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Lot 406
*Norman Kirkham RGI (Scottish b.1936)'Still Life with Amaryllis'Oil on canvas, signed upper left, 90 x 115cmProvenance: Artist's label verso, from a deceased estate in Edinburgh CONDITION REPORT: Lot 406 - Provenance: from a deceased estate in Edinburgh who had bought a number of fine paintings over the years, many of which had original gallery labels. Good condition, original frame with artist's labels verso, frame is in good condition, couple of rubbed areas to gilding.
Lot 383
Pierre Langlade (French 1812-1909)'Hawthorn'Watercolour, signed and dated 1895 lower left, 14 x 25cm, together with William Small RI HRSA 'My Poor Wife' ink and wash, 11 x 6.5cm, Harry Williams 'Durham Cathedral' oil on panel, 29 x 24cm, James Nesbitt 'Fishing Boats Returning' watercolour, 11.5 x 16.5cm, James Roger Sharp 'Still Life' watercolour, 23 x 8cm, and 'Mr Fox gets into Serious Business' watercolour, 14 x 36cm (6)
Lot 35
Potter (Beatrix) The Tale of Jemima Puddle-Duck, first edition, first, second or third printing, colour frontispiece, plain title vignette and 26 colour plates, pictorial endpapers, ink gift inscription dated August 1908 to front free endpaper, original olive green boards with mounted colour illustration, minor shelf-lean, spine a little darkened, very short split to foot of lower joint, still an excellent example overall, [Linder p.427; Quinby 14], 16mo, 1908. ⁂ An excellent copy of Beatrix Potter's most critically acclaimed work; in many ways the story of the trusting duck, the crafty fox and the heroic dog Shep are a modern retelling of Little Red Riding Hood with a number of ironic twists. Jemima Puddle-Duck was also the first of Potter's books to be set wholly at Hill Top Farm, with both the locations and many of the characters such as Shep and the farmer's wife drawn from life.
Lot 452
Richmond (William Blake, 1842-1921) The Arcadian Shepherd, 1858, pen and brown ink, on wove paper without watermark, signed with monogram on tree trunk and dated '1858', 145 x 185 mm. (5 3/4 x 7 1/4 in), several inscribed attributions and inscriptions verso, light spotting and surface dirt, unframed Provenance: The artist's family and thence by descent; With Abbot & Holder, London (circa 1990) Literature: cf. Mrs A. M. W. Stirling, The Richmond Papers, London, 1926, pp. 99-100 Simon Reynolds, Sir William Blake Richmond: an artist's life, 1842-1921, 1995, p. 14, see note 15, p. 364 ⁂ The young William Blake Richmond executed the present drawing aged only 15, and would have done so while enrolled in the Royal Academy Schools, London, where he studied for three years. As a drawing from 1858 the nature of the work at first appears as an anachronism, but in reality the drawing serves to illustrate the "poetic" spell that the artist was under after having grown up with the early work of his father, and his father's contemporaries. For a loosely associated work by George Richmond, albeit in a reproductive medium, see the line engraving 'The Shepherd' (see Tate, ref.: N04064); similarly see the wood-engravings by Edward Calvert, the artist arguably closest to Blake Richmond's aesthetic in this drawing, and the Virgil woodcuts by William Blake. "If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of [my father's] contemporaries - Calvert, Blake and others, whose shadows are substance still to me." [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling, op. cit., p. 28]
Lot 395
Attributed To Johan Johnsen (German, 1652 To 1708) Oil On Canvas Still Life Study Of Fruit In A Basket, With Lobster At Its Side On A Marble Pedestal, 30 X 43”. Remnants Of A Paper Label To The Reverse, Ineligible In Parts But Some Text Include “Johnsen Johann Peintre De Fleurs… Vecus Longtemps En Sweden De Stockholm”
Lot 36
1964 Ferrari 330 GT Nembo Spider - Widely regarded as the fourth and final Nembo Spider not to mention the only RHD car and the sole 330-series 4-litre V12 powered example- Commissioned from and reconfigured by Giorgio Neri (the 'Ne' of Nembo)- The jewel in the crown of the late Richard Allen's collection since 1992 (Mr Allen was chairman of the Ferrari Owners' Club of Great Britain for many years)- Offered for sale at No Reserve to benefit the East Anglian Air Ambulance Service'Here is a car of such elegance that I defy anyone to suggest that it doesn't belong up there with the greatest works of the greatest Renaissance masters. It is a truly exceptional thing, as near to perfection as makes no odds' (Malcolm Thorne on chassis 5805, Classic & Sportscar magazine, March 2017)Who or What were Nembo?Nembo was essentially Giorgio Neri and Luciano Bonacini. They collaborated with Tom Meade over various re-bodied sports and racing cars but continued to use the Nembo moniker after the American entrepreneur became engrossed with his self-referential Thomassima designs. Members of Maserati's competition department during the 1950s and therefore witnesses to Fangio's F1 championship winning 1957 season, Neri and Bonacini were used to delivering 'miracles' on a shoestring budget. Well respected in Modenese automotive circles, their peers included Giotto Bizzarrini and Piero Drogo. Indeed, they are credited with introducing the former to Ferruccio Lamborghini and were responsible for not only building the tractor magnate's prototype 350 GTV but also fabricating his nascent marque's earliest chassis. Engineers as well as craftsmen, they helped run Count Volpi's Scuderia Serenissima and hone the famous Ferrari 250 GT SWB 'Breadvan'. A safe pair of 'go to' hands, they undertook a series of one-off commissions such as the Lamborghini 400 GT 'Monza' and Nembo II (the latter being profiled in the August 1966 issue of Road & Track magazine). Perhaps frustrated with making others look good, the duo decided to build and market their own sports car. Christened the Studio GT Due Litri, the resultant mid-engined two-seater proved a bridge too far prompting a divorce in late 1967 with Neri going to work for De Tomaso and Bonacini joining Drogo's Carrozzeria Sports Cars. Neri subsequently set-up on his own and it is perhaps no small irony that a man who helped Maserati achieve some of its greatest racing victories went on to create what is, in our eyes at least, one of the most beautiful coachbuilt Ferraris ever made.H&H are indebted to renowned Ferrari historian and author Keith Bluemel for the following description:This unique Ferrari automobile, chassis 5805, started life as a standard specification 1964 right hand drive 330 GT 2+2 model, that was sold new to a Mr Bill Knott of Poole in Dorset, who had it UK registered on his personal licence plate 'BK 47'. He was the founder of the Bluebird Caravan Company which was at one time the world's second largest producer. He was also a keen golfer and sailor in his powerboat, with a fine collection of performance and luxury cars in his garage. As an aside, interestingly he was a keen supporter of the RNLI (Royal National Lifeboat Institution), whom were the beneficiaries of the proceeds of the earlier H&H auction of the late Richard Colton's Ferrari 250 GT SWB Berlinetta, chassis 1995 GT and 275 GTB/4 Berlinetta, chassis 10177.Some 25 years later the car had seen better days, and a Sussex based Ferrari enthusiast, who revelled in the power and torque afforded by his similarly powered Ferrari 4 litre GTO, had the idea of turning it into an elegant spider in the style of the "Nembo" spiders produced in the mid sixties. The original company, Neri & Bonacini, had ceased trading in 1967, but Giorgio Neri (the "Ne" of Nembo) still had a workshop in Modena, and was approached to rebuild 5805 in the form of the spiders that he and Luciano Bonacini had built in the sixties for an American client, resident in Modena, Tom Meade, who gained worldwide attention with his Ferrari based Thomassima creations in the late sixties.In fact they built two spiders, one on a Ferrari 250 GT Cabriolet, chassis # 1777 GT, and another on a Ferrari 250 GT SWB Berlinetta, chassis # 3771 GT, plus a coupe on a Ferrari 250 GT Coupe, chassis # 1623 GT, all with similar lines, for him and his clients. There are rumours of a third spider, reportedly built on a 250 GTE, chassis # 2707 GT, allegedly delivered to Lebanon, but this has never been seen, and is thus unconfirmed. Some quarters say that "Nembo" was a compilation of the names Neri, Meade and Bonacini, but the name was also that of the 184th Airborne Division of the Italian Army in WW II, and also a popular Italian comic book hero of the time, the 'Nembo Kid' (actually Superman re-branded). Nembo translated into English is Nimbus, as in the type of cloud, and as clouds are a place of dreams, as in "head in the clouds", all are viable reasons for the name. The Nembo spiders have also been credited as having provided Luigi Chinetti with the inspiration for the small series of, the now highly desirable, 275 GTB/4 "NART" Spiders, that he persuaded Ferrari to build in 1967-68.As previously mentioned the reworking and re-body of 5805 was commissioned by a British Ferrari enthusiast, providing Giorgio Neri with a remit to shorten the chassis frame, retaining all the original mechanical components, including the 4 litre V12 engine, transmission and running gear, and to provide a new aluminium spider body in the style of those constructed in the mid sixties. Each had slightly different features, thus each is a unique example of the company's craft, as would become 5805, which would also be the only right hand drive example produced, albeit some 25 years after the original examples. The two-seater aluminium coachwork was crafted to a very high standard as an examination of its inner wheel arches will attest. There are a number of pictures of 5805 during its construction at Giorgio Neri's workshop in the car's file, which show the aluminium body during stages of construction. Unfortunately, at a stage when it was approaching completion, aside from its windscreen, brightwork, hood and various inner panels, the then owner of 5805 had financial problems, and didn't have sufficient funds to complete the project, or pay for outstanding works, thus the car remained in storage at Giorgio Neri's, until Richard Allen arrived on the scene...Click here for the full catalogue description.
Lot 93
1947 Bentley MK VI Vanden Plas Drophead Coupe - Supplied new to Sir John William Maxwell "Max" Aitken, 2nd Baronet, DSO, DFC - 1 of just 6 Bentley MK VI chassis to be clothed by Vanden Plas with this particular design of Drophead Coupe coachwork - Factory chalk marks still visible on the chassis side rails and much of the original red leather upholstery retained - Discovered in a farm outbuilding during 2010 and extensively restored over the next five years Introduced in 1946, the MKVI was Bentley's first post-war model. Aimed at the emerging 'owner-driver' luxury car market, the newcomer was closely based on the 1939 MKV (of which only fifteen were produced). Built around a massive cruciform-braced chassis with independent front suspension and a leaf-sprung 'live' rear axle, it was fitted with a freshly developed 4257cc OISE (overhead inlet side exhaust valve) straight-six engine mated to a four-speed manual gearbox. Capable of over 100mph when clad in the factory's understated 'standard steel saloon' coachwork, the MKVI quickly developed a reputation for being a refined yet responsive drive. However, despite the excellence of the 'basic' car, there remained a core of marque enthusiasts who found its styling too anonymous. Conscious of this demand Bentley invited various firms to submit Drophead Coupe proposals for its newcomer's chassis. Vanden Plas' rendering was altogether sleeker and handsomer than that of the factory's in-house coachbuilder Park Ward. However, it was also costlier and more labour intensive to produce. Hence, Vanden Plas are understood to have fitted this particular design of Drophead Coupe coachwork to just six Bentley MKVI chassis. One of the illustrious sextet, chassis B245AJ wears the renowned London cochabuilder's body number 4043 and was supplied new via Jack Barclay Ltd of Hanover Square W1 to Group Captain Hon. Max Aitken DSO, DFC, MP of 39 Albert Court, SW7 on 11th December 1947. A director of the Express Group and later Chairman of Beaverbrook Newspapers, he kept the Bentley until 1950 (the same year he lost his seat in the House of Commons due to an unfavourable boundary change) when it was bought by W.J. Norton Esq. of Sir James Farmer Norton & Co Ltd, Adelphi Iron Works, Salford, Manchester. Acquired by its previous keeper during the early 1970s as a means of making the 'right impression' with wealthy clients, the MKVI was subsequently dry stored in a farm outbuilding for decades. Rescued by the vendor in 2010, the Drophead Coupe was found to be surprisingly sound and sported a sticker for marque specialist Frank Dale & Stepson. It is pure supposition but the seller thinks that Frank Dale & Stepson may well have mechanically overhauled the Bentley because he soon had it running sweetly and even as a professional restorer only found it necessary to replace the brake hoses and seals plus one top front suspension bush! Principally fabricated from aluminium, the elegant coachwork was refurbished as necessary and repainted in Garnet over Silver; a combination which makes the most of its refinished chrome detailing. Pleasingly almost all the original Red leather upholstery proved usable once fed, while other signs that the car had led something of a charmed life included the retention of most of its tools and the original factory chalk marks on its chassis side rails (now varnished over for posterity). The interior woodwork was rejuvenated and the Red mohair hood renewed. Running and driving upon inspection, the Bentley rides on radial tyres which are said to give it notably more positive roadholding. It is not inconceivable that the 26,000 miles currently shown by the odometer represent either the total covered from new or the distance travelled since a major mechanical rejuvenation. The wiring has been checked and repaired and details such as the rear interior lights are in working order as are the more modern stereo and sat-nav power feed. A wonderful example of the coachbuilder's art, this notably stylish and decidedly rare Drophead Coupe still sports its original London registration number 'JLO 942' and factory-fitted engine (number B252A). Worthy of close inspection, it is offered for sale with RREC copy Construction and Test Records and current MOT certificate valid until Valentine's Day 2018.
Lot 85
1965 Rolls-Royce Silver Cloud III Drophead Coupe PLEASE NOTE: Although offered with a V5 Registration Document, this vehicle has an 'export' marker recorded against it with the DVLA. Always keen to present customers with as much choice as possible, Rolls-Royce overlapped the production lives of the Silver Cloud III and its Silver Shadow successor by more than a year. While the latter model was undeniably more technologically advanced, it was (a) initially only available as a four-door standard steel saloon and (b) lacked the sheer road presence / grandeur of its forebear. Based around a version of the 'Bentley 9' modular platform, the Cloud III may not have been 'cutting edge' by 1966 standards but it was still a wonderfully refined motorcar. Featuring independent coil and wishbone front suspension, a leaf-sprung semi-floating back axle (complete with hypoid bevel final drive), hydraulic shock absorbers (adjustable at the rear), power steering and servo-assisted drum brakes, its enormously strong cruciform-braced box-section chassis provided a wonderful foundation for coachbuilders to practice their art. Powered by a 6230cc OHV V8 mated to four-speed automatic transmission, it also had the benefit of near 120mph performance. Society in the 1960s however was changing rapidly and, among others, the era of the chauffeur-driven car was coming to an end. Rolls-Royce had to make changes too. One of the more striking designs available, this Mulliner, Park Ward Drophead Coupe was aimed at owner-drivers. It owed its beautifully sleek profile to Norwegian-born stylist Vilhelm Koren, who pioneered its 'straight-through' wing line and 'cut-back' wheelarches on the Bentley S2 Continental chassis. Afterwards these lines were successfully carried over to its successors and also to the initially more conservative Rolls-Royces. Visually updated by the diagonal placement of their quad headlights, which gave it its nickname 'Chinese Eye', the Koren-designed Cloud IIIs (available in both fixed- and drophead coupe guises) thus boasted a decidedly avant-garde, yet majestic look. Not surprisingly, the modernist design attracted a younger clientele like actors and musicians. Offered here is Drophead Coupe chassis CSC11B that was delivered new by Jack Barclay to a Mr Sidney E Dale of Plaistow, London on May 17th 1965. It started life in Regal Red but received a change of image in the 1980s and is these days finished in the elegant combination of Mid Metallic Blue teamed with Beige hide interior. The car contains numerous factory options like a heavy gauge frame, an electrically operated aerial, electric windows with emergency manually-operated handles/cranks, an electrically operated hood mechanism, hood cover and a radio. It also has a cocktail cabinet with crystal glasses and carafe under the dashboard. The Rolls-Royce's next keeper was none other than Kenney Jones, one time drummer for the Small Faces, Faces and later The Who after the death of Keith Moon. In 1993 the Coupe passed to another famous musician, Mr Evangelos Papathanassiou, better known as Vangelis, who retained it for the next twenty-three years, yet hardly ever drove it. The Rolls-Royce was recently unearthed from a London garage and, though running well, its general lack of use means that a degree of re-commissioning would be advisable - especially in relation to the brakes and electric hood mechanism. The vendor currently grades the engine and transmission as 'very good' and the coachwork, paintwork, and interior trim as 'good'. This fascinating and rare Cloud III comes complete with build sheet, option list, correspondence and V5s.
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