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Click here to subscribeA George V silver campana shaped trophy cup, makers Edward, Edward, William and John Barnard London 1828, with gilt interior and flared rim and flower and leaf lobed body on stemmed base (presented for a run on Hayling Sands to commemorate laying of first stone of Norfolk Crescent Hayling Island (1829), 14oz
Shortly after the Second World War, well known Irish road racer Ernie Lyons successfully persuaded Edward Turner to provide him with an engine for road racing, a feat that must have required frequent visits to the "blarney Stone" given Mr Turner's well publicised views on road racing! Mr Turner instructed Freddie Clark to build an engine in the development shop using, wherever possible, production components. The engine that resulted benefited from Mr Clarks extensive tuning abilities and was based on a Tiger 100 bottom end fitted with the alloy cylinder head and square barrel from the wartime generator unit. Separate inlet manifolds, each mounting an Amal carburettor sharing a remote float chamber were employed. The valve gear, although standard production items, were like the bottom end components, lightened and polished. Heavier conrods were fitted and roller main bearings employed. Full race camshafts, a racing BTH magneto, alloy pushrods and a rev counter all formed part of the build with the power unit being installed in a standard Tiger 100 chassis equipped with a "Sprung Hub" and an experimental 8" single sided front brake. The machines first outing at the 1946 Ulster Road Race was not a success but a win at that years Manx Grand Prix, when Mr Lyons was never headed, followed by a fastest time at Shelsley Walsh contributed to demands for a "production" version ,to which Mr Turner reluctantly agreed. In production form the machine retained the special pushrods and roller main bearings but relied more on catalogue production components. Typed the "Grand Prix" the new production racer met with some success in Europe and Don Crossley won the Manx with one, however, it was at National and Club level where the machine shone, thanks in part to the robust nature of the twin cylinder engine, which was easier for an amateur rider to maintain than contemporary "cammy" designs. It is believed that somewhere between 150 and 200 examples were built between 1948 and 1950. The low production numbers and hard environment in which they plied their trade resulted in a high attrition rate with original survivors being rare, however, due to the model's production based origins, good replicas, as offered here can be built. This replica was built to a high standard during the 1980's before forming part of a private collection and was purchased by the present owner in 2010. Described as having excellent paint and brightwork, the machine, which had not been used on a regular basis prior to its acquisition by the vendor, has benefitted from a new electrical system and is described as having an excellent transmission and cycle parts and restored engine. It was chosen as one of the best ten machines in the prestigious 2012 Moto-Legend Coupes and featured in issue 249 of Moto-Legend.
A rare Caughley polychrome mug, outside decorated, circa 1790, of straight-sided form with indented loop handle, the mug painted with a single cartouche of a shepherdess holding a stone hurler, wearing purple velvet shawl and bonnet, with gilt and blue borders, unmarked, 8cm high (foot rim chip) See Caughley Exhibition Catalogue, 1976, page 84 where this mug is discussed, 'The decoration appears to have its origins in a design by Samuel Shelley, a small drawing by him in his sketch book is one of a series showing idealised people with landscapes or rural settings. Shelley was born in Whitechapel and was mainly self-educated. He exhibited at both the Incorporated Society Royal Academy and became one of the most fashionable miniaturists of the period. Shelley resided in Covent Garden from 1780-94, where he established himself at 6, George Street, Hanover Square. His work was extensively engraved by Bartolozzi, Nutler, Watson and others; and it would be from one of these prints that the inspiration for the decoration of the this mug would have been drawn.'
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