Velosolex S3800, 49cc. Project. Not registered. Frame stamped *VNZS4800D B0000554* No Engine number. Velosolex produced cyclemotors from 1946 to 1988 in Europe, production began in both China and Hungary in 1988, but ceased in Hungary in 2002. French production resumed in 2005 and is a replica of the historic model, but includes modern components which suit both European and North American requirements. The pedal-assisted powered bicycle has a 49 cc two stroke engine which runs on 1.4 litres of fuel, enough for 50 or 60 miles, they have sold more than 7 million units worldwide. The bike is complete, be it in parts, current vendor has undertaken partial restoration including powder coating the frame and various parts, with ring binder containing photographic history prior to restoration.
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2004 Lexus LS 430 4.3 litre V8 4 door saloon car No Reserve Registration: BD 04 TFZ Chassis: Odometer: 119,000 External Colour: Gold/Bronze Interior Colour: Black Fuel type: Petrol Engine Size: 4300cc Transmission: Auto MOT expires: 20th February 2024 Outside . Not many cars suit a metallic gold exterior but i think it sets the mighty LS off perfectly . Chrome plastic strip across the front bumper has lost its shine . Very few stone chips to the bonnet and top of windscreen area . Rear bumper has a few parking scuffs . Other than that the car is very clean, straight, free from any corrosion or dents . All 4 wheels look like they would benefit from a refurb which would heighten the presence of the great car . 4 matching Nankang tyres all around with I'd say 70% to 80% tread remaining Inside . Usual well appointed LS interior in excellent condition . Black leather seats showing little signs of wear, marks or rips anywhere . Half wood steering wheel showing some signs of wear where the leather meets the wood . Touch screen navigation system . Heated and cooled seats . Rear sun blinds . There will be many features i've missed Mechanicals . Starts easily and soon settles to a near silent idle . Drives and stops effortlessly and goes through the silky smooth automatic gearbox with ease . Under the bonnet the neat V8 looks clean History . We only have the green slip of the V5C . Full book pack . Our HPI check shows 7 previous keepers . Supplied new by Lexus Birmingham . Service history books shows 3 stamps at Lexus main dealers . Then a further 7 stamps at independent garages the last being on 02/04/2020 at 115,892 miles . Collection of old MOT's dating back to 2010 Our Opinion The LS series of cars were always ahead of their time, and this one is no exception, despite it nearing 20 years old this car still looks good and the gold (or bronze as detailed on the HPI report) suite the car like no other. This Japanese Rolls Royce is offered without reserve and could be a bargain user for those long road trips.
Hot Wheels (Hot Wheels Racing Series) & Action World TV Collectables - a small group comprising of 3 diecast 1/18 Scale Formula 1 Racing Vehicles which includes a Ferrari F-2002 "Reubens Barrichello", a Ferrari F-2002 "Michael Schumacher" along with one other. Conditions all generally appear to be Good although these models appear loose inside packaging therefore may have smaller pieces missing, broken off or loose and are presented in generally Good outer window boxes. Also to include in this lot is two interesting collectable items, one being a hand signed photograph signed by "Michael Schumacher" and comes with a certificate of authenticity by Action World TV Collectables and also a unique piece of memorabilia which is a Michael Schumacher Race Suit Swatch Keyring which appears to be a piece of Michael Schumacher's Racing Suit sealed between plastic for prosperity and comes with a certificate of authenticity which also has a unique hologram number relating to this item. Interesting lot. (quantity)
Group of Original 1950's & 1960's period retailers shop display show cards (1) "Exhibition of Ardil Blended Fabrics at Hulme Hall Port Sunlight 16th and 17th May 1956" approx 8" x 13"; (2) Westone Paints Ltd of Liverpool "Not to Worry... the walls are treated with Paldec Transparent Plastic Glaze" approx 9.75" x 15"; (3) Ugandan Market "Hescovis Formal Dresses & T-shirts ask for them in store by name" approx 12.5" x 20"; (4) "Uniweld Plastic Rain Wear - The Mack to suit your pocket" this printers card when die-cut would produce a pair of show cards each approx 10" x 15" - Good to Excellent. (4)
Franklin Mint - an unboxed group of 1/24 Scale Classic Vintage Vehicles which includes a 1928 Stutz "Black Hawk" Boat Tail Speedster, 1907 Rolls Royce "Silver Ghost" along with others. Conditions do generally appear to be ranging from Fair to Good with the majority of these models appearing to have smaller delicate pieces missing, broken off or loose with some loose pieces present. Ideally this would suit a restoration project or someone looking for spares. (6)
'Circus' a Clarice Cliff Bizarre side plate designed by Dame Laura Knight, printed and enamelled with two performing horses in the ring, the rim garlands and bunting, in colours highlighted in gilt, and another decorated with a clown in yellow suit, printed factory marks, first edition and facsimile signature, 17cm. diam. (2)ProvenanceApplied Arts Sotheby's Olympia , 31st May 2007 lot 171 (Horse side plate).
Large Italian Sicilian marionette puppet dressed as a knight, 20th century. With a polychrome wooden face, metal and fabric suit of armor, and a hooked pole for display.Height: 80 in x width: 19 1/2 in x depth: 17 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
A late 19th/early 20th century ventriloquial 'dummy' figure of a young boy: the painted mache head with applied hair with 'hair raising' central strip, brown glass eyes, winking right eye, snarling top lip and open mouth with teeth and water/smoke tube, dressed in grey flannel suit with white collar and black bow tie and matching plus fours, painted mache hands and feet, 76cm high, together in a brown leather Gladstone style bag. (eyes stiff and require attention, right eye cracked general age wear to head , hands and feet).Note - This figure was bought by the vendor's grandfather when, as a young man, he travelled to New Zealand around 1900. *Provenance- By family descent.
British Aircraft photographs - Large 500mm x 400mm black and white photographs of Battle of Britain era subjects, Hurricane being rearmed, JU57 Stuka over beach 9x HEIII Bombers on raid, Large 400mm/400mm black and white photograph of a pilot strapped into a Martin Baker Ejection seat - frame being fitted with a pressure suit for what appears to medical test purposes and Atmospheric Graphic design (image entitled "The Gathering" shows 6xF15 aircraft taxying-Image 260mm x 390mm painted on canvas dated 15.6.2005
A Blanes vintage 1950's cocktail dress green figured satin, broad straps, a ruched bodice with a brooch, a yellow and navy blue spotted dress with velvet detail, a cream evening dress, a blue lace and ribbon decoration cocktail dress labelled Kings Glasgow, a Susan Small black crepe cocktail suit, two other items.
Selection of Susan Small vintage dresses - Susan Small Model blue silk dress with ruched bodice, full skirt, ruched short sleeves and a white lace trim, labelled Susan Small of London, made in England; Susan Small purple linen skirt suit with sleeveless top, the neckline decorated in white rickrack, a Susan Small 1950's grosgrain day dress in brown with stiff petticoat lining, chiffon cowl neck, brown button detail to the shoulders, three button detail to three-quarter length sleeves, belt hooks but no belt, a Susan Small made in England quilted panne velvet waistcoat and a Susan Small Model labelled black velvet maxi dress, the bodice detailed with black rickrack as is the velvet fitted belt, 1960's (5)
Various vintage dresses and coats to include Simon Massie dress and matching coat, shot satin evening dress, a dress and matching jacket labelled Susan Leurant, a linen dress, a 1950's sleeveless cotton sundress, a cheongsam, a crimplene purple and white coat, a blue strapless dress, a pink dress and a skirt suit labelled Sheneberger (10)
A EXCEPTIONALLY RARE .577 LANCASTER OVAL BORE 3-BAND GOVERNMENT TRIALS RIFLE , EX-ENFIELD PATTERN ROOM COLLECTION, CIRCA 1862, No. 4, with 39in. barrel with elliptical or oval bore gain twist rifling, the pitch increasing from 36in. at the breech to 33in. at the muzzle, the major axis of the bore is .580in. and the minor .572in., the rifling specifications closely follows that of the Lancaster Royal Engineers carbine except there is a slight reduction in calibre to suit the new Service .55in. bullet, the rifle is fitted with the usual military pattern block and blade foresight and ladder rear-sight, the barrel is engraved '151 NEW BOND ST. LONDON' to the front of the rear-sight and stamped with London proofs at the breech and 'LANCASTER'S PATENT', the lock is the standard P53 pattern with borderline engraving and the makers name 'C. LANCASTER' to the centre, regulation brass mounted full walnut stock the underside of the butt is stamped '97' and the white painted collection inventory number '629', the butt-cap is engraved '4', the rifle is complete with its sling swivels and correct pattern rod.
A 12-BORE SINGLE-BARRELLED PERCUSSION CONVERTED FROM FLINTLOCK SPORTING GUN BY BECKWITH, CIRCA 1810/35, no visible serial number, with 30in. twist barrel signed in gold at breech 'BECKWITH LONDON', the conversion to percussion has been effected by fitting a new breech unit with nipple bolster and vented platinum plug, the top with an inlaid platinum band and engraved with a pheasant, borderline engraved lock with stepped tail, some foliate decoration and makers name 'BECKWITH' to centre, the top edge of the lock has been reprofiled to suit the new bolster, the hammer engraved to match the lock, iron mounted figured walnut half-stock with chequered wrist, scroll trigger-guard with pineapple finial, complete with brass mounted wooden rammer.
FOUR BOXES AND LOOSE SUNDRY ITEMS ETC, to include an unboxed Escalado game, Lawley y composite doll with sleeping eyes, Russ Bears teddy bear, Antler luggage set to include suit bag, holdall and shoulder bag, Pierre Cardin suitcase, leather briefcase , plastic briefcase, wicker pet carrier, small quantity of Lego, Harrods teddy bear, Minnie Mouse soft toy, assorted other soft toys, LP records and 7 inch singles to include 'The Excursion 'Night Train', The Wurzels, Mantovani, Military marching bands, Herb Alpert, Shirley Bassey, singles - ABBA, The Mixtures, Tom Jones, Smokey, Chuck Berry, Sweet etc
Buck Rogers in the 25th Century (1979 1981), an original yellow and silver costume track suit from the television series, from the Olympiad episode which aired on February 7, 1980, the top with a silver strip to front and back and a silver triangle motif to left breast, the matching trousers with a drawstring cord to waist and a silver strip to each leg, size L, with The Museum of Mom & Popular Culture certificate of authenticity signed by curator, Alan J. Adler. (2)
A Paragon china child's Eileen Soper Play Time series mug, decorated with three baby bunny rabbits and a child in pink romper suit, with floral scroll rose and leaf handle to side, shows no signs of use, no damage or restoration, (h 7.5cm x 7.5cm) and a white metal cast standing rabbit figure, (h 3cm x 4cm)
RICHARD HAMBLETON (1952-2017)Standing Shadowman 2012 signedacrylic on found metal and wood door270 by 127 by 7 cm.106 5/16 by 50 by 2 3/4 in.This work was executed in 2012. Footnotes:ProvenancePrivate Collection, New York (acquired directly from the artist) Shin Gallery, New York (acquired directly from the above)Richard Hambleton: Melding the City into the Shape of a Canvasby Ekin Erkan, Shin GalleryThe Canadian-born artist Richard Hambleton (June 23, 1952 – October 29, 2017), colloquially known as the 'Godfather of Street Art' amongst insiders, was a fixture in Manhattan during the early 1980s. Hambleton's retinue included Keith Haring and Jean-Michel Basquiat, all tragic figures in their own right, initially scrounging in poverty whilst following their passion amongst scrawled walls and cragged sidewalk that they bent in the shape of a canvas. Today, we all know the names Banksy, Kaws, and Shepard Fairey; if one is better informed, they may even know the stencil-based street artist, Blek Le Rat. But without Hambleton, none of these artists–all of whom pay homage to and exalt Hambleton in interviews and art practice–would have developed their own unique street art lexicon.Hambleton gained a cult following with his splattered, adumbrated images of outlined figures on buildings throughout the Lower East Side. Hambleton was truly one of the bohemian spirits threading through the downtown scene–frail, even ghastly, stumbling but never dropping the buckets of black paint he balanced in his fingers, alongside a handy paintbrush. The brush-and-bucket, not the aerosol can, were his tools par excellence. Hambleton's early public art from 1976 to 1978 included the Image Mass Murder, a predecessor to the Shadowman works. In the former, Hambleton would paint a police 'chalk' outline around bodies of volunteer 'homicide victims'. He would then drip flecks of bright crimson paint on the outline, the result being a realistic-looking crime scene. Some read these as critiques of police, others as a documentary process of the city's malefactions. Hambleton subsequently trekked through 15 major cities across the United States and Canada where he produced these outlines, showing an undoubtedly prolific discipline. Then came the Shadowman pieces, clandestinely executed with expressive flourishes of speedy brushwork. Highly stylized, life-size figures and animals, these were charted on derelict structures–again, first in downtown Manhattan and then internationally. Hambleton's Shadowman even adorned the Berlin Wall.Hambleton was a fixture on the East Village gallery scene, but following the mid-'80s, he disappeared for a time. Hambleton retreated to his studio on the corner of Grand St. and Orchard St. to develop a distinctive form of gestural abstraction inspired by nature and the nineteenth century American Luminists, teeming with mellificious pools of color. This marked something of a turn away from the urban environment and Street Art proper, as evinced by his late-career 'The Beautiful Paintings' 2007 solo exhibition. Unfortunately, during this period he was diagnosed with skin cancer and took to self-medicating.In 2012, Hong Gyu Shin opened Shin Gallery, across the street from Richard Hambleton's studio. During the early days of the gallery, which now spans three gallery rooms, Hambleton would visit the gallery regularly. He would usually arrive around 6:10 PM, 20 minutes prior to the gallery's closing. Shin had a makeshift bedroom downstairs, and the two would discuss art history and the downtown scene at length. Hambleton, ever-opinionated, introduced Shin to many of the bastions of Contemporary Art, unspooling tales of his time at Club 57 and how Hambleton and his good friend Basquiat would trade artworks with one another. Each evening, Hambleton would mount his meager children's bicycle and peddle over to the gallery, propping it against the gallery's glass door before spending hours into the evening exchanging such tales with Shin. One day, Hambleton, increasingly destitute and afflicted by addiction, was evicted from his studio. He had been unable to pay his rent. The artist was still sharp but had become something of a loner. Left with nowhere to work and no friends who would help him, Shin stepped in and offered to let Hambleton use the gallery as a makeshift studio after hours. Every evening, the gallery staff would dismount the artworks exhibited to clear a space for Hambleton to work and, each morning, reinstall the works. By the time Shin would go to bed downstairs, Hambleton would have just propped up a blank, pallid canvas. When he woke, the canvases showed dazzling images–Shin recalls, in particular, one particularly captivating painting of an energetic rodeo with a horse buoyantly jumping.Consigned by Hong Gyu Shin, Standing Shadowman is executed in acrylic on a steel door. It is an example of Hambleton's idiosyncratic Shadowman paintings. The tradition of using the door as a canvas is tried and true–e.g., Basquiat's 1985 painting Sam F, featuring a suit-jacketed man in a wheelchair, painted on an apartment door. This piece not only shows a Street artist at his peak maturity but also speaks to Hambleton's choice material–the urban surroundings which he cultivated into canvases.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A box of miscellaneous designer fabrics, to include: psychedelic pastel design, blue with pink detail; Liberty woollen fabric; multi-coloured and pink floral patterned fabric etc. Also a collection of woollen dress/suit fabrics, to include: tartan in blue/green plaid, viyellas, paisleys and mauve leaf design.
GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot. Please note: This work is Oil on Canvas Condition Report: Oil on canvas. This work has recently been sensitively re-stretched and very lightly cleaned. This process has revealed a study of The Veil of Veronica on the reverse. Some patches of craquelure scattered across the surface, mostly to the green background pigment. The very extreme upper and lower edges with some evidence of framing tape which has been painted, visible in current frame. This does not detract from the images. Inspection under UV reveals very light scattered retouching to the chest and lower edge. There is one small patch of retouching the left of the nose. Condition Report Disclaimer
The fascinating M.B.E. and A.G.S. Nandi pair awarded to Mr P. H. Clarke, a civilian who was attached to the 3rd Kings African Rifles for the operations in Nandi country - at the time he was the only European trader at Kisumu on the shores of Lake Victoria, where he ran the company store for Boustead, Ridley & Co. In addition he was also the Town Clerk. When vessels were required to transport the Sudanese troops for the oncoming campaign, Clarke, on behalf of his employers supplied two dhows. Clarke was no stranger to adventure - ‘he was of the pioneer school, the members of which went after business on their flat feet. When he first reached East Africa, ivory was the main item of trade, and again and again he trekked up to Uganda to bring down caravans of the precious commodity. That his camps were sometimes raided and his own life endangered did not divert him from his purpose’ The Most Excellent Order of the British Empire, M.B.E. (Civil) Member’s 1st type, breast badge, silver, hallmarks for London ‘1919’, in Garrard & Co. Ltd. case of issue; Africa General Service 1902-56, 1 clasp, Nandi 1905-06 (P. H. Clarke. Nandi F.F.) generally very fine or better (2) £800-£1,000 --- M.B.E. London Gazette 27 June 1919: Unofficial Member of the Legislative Council, East Africa Protectorate, for services on behalf of the British Red Cross Society and Order of St. John. Percival Herbert Clarke and his colourful life in Africa is recorded in his obituary which appeared in East Africa, 1934: ‘The sudden death in Mombasa at the age of 62 of Mr Percival Herbert Clarke will not surprise those friends who knew the serious state of his health. For a long time his heart had caused more anxiety to others than he allowed it to cause him and the news which he received a month ago of the death in this country of the daughter to whom he was so deeply attached must certainly have loosened his hold on life. “PH” as he was known to all pre-War Kenyans, and to many of the post-War generation was born in Bermondsey on the last day of 1872, and educated at the Royal Merchant Seaman’s Orphanage... At the age of 18 he went to S. Africa, from which he returned a few years later. In 1898 he sailed for Mombasa to join the firm of Boustead, Ridley & Co. on the liquidation of which four years later he began trading on his own account in Kisumu - of which he used to recall with mock solemnity that he was its first Town Clerk (honorary). Then followed years of strenuous effort, the fruits of which he reinvested in his business. But he lost everything by shipwreck on Victoria Nyanza when returning from Uganda in a dhow laden with ivory and other goods. For a while he organised a gold prospecting syndicate, but when that failed he restarted trading in Kisumu. In 1909 he amalgamated with Boustead Bros. and established his headquarters in Mombasa as principal of Boustead and Clarke, which has for many years been one of the best known names in EA commerce. “PH’s” record of public service was outstanding. At one time he was a member of no fewer than 17 different Commissions and Committees sitting in Kenya; and he was never a member merely in name, for, possessed of decided views and wide experience, he always contributed something to the subject under consideration. He had been an unofficial member of the Kenya War Council, the Kenya Legco and the Inter-Colonial Railway Advisory Council; he was the first President of the Association of Chambers of Commerce of EA, thrice President of the Mombasa Chamber of Commerce; and an original member of the Mombasa War Committee, the Mombasa Harbour Board, and the Mombasa District Committee.... He was of the pioneer school, the members of which went after business on their flat feet. When he first reached EA, ivory was the main item of trade, and again and again he trekked up to Uganda to bring down caravans of the precious commodity. That his camps were sometimes raided and his own life endangered did not divert him from his purpose....’ Clarke was one of a number of civilians attached to the 3rd Kings African Rifles as part of the Nandi Field Force for operations in Nandi country between October 1905 - July 1906. He was no stranger to conflict, and indeed had been attacked during his first year in East Africa: ‘December 1898. It was unfortunately necessary to send a punitive expedition into the Kivosoi location of the Kikuyu because of an unprovoked attack by the natives on Mr. P. Clarke of Messrs Boustead, Ridley & Co.’ (John Ainsworth and the Making of Kenya, by R. Maxon refers) At the time of the Nandi operations Clarke was the only European trader at Kisumu on the shores of Lake Victoria, where he ran the company store. In addition he was also the Town Clerk. When vessels were required to transport the Sudanese troops for the oncoming campaign, Clarke on behalf of his employers supplied two dhows. He is also remembered in Kenya from Chartered Company to Crown Colony by C. W. Hobley: ‘While we were living in the old station of Kisumu many incidents occurred which stay in my mind... At Mumias I had a small piano which I had brought up the coast with great labour, part of the way by porters and part of the way by bullock cart. When I moved to Kisumu it was packed in its case, and there it lay in store unused. The representative of a well-known Mombasa firm, Mr P. H. Clarke, offered to buy it for resale in Uganda. I agreed, and left one day for Entebbe in a sailing dhow with the piano as cargo. About a week later he staggered into my office in an exhausted state and told me that a couple of days after leaving Kisumu they had encountered a bad storm on the lake. It was night and, after being buffeted for some hours, the dhow sank and the occupants were precipitated into the water. Clarke swam about for a little and bumped up against the piano, which was floating, and presently the native skipper also held onto the case; the rest of the crew were never seen again. They hung on and floated about until daylight, when they discovered that they were a mile or two from an island. Eventually they reached it and landed from their novel craft. Native fishermen approached the island, but at first paddled away in terror at seeing a white man there. Eventually they returned, however, took off the castaways and landed them on the mainland. Here a friendly chief, Ugada Ndiek, gave them food and shelter, and as soon as Clarke had recovered strength, fitted him out with some old boots and a hat, and then he marched back to Kisumu. It was a trying ordeal for a European to be precipitated into the lake at the dead of night and to float about in the sun for the best part of the following day with no hat and clad in nothing but a thin suit of pyjamas. He suffered from shock for a week or two, but soon recovered.’ Sold with copied research.
Boxing Prince Naseem Hamed personally owned Joe Bloggs Sports Leopard print track suit with detailed embossing on the back Prince Born To Be King. Est. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
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