Number: S617 PAGTransmission: Manual Engine Number: RB26 Drive Side: Right-hand DriveOdometer Reading: 60400 MilesMake: RHDClick here for more details and images
Lot 508
Perhaps the finest example of Ford's most desired Cosworth ever.The original Ford Sierra RS Cosworth was the first Ford to wear the Cosworth badge and was presented to the public at the Geneva Motor Show in March 1985. It was introduced as a means of homologating the Sierra for 'Group A' Touring Car racing, with a requirement that 5,000 cars were built and sold. Launched for sale in July 1986, and based on the three-door Sierra body-shell, it was designed by Ford's Special Vehicle Engineering (SVE) and was powered by a Cosworth-designed 2.0-litre turbo engine of now-legendary repute. At this time, the Sierra Cosworth was a new kind of performance car - a 'blue-collar hero' able to humble true sports cars!In total 5,545 cars were produced - of which 500 were sent to Aston Martin Tickford for conversion to the Sierra 'RS500 Cosworth'. If the RS Cosworth was a homologation car, the RS500 was an evolution special. Once Ford had built the requisite 5,000 RS Cosworths, 'Group A' rules allowed an upgraded 'evolution' model to be launched. This could carry changes focused on improving its racing potential, provided Ford sold 10% of the original number as road cars, hence the 500. The RS500 was announced in July 1987 and had a mechanically uprated Cosworth engine (more similar to the one to be used in competition), with power boosted to 224bhp, modified bodywork and the cachet of being hand-assembled - the RS500 really is the ultimate 1980s Fast Ford!Around 14 years ago, our vendor, a knowledgeable and particularly fastidious enthusiast, decided that he would like to add an RS500 to his Collection. He knew what he wanted but took the precaution of enlisting the help of a friend who was a marque expert. They considered a number of cars, including some lovely examples, but were focused on finding the best RS500 they possibly could. A number of other contenders were rejected until, one day, E378 TKN appeared and was unquestionably 'the one'. Its originality was unmatched, the mileage was nominal (even today it has only covered 5,192 miles) and it had patently been cared for.Although very lightly used during our vendor's tenure, it was regularly serviced and maintained during this period by Tremona Garage of Southampton, a local specialist widely recognised as being hugely knowledgeable when it comes to Fords from the 1970s, 1980s and 1990s. They are also known for preparing cars to a Concours standard with much success in the Autoglym Masterclass and others. Who better to entrust with an RS 500 that may well turn out to be the best and most original RS500 to come to market. The attention to the detail of this car's maintenance cannot be understated. Our client has impressively managed to source a supply of rare new/old stock oil filters, fuel filters etc. so, not for this car a modern oil filter of the correct type, but an original orange one that would have been supplied when new. This 'forensic' attention to originality can be illustrated by our vendor's purchase of a set of period RS 500 wheels and tyres in order that TKN's date-stamped originals can be carefully stored and not have to bear the weight of the car for prolonged periods. This diligent approach is typical of our vendor and will explain why this gleaming black RS500 may well be the best you have ever seen.In 2022, Tremona carried out a full re-commissioning service on E378 TKN including the replacement of engine oil and filter, spark plugs, fuel filter, cambelt and a new battery. All parts used are genuine new/old stock parts and are identical to parts fitted at the factory. The engine oil filter is a Fram PH2854, spark plugs are Motorcraft AGPR 901C and a black Weber fuel filter was fitted. All these parts have not been available for many years and have been sourced to maintain the car's originality. As mentioned, the original Dunlop D40s are on the stored wheels, the original Ford exhaust system is still in place, the factory fog lamps remain in the boot awaiting fitting by the dealers and there is a file full of history detailing the car's life. Recently refreshed and with a fresh MOT, E378 TKN will be presented at Race Retro on its original wheels. Silverstone Auctions are proud to have been involved in the sale of many cars at World Record prices, many of them Fords. With 'Fast Fords' seemingly knowing no bounds in their desirability, and this one believed to be the very best example of the ultimate 1980s Fast Ford, we invite and encourage any serious collector to inspect this superb, 5,000-mile Cosworth as its type is unlikely to be found again. SpecificationMake: FORDModel: SIERRA COSWORTHYear: 1987Chassis Number: WF0EXXGBBEGG38730Registration Number: E378 TKNTransmission: ManualEngine Number: GG38730Drive Side: Right-hand DriveOdometer Reading: 5192 MilesMake: RHDInterior Colour: ClothClick here for more details and images
Lot 282
Evelyn H C Crookshank (later E H C Hulls, daughter of Harriet Crookshank), watercolours of Sundahl Valley, Norway, inscribed titled & variously dated 1908-1910, together with later studies, Viz, Wicklow, Ireland & Still Life of Flowers in vase, similarly titled & dated 1950, various sizes largest 25cm x 35cm, & Elsa R Hull (probably daughter of Evelyn H C Hulls), a quantity of stylistic pen & ink studies, several initialled, various sizes largest 56cm x 42.5cm, all unframed
Lot 2035
AFTER H FLETCHER (18)Still life of flowers, January-December, a set of twelve, reproduction colour prints, each 39 x 29cm, together with a reproduction print of Pigling Bland from Beatrix Potter; a reproduction print of Ellen Terry (Choosing), after George Frederick Watts; and four Indian watercolour and gouache works on fabric of elephants, one 18.5 x 50cm, three 15 x 42cm,(18)
Lot 1309
Martin MacKeown (Irish, 1931 - 2003) "Nerine and Nasturtium Leaves", a bold, chiaroscuro botanical still life, oil on board, signed, dated 1991 verso, in slip and gilt frame under glass, 70 cm x 59 cm overall [Born in Ireland, MacKeown studied at Belfast College of Art and the Edinburgh College of Art. He has exhibited across London and Belfast.]
Lot 534
A collection of mid 20th century still life and landscape highly detailed watercolours. To include a still life of coloured roses in a jug, and several idyllic English country / cottage scenes. Signed to back "London Wood " and location titled. Largest measures approximately: 29cm x 28cm and smallest 7cm x 9cm.
Lot 645
3 still life watercolours, all signed with monogram NC, 33cm x 24cm, framedImage with white flowers is in good original condition, taller vase has some foxing along the bottom edge, image with penknife has foxing over the surface of the table, no fading or paper damage, modern frames and mounts
Lot 34
1978 Triumph Stag Been in storage for 22 years and supplied with many brand new body panels Registration: VBU986S Chassis: LD443720 Odometer:93,964 Transmission: Manual MOT: Exempt Guide: No Reserve . Has been in storage for 22 years . Current ownership since 1999 . Great restoration opportunity . Supplied with brand new and still boxed ; front wings, front lower valance, door skin and door bottom left hand , skin sill left and right hand , left and right half rear wings from James Paddock Triumph . Genuine Stag handbook and wallet Outside Every panel has some rust which in some cases has turned into rot with most noticeable rot on both from wings. A quick look underneath reveals what looks to be solid chassis rails as does boot floor and inner wings, however rot can hide itself well on these Stags and we would recommend any serious bidders to view the car before bidding. The alloy wheels look straight but ready for refurb and all 5 tyres will need replacing. Inside The brown vinyl seats would benefit from a retrim as part of the restoration process and a replacement carpet set would also be necessary. There is a modern stereo fitted however the original is also present. Mechanicals The Stag hasn't been run for 22 years and we winched onto the transport trailer and have been pushing it around whilst here. That said everything looks complete and present which will aid the restoration process. There is a Ziebart sticker in the rear window which hints at it maybe being rust proofed at some point in its life History There is a sparce history file containing some old MOT certificates , original stag handbook , old V5 and some invoices Our Opinion A great opportunity to buy a desirable manual overdrive Triumph Stag that's ready for restoration. With parts readily available for these cars a bit of grit and determination will have this wonderful car back on the road in no time.
Lot 4
1961 Rover P4 100 2625cc 4 door saloon Offered with the original red leather interior and toolkit Registration: BJT 154A Chassis: 650101816 Odometer: 69000 Transmission: Manual MOT: Exempt No Reserve Outside The Rover is finished in the striking colour scheme of smoke grey over marine grey which suits the car very well. The bodywork appears to be free of rust in all the usual areas of the bottom of the doors, wings and sills. The paintwork is in fair overall order though there is a small dent and scratch on the off side rear wing and a few stone chips to the bonnet area. The chrome is reasonable though there is some pitting and the rear bumper is very dull and would benefit from chrome paint which is an economical alternative. The wheels are in good order with the trims and hub caps without damage. The tyres are matching Federal classic radials and have plenty of tread. Inside The interior of the Rover is a very nice place to sit with delightful patinated brown leather interior that is without any rips or tears. It is worth noting that one of the seams on the rear seat needs stitching. The woodwork is dull and could be polished if required. The wood area to the driver’s door window has a small crack. The door cards are in fair order though the lower carpet panel on the drivers door shows some wear . The carpets are reasonable though the drivers footwell has signs of damage. The headlining is very good and pleasingly the dashboard light is operational. The correct tool kit sits under the dashboard and still contains the two correct grey touch up paints. The dashboard and instruments are all in good order. Mechanicals The Rover fires into life and the six-cylinder engine is silky smooth and sounds very good indeed with no undue noises or rattles. Driving around our yard the P4 ran well, stopping in a straight line with sharp brakes, supple suspension and smooth gear changes. History There is very little paperwork with the car apart from a V5c, old MOT certificate and an invoice from 2016 detailing the recommissioning work to the value of £2469.89. Our Opinion These cars are hugely undervalued and are an inexpensive route to the fabulous world of classic luxury motoring. The Rover is in delightful patinated condition which means it can be used without fear of damage. These cars are easy to maintain, spares readily available and supported by the excellent Rover Sports register car club.
Lot 265
Manner of Nina Hamnett (1890-1956) Two women with babyinscribed to the reverse oil on canvas86cm x 81cm Provenance:The collection of the late Eric Stevens, removed from Hampstead, LondonSale; Cheffins, Art & Design, 11 October 2018, lot 363Widely known as the ‘Queen of Bohemia’, Welsh artist, writer and authority on sailors’ shanties, Nina Hamnett was a Vesuvius of both talent and character.Born to a military family in Tenby, Wales, Hamnett enjoyed a privileged childhood, attending a private boarding school on the Kent coast and later in Somerset. However, her father’s dishonourable discharge from the army and his subsequent employment as a taxi driver appears to have been a seismic event in Hamnett’s early life. Although she was able to continue her education, due to financial support from other family members, her father’s change in circumstance allowed Hamnett to liberate herself from the constraints of middle-class expectations and affectations. A lady, she claimed, was the last thing she ever wanted to be.After training in London, in 1914 Hamnett moved to Montparnasse, Paris, to attend the academy of Marie Vassilieff. In Paris, Hamnett dedicated herself to hedonism and became close friends with a number of influential cultural figures, including Modigliani, Picasso, and Cocteau. Tales of this fiercely vibrant and openly bisexual sybarite soon spread back to England and upon her return she was invited to work at the Omega Workshop with Bell, Fry and Grant where she produced a number of textiles, murals, furniture and rugs.Although prodigiously talented, Hamnett was a reluctant artist with a baffling disregard for her own artistic gifts. She received robust advice and encouragement from both Sickert and Fry, who were amongst her most ardent supporters. Revelling in her reputation as a libertine, however, Hamnett often chose pleasure over artistic rigour and as such, her output suffered. Indeed, this is noted in her seminal memoir Laughing Torso (1932), which recalls a number of carousals across Paris and Fitzrovia, including dancing for Satie, hiding from Modigliani and singing shanties to Cocteau. Hamnett’s life was cut tragically short in 1956 when she fell from the window of her Paddington flat. Accounts of this incident vary with some claiming that she was impaled on the railings below. Whether the fall was a tragic accident, a drunken stumble or a deliberate act remains in question.The present lot is an excellent example of Hamnett’s works which are typified by their contemplative qualities and their meditations on everyday life. Although quiet and still, one can imagine that her sitters have a fully realised internal life.
Lot 283
§ Sir Cedric Lockwood Morris (1889-1982)Benton End; the reverse painted with a floral still life attributed to Lucy Harwoodoil on board, unframed53 x 42.5cm Provenance:Sir Cedric Lockwood MorrisCollection of Lucy Harwood and thence by family descent to the current ownerRecognised as one of the most proficient and technically sensitive painters of the natural world and known internationally by the title ‘Artist-Plantsman’, the legacy and influence of Cedric Morris, both during and after his lifetime, cannot be understated. Indeed, the present lot issignificant not just in terms of its Benton End subject matter, but also it is demonstrative of the bond he shared with painter, Lucy Harwood.Born inSwansea in 1889, to parents George, a prominent industrialist, and Wilhelmina, a highly accomplished needleworker, Morris enjoyed a comfortable childhood. Despite his innate gifts for painting and horticulture, Morris had initially aspired to join the military, though owing to health issues caused by a failed childhood operation, his application was denied. Adrift, Morris travelled widely during this period, working in a succession of jobs including as a farmhand in Ontario and as a dishwasher and bellboy in New York. Morris quickly learned, however, that this itinerant lifestyle did not appeal to him and he soon returned to England. After a brief sojourn at the Royal College of Music where he studied singing, Morris finally dedicated himself to painting and, in 1914, travelled to Montparnasse, Paris, to train at the Académie Delécluse. With his studies interrupted by the First World War, Morris found himself once again back in England and in 1918, he met Arthur Lett-Haines. In spite of Lett-Haines’ marriage to his wife, Aimée, the pair fell in love instantaneously, with Morris claiming that whilst before he had been ‘asleep’, now, ever the botanist, he had 'sprung to life'.Shortly after meeting, Morris and Lett-Haines left their Newlyn home to travel to Paris. Whilst the pair, who had become beloved in artistic circles due to their peculiarly British eccentricities, enjoyed commercial and critical success in France, it was their 1937 move to Dedham, Essex, that would cement Morris’ reputation as one of the most innovative and compelling cultural figures of the twentieth century.In 1937, Lett-Haines and Morris initiated their most ambitious project - the establishment of the East Anglian School of Art. Initially located in Dedham, Essex, the school was moved to a 16th century farmhouse, near Hadleigh in Suffolk called Benton End in 1938. It was here that the school was run for some 40 years and is said to have had a hand in fostering the talents of some of the most highly regarded painters of post war Britain, including Lucian Freud and Maggi Hambling. Benton End quickly became a sanctuary for “artists outside the system” and offered a space for students to both live and work. Morris and Lett-Haines promoted the exchange of artistic ideas and techniques and took a free-rein approach to teaching which was poles apart from the more formal and structured training offered by most academies at the time. Quickly, Benton End became an established community with artists, horticulturalists and writers heading to Suffolk, with famous alumni including the likes of Frances Hodgkins, David Carr, Richard Chopping and Valerie Thornton.Lucy Harwood was one of the first artists to join the group in 1937, aged 43, and was one of the school’s longest serving students. She was regarded as a Benton End institution, according to Maggi Hambling, and was a fierce individualist. Like Morris, Harwood had also suffered from serious health due to a botched surgery. For Harwood, the implications of this medical failure were enormous and she was left partially paralysed on her right side, which, like Morris, had forced her to abandon her childhood ambition of working as a professional pianist. However, the notoriously tenacious Harwood did not allow this to crush her artistic aims, rather, she painstakingly taught herself to paint using only her left hand.Regarded as a stalwart of the Benton End Group and sharing a number of personal and artistic similarities with her tutors, Harwood, unsurprisingly, formed a close friendship with Lett-Haines and Morris. Over a period of years at the school, Harwood acquired and was gifted a collection of paintings by the pair. Upon her death in 1972, however, the large majority of the paintings were returned to Morris and Lett-Haines. It is believed that the present lot was left with the Harwood family due to floral composition on the reverse, which has subsequently been attributed to Lucy Harwood.Depicting the farm buildings at Benton End on one side, and a floral still life on the other, the present lot demonstrates both the confident handling of paint and the compositional mastery that has secured Morris’ abiding popularity. A similar example, dated 1947, can be found at Ipswich Art Gallery.Morris: In good overall condition, some typical surface dirt, most evident to the top of the sky area. The extremities of the board have suffered some minor losses. The top right-hand corner has been repaired and a loss filled with chalk gelatin putty and retouched with pigment bound in B72. There are some signs of old worm along the top edge and down the left and right-hand side, but this is subtle and unobtrusive (see additional images). The board is visible in places where the artist has applied paint thinly or not at all.Harwood (attributed): Small vertical split in the board (approx 3cm) in the lower right corner, likewise, beside this there is a dribble of black pigment (approx 5cm) and two further spots. The left hand edge of the board has suffered multiple knocks and losses, similarly, there are small nibbles and one more significant loss along the top edge. There are three or four small worm holes visible along the left and right-hand sides. The paint layer appears to have been covered in white pigment at some point. This has been partially removed but could do with further cleaning to remove all vestiges.
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