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Lot 566
Incline Press. A Book of Nursery Rhymes, Incline Press, Oldham, 1993,. 205/260 copies, wood engs. by Enid Marx, printed in various colours, orig. quarter black cloth, patterned paper boards, printed paper label on the spine, edges untrimmed, together with Barlow (Derek), Bullrushes. Poems, Incline Press, Oldham, 1995, 111/175 copies, signed by the artist, and by the author, wood engs. by Anna Ravenscroft, printed in different colours, bound by Stephen Conway in quarter dark green cloth, green marbled board sides, pink printed paper label extending across both boards and the spine, edges untrimmed, signed by the binder and dated 1998 on the final leaf bearing the circular Press device, in a solander box, and A Bonnet Full of Nursery Rhymes. All Selected to Suit the Collection of Folk Art at Compton Verney, Incline PRess, Oldham, 1998, 29/50 copies put aside for subscribers to Incline Press, printed on hand-made paper, wood engs. from a variety of sources, printed in various colours, bound by Stephen Conway in quarter black cloth, patterned board sides, printed paper label on the upper cover, orig. printed wrappers bound in, signed by the binder and dated 1998 on the colophon; plus Incline Press editions of The Highwayman by Alfred Noyes, 1996; Urban Birds. A Collection of Cuts by Jo Spaul, 1999; and The Five Senses by Jim Burns, 1999, all 8vo A Book of Nursery Rhymes was the first book to be printed at the Press. (6)
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1965 FORD MUSTANG 'SHELBY GT350' RACECAR LHD - FIA PAPERS & ELIGIBLE MOST EVENTS Estimate £28000 - 32000 Registration Number N/A Chassis Number SR09C203876 Engine Number T.B.A. Engine Capacity 4227 Paint Colour BLACK Trim Colour BLACK MOT Expiry Date N/A Introduced at the New York World's Fair on April 17th 1964, the Ford Mustang was primarily aimed at the post-WW2 'baby boomer' generation. Backed by an enormous publicity campaign that included television coverage beamed to over 30 million homes and some 2,500 newspaper advertisements, it proved an instant hit (the millionth car selling inside two years). The brainchild of senior Ford executive Lee Iacocca, the newcomer borrowed heavily from its Falcon and Fairlane compatriots. Based on a 'torque box' reinforced monocoque bodyshell, it was styled in-house by David Ash and Joseph Oros of the Lincoln-Mercury division. Initially available in either coupe or convertible guises (though, a fastback variant was soon added), the model was equipped with independent coil-sprung front suspension, a 'live' rear axle and hydraulic drum brakes. Powered by a range of straight-six and V8 engines mated to a choice of manual (three- / four-speed) or automatic transmission, the Mustang could be had with a bewildering range of factory options to suit almost every taste / budget. The first car to receive the Tiffany Design Award, it also undertook pace duties at the 1964 Indianapolis 500. Responsible for creating the 'pony car' class (despite being named after the WW2 P-51 Mustang fighter plane), the sporty Ford has long been revered as an American cultural icon. As always the best of the road cars are soon converted into cars for the track and the Mustang went racing with the best of them - and beat them all. Carroll Shelby's long standing relationship with Ford ensured that he further developed the car with the introduction of the 'Shelby' Mustang which had distinctive differences to the body styling, it was lighter and had more power. One of the most significant marketing moves that actually worked was for Hertz - the rental car people. They ordered 200 Ford Mustangs in their distinctive Black with a Gold stripe livery in November 1965 and a further 800 cars just a month later as they had become the car to have for the weekend - and a lot of them were actually raced the whole weekend and taken back to the rental company on the monday morning. This car is not an original Shelby GT350 and never raced in period however it has been built as a racecar to a very exacting standard by the well known historic racer Jo Harding. It is a recreation of the Hertz cars and painted in their very distinctive colour scheme and sits on a new set of Dunlops with a new extinguisher and with a new set of belts. It raced many times in the States and the specification sheet including the dyno report is in the paperwork in the history file with the car. It is sensational to look at and we understand ready to go and has quite a number of spares with it including the original seats, a spare set of heads, steering wheel etc. It is eligible for a whole host of events and the paperwork includes an extremely rare set of the new HTP papers but it has not as yet been registered in the UK.
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1940 LAGONDA V12 DROPHEAD COUPE WORKS DEMONSTRATOR, LATER MADE INTO DHC Estimate £45000 - 50000 Registration Number JPG 654 Chassis Number 16063 Engine Number 16063 Engine Capacity 4480 Paint Colour MID BLUE Trim Colour LIGHT GREY MOT Expiry Date NONE If not W.O. Bentley's greatest achievement then certainly his final masterpiece, the Lagonda V12 was unveiled at the October 1936 Olympia Motor Show (but not officially launched for another year). Intended to marry limousine refinement to sportscar performance, it was based around a cruciform-braced chassis equipped with independent front suspension, a Salisbury hypoid back axle and Lockheed hydraulic drum brakes. Powered by an advanced overhead-camshaft 4480cc V12 engine allied to four-speed manual transmission, the Lagonda flagship boasted 100mph plus performance. Available in 10'4", 11'0" and 11'6" wheelbase lengths, just 200 or so were made before production ceased during 1940.According to information kindly supplied by the Hon. Registrar of The Lagonda Club, Arnold Davey, chassis number '16063' was among a batch of approximately twenty cars that were still under construction when WW2 broke out. Put into storage at Flood St, Chelsea until summer 1940 (when the government sanctioned its completion), the 11'0" wheelbase car was clad with Lagonda's own saloon coachwork. Retained by the Works as a demonstrator, the V12 was road tested in the September 1941 issue of Motor Sport. Purchased by its first private owner, North Country comedian Frank Randall, during 1945, the car was to remain in his possession for a decade. Known to have passed through the hands of A.A. Russell and Tom Pinguey thereafter, '16063' was acquired by its previous keeper Dr F.W. Landgrebe of Clwyd Wen, Glamorgan in 1962. Reportedly treated to an extensive engine overhaul by Cotswold Engineering during 1992, the Lagonda was later stripped back to a bare chassis. Confronted with a rotten ash frame, the decision was taken to rebody the V12 in the style of a Vanden Plas drophead coupe (the famous coachbuilder's design was the only convertible one the seller could find for the 11'0" wheelbase chassis). Thought to retain its original factory coachwork from front bumper to A-posts and then from rear seat to tailpipes, the restoration / conversion work also saw '16063' repainted and re-trimmed. Upgraded with a "Jaguar four-speed overdrive gearbox" so as to allow more relaxed high-speed cruising (a straight forward modification given the original unit's separate location), the V12 has apparently had its instruments recalibrated to suit. Off the road since 2001 with starter motor problems (after seven rebuilds the offending component has now been replaced by a more modern alternative), '16063' is variously described by the vendor as being in "sound" (bodywork), "good" (gearbox, electrical equipment, interior trim, wheels / tyres) or "excellent" (4480cc engine, chassis) condition. Though, he concedes that the paint "needs work".PLEASE NOTE: The vendor has informed us that the original gearbox for this vehicle is available via separate negotiation.
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Andy Warhol, 1928-1987 SOUPER DRESS colour silkscreen on paper and cotton A-line dress overall: 99 by 55cm.; 37.25 by 21.5in. This dress is 'one size fits all' and has an adjustable hem line to suit most heights. Literature Mark Francis, The Warhol Look: Glamour, Style, Fashion, New York 1997, illustration of another example ½
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*Chantrey (Sir Francis Leggatt, 1781-1841). A group of three autograph letters signed ‘F. Chantrey', Belgrave Place, 24th May 1828, 11th January 1833 & 5th February 1841, all to Arch-Deacon George Glover of Southrepps in Norfolk, the first letter apologising for not answering his previous two letters because he wished to ‘satisfactorily I wished to satisfy myself that the subject in question was practicable: having now settled this point I have only to speak of the price & few words will suffice. I would much rather present the finished work to Mr Coke than be paid for it but as this may not suit his feelings which are I am sure as independent as my own, I will propose that he pay the same fair[?] price as he has paid for the rest', 2 pp., 8vo, the second telling that his letters have been received and read, ‘& yet neither my patience or temper have been disturbed - no - not in the slightest degree' and continuing that when Glover comes to town he hopes that he will see him first before H.R.H., ‘I have been thinking & must continue to think about "a modern & more civilised Costume" before I venture an opinion', and concluding that he is as anxious as Glover concerning the Duke of Sussex & Mr Coke's knowledge of the subject, one page plus integral address panel and postmark, 4to, the third letter thanking him for his letter ‘respecting the alto rilievo which I had the Honor to execute for the Earl of Leicester [Coke]. You are aware of the feeling which influenced me in undertaking the work & I am glad to find that your recollection is so perfectly in accordance with my own that I need not add another work. I have occasion to write to the Rev. W. Keppel to-day and will enclose your letter to him that he may communicate its contents to Lord Leicester at once, & relieve his Lordship from the necessity of keeping this money transaction uppermost in his mind', and concluding that it has been a long time since they met and hoping he will call on him when next in town, 3 pp., 8vo. Provenance: Arch-Deacon George Glover, who was domestic chaplain and confidential friend of the Duke of Sussex. Francis Chantrey gave the carved relief ‘A Brace of Woodcock' to Thomas Coke, the agricultural improver of Holkham Hall, Norfolk, in 1834, to commemorate the Earl's feat of hitting the birds with one shot. This may well be work referred to in the first letter. The work referred to in the second and third letters is almost certainly ‘The Signing of Magna Carta' which was ordered in 1832 for a fee of three hundred pounds. It depicts Earl Grey and his whig colleague as medieval barons. (3)
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Mattel: 9932 Big Jim in original packet, Big Jim in artic suit, 9917 Big Jim Artic Rescue Set in original box and two adventure boxes (empty); Active Man case with accessories, two Lion King figures; Viewmaster viewers with reel-slides; and Muppets Learn to Dress Miss Piggy in original box, VG-E, boxes F-E
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A Flying Suit and Leather Helmet; a First World War khaki battle dress with brass shoulder titles Bedford, together with service dress cap with Bedfordshire Regiment cap badge; a great coat; a Second World War German cloth cap; a steel helmet; a pair of gaitors; a miner's helmet; a First World War Pair, to 4418 PTE. H.J. JOSE. HAMPS.R.; an 1821 crown enamelled as a brooch.. .
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A 19th century European reproduction suit of armour standing on a wooden plinth with spear and shield the steel armour suit is fully engraved, the breastplate and shield engraved with lions, dragons and smaller shields bearing the wording Marco Barbarigo, approx height including spear 84in (214cm).
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A pottery charger by Frank Brangwyn (1867-1957) the large circular charger painted in black with a man supporting a large implement with black lined rims monogrammed FB and incised Ditchling 1926" (a/f) 17.25" diameter. . Brangwyn was born in Bruges in 1867 the son of an Anglo-Welsh architect and ecclesiastical designer; he worked in his fathers workshop and then became an apprentice to William Morris in 1882. He spread his talents over a variety of outlets including painting print making drawing and design and was also a respected mural artist. During the First World War Brangwyn played an important part as a propaganda artist and provoked controversial reactions to his work which depicted the harsh reality of war. Brangwyn increasingly ignored developments in art and continued in his own manner adapting traditional methods to suit his own personal style. He ended his career as he had begun devoting his time to religious art and applied design.
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19294 item(s)/page