2013 ASM DBR 1 Replica Transmission: manualMileage:7489The title of the 'most important Aston' goes to the DBR1, endorsed by the fact that, in 2017, one of only five cars produced went to public auction for the first time ever, and sold for an astonishing $22.5m - a world record for a British car at the time. The Aston Martin DBR1 was the result of company owner David Brown's ambition to win the world's oldest active sports car race - the 24 Hours of Le Mans, his dream was realised in 1959. The journey to find the makers of the magnificent DBR1 reproduction takes us to a farm in rural Norfolk, where Andrew Soar of AS Motorsport has been building the ASM R1 Le Mans for private clients since 2007. Andrew's cars are fine examples of great British craftsmanship, providing joy to the dozens of customers who've commissioned his work and (given that only one original DBR1 has surfaced for sale since they were first built) offering the only real chance of acquiring such a vehicle. The majority of cars are built using a Jaguar XK engine and gearbox, available from 2.4 litre through to 4.2 litre. The chassis shares many features with the original design, and offers the possibility of having seat, foot-well, pedal and steering locations designed to suit individual requirements. The period feel of the interior is provided with Mota-Lita wood rim steering wheel, Smiths instruments, alloy panelling and leather-trimmed seats. The body is only painted in Aston Martin Green, other colours were not an option!This fabulous one owner example is the second one purchased by the registered keeper. Having enjoyed the first one so much, when Andrew Soar made some modifications to the original cars, he promptly ordered one. Sadly, having passed away, the family have taken the decision to part with this highly cherished example. Upon ordering the car it was decided to put the well tried and trusted Jaguar XK 3.8 litre engine in her, with fuel delivered by triple Weber 45DCOE carburettors. This is mated to a five-speed gearbox. The chassis is a perimeter space frame design, which is very similar to the original and has been powder coated in the original colour. The aluminium body reduces weight and thus enhances performance. Sixteen-inch wheels with Borani knock-ons, rack and pinion steering and adjustable shock absorbers all contribute toward great road holding. Braking is via disc brakes all round with ventilated discs on the front. An extensive history folder accompanies this ASM DBR1 replica, no stone was left unturned when it came to maintenance. Supplied with a V5C registration document, together a current MoT test certificate valid until 24th April 2023, this really is a great fun car that bears exacting bodily features of the original car. Viewing is highly recommended to fully appreciate the quality and how well looked after this car has been.Interested parties please note there is an adjustment to the catalogue description. The bodywork of this ASM is GPR and the boot, bonnet and doors are aluminium.
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An early 19th Century hand carved and oil painted wooden Sicilian folk art marionette puppet depicting a Knight in armour. Hand tooled copper medieval armour suit with removeable sword in scabbard, moveable helmet face guard, olive green silk costume and blue silk leggings decorated with gilt details. Measures 66cm ( 94cm inclusive of rod) x 26cm x 13cm.
Ablade Glover (Ghana, né en 1934)Two troubles, one god, 1988 signé et date en bas à gauche 'Glo 88'; titré et inscrit Ablade Glover sur une étiquette au revershuile sur toilesigned and dated lower left 'Glo 88'; titled and inscribed 'Ablade Glover' on a label affixed to the reverseoil on canvas101 x 101cm.39 3/4 x 39 3/4in.Footnotes:ProvenanceCollection privée, FranceAblade Glover, professeur à l'Université de Kumasi, occupe une position centrale au sein de la scène artistique contemporaine du Ghana, à la fois comme artiste et comme enseignant. Né à Accra en 1934, il reçoit ses premiers enseignements dans les écoles de la mission presbytérienne. Il suit ensuite une formation de professeur à l'Université Kwame Nkrumah des sciences et de la technologie, à Kumasi, avant d'obtenir une bourse pour étudier le design textile à la Central School of Art and Design de Londres en 1959. Après une courte période d'enseignement au Ghana, Glover retourne au Royaume-Uni en 1964 pour étudier l'éducation artistique à l'université de Newcastle de Tyne. C'est là, sur les recommandations de son mentor, qu'il décide d'expérimenter le couteau à palette pour appliquer la peinture directement sur ses toiles. Il explique : 'J'utilise le couteau à palette qui m'offre toute la liberté dont j'ai besoin. Le couteau vous donne le sentiment de vous exprimer immédiatement. Vous l'enlevez quand vous n'en voulez plus, c'est instantané et j'adore ça.'Ablade Glover applique d'épaisses couches de peinture sur ses toiles puis utilise le couteau pour déployer les couleurs vives contenues dans chaque empâtement sur la surface de l'œuvre. Cette technique est mise au service de la représentation des sujets qu'il choisit : scènes de marché animées, foules de personnages en prière, toits de bidonvilles et forêts denses. La manipulation gestuelle de la peinture permet aux œuvres d'osciller entre figuration et abstraction.Comme Glover l'explique, ' les scènes que je peins - les marchés, les foules - on ne peut jamais les capturer entièrement parce qu'elles sont toujours en train de changer. Mon objectif ne peut être que d'en saisir le tempo'. Alors concentré sur la justesse des mouvements qu'il représente, Ablade Glover rend au travers des surfaces texturées ondulantes de ses peintures le rythme de la vie quotidienne du Ghana.Peint en 1988, Two troubles, one god démontre l'extrême justesse dont fait preuve Ablade Glover avec son outil de prédilection. Les denses balayages de peinture à l'arrière-plan articulent l'amoncellement des bâtiments et des couvre-chefs des femmes blotties dans la foule. Au premier plan, trois femmes sont représentées de profil. Habillées dans des tons chauds de jaune ocre, les femmes dégagent une force tranquille, en contraste à l'agitation dynamique de leur environnement.Ablade Glover a hérité d'une réputation internationale pour son style pictural distinctif. Ses œuvres font partie des collections du Palais impérial de Tokyo, du siège de l'UNESCO à Paris et de l'Africa First Collection à Tel Aviv. Il a bénéficié de nombreuses expositions en Afrique de l'Ouest, en Europe, aux États-Unis et au Japon. Reflétant l'estime que lui porte la communauté artistique internationale, Glover a reçu plusieurs prix nationaux et internationaux, dont l'Ordre de la Volta au Ghana, et a été nommé membre à vie de la Royal Academy of Art de Londres.Professor Ablade Glover occupies a central position in Ghana's contemporary art scene as both artist and teacher. Born in Accra in 1934, he received his early education in Presbyterian mission schools. He subsequently undertook teacher training at the Kwame Nkrumah University of Science and Technology, Kumasi before winning a scholarship to study textile design at the Central School of Art and Design in London in 1959. Following a short period teaching in Ghana, Glover returned to the UK in 1964 to study art education at the University of Newcastle upon Tyne. It was here, at the suggestion of his teacher, that he first began experimenting with the palette knife as a tool to apply paint directly to his canvases. He explains:'I use the palette knife which gives me the freedom I want. The palette knife gives you the feeling to express yourself immediately. You take it off when you don't want it so there is an immediacy of the palette knife and I love it.'Glover applies thick layers of impasto to his canvases and then uses the palette knife to spread the brightly coloured pigments across the surface of the work to create textural slices of paint. This technique is put to the service of portraying his chosen subject matter; bustling market scenes, crowds of figures at prayer, the rooftops of shanty towns, and densely grown forests. The gestural handling of paint allows the works to hover between figuration and abstraction. As Glover explains of his depictions of these urban topologies, '[t]he scenes I paint – the markets, the crowds – you can never wholly capture them because they are always changing... My aim can only be to capture the tempo'. Indeed, the undulating textured surfaces of his paintings echo the rhythms of daily life in Ghana.Painted in 1988, Two troubles, one god demonstrates the breadth of Glover's experimentation with his chosen tool, the palette knife. The dense sweeps of paint in the background articulate buildings and the head wraps of women nestled together in the throng of the crowd. In the foreground, three women are portrayed in profile, evidencing Glover's enduring navigation of the figurative and the abstract within his painterly practice. Dressed in warm, buttery yellow tones, the women emulate a quiet strength which is juxtaposed with the dynamic bustle of their environment. Ablade Glover has garnered an international reputation for his distinctive painterly style. His work can be found in the collections of the Imperial Palace, Tokyo; the UNESCO Headquarters, Paris; and the Africa First Collection, Tel Aviv. He has exhibited his work extensively in West Africa, Europe, the USA, and Japan. Reflecting the esteem that he is held in by the international art community, Glover has been the recipient of several national and international awards including the Order of the Volta in Ghana and has been made a Life Fellow of the Royal Academy of Art in London.For further information on this lot please visit Bonhams.com
Fireplaces.- Gauger (Nicolas) Fires Improv'd: Being a New Method of Building Chimneys, so as to Prevent their Smoaking, translated by J.T.Desaguliers, first edition in English, advertisement leaf and 9 folding engraved plates at end, contemporary ink note of acquisition to front free endpaper "Read this little book the 24. Oct. 1715 & I find it but very little worth, there being much said to little purpose" and with annotations/corrections to text, engraved bookplate, an attractive copy in contemporary calf, morocco label, spine slightly rubbed, [Harris 244], for J.Senex and E.Curll, 1715 § Leutmann (J.G.) Vulcanus famulans oder sonderbahre Feuer-Nutzung welche durch gute Einrichtung der Stuben-Osen, Carmine..., fifth edition, engraved frontispiece and 55 folding plates of fireplaces, ovens, tea and coffee machines etc., folding letterpress table, a little browned, some light worming, modern boards, Wittenberg & Zerbst, S.G.Zimmermann, 1764, 12mo & 8vo (2)⁂ The first item was first published in Paris in 1713. This is "the earliest treatise on domestic heating and the basis of all eighteenth-century books on the subject in English...Desaguliers published a translation of Gauger's book, omitting what he thought superfluous and adding his own improvements to suit the burning of coal in England". (Harris). Maybe it was Desaguliers' alterations which left the owner unimpressed. Despite ESTC calling for 4pp. appendix at end Harris does not; this appears to be part of the second edition of 1736 which states "with an Appendix" on the title.
Christie (Agatha), a collection of 8 modern editions and 1st editions to include The Secret Adversary, John Lane The Bodley Head Ltd, 1933 (cheap edition reprinted); The Sittaford Mystery., Collins, The Crime Club, 1952; Postern of Fate., Collins, The Crime Club, 1973; The Man in the Brown Suit, Harper Collins, 1997; Endless Night, Collins, The Crime Club, 1967; Elephants Can Remember, Collins, The Crime Club, 1972; Passenger to Frankfurt, Collins, The Crime Club, 1970; Agatha Christie Crime Collection (The Murder on the Links, Pocket Full of Rye, Destination Unknown), Hamlyn, 1969.
A VICTORIAN SAILOR'S WOOL WORK 'FORGET ME NOT'. The woolwork mounted with a central panel of a Victorian lady within the motto 'Forget Me not' beneath a crown worked with attached 'pearls' and flanked by six exuberant flags with further 'pearl' and tassel decoration, above two further photographs of a young sailor and a man dressed in a suit, all beneath a draped border, framed and glazed in a maple veneered frame, 46.5 x 55cm visible, 55.5 x 65.5 overall.
Beaton (Cecil, 1904-1980). Portrait of the fashion editor Madge Garland, c. 1947, gelatin silver print, three-quarter length in a suit by Bianca Mosca, hat by Simone Mirreau, 242 x 194 mm, original mount with photographer's signature in red pastel to lower mount, Condé Nast stamp to verso, mount slightly soiled and bruised, together with a later gelatin silver print of the same imageQTY: (2)
FreimaurernachlassAnfang bis Mitte 20. Jh., wohl Frankreich, Glas mit eingeschliffenen Freimaurersymbolen, darunter Zirkel und Winkel, gekreuzte Degen, gekreuzte Schlüssel, Pyramiden, allsehendes Auge, Sonne und Mond, eingerahmt von Palisaden, darüber die unendliche Schlange, H 12,5 cm, dazu blau-weißer Schurz mit drei Rosetten, eine Halsdekoration mit Schlüssel, eine Halsdekoration Schwan und Kreuz im Zirkel unter Krone, eine Halsdekoration Stern "Le jour me suit" (der Tag folgt mir), unter Krone, sowie eine Schärpe mit Winkel und Anhänger a Quadrat + b Quadrat = c Quadrat, guter Zustand.
Nikos Engonopoulos (Greek, 1907-1985)L' Archéologue signé en grec et daté '43' (en bas à droite)huile sur toile74.5 x 56.5cm (29 5/16 x 22 1/4in).Peint en 1943.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceThe artist's estate, Athens.ExpositionVenice, XXVII Esposizione Biennale Internationale d'Arte, Padiglione della Grecia, Nikos Engonopoulos, June 19 - October 17, 1954, no. 17 (listed in the exhibition catalogue, p. 295).LittératureArdin magazine, no. 57-58, December 2005 - February 2006, p. 27 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007, p. 47 (listed), p. 7 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 309, p. 64 (illustrated), p. 257 (illustrated), p. 424 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 665-666 (discussed), p. 977 (listed), p. 667, fig. 278 (illustrated).Painted in 1943, the year Engonopoulos wrote his emblematic Bolivar, L'archéologue is no less a masterpiece, introducing the viewer to a magical pictorial world of poetic metaphor. Merging symbols of different origin and character, and using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in miniature manuscripts and narthex decoration,2 Engonopoulos combines the ancient past with modern-day elements to subvert, in a typical surrealist fashion, the conventional ways with which rational thought perceives the world. Yet, as noted by theatre director and playwright Alexis Solomos, what is astonishing with him is the all prevailing spirit of Greece in his work. 'Everything Engonopoulos touches becomes Greek.'3 Here, set against a bright blue Greek sky interrupted by an ancient temple, a schematized tree and an unmistakably Engonopoulian travelling cloud, the visual act takes place in a shallow space reminiscent of a stage set that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to introduce the theatrical into his work, has once said that 'under the stage lights every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 At the centre of the composition, a standing figure in a green tunic, possibly the archaeologist himself, seems determined to gain control over this fascinating gathering of images and restore a sense of order. Captured both frontally and in profile by means of the late cubist pictorial convention of contraction, he is flanked by a phantom figure with a picassesque head and a dazzling red clamys, and a helmeted kouros-like warrior holding a walking stick and a topper hat. The three monumental figures are being stared at by a woman-like wig stand with voluptuous curves and daringly rendered nipples, while a host of details, including a Doric column drum juxtaposed to ionic volutes in the extreme foreground, a lamp (a distinct and recurring theme in Engonopoulos's work with symbolic overtones), a chequered tile, and the artist's signature red-and-white bathing suit partially shown on the right, undermine the accepted narrative cohesion of images to explore the uncharted trails of the mind. Although this unexpected staging of dream-like images and objects is a fascinating feature of the work, no less impressive is the handling of colour. Dazzling reds, blues, greens and oranges, applied side by side with minimal tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.L'archéologue was exhibited in the 1954 Venice Biennale6, where, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, this was perhaps the most important milestone in Engonopoulos's career.7 In Venice, he showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'1 O. Elytis, Open Papers [in Greek], Asterias editions, Athens 1974, p. 294.2 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 228.3 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa editions, Athens 1974, p. 261.6 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.7 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.For further information on this lot please visit Bonhams.com
Mixed late 20th Century and modern ladies clothing comprising a Mansfield 2 piece dogtooth skirt suit with lime green and hot pink detail, UK size 16, a Monsoon skirt, UK size 14, a Monsoon green and navy silk dress, UK size 12 and a metallic silver coloured leather 3 piece skirt suit with belt, approx 34" waist x 44" chestLocation: Rail
rare and unusual group of miniature early English cloth dolls, circa 1810, all handmade and with finely painted features, dressed in various materials including silks and velvet, including a family of mother in long pink velvet coat, father in black suit and son in white trousers and black jacket, a mother and two daughters dressed in matching cream and blue polka dot dresses, a lady in brown silk dress and lace bonnet and a further two ladies in white dresses, (condition: good), tallest 6” (15cm) tall, smallest 2” (5cm) tall, together with an additional red coat, (10 items), together with a photocopy of typed note from Warwick Museum.
Three wax over composition Pumpkin shoulder head dolls, German 1860s, each with fixed black glass pupil- less eyes, painted mouth, and colourful moulded painted bonnet with feather, cloth body with carved wooden lower arms and legs with painted boots, larger doll wearing a brown silk dress, 14” (35cm) tall, (condition: some fading to face), similar doll in red trouser suit and another, (a/f), (3 items).
Rare bisque head clown doll, French circa 1900, the white bisque head with fixed brown glass eyes, painted lashes and single stroke brows, open mouth with upper teeth and auburn wig, with colourful face-paint decoration, on a fully jointed wood and composition body and wearing a red and white clown suit with white pom-poms, ruff and pointed hat with white socks and shoes, incised L C and anchor, D, 4/0, 15” (38cm) tall, (condition: head perfect, body excellent).
Group of bisque head Dolls House dolls, German circa 1900, all with painted features and moulded hair, on cloth bodies with bisque lower arms and legs, including Gentleman with moulded top hat painted moustache and wearing later black evening suit with cape, 6 ¼” (16cm) tall, Grandmother with moulded grey hair wearing original gown (frayed), all original Maid, Kitchen Maid in original striped dress and apron, Master in later brown silk trouser suit and Mistress in original blue dress with apron, (condition: Gentleman with chip to rim of top hat and Maid lower legs replaced), (6 items).
Four English bisque head dolls, 1915-20, including a girl with moulded red hat, painted features and moulded hair, on a cloth body with composition lower legs and arms, wearing a pink silk dress, 13” (33cm) tall, incised ‘English make, 656780’ to shoulder, similar boy in original brown suit, incised ‘Willow, England’, ‘Leslie 1054’ boy in red outfit and a ‘Hancock’ doll with moulded green beret, (4 items), (condition: generally good).
Rare small size Kammer & Reinhardt 114 bisque head character doll, German circa 1910, good quality head with painted features, blue eyes and original short blonde wig, on a fully jointed wood and composition body and wearing a white knitted trouser suit, incised K star R, 114, 19, 7 ½” (19cm) tall, (condition: head perfect, body good).
Miniature Kestner 292 ‘googly’ doll, all original, German circa 1910, with blue glass side-glancing eyes, finely painted lashes, single stroke brows and smiling closed mouth, blonde wig and swivel head to chunky body, jointed at shoulders and hips, with painted blue socks and black sandals, wearing brightly coloured trouser suit with felt cap, 5 ¼” (13cm) tall, (condition: There is a firing line/fault running from the back of the head, under the chin and round to the left ear').
Four German Christmas Cracker dolls, including a pair of children with bisque heads, painted features on wired bodies in all original crepe paper costumes, 4 ¾” (12cm) tall, together with a large example with mask face and original crepe paper suit and a later celluloid child in pink crepe dress, (4 items).
Taylor Buoyancy Suit. A WWII RAF Taylor Buoyancy Suit, with Air Ministry tailors label stamped 'Contract 5319, Stores Ref No 22/C 739, Type Buoyant, Size Medium, Height 5-7 to 5-10, Breast 37-39, Waist 33-35, Seat 39-41, Serial No 93' with inspectors stamp, canary yellow fabric with Air Ministry neck waist zip fastener and two full-length leg zips (to aid putting on and removing the suit, the latter particularly important if injured), the suit fully lined in heavy brown cotton and heavily padded throughout with kapok and various pockets for inserting kapok flotation pads, with integral braces to support the weight of the suitQTY: (1)NOTE:The Taylor Buoyancy Suit was introduced in 1942, it was a new type of flying suit that was developed as an aid to survival in the event of landing in water.
Flying Suit. A WWII Battle of Britain period 1930 pattern "Sidcot" flying suit belonging to Sergeant Thomas William Townshend, 601 Squadron, who served in Blenheims before moving to Hurricanes during the Battle of Britain, the lightweight waterproofed green cotton, with lined lining, full length diagonal zip front, zip sleeves and legs, large flap collar and detachable fleece collar, large map pocket to the left breast, two large fleece lined pockets to each thigh, the inner collar stamped in black in FP 10 39 and the hanging strap inscribed Townshend 801555, the detachable collar also inscribed 801555, and stamped in black ink A.I.D. I.P2, A.M. 3, 148cm long QTY: (1)NOTE:The 1930 pattern flying suit was a direct development of the WWI Sidcot suit and could be worn with full service uniform. It was used throughout WWII.801555 Sergeant Thomas William Townshend was born in Edmonton, Middlesex in 1918, he was educated at St James School before joining 601 Squadron, Auxiliary Air (Aircraftsman). He was recalled for service on the outbreak of WWII and advanced to an Air Gunner. In February 1940 the squadron exchanged its Blenheims for Hurricanes and its Air Gunners were posted away. Townshend joined 600 Squadron in May when it was replacing aircrew killed on a raid on Waalhaven on 10 May. He served with 600 Squadron throughout the Battle of Britain. Townshend shot down a Me110 on 14 August 1940. The enemy aircraft had been part of Erprobungsgruppe 210, a specialist fighter-bomber unit that was tasked for raids on Ramsgate and Manston airfields. In an interview, Townshend recalled "I grabbed the mounting with the four Brownings fixed to it and had the leader of the nearest formation to me in my sights. Both lines of the formation swept past between myself and the hangars. They were that close that I still think today that I could have thrown a stone and hit one or other of them. As it was, I opened fire and to my utter amazement watched a row of bullet holes ripping through the port wing right along the aileron section, the bullet holes travelling towards the fuselage... I had fired in the region of 250-300 rounds.Vasco (John J) 'Bombsights Over England: A History of Eprobungsgruppe 210' refers.
Taylor Buoyancy Suit. A WWII RAF Taylor Buoyancy Suit, with Air Ministry tailors label stamped 'Code No 5594, Stores Ref No 22/C 740, Type Buoyant, Size Large, Height 5-11 to 6-2, Breast 40-42, Waist 36-38, Seat 42-44, Serial No 3253' with inspectors stamp, canary yellow fabric with Air Ministry neck waist zip fastener and two full-length leg zips (to aid putting on and removing the suit, the latter particularly important if injured), the suit fully lined in heavy brown cotton and heavily padded throughout with kapok and various pockets for inserting kapok flotation pads, with integral braces to support the weight of the suitQTY: (1)
Flying Suit. A WWII RAF 1940 pattern "Sidcot" flying suit (size 7), the heavy olive garbadine type fabric with original label stamped with stores reference number C.No. H174187/40.C.I.d., inscribed in black ink WD 152, full length diagonal zip front, zip sleeves and legs, large flap collar, large map pocket to the left breast, two large pockets to each thigh, 170cm long, together with a WWII RAF 1941 pattern electrically wired flying suit (size 6), with Air Ministry tailor's label stamped 22C/778, inner collar inscribed with owners service number 1853153 each with an associated detachable fleece collar plus a quilted kapok liner (used with both the 1940 and 1941 pattern flying suits), the tailors label with stores reference number 22C/855 and additionally inscribed with the service number 1815564?, the leg zip inoperable and a fur-fabric "teddy bear" inner suitQTY: (4)
Flying Suit. A WWII Battle of Britain period 1930 pattern "Sidcot" flying suit, the lightweight waterproofed green cotton, Air Ministry black ink stamp and label stamped G.B.C. 27232, Size 5, C.998456/39/C.I.B. 1939, with cloth lining, full length diagonal zip front, zip sleeves and legs, large flap collar, large map pocket to the left breast, two large fleece lined pockets to each thigh, 165cm longQTY: (1)
RAF Beadon Suit Bag. A Beadon suit pack-pack, yellow fabric for tropical use in Asia, stenciled in black HEMS 58 and inscribed with owners name 'Tait', Dot zips and large pocket to the front, together with a WWII RAF tropical survival bag, green cloth stenciled with contents including First Aid, Rations, Walter, Matches and two dinghy bungs, contained in a WWII period military canvas bagQTY: (5)NOTE:The 'Beadon' suit, or as it is correctly termed, 'Lightweight Flying Overall', was introduced late in the war as a replacement for the Sidcot suit.
An Armand Marseille bisque headed 25" doll with composite body and limbs. With sleep eyes, painted lashes & lids, open mouth with 2 teeth, fixed tongue and moulded hair. Marked to back of head 'AM Germany 518/10K'. Voice box present in back of body, but not working. Dress in modern babies vest and sleep velour suit.
A very rare 8 x 10 original photograph from the Goldfinger set at Pinewood Studios. The special thing is that Shirley Eaton is having breakfast with Sean Connery at Pinewood Studios. Sean is wearing Cubby Broccolis (Albert Romeo Broccoli) morning suit with Cubby's initials. Fantastic, rare shot, signed by the famous James Bond star Shirley Eaton as Jill Masterson in Goldfinger. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
PARKER DUOFOLD FOUNTAIN PEN, LIMITED EDITION 2002.Resin barrel in three colours.M nib, 18 kts. gold plated and platinum plated.Cartridge loading, screw cap.Platinum trim.No box.Dimensions: 13.20 cm. length; 13.70 mm. diameter.The Parker Duofold is a classic Parker pen. The first Duofold model was created in 1921 at the express request of Lewis M. Tebbel, a salesman for the firm who wanted to offer his customers a fountain pen with an orange and black ebonite body, a push-action loading system and a rigid nib. Within a few months Parker had sold more than 15,000 units despite its high price for the time. Since its genesis in the 1920s, the Duofold collection has offered numerous variants to suit the different trends of the time. The Parker Duofold is undoubtedly an emblematic symbol of the firm and an example of quality craftsmanship, reliability and refinement in its materials.
Prize-winning 19th Century Geological Photographs, A Collection of six late Victorian geological photographs from the Coventry and Midland Photographic Society, presented as magic lantern slides. Each standard size lantern slide (8.2cm sq) is bound in copper sheet rather than the usual paper tape. Each slide is annotated on the mask with details including the subject, magnification and the pseudonym of each winner. Included in the lot is a photocopy of the original manuscript page listing these slides and giving the name of the two photographer, 'Chromos' was a Mr F Riley. The subjects are: Mud Cast of Salt Crystals, Fern-fossils from Coal Measures toned to suit colour of stones;Corals from Limestones, Fossil of Coal Tree, Fern Fossil from Coal Measures from a wood cut Stem of Calamite in Coal Shale.Note: Between 1889 and 1899 the Coventry and Midland Photographic Society ran annual competitions in different classes (genres), Class 10 was 'Scientific' and these slides are all class 10 winners over a six year period. A single set of winning lantern slides was sent from Coventry by rail successively to the major photographic societies across the United Kingdom for exhibition at their meetings. These slides are from the set circulated in 1893 which includes the winners from the years 1888-1893.
A RARE SUIT OF CEREMONIAL ARMOUR WITH HELMET AND QUIVERLate Qing DynastyOf woven gold and blue silk, embellished with circular brass studs throughout and detailed with embroidery, the suit comprising a number of detachable matching panels including the main front-opening long-sleeved jacket designed with a pair of confronted dragons within a medallion emblazoned on the chest; each of the detachable epaulettes on both side of the shoulder designed with further dragon designs trimmed with gilt-metal fittings in openwork; the matching apron divided into two panels opening at the centre the division covered by a loose dragon panel; the helmet of conical shape with a truncated shop, embellished with beaded jewellery chains and reticulated designs of sinuous dragons designs of writhing on rolling waves, with an unmatched wood box, with quiver and pouches. The apron 100cm (39 3/8in) long; the jacket 192cm (75 1/2in) wide (9).Footnotes:清晚期 織金錦獅身魚尾紋禮儀鎧甲及頭盔、弓箭囊一組Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。Ceremonial suits of armour such as the present lot were an essential part of the Imperial wardrobe during the Qing dynasty. Throughout the year, a wide range of ceremonies were held in the Imperial Palace and hundreds of people were called to assemble in the great courtyards to take part in official rituals. Surviving evidence suggests that Manchu military uniforms were identical to their riding costumes with added coats of chain mail. Dress or parade armour did not appear until after the conquest. At that time, the Manchu adopted Chinese-style armour of metal plates covered with padded textiles which had been used by the Han infantry since the 3rd century BC. Overlapping metal plates afforded protection from arrows, particularly those shot from powerful crossbows. Ceremonial armour worn by guards at the Forbidden City and high-ranking members of the Qing society was derived from Ming dynasty prototypes and featured netal plates covered with luxury silks and gilt brass fittings. Participants of different ranks were distinguished by the design of their armour. The present set, made of satin padded with cotton, lined with blue silk and embroidered with four-clawed dragons in roundels, suggests that it might have been worn by a member of the Imperial nobility or a high-ranking official. A related silk armour, 19th century, similarly embroidered with dragon medallions, in the Minneapolis Institute of Art is illustrated by R.D.Jacobsen, Imperial Silks, vol.1, 2000, p.342, fig.56b.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A BOXED PALITOY ACTION MAN DEEP SEA DIVING EQUIPMENT SET, No.346504, diving suit still mounted on original plastic form, suit is complete but has some damage to screw thread on breastplate (helmet still screws on), marking and wear to fabric, missing some smaller accessories, with instructions and Official Equipment Manual, box damaged
A BOXED PALITOY ACTION MAN ACTION PILOT, late 1960's figure with brown moulded and painted hair, appears complete and in fairly good condition, later clothing, no Dog Tag, with Air Manual, box complete with only minor damage and wear, with a small quantity of loose accessories, Flying Suit, Scramble Crash Helmet, Air Vest Lifejacket
A QUANTITY OF 70'S ACTION MAN FIGURES, CLOTHING AND ACCESSORIES, three figures, one with a beard, another equiped with a parachute, accompanied by a large number of accessories such as a divers helmet, scuba tank, US space suit, zipline hammock, etc, and a three husky sledge team, all unboxed
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