We found 77111 price guide item(s) matching your search

MICHAEL FFOLKES (1925-1988). Still life study of flowers. Signed & dated “ffolkes ‘59”, watercolour & bodycolour, 19¾” x 12¾; in glazed frame. (25½” x 19½” over-all).

P.J. & B.M. WEBB (20th century). A large still life of a jug of flowers & vegetables, an extensive mountainous landscape beyond, signed & dated 1978, in Roman numerals lower right; oil on canvas: 40” x 60”, in gold painted frame. (43½” x 64” over-all).

LADY GERALD KELLY, A.R.A. (Née Lilian Jelly, 20th century). Still life study of fruit & bottles of wine, titled “Madarises”, signed “Jelly” lower left, oil on canvas: 20½” x 27”, in gilt gesso frame with 1959 Royal Academy of Arts Exhibition label verso (25” x 32” over-all).

GEORGE J. BAILEY (20th century). Still life of apples & a sugar pot, signed “Bailey” lower right, oil on board: 8” x 14”, in wooden frame (12” x 18” over-all).

GEORGE J. BAILEY (20TH CENTURY). Still life of an open book, brass candlestick, pewter carafe, & wine bottle with lit candle, signed “Bailey” lower right, oil on canvas: 16” x 12”, in wooden frame. (21¼” x 17¼” over-all).

ENGLISH SCHOOL, 20th century. Large still life of flowers & fruit in the 18th century Dutch style oil on canvas: 36” x 48”, in painted wooden frame. (40¾” x 52¼” over-all).

Early 20thC School.  Still life of fruit on a shelf, oil on canvas, signed D.R., a pair, in ornate gilt frames, 27cm x 16cm.

Various pictures, prints, etc., to include floral still life, oil on canvas, 57cm x 43cm, study of a jug, watercolour on paper, 50cm x 34cm, and J.M Larsson, nude study of a gentleman seated, pencil sketch, 52cm x 40cm, watercolour study of Venice, 14cm x 19cm, similar works possibly by the same hand, etc.

A large 20th century still life study of fruit, unsigned, oil on canvas, 90cm x 120cm

A pair of 20th century still life studies of flowers, one indistinctly signed, oil on canvas, 90cm x 70cm (2)

Hugh Penfold  oil on board , framed painting " still life orange roses " 45cm x 55cm " All proceeds will go to the Lilian Prime MS Centre, which Hugh attended for many years

*****RE-OFFER £20 - £30*******  4 x Hugh Penfold  oil on board , still life with vase and fruit with rabbit , sunset river scene with boats , still life roses yellow and Dehavilland chipmonk trainer . All proceeds will go to the Lilian Prime MS Centre, which Hugh attended for many years

Edwardian overpainted chromolithographic still life study of game birds, framed and glazed - measures including frame 37.5cm by 45cm 

Attributed to Anne Redpath (1895-1965). British. Oil on board. “Still Life of Flowers”. Signed and inscribed on the reverse.Measures 22cm x 29cm.Condition Report – Good original condition.

Coba Ritsema (1876-1961). Dutch. Oil on canvas. “Still Life Of Oranges And Kitchenware”. Signed.Measures 46cm x 64cm.Condition Report – Very good condition. One minor scuff top left.

G. BIRD WATERCOLOUR STILL LIFE FRUIT - 65 X 80 CMS

MODERN BEVELLED WALL MIRROR TOGETHER WITH A FRAMED STILL LIFE STUDY OF FLOWERS (2)

A CARVED OAK OTTOMAN STOOLIN THE ANTIQUARIAN TASTE, 19TH CENTURY42cm high, 104cm wide, 61cm deep overall Provenance: The collection of Standish Robert Vereker, 7th Viscount Gort (1888- 1975) at Hamsterley Hall, Co. DurhamInherited by The Hon. Catherine Mary 'Kate' Wass, OBE (1942-2021) upon the death of her great-uncle, the 7th Viscount Gort, in 1975Illustrated:C. Hussey, 'Hamsterley Hall, Durham: The Seat of the Hon. S.R. Vereker, M.C.', Country Life, 21 October 1939, p. 422, fig. 11 This 19th century ottoman stool was in the collection of the 7th Viscount Gort, photographed in 1939 by Country Life in one of the bedrooms at Hamsterley Hall. It is almost certainly inspired by Italian baroque furniture of the 17th century. The reclining male figures relate to a design for a side table by Fillipo Passarini, published in Nuove inventioni d'ornamenti (1698) (E. Colle, Il mobile barocco in Italia. Arredi e decorazioni d'interni dal 1600 al 1738, Milan, 2000, p. 86), and a carved giltwood side table with similar figures, dating to the end of the 17th century, is in the Galleria Colonna, Rome (A. Gonzalez-Palacios, Il Tempio del Gusto: Le arti decorative in Italia fra classicismi e Barocco, Vicenza, 2000, vol. II, pl. 125).Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,Overall solid and stableAs catalogued this is 19th century in earlier taste, perhaps some elements are earlier (the lions) the panels are very clean to the rears, the dark varnish appears to have been applied to 'age' the appearance, there are some holes to the interior rails, some adaptions may have happened previouslyThe seat is small in proportion, it may have been added later still, the upholstery certainly is more recent and the appearance and condition reflects thisThere is bracing and bracketing to the interiorThe castors appear to be later, the timber is chipped away to make room for them a little crudely Please refer to additional images for visual reference to conditionCondition Report Disclaimer

Manner of Duncan Grant, a framed oil on board, still life with trophy, books and a jug. Signed D Grant. 39cm x 50cm. Paint flaked in areas.

Manner of Irma Stern, an unframed oil on board, still life with flowers. Signed Irma Stern 1959. 51cm x 38cm.

After Augustus John, a mounted print, still life with flowers, signed in pencil John to corner. Bearing Fine Art Trade Guild stamp. 50cm x 35cm.

A Rockingham dessert plate with anthemion and gadroon moulding heightened in gilt and with a simple trailing gilt band framing a still life study of fruit and flowers. Unmarked c.1830, 23cm wide. Chip to foot.

Floral still life oil on board, signed Delini, framed 47 x 56.5cm

A large floral still life print contained in decorative gilt frame

A quantity of unframed still life watercolour studies

MODERN FRAMED OIL ON CANVAS - STILL LIFE & 2 OTHER PICTURES

20TH CENTURY SCHOOL, STILL LIFE STUDY OF VASE AND A BUNCH OF GRAPES, WATERCOLOUR, GILT FRAMED

JAMIESON, FIVE STILL LIFE STUDIES OF FLOWERS, OIL ON CANVAS, GILT FRAMED, VARIOUS SIZES, LARGEST 56CM HIGH (5)

An early 20th century painted fire screen inset still life oil on canvas, width 66cm, height 94cm

English School c.1910, oil on canvas, Still life of flowers in a Cornish ware jug, 50 x 36cm

Hannah Hoyland, watercolour, Still life of mistletoe and holly, signed, 32 x 47cm

A framed oil painting still life of flowers in a vase, approximately 48 cm x 35 cm image size.

Sue Ellen Wilder (20th century): pair of watercolours, still life floral arrangements. Not available for in-house P&P.

An oil on canvas, still life Iris 48cm x 64cm

H E Ward, oil on canvas, still life, signed, framed (33cm x 38cm)

An oil on canvas by Besperato 1950's still life flowers in vase (51cm x 67cm)

Still life flowers, signed 'R.Sanders', framed and glazed 50cm x 40cm

A still life of flowers in a blue and white vase, oil on canvas unsigned 43cm x 58cm

P T Van Brussel (20th century copy), after, Medici print, Flowerpiece, 65 x 47cm, mounted frame and glazed, 73 x 55cm, and Harold Clayton, (20th century), after, print, still life, 54 x 64, ornate frame and glazed, 67 x 77cm, frame damage

Hatton (20th century), an oil painting on board, still life teapot and apple, signed, 24 x 29cm, framed, 36 x 41cm

E K, (20th century), after, a print, still life, 58 x 68cm, ornate frame, 72 x 81cm

* JOHN MACKIE (SCOTTISH b. 1953),STILL LIFE WITH TEA SERVICEpastel on paper, signed and dated '84image size 49cm x 61cm, overall size 63cm x 75cm Framed and under glass.

* TED DYER (BRITISH b. 1940),STILL LIFE WITH ORANGEoil on canvas, signedimage size 28cm x 38cm, overall size 40cm x 50cm Framed.

SCOTTISH SCHOOL (LATE 20TH CENTURY),STILL LIFE OF FLOWERS AND A CHINESE JARoil on canvasimage size 91cm x 71cm, overall size 108cm x 87cm Framed.

* LIZ MCCARTHY,STILL LIFEoil on board, signed, titled versoimage size 60cm x 60cm, overall size 81cm x 81cm Framed.Artist's label verso.Label verso: Eduardo Alessandro Studios, Dundee.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE FINNON SMOKER oil on board, signed, further signed verso image size 183cm x 122cm, overall size 186cm x 125cm Framed. Provenance: Acquired at the railings outside the Royal Scottish Academy in Edinburgh during John Bellany's outdoor protest exhibition with Alexander Moffat during the 19th Edinburgh International Festival in 1965. See additional images. Note: It is extraordinary to contemplate that Bellany was only in his early twenties (22/23) when he painted these exceptional works about which London Standard art critic Brian Sewell later commented ".... in the 1960s (Bellany) painted such pictures as to make us think him as a painter with Rembrandt". The Bellany/Moffat outdoor exhibition was a watershed for Scottish art in two ways: they proved that it existed, and they showed the way for a radical new direction. The works included "Allegory", later acquired by the Scottish National Gallery of Modern Art, "The Gospel Spreaders" "The Finnon Smoker" and only six other stunning tableaux, now mostly in public collections. "We were rebellious characters," remembers Moffat. "That was the period when our generation did make a stand. There was very little representation of Scottish art at the festival ... (we thought] if we can't get in the official festival, we'll put it into the streets. Scottish art didn't really exist. It existed in the studios of Edinburgh College of Art, but it didn't exist in the arts establishment, which was completely Anglicised, I believe. There has been an enormous sea-change. It's almost impossible to measure, but I think we had a hand in the beginning of that, the turn of the tide." The works were hammered together on Rose Street (where Bellany lived) before they put them up on the railings; the nail holes can still be seen. "They were mighty things, we could hardly carry them," says Moffat. "They were so big, they had to be painted in parts. You are talking about his early masterpieces ... they are priceless. It meant Port Seton, it meant fishermen, it meant working people – that had never been painted before. People had painted fishing boats, but nobody had ever painted about the life of people who did the fishing. That was John's fantastic contribution. "His place in Scottish art is defined by the Port Seton thing. That's really his life's work, the way he has mythologised the life of the fisherman. The fears, the spirit, the whole thing, the way he found the special imagery, that had never been done before, to say all those things – that puts him into the history books forever." Keith Hartley, senior curator at the Scottish National Gallery of Modern Art, agrees. "What he was doing in the mid-1960s in many ways changed the course of Scottish painting. It was like a manifesto: I don't want to do paintings for Edinburgh drawing rooms, I want to do something which moves people, about ordinary people's lives. It was very much a protest." John Bellany's very early work is highly prized by collectors and their appearances at auction are ever rarer. The "railings paintings" are the holy grail to Bellany purists and so far as we can ascertain, "The Finnon Smoker" is the first with documented provenance to be offered at auction anywhere for many years. Fresh to the market, never loaned or exhibited since 1965, the same family collection and completely in original condition. The frame is "basic" and has splashes of paint on it. The nails show through in places and thankfully, the owners have never reframed it or had it restored in any way. The frame and the nail holes are part of DNA of "The Finnon Smoker" and fundamentally, it's exactly how John Bellany painted it, exactly as he framed it and exactly how he exhibited it against the railings outside the Royal Scottish Academy in 1965.

* IAN HUMPHREYS (BRITISH b. 1956) STILL LIFE oil on card, signedimage size 70cm x 50cm, overall size 94cm x 75cmMounted, framed and under glass.

* ALEXANDRA (SANDIE) GARDNER (SCOTTISH b. 1945),SEASCAPEoil on canvas, signedimage size 41cm x 46cm, overall size 49cm x 54cm Framed and under glass.Note: Alexandra (Sandie) Gardner studied at Glasgow School of Art under David Donaldson from 1963-1968 and lectured there until 1988. She has won many awards and her highly individual paintings encompass a remarkably wide range of subjects - still life, figure and portrait studies, the nude, landscape, moody bars, diners, restaurants and barber shops.

Large gild framed over varnished print on canvas still life study: 97cm x 72cm overall

Christian Rohlfs (1849 Niendorf - 1938 Hagen)Chrysanthemen und Astern in blauer Vase, Öl auf Leinwand auf Platte aufgezogen, 44 cm x 33,5 cm, monogrammiert, 10 datiert, Expertise vom Christin Rohlfs Archiv am Osthaus Museum Hagen anbei, Provenienz: Moderne Galerie Heinrich Thannhäuser, München (verso Galerieetikett), mit Verzeichnisnr. 1523; Galerie Allvery, München; Sammlung Frauenberger, München (verso Etikett); Privatsammlung Hannover (auf Anfrage), Literatur: Galerie Allvery, München 1976: Aukt. 3, Kat.-Nr. 129, m. Abb.; Hauswedell & Nolte, Hamburg 1978: Aukt. 227, Kat.-Nr. 1146, im Rohlfs-Archiv unter der Nummer CRA 231/22 verzeichnet.Christian Rohlfs wurde am 22. Dezember 1849 in Groß Niendorf geboren. Von 1870 bis 1874 besuchte Rohlfs die Großherzogliche Kunstschule in Weimar. Nach einer krankheitsbedingten Pause wechselte er im Jahr 1876 an die Akademie in Weimar. Dort war er ab 1884 als freischaffender Künstler tätig und wandte sich zunehmend dem Impressionismus zu. 1901 lernte der Künstler Karl Ernst Osthaus kennen, welcher ihn als Lehrer an die Folkwangschule in Hagen holte. Dort konnte er sich sein eigenes Atelier in der Umgebung des Folkwanger Museums einrichten. Bevor Rohlfs sich ab ca. 1880 dem Impressionismus hinwendete, war seine Malweise von dem Naturalismus der Weimarer Zeit geprägt. Die Farbigkeit seiner Bilder nahm in den 1890er Jahren weiter zu, ohne völlig auf die Naturwiedergabe zu verzichten. Nachdem er den Künstler Emil Nolde 1905 in Soest kennenlernte, entwickelte er seinen expressiven Spätstil. 1907 schloss Christian Rohlfs sich dem von Karl Ernst Osthaus geleiteten "Sonderbund westdeutscher Kunstfreunde und Künstler" an. In den darauffolgenden Jahren wurde er 1911 Mitglied der Neuen Sezession, 1914 der Freien Sezession, 1924 der Berliner Kunstakademie und 1925 der Düsseldorfer Kunstakademie. 1929 wurde in Hagen das Christian-Rohlfs-Museum und 2011 das Christian-Rohlfs-Archiv am Osthaus Museum Hagen gegründet.In seinem frühen, noch aus der Weimarer Zeit stammenden Blumenstillleben mit verschiedenfarbigen Astern und Chrysanthemen, tragen fein abgestufte Helligkeitswerte und abwechslungsreiche Lichtreflexe mit einem pastosen Farbauftrag zu einer bewegten Oberflächenstruktur bei. Rohlfs hatte sich in den 1890er Jahren mit der stilistischen und motivischen Rezeption der französischen Malerei des Impressionismus auseinandergesetzt und sich eine kleinteilige, eher fleckenhafte Malweise angeeignet. Rein auf das Gesehene konzentriert, verwendete der Maler ein Jahrhunderte altes, unspektakuläres Motiv, das er in diesem Blumenstillleben in koloristischer Meisterschaft zu einem lebendigen Farbrelief weiterentwickelte. Um 1910 lebte und arbeitete Rohlfs zwei Jahre im oberbayrischen Polling auf Einladung von Dr. Commerell. Ein verso befindlicher Aufkleber des Galeristen Heinrich Thannhauser belegt, dass das Blumenbild vermutlich bald nach der Eröffnung in der auf avantgardistische Kunst spezialisierten Galerie 1909 in der Theatinerstr. 7 in München zum Verkauf angeboten wurde.Christian Rohlfs (1849 Niendorf - 1938 Hagen)Chrysanthemums and asters in a blue vase, oil on canvas mounted on panel, 44 cm x 33.5 cm, monogrammed, 10 dated, expertise from the Christin Rohlfs Archiv at the Osthaus Museum Hagen enclosed, provenance: Moderne Galerie Heinrich Thannhäuser, Munich (gallery label on verso), with catalogue no. 1523; Galerie Allvery, Munich; Sammlung Frauenberger, Munich (label on verso); private collection Hannover (on request), literature: Galerie Allvery, Munich 1976: Aukt. 3, cat.-no. 129, w. ill.; Hauswedell & Nolte, Hamburg 1978: Aukt. 227, cat.-no. 1146, recorded in the Rohlfs Archive under the number CRA 231/22.Christian Rohlfs was born in Groß Niendorf on December 22nd 1849. From 1870 to 1874 Rohlfs attended the Grand Ducal School of Art in Weimar. After a break due to illness, he transferred to the Academy in Weimar in 1876. There he worked as a freelance artist from 1884 onwards, turning increasingly towards Impressionism. In 1901 the artist met Karl Ernst Osthaus, who brought him to the Folkwang School in Hagen as a teacher. There he was able to set up his own studio in the vicinity of the Folkwang Museum. Before Rohlfs turned to Impressionism in around 1880, his painting style was influenced by the naturalism of the Weimar period. His works became increasingly colourful throughout the course of the 1890s, but never entirely abandoned the reproduction of nature. After meeting the artist Emil Nolde in Soest in 1905, he developed his expressive late style. In 1907 Christian Rohlfs joined the ''Sonderbund westdeutscher Kunstfreunde und Künstler'', led by Karl Ernst Osthaus. In the following years he became a member of the Neue Sezession in 1911, the Freie Sezession in 1914, the Berlin Art Academy in 1924 and the Düsseldorf Art Academy in 1925. In 1929 the Christian-Rohlfs-Museum was founded in Hagen and in 2011 the Christian-Rohlfs-Archive at the Osthaus Museum Hagen. In his early flower still lifes from the Weimar period, depicting asters and chrysanthemums in various different colours, finely rendered colour values, varied light reflections and pastose colour application lend the paintings a dynamic surface structure. Rohlfs had experimented with the reception of the manner and motifs of the French Impressionist movement already in the 1890s and developed a detailed, somewhat mottled style. Concentrating purely on the visual, in this still life the artist takes a centuries old, unspectacular motif and transforms it with his mastery of colour into a lively, painted relief. In 1910, Rohlfs moved upon the invitation of Dr. Commerell to Polling in Upper Bavaria, where he lived and worked for two years. A label from the gallery of Heinrich Thannhauser on the back of this work mentions that the still life was offered for sale in Galerie 1909 in Theatinerstrasse 7 in Munich, a gallery specialised in avant garde art, presumably shortly after its opening.

Georg Meistermann (1911 Solingen - 1990 Köln) (F)Stillleben mit Muschel und Birnen, Öl auf Leinwand, 71,5 cm x 41 cm, monogrammiert, 43/1 nummeriert, partiell Farbverluste, Farbabplatzer, partiell craqueliert, doubliert Georg Meistermann (1911 Solingen - 1990 Cologne) (F)Still life with shell and pears, oil on canvas, 71.5 cm x 41 cm, monogrammed, 43/1 numbered, partial color loss, color chipping, partial craquelure, duplicated

J. M. Arandale - a pair of oils on canvas - Still life study of fruit & game, 23" x 11" - one damaged, a pair of small watercolour landscapes by Charles Masters, one other and two rustic colour prints. (7) Separate viewing arrangements by appointment.

Thomas Ratham - oil on canvas - 'Still life with paperbacks', signed, dated verso July 1973, 20" 23.5".

Toni Hazelwood - a modern watercolour still life study of fruit & flowers together with a pair of modern Shirley Felts flower prints. (3) Separate viewing arrangements by appointment (Ground Floor).

P. Kopoaeba - oil on board - Still life flower study, 15" x 19" and four reproduction colour prints. (5) Separate viewing arrangements by appointment (First Floor).

Modern School, Still Life with Flowers, oil (68cm x 47cm)

Ann McDiarmid Smith, Still Life with Flowers, watercolour, inscription verso (32cm x 27cm)

This multiple Concours d'Elegance-winning XK150S is in simply stunning condition. A progressive development of the sensational XK120 and XK140, the XK150 retained the same basic chassis, 3.4-litre engine and four-speed Moss transmission of its predecessors but, partly due to the growing US demand for more comfortable and refined sports cars, benefitted from an entirely new body providing increased interior space and improved visibility courtesy of a single-piece wrap-around windscreen. A higher front wing line and broader radiator grille were other obvious differences but the new model's main talking point was its Dunlop disc brakes; at last the XK had stopping power to match its prodigious straight-line speed. Introduced in the spring of 1957, the XK150 was available at first only in Fixed and Drophead Coupé forms, the open roadster (OTS) version not appearing until the following year. At 190bhp, the engine's maximum power output was identical to that of the XK140, so performance was little changed, but ‘Special Equipment' and 'S' versions offered 210 and 250bhp respectively, the latter delivering an astonishing 0-60mph time of 7.3 seconds and a top speed of 136mph. This improvement in performance resulted from the adoption of a Weslake-developed, straight-port cylinder head, high-compression pistons, triple 2” SU carburettors and twin electric fuel pumps. Overdrive and a Borg-Warner automatic gearbox were the transmission options, the latter becoming an increasingly popular choice, whilst a Thornton ‘Power-Lok’ limited-slip differential was available for the 150S. Steel wheels remained the standard fitting although XK150s so equipped are a great rarity as most were sold in SE (Special Equipment) form with centre-lock wire wheels. The much-admired chromed Jaguar Mascot was made available as an optional extra on an XK for the first time.In the early months of production, the vast majority of XK150S 3.4-litre Roadsters were headed for the USA in order to fulfil bulging order books, as is the case with T832078DN, on offer here. Its Heritage Certificate confirms that it was built in left-hand drive, fitted with a manual gearbox with overdrive and finished in Gloss Black with a red leather interior prior to being shipped in April 1959 to Jaguar Cars, New York and onwards to its first American owner.We imagine that the Jaguar led an exciting life for the following 34 years and next reappeared in 1993 when it was imported into Australia by Sydney Businessman, Mark Hayward, who was looking for a sound car that he could restore with the clear intention of winning multiple Concours in Australia.The comprehensive history file and photographic record of the restoration show exactly the extent and level of resource ploughed into this stunning XK150S Roadster with costs of around £100,000 at the time (c.£300,000 in today's terms). UK-based, XK Engineering were involved in the procurement and shipping of parts and there are reams of invoices and correspondence with everyone involved from Abbott Australasia PTY.LTD., O&S Sports Car Restorations and Gavin King’s 'Concours Sportscars Restorations'. All concerned were made aware that only the best would do and the exacting restoration and conversion to right-hand drive took until Easter 1994 to complete. The fact that the car still remains capable of Concours success, is testament to the standard achieved. There followed years of involvement in National Concours d'Elegance competitions attaining many 'Outright Winner' placings including a number of 100 Point scores (Perfect) suggesting that the Jaguar was rated as amongst the finest examples of the marque to be viewed anywhere in the world. T832078DN returned to England in 2013 and was purchased by our vendor, an XK enthusiast who was looking for a special example that presented well but was enjoyable to drive on Tours and long trips. During his ownership he has competed in various events which included the 2013 Arctic Circle, the 2016 Targa Florio and the Three Castles Welsh Classic Trial. The brief to his engine builder was to build a totally reliable engine to do these events with the work entrusted in 2013 to Steven James Engineering and Martin Hunniball specialist machining. The result of the full rebuild of the matching numbers engine today is still perfect oil pressure and lusty clean performance. It's now time for a new owner to enjoy this very special, well-historied XK150S Roadster and, at this this guide, it must surely be irresistible.SpecificationMake: JAGUARModel: XK150 SYear: 1959Chassis Number: T832078DNRegistration Number: OSL 889Transmission: Manual/ ODEngine Number: VS1978-9Drive Side: Right-hand DriveOdometer Reading: 78840 MilesMake: RHDInterior Colour: RedClick here for more details and images

One of the first 50 E-Types built - Chassis Number 38.The story of the E-Type requires little introduction, however, what perhaps may need some explanation is the position in the market of the very early cars and their importance to collectors and marque enthusiasts alike. In common with Works of Art, Furniture, Philately, Fine Wines and all the other things people collect, the rarest and best quality items tend to attract collectors' interest and inevitably, the harder they are to find, the more expensive they can become. Should there be a number of well-heeled collectors chasing a particular painting, for example, then the result can be a serious clash of egos and wallets. This is equally true of Classic Cars and the E-Type is a perfect example. The most sought after of all the E-Types are the first 92 right-hand drive cars produced and these are easily distinguished by their external bonnet locks (EBL). Chassis No. 38 is indeed one of those EBL cars and is one of the oldest surviving having been manufactured in June 1961 and supplied to Appleyards in Leeds to be utilised as a company demonstrator. It's finished in Opalescent Dark Blue with Red hide, its original colour combination, and was purchased by its first private owner, a Mr Straughan, as a stop gap before acquiring a Mk2 Jaguar some eighteen months later. With the E-Type returning to the dealer in part-exchange and the model still much in demand, it soon found its second new home where it was to remain for the next fifty years. Shortly after taking delivery and noted in the history file, damage was sustained to the engine block during the 1963 ‘big freeze’ requiring a replacement block to be fitted. Upon the owners passing in the 1980s, the Jaguar remained within the family but was stored and unused until 2004 at which point the decision was taken to totally restore this historically important Jaguar. The task of restoring the bodywork was handed to Alan Proctor of Worksop, Nottinghamshire and mechanical aspects attended to at Beamish Morgan Ltd. of Durham. It’s noted that at this point the recorded mileage was a mere 32,000 so comparatively little work was required to refresh and bring everything back to life. Naturally, being an older restoration, the overall condition is not rebuild fresh but it is superb throughout and clearly remains as one of the earliest E-Types still on the road today. Accompanied by its original and unrestored ‘factory’ hardtop, a comprehensive history file and various other ephemera, this is an historically important E-Type with a known history and would befit any collection of special Jaguars. Your earliest inspection is welcomed and encouraged to appreciate this fine external bonnet lock Roadster. SpecificationMake: JAGUARModel: E TYPE 3.8 ROADSTER EBLYear: 1961Chassis Number: 850038Registration Number: KJH 20Transmission: ManualEngine Number: R1187-9Drive Side: Right-hand DriveMake: RHDInterior Colour: Red HideClick here for more details and images

In production for less than two years, with just over 1,000 in RHD, these are very rare cars.Introduced in September 1975 for the 1976 model year with production only running until 1977, the interesting Carrera 3.0 is rightly regarded as somewhat of a special and rare model amongst the impact-bumper era, 911 model range. Following on after the MFI-engined Carrera 2.7, the 3.0 Carrera heralded the adoption of the newly developed Bosch K-Jetronic CIS fuel injection engine. This torque-rich, smooth and free-revving 3.0-litre engine, with a distinctive "cam' effect from 4,000rpm, produced 200 bhp and was effectively a naturally aspirated version of the 930 Turbo's drivetrain (using the same die-cast aluminium crankcase and gearbox housing for durability).Although having slightly less power than the outgoing Carrera 2.7, it had considerably more torque (188 lb.ft at 4,200 rpm) and with its new fuel injection system was one of the earliest Porsches to return economical fuel consumption figures without a significant performance loss. The Carrera 3.0 was able to accelerate from 0-60 mph and 0-100 mph in almost identical times to the original 2.7 RS and 2.7 Carrera. This respectable performance was aided further by the relatively light weight (1,093 kg) of the 3.0 Carrera compared to its successors. It is almost 6% lighter than the SC (1,160kg), almost 10% lighter than the 3.2 (1,210kg) and surprisingly, also weighs less than the later (1987-1989) stripped-down Carrera 3.2 Club Sport (1,170kg). During its short two-year life span, only 3,687 cars were built - a tiny amount compared to nearly 58,000 911 SCs and 76,500 3.2 Carreras produced. Of these, 2,564 were Coupés and 1,123 were Targas with only around 1,064 Coupés being manufactured in right-hand drive. Very few RHD cars reached the UK, and with just a two year production run, only 121 Carrera 3.0 Coupés (combined "Sport' and "Comfort' versions) are verified by their chassis numbers with the Porsche Club GB.Finished in Grand Prix White, this largely original Porsche 911 3.0 Carrera is in excellent condition throughout and is instantly recognisable by the Carrera side script and Fuchs alloys, a true 1970s poster car if ever there was one. It has an interesting past having been owned at one time by Keith Ripp, accessory brand creator of Rippspeed and renowned Rallycross driver and also featured in the ‘Original’ series of books, ‘Porsche 911 - The Restorers Guide to all Production Models 1963 – 93’ by Peter Morgan. A largely original example, it has formed part of a small private collection in recent years with little use during that time but has been maintained as required and will be presented at the sale with a recent service and a fresh MOT Certificate. With a limited production run of just two years, only 1,064 RHD Coupés rolled off the production line with few known to be still in existence today giving this particular example an air of exclusivity, ticking the rarity box within Porsche circles, meaning that this is most certainly one for the collector or 911 fanatic. Your early inspection is welcomed and encouraged.SpecificationMake: PORSCHEModel: 911 3.0 CARRERAYear: 1977Chassis Number: 9117600371Registration Number: UNM 750RTransmission: ManualEngine Number: 6670507Drive Side: Right-hand DriveOdometer Reading: 116150 MilesMake: RHDInterior Colour: BlackClick here for more details and images