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The rare 'H.M.Y. Helga, Irish Sea 1918' D.S.M. group of six awarded to Leading Deck Hand E. E. Duff, Royal Navy and Merchant Fleet Auxiliary, who was in charge of Helga's gun when she was credited with sinking a German submarineDespite her Irish heritage, Helga was commandeered by the Admiralty in March 1915 and later used by the Royal Navy to shell Liberty Hall in Dublin from the River Liffey with her pair of 12-pounder naval guns during the Easter Rising of 1916Distinguished Service Medal, G.V.R. (Ldg. Dk. Hd. E. E. Duff, (A.P.) H.M.Y. Helga. Irish Sea 4. Apl 1918); Naval General Service 1915-62, 1 clasp, Persian Gulf 1909-1914 (210674. E.E. Duff, Lg. Sea. H.M.S. Highflyer.); 1914-15 Star (E.E. Duff, A.B. M.F.A.); British War and Victory Medals (E.E. Duff. D.H. M.F.A.); Mercantile Marine War Medal (Ernest. E. Duff), good very fine (6)D.S.M. London Gazette 29 November 1918, the original citation states:'HMY Helga attack on enemy Irish Sea 4 April 1918. In charge of gun when HMY Helga sank an enemy submarine.'Ernest Edwin Duff was born at Deal, Kent on 12 April 1885. A telegraph boy, he enlisted in the Royal Navy as a Boy 2nd Class on 12 April 1903. A succession of shore and sea-based appointments followed and on 21 February 1911 he was drafted to Highflyer, serving aboard her until 29 May 1913. Later that same year he was invalided from the service with myopia on 9 October.Duff married Kathleen Power in Dublin in September 1916 and despite his disability enrolled in the Merchant Fleet Auxiliary, joining H.M.Y. Helga for service during the Great War.1916 Easter UprisingChris Shouldice takes up the story in his online article 'The Captain's Table':'HMY Helga is infamously known for its role in shelling Dublin during the 1916 Rising but before she was pressed into war service, she had a far more benign profession as a protection cruiser and research vessel for the Department of Agriculture and Technical Instruction. Built in the Liffey Dockyard in Dublin in 1908 and originally named the Helga II, her purpose was to engage in fishery patrols, monitoring the coast for any illegal fishing activity. She was also equipped with a laboratory for marine research and took part in research projects like the survey of Clare Island in 1909.As the British found themselves in an unexpectedly lengthening war in Europe, she was taken over by the Admiralty in 1915 for military purposes as an armed auxiliary patrol yacht. She was renamed the HMY Helga and served as an anti-submarine patrol vessel and an armed escort.It was however in Ireland during the 1916 Rising that the Helga's most notable acts occurred. The Helga was summoned by British forces to the capital to use artillery to root out Irish Volunteers. On the 26th of April 1916, positioned on the Liffey, she raised her 12-pound artillery guns over the Loop Line railway bridge and fired at her first target Liberty Hall, the headquarters of the Citizen Army. Her shots were less than accurate, and her shells destroyed much of the surrounding buildings and beyond. She also targeted the GPO and Bolland Mills which Eamon De Valera had occupied.1918 rescuing survivors from R.M.S. Leinster.In 1918, she successful sank a German U-Boat Submarine off the coast of the Isle of Man. This was the Helga's first and sole confirmed sinking during the war. However, the presence of U-boats continued to be a real threat to the merchant and passenger vessels in the Irish Sea.In 1917, the Germans began placing their U-boats in the Approaches, the name given to the region near the entrance and exit to the Irish Sea. This was an attempt to stifle the British attempts at Trans-Atlantic trade. The RMS Leinster was typical of their targets, a passenger ship which, along with three other sister ships, made daily crossings from Kingstown (now Dún Laoghaire) to Holyhead. Known for its exceptional speed, the RMS Leinster held a place of pride in Irish eyes, as it was seen to be their representative in the commercial competition over the Irish Sea. The Leinster along with its sister ships, had won the tender for the Royal Mail delivery from Ireland to the British mainland. While it provided valuable employment to the people of Kingstown and Holyhead in Wales, the requirements of this contract were strict. There was a stipulation that the post collected in Dublin had to be delivered to the mainland the following day. This meant that the RMS Leinster ran daily, and on-time no matter the circumstances.On the morning of the 9th of October (1918), the RMS Leinster set out from Dun Laoghaire, filled to capacity, for what was to be its final voyage. Despite the U-boat warnings, that morning was no different, the war had been in action for four years, and the crossings were routinely unprotected. Furthermore, the level of censorship which the British government exercised over the press meant that many civilians were largely unaware of the danger that awaited them. Lurking under the waters off Kish Island was U-boat 123, which had already sunk two boats since it left Germany days earlier. At 09:45, the first torpedo was fired, shooting past the brow of the Leinster. The second was a direct hit, and a third torpedo sunk the entire vessel.Coaling, or refuelling, that same morning in Dublin was HMY Helga, the same ship which had been shelling the city two and a half years earlier. That day however, the Helga succeeded in being first on the scene of the Leinster sinking, and managed reach it just in time to rescue approximately 90 passengers, though there is some confusion as to the exact number. These passengers were not returned to Kingstown but disembarked in Wales. Due the controls on wartime press, the British government were keen to keep any such disasters out of the public eye'.Duff died on 11 November 1935 at Dover, at the time he was employed on the Trinity House Pilot Cutter, S.S. Prudence. (The Dover Express of 22 November 1935 refers).Sold together with his silver wound badge, this numbered B158828, a copy photo of Helga, a postcard of Highflyer, copy of Helga's ships log from the National Maritime Museum for 4-5 April 1918 and a copy of Irish Naval service.…

'It is always good to know some of us survived the War, it is a long time now but looking back we were very fortunate to get into Oosterbeek at all! And then to live to tell the tale is remarkable, many of our fellow Glider Pilots didn't survive that 10 days of chaos. How you managed to get over the Rhine at the evacuation is a marvel.'So wrote Sergeant Thomas, 2nd Pilot, to Sergeant Cawthray.The well-documented Battle of Arnhem campaign group awarded to Sergeant Pilot G. Cawthray, 23 Flight, 'G' Squadron, Glider Pilot RegimentA pre-War professional cricketer who turned out for Yorkshire, Cawthray successfully went into action on Op Mallard - 6 June 1944, D-Day - and Op Market Garden, the Battle of Arnhem, sharing fully in the action over those famous days1939-45 Star; France and Germany Star; Defence and War Medals 1939-45, mounted as worn, good very fine (4)George Cawthray was born on 28 September 1913 at Selby, Yorkshire and from a young age excelled as a cricketer, in perhaps the most important county for that game in England. Such was his skill that Cawthray shone for Brayton School, Hull Cricket Club and eventually the Second & First XI for the 'White Rose' County.With the outbreak of the Second World War however, he joined the Glider Pilot Regiment (No. 4695914) and became a Sergeant Pilot, going through 21 EFTS during 1943 and having some 178hrs 25mins on his Flying Log Book by early May 1944 and having taken his 'Wings'.Op MallardSo it was that on 6 June 1944, flying with 23 Flight, 'G' Squadron, Glider Pilot Regiment he clocked up 2hrs of Night Flying in PW661, landing near Zetten, with Sergeant Thomas as 2nd Pilot, taking in a jeep & trailer and two motorcycles for the 1st Parachute Brigade, on D-Day itself. Little more need be said of the importance of the work of this embryonic unit on that fateful day. Cawthray was also called on as 2nd Pilot of Stirling 'B' on 26 August for an Op to France to assist the Special Operations Executive. He logged 6hrs 55mins and landed back at Harwell the next day.Op Market GardenThe unit were of course to be kept plenty busy in September 1944, Cawthray went in with Sergeant Thomas again, taking Horsa PW656 on 18 September for their fateful three hour flight by day. Cawthray got them down and then shared in the epic events that followed. His name features in the diary of Lieutenant Mike Dauncey:'18 September -S/Sgt. Cawthray of our Sqdn arrived in great form - he had landed south of the Rhine and got his party with jeep over by the ferry - a good show.Spent a shocking night hiding in our trenches on the banks of the Rhine waiting for an attack which did not materialise. Extremely cold. Had difficulty in keeping chaps awake as we were not to move about.'He gives a good flavour of what Cawthray would have shared in on 25 September:'Things started fairly early Monday morning, particularly on our left. The old tigers started coming down the road once more and I thought that if they did not have a little opposition they would go right through, so with one paratroop I took THE gammon bomb and set off through the gardens a little up the road andsettled down to wait for them at the side of a house by the road. We could hear them too clearly though they were moving very cautiously and obviously had plenty of ammunition. After a few minutes the chap with me belted off, so my local protection wasn’t too good. Eventually the tank crept into view and I waited until it was exactly level with me and ran forward and let fly with the bomb.The result was disappointing. The fuze was quite a long one so I wondered if it would work however eventually after a long pause, there was a loud explosion and lots of dust but when it had all settled down the tiger looked very much the same as before. As I only had a pistol there wasn't much future in staying put so I made my way back to my house which had been evacuated. A little further down the road there was a sort of barn complete with outhouses etc. where there were about 4 chaps rather wondering what to do We arranged a little ambush around here (after a little hand grenade duel) as of course they were quite close. I was told that they had broken through on the other side of the road and indeed this wasthe case and we had a slogging match across the street using the Bren and pistols.Just then someone shouted "Look out here they come" and two chaps darted off. However luckily it wasn’t true. However I was then shot through the thigh. The two other chaps with me one of them wounded in the face were very good. We all got down one man looking out for the jerries and the other helped me to dress my leg. We had just done that and were deciding on the next step when something came over the corner of the outhouse and landed about 3 feet away. I turned to see what it was and the grenade exploded immediately in my face. The two paraboys were excellent and put a shell dressing over my mouth. I could think clearly but felt very weak. The two chaps then helped me to the RAP which unfortunately wasso full that I couldn’t get inside. I was left outside by the side of a dead manwhere I stayed for some time until awakened by the rain when I managed to pull the dead man’s blanket partly over myself. I couldn’t get to that house though and stayed there until someone came outside and I managed to attract his attention.The MO had been hit and it was impossible for the orderly and Padre to do anything as there must have been at least 300 chaps there. The drill was get a blanket, find a spot to lie down and a cup of char (tea) but unfortunately this came out again through the hole in my chin which I have since heard from other people was a most amazing sight. The padre then did a very good thing - I don’t know the time but fighting was going on all around with the tigers knocking all the houses for six as usual and he went outside with the Red Cross flag and told the tank commander the situation with the result that we were left alone.'Cawthray was lucky not to go 'in the bag', as recalled in a letter by Sergeant Thomas:'...It is always good to know some of us survived the War, it is a long time now but looking back we were very fortunate to get into Oosterbeek at all! And then to live to tell the tale is remarkable, many of our fellow Glider Pilots didn't survive that 10 days of chaos. How you managed to get over the Rhine at the evacuation is a marvel.'The Log Book confirms his flight from Brussels to Northolt on 29 September as 2nd Pilot on Dakota DK866, no doubt glad to have a break from the controls. Cawthray then transferred out to India.25001 SALEROOM NOTICE:A newspaper report in the Sunday Mirror of 17 December 1944 gives moving details on how Cawthray swam the Rhine out of Arnhem, carrying a letter for his good friend, Sergeant Pilot Stanley Lewis, which he carried home to his wife and children to let them know he was thinking of them. Cawthray stated: "I am very lucky to be alive myself, having had my nose and both lips shot away, as well as bullet wounds in the head. Once again, please don't worry about Stanley - he's being well cared for."

David De Gea – Match Worn Boots: An Iconic Piece of Football History Game: Manchester United Vs Tottenham Hotspur David De Gea, the legendary Manchester United goalkeeper, is known for his remarkable performances and his ability to make spectacular saves. His match-worn boots from the game against Tottenham Hotspur on January 13, 2019, serve as a testament to his skill and dedication on the pitch. This match, held at the historic Wembley Stadium, was not just another ordinary game; it was a display of tactical football and individual brilliance, particularly from De Gea, whose performance is often remembered by fans and analysts alike. The significance of the match was heightened by the context surrounding it. At that time, Tottenham was one of Manchester United’s fiercest rivals, making the stakes even higher for both teams. Result: Manchester United 1, Tottenham Hotspur 0 During the match, De Gea’s performance was nothing short of extraordinary. His agility and reflexes allowed him to make a staggering 11 saves, with four of them executed using his feet, setting a record for that season. Fans recall the electrifying atmosphere as he single-handedly kept Tottenham at bay, showcasing his incredible shot-stopping ability. In addition to his impressive saves, the match was marked by a pivotal moment that would solidify De Gea’s place in Manchester United folklore. Commentator Martin Tyler’s remark about framing the boots due to De Gea’s outstanding performance resonated with fans and players alike, making the boots a cherished artefact of football history. After the match, De Gea skilfully analysed his performance, sharing insights into his mindset during the game. He mentioned the importance of focus and preparation, highlighting how each training session contributed to his readiness on match day. Moreover, De Gea’s relationship with his defenders played a crucial role in maintaining a solid back line. He often communicated effectively with his teammates, ensuring they were aware of threats and positioning themselves correctly to support his efforts. The match showcased a blend of tactical discipline and individual brilliance, further emphasising the importance of teamwork in achieving success at the highest level of football. Date: January 13, 2019 The story of these boots reflects the journey of David De Gea’s career at Manchester United, a path filled with challenges, triumphs, and unforgettable moments that have left an indelible mark on the club’s history. In a generous gesture, De Gea gifted these iconic boots to a fan, further solidifying his status as a player who appreciates his supporters. This act of kindness was in response to a heartfelt tweet from his father, showcasing the personal connections that football can foster between players and fans. These football boots, designed meticulously by adidas, were not just equipment; they were a symbol of excellence in goalkeeping, reflecting De Gea’s status as one of the best in the world. The match was memorable for a fine string of sales by De Gea to deny spurs, with 11 saves in the  game, 4 with his feet which was a record for that particular season. The Manchester United keeper famously framed the boots based upon comments made by commentator Martin Tyler, who suggested based on his performance he should have the boots framed.  https://www.dailymail.co.uk/sport/football/article-6620141/Man-Utd-keeper-David-Gea-frames-boots-wore-stunning-display-against-Tottenham.html. Manchester United manager Ole Gunnar Solksjaer: “You expect to win every single game at Manchester United. You won’t, but you must think that. That’s the mentality of this group. “In the first half we were excellent and in the second they put us under pressure. We could have scored a few as well but we had a good back four and David [de Gea] was unbelievable. “We created enough chances to put the game away by the break, but if you don’t score you will be under pressure. We defended fantastically.” The silver boots from adidas, part of the COPA range, featured exquisite craftsmanship, with De Gea’s name elegantly embroidered on the side in black, making them not only functional but also a collector’s item. The vendor was then gifted the boots by De Gea  in response to a tweet from his father. Further Details Club Manchester United Name David De Gea Season 2019/20 Match Manchester United vs Tottenham Hotspur Condition Good match worn condition commensurate with age. Provenance Gifted to vendor by de Gea Provenance Available Letter from de Gea and newspaper article outlining the story: https://www.thesun.co.uk/sport/football/8689895/man-utd-de-gea-boots-fan-present/ Status Match worn

Sir Tom Finney:  This is a print of the iconic image aqua-planing at Stamford bridge in 1956 playing for Preston North End. It was an acknowledged masterpiece – the 1956 sports photo of the year – which showed a spray-shrouded Tom Finney aquaplaning down the wing on a sodden afternoon at Chelsea.  Finney represented Preston in all five of the old forward positions. Although slight, he was a ferocious ball-winner. Although not tall, he could be deadly in the air. He was quick, an accurate passer and a frequent scorer, with 187 goals in 433 appearances for Preston. He even became England’s leading scorer upon getting his 30th goal against Northern Ireland in 1958, but two weeks later Nat Lofthouse drew level and both were to be eclipsed by Bobby Charlton in 1963.

BOB HILLER | ENGLAND | 1969 / 1970 / 1972Jersey match worn by Robert Hiller (b.1942), traditional all-white, embroidered three colour rose on stem with toned leaves, black felt number 15 to reverse, Umbro International label to the interior (size 42ins). To accompany:Programme Wales vs. England 12th April 1969, both JPR and Hiller’s names therein.Programme Wales vs. England at Twickenham, dated 1970.Hiller and JPR became good friends on the Lions tour of New Zealand in 1971 when Hiller was appointed captain for one of the mid-week matches. JPR commented that "…Bob was one of the great characters of the tour. He really kept us above water with his remarkable humour" it was said that Hilller was always able to raise the spirits of the tour party,Hiller scored a fabulous 102 points from ten games for the Lions in New Zealand and had scored 108 points in South Africa in 1968.JPR (family notes, 2023):“I had played against Bob a number of times before ‘71: either for London Welsh against Harlequins or for Wales v England. I respected him and liked him. I liked him even more in ‘71 when we finally arrived in NZ via many airport stops and two poor games in Australia. Early on, he took me aside and said to me he thought I would be the Test team Full back and that he would mostly be in the T’s and W ‘s and that we would support each other.. He was an experienced Lion and knew about the midweek games. He was a wonderful tourist and scored around 100 points for us in the three months. After team training, Bob and Barry (John) would stay behind to practise goal kicking. I stayed as well to gather the balls and punt them back to them. The rest of the team were surprised that I could drop a goal from near the halfway line…. but not Bob! I learned a lot from him. And also from Barry, but he had such flair, was such a natural that no-one could copy him... a magical player. In later years, I would meet up with Bob Hiller after Twickenham matches. He would instruct the doorman (to the Ex players room) to expect me and we would have great catch ups.”Hiller earned 19 caps for England between 1968 and 1972 as a fullback, known for his reliable goal-kicking and strong defensive skills. He captained England seven times and represented Harlequins at club level. Hiller was particularly known for his accurate kicking, both for goal and tactical play. Although he did not play in any British Lions test matches, he was part of two British Lions tours.In the Radio Times, 26th February 1970, John Hopkins interviewed both JPR and Hiller before their Five Nations match at Twickenham, with Hiller as captain."Hiller is the sort of kicker who will put one over from the touchline when his side is one point down with a couple of minutes to go".JPR in the same article said "On his day, Bob is one of the best kickers in the world. And he has an uncanny knack of intercepting. He’s a good bloke off the field too. I once saw him with his fiancée in a pub around the corner from here and we had a drink or two together".JPR and Hiller remained life-time friends.Additional playing days images courtesy of Colorsport (Copyright)

ALASTAIR HIGNELL | ENGLAND | 1975 / 1976 / 1977 / 1978 Jersey believed match-worn by Alastair James Hignell CBE (b.1955) in one of his several test matches against JPR. Traditional all-white, embroidered three-colour rose on stem with toned leaves, black felt number 15 to reverse, Umbro International label to the interior. Hignell faced JPR in each of the suggested seasons – he was never on the winning side!Hignell was a talented dual-sport athlete who represented England in rugby while also playing first-class cricket. He earned 14 rugby caps for England between 1975 and 1979, playing primarily as a full back, known for his strong kicking, tactical awareness, and composure under pressure. He made his debut against Australia in 1975 and played in multiple Five Nations Championships. Also played for Cambridge University and Bristol. In cricket, he represented Gloucestershire and Cambridge University as a batsman.In 2008, Hignell was diagnosed with Multiple Sclerosis and is now an active fundraiser using his profile and skills to help alleviate some of the fear surrounding the disease and help the MS community in whatever way he can.In an interview with the Sporting Memories Foundation, Alastair Hignell reflected on wearing the white for England:“... my rugby debut for England was the infamous battle of Brisbane in Australia in 1975. I was 19 years old and to be selected to go on the tour at all was one thing but then to get the chance of playing for my country. Nobody will ever replicate that moment when you are standing in front of the crowd listening to God Save the Queen knowing that you are about to play for England. It is the culmination of why you play rugby in the first place, of dreams for the people that coached you and the people who have helped you along the way. They get an awful lot out of it as well. Just the feeling that you were there as the anthem played - it still makes the hairs on the back of my neck tingle. It was just the most amazing experience.”JPR (family notes, 2023):‘’Alastair played for England against me for a number of years in the mid to late 70’s. He grew better every year and made the full back position his own. In fact, he was playing in March ‘79 when I retired”. I was impressed that he was also a county cricketer as it is such an advantage to play another sport to a high level. It’s much better than just being in a gym lifting weights as the challenges will be 3D unexpected. It’s not just the physical part, with enhanced co -ordination, balance and special awareness. But perhaps more importantly, the mental part. If you can stand up and be counted with tennis or cricket balls being rained down on you, it’s bound to help if you are on the rugby pitch ready for a high ball. There is no hiding place: only you.I supported Alastair at one of his early fundraising dinners for MS research as at the time it was such a shock that an all-round athlete and friend could be affected. His fund-raising has been legendary’’.

Remy Martin Louis XIII Grande Champagne Cognac Miniature Circa 1950/60's. (Please note fill level and significant damage to box)

Collection of various Port, Wine and Spirits to include 1985 Vintage Port (Please note sign of leak, neck fill level) 2 Bottles Campari, Takara Plum Wine 1970's  

Ardmore 15 Year Old - W M Teacher 1980's - 75cl - 45.7% Vol. Extremely Rare One of just 600 Bottles (Please note loose capsule which in varying degrees is typical of this bottling. Please note discolouration to label and slight loss to fill level) ​From a private collection built over a 40 year career working for United Rum Merchants (URM) and latterly Allied Domecq/William Teacher & Sons, who, at the time owned Glendronach and Ardmore, amongst others.

Dewar's White Label Whisky late 1950's Early 1960's Spring Cap - 70 Proof (Please note original plastic wrapping. Please note fill level)

Glenmorangie 10 Year Old 1980's - 75cl - Limited Edition Handcrafts of Scotland Tin (Please note low fill level, significant loss. Not visibly leaking currently but may have historically and may do again. Slightly oxidised/cloudy liquid) Whisky

A Second War ‘North Africa operations’ C.B.E. group of nine awarded to Brigadier L. F. Heard, Royal Engineers, who was Mentioned in Despatches and awarded the French Croix de Guerre for his services in North West Europe, and subsequently served as Aide-de-Camp to H.M. the Queen, 1954-57 The Most Excellent Order of the British Empire, C.B.E., (Military) Commander’s 2nd type neck badge, silver-gilt and enamel, with neck riband, in DS & S case of issue; India General Service 1908-35, 1 clasp, North West Frontier 1930-31 (Lieut. L. F. Heard. R.E.); 1939-45 Star; Africa Star, 1 clasp, 1st Army; France and Germany Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Coronation 1953, unnamed as issued; France, Third Republic, Croix de Guerre, bronze, reverse dated 1939, with bronze palm on riband, mounted court-style for display, light contact marks, good very fine and better (9) £600-£800 --- C.B.E. London Gazette 1 January 1943 M.I.D. London Gazette 22 March 1945: ‘In recognition of gallant and distinguished services in North West Europe.’ The original Recommendation for the French Croix de Guerre states: ‘This officer has been General Staff Officer First Class at 21 Army Group Headquarters since its formation. He is an extremely capable Staff Officer with a unique knowledge of staff duties and of the organisation of the Army. His services have been extremely valuable during the planning and execution of the operations for the liberation of France, and he has never failed to give off his best in spite of the pressure of work which has been acute during the period under a view.’ Leonard Ferguson Heard was born on 30 October 1903 and was educated at Shrewsbury School and the Royal Military Academy, Woolwich. He was commissioned Second Lieutenant in the Royal Engineers on 29 August 1923, and saw active service on the North West Frontier of India as a Staff Captain, R.E., attached Royal Bombay Sappers and Miners. Advanced Major on 29 August 1940, he saw further service during the Second World War, both in North Africa, for which services he was appointed a Commander of the Order of the British Empire, and subsequently in command of 23rd Assault Group, Royal Engineers, in North West Europe, for which services he was Mentioned in Despatches and awarded the French Croix de Guerre with palm. Promoted Colonel in 1947, and Brigadier in 1949, Heard was appointed Aide-de-Camp to H.M. Queen Elizabeth II on 30 December 1953, relinquishing the appointment on his retirement on 21 April 1957. He was lucky to survive a train crash in 1959 when his car was struck by the Belfast to Londonderry express train at 65 miles per hour, whilst he was driving across an unmanned level crossing; the force of impact somersaulted the diesel engine off the track and derailed several carriages, but remarkably both he and all the passengers on the train survived virtually unscathed. He was subsequently sued by the Ulster Transport Authority. Advanced Honorary Major-General on the Retired List, he was appointed High Sheriff of County Londonderry for the year 1964, and also served as a Justice of the Peace. He died on 8 April 1976. Sold with a photographic image of the recipient, and copied research.

Registration – V423 MKK Chassis No. – SAJAC13D7YKF03450 M.O.T. – February 2026 Odometer – 80,140 ‘V423MKK’ is a nice looking example of the spacious and luxurious XJ8 in X308 form. ‘V423MKK’ is a six owner car with the previous owner stewarding the Jaguar for over 10 years. For the last three years or so, ‘V423MKK’ has been off the road and stored in a garage. Within the last month ‘V423MKK’ has been recommissioned for the road to include a fuel system flush, new fuel and air filters and spark plugs. New MAF and coolant temperature sensors have also been fitted and a new MOT secured. ‘V423MKK’ has covered 80,140 miles with this seemingly verified by the MOT history. This XJ8 is complete with a great service history consisting of 13 main dealer stamps. ‘V423MKK’ is offered here with NO RESERVE and that new MOT is valid until February 2026. The X308 Jaguar XJ saloon was originally intended to feature a new engine from owner Ford’s stable. That unit wasn’t ready in time, however, and so the XJ was gifted the impressive Jaguar AJ-V8 unit in 3.2 and 4.0-litre flavours. ‘V423MKK’ features the 3.2-litre unit, which was originally rated at a useful 240 bhp and 233 Ib-ft of torque. This is mated to a five speed ZF automatic transmission with the 3.2L considered to deliver the best combination of lively dynamics and sensible running costs. The vendor considers the engine and transmission to be “good” and the electrics “average.” This X308 Jaguar is a handsome example which manages to retain a significant amount of design DNA from the XJ range dating right back to the late 1960’s. It is finished in the chameleon colour of Aqua Blue Green, presenting different hues depending on the light and angle of view. The quad headlamps and wide chrome grill give ‘V423MKK’ an impressive mix of sporting cues and a high level of sophistication. The interior of ‘V423MKK’ is spacious and impressively luxurious, trimmed in Cashmere hued leather which is accompanied by ample walnut veneer. Being the X308 model, ‘V423MKK’ features the much improved instruments and fascia from the XK8. The paint and bodywork are rated as “average” with the interior as “good.” In summary: · A recently recommissioned Jaguar with a sensible, seemingly original mileage. · Offering a long MOT until February 2026. · Complete with a 13 stamp, main dealer service record.

Registration – WNE 837L Chassis No. – YB57689DL M.O.T. – Exempt Odometer – 19,305 Despite being over 50 years old, ‘WNE837L’ has known only four keepers to date. The first two accounted for the first 46 years of this Triumph’s life. The current owner acquired ‘WNE837L’ just two years ago. Today ‘WNE837L’ records just 19,305 miles on its odometer. This can’t be warranted but the vendor reports it is feasibly original based on ‘WNE837L’s’ condition and presentation. A high level of originality is noted, and much remedial work has been undertaken in current ownership. This includes five new tyres and a new battery. ‘WNE837L’ is classified as an Historic Vehicle based on age and so is zero rated for VED and MOT exempt. ‘WNE837L’ is being offered here with NO RESERVE. ‘WNE837L’ is thought to present in it's original factory paintwork of Mineral Blue. This combines well with the deeply chromed radiator grill, bumpers and overriders and panel edging strips. The originality, as with the rest of the car, is most striking and the vendor notes there is a “little patina” to the exterior of ‘WNE837L.’ The design of the Triumph 1500 was the work of the celebrated Giovanni Michelotti who did a number of designs for the firm during the ‘60’s and ‘70’s. The interior is another time warp experience looking much as it would have done from new. Triumph’s place in the BMC firmament was as an upmarket offering so there is plenty of wood veneer, chromed fittings and deep carpets in evidence. The predominant shades are variations of blue with some black vinyl noted in places. The paintwork, bodywork and interior are all rated as “good.” ‘WNE837L’ is fitted with the 1493cc version of the Standard SC engine and is fitted with a single SU carburettor in this application. This endowed the original with around 65bhp which proved plenty for a sub-1000kg car. Much work has been undertaken during current ownership to include new brake cylinders all round, a new old stock exhaust system, a refurbished fuel tank and a replacement clutch slave cylinder. Modern electronic ignition has also been fitted. In summary: · A highly original example of the breed with just four owners to date. · Much remedial work done in the current ownership so ready to enjoy. · MOT exempt and zero rated for road tax based on Historic Vehicle status.

Make & Model:Ford , Capri S Date of Reg:A924UHY Colour:Black cc:1993 MoT:2025-04-01 Fuel Type:Petrol Mileage:40538 Transmission:manual Summary:The Ford Capri 2.0S comes with a full history from 2010, when it was restored (albeit with one previous MoT from 2002). During 2022, power steering was fitted along with twin Weber 40 DCOE carburettors and electronic ignition. The original carburettors and wheels are with the car. The Capri was registered in June 1984 and is now showing 40,538 miles on its odometer. Its MoT is valid until April 2025; however from April, the Capri should be eligible to be classed as an historic vehicle and will be tax-free and MoT-exempt. The vendor tells us that the car was serviced last year including engine oil, filter, gearbox oil and brake fluid changed. However he notes that end of the dipstick has broken off, so a new one will be required; however, the level as it is at the moment is correct. The timing belt was done in 2023. The car has been used regularly over the last year for shows and events including in Cumbria and Yorkshire. Paperwork includes the V5C, a comprehensive album of restoration photos, invoices, MoT certificates and event programmes. 

Triang Railways TT model railway collection, includes 3 boxed locomotives, 7 coaches (6 boxed) and 14 wagons/tankers (11 boxed), plus track and buildings (6200g) T91 Castle Class 4-6-0 Windsor Castle 4082 w/tender T97 S Britannia Class 4-6-2 Boadicea 70036 w/tender - no name plates T90 0-6-0 Tank loco 47607 Locomotives NOT Tested All items as shown, dust, Fair condition T28 Engine sheds (2) T27 Signal box T29 Level crossings (2) T105 Inclined Piers (2) Footbridge - damage as shown Quantity of two types of track, includes 10 points and converter straights (2). Condition Report: - Fair/Good

1 Bottle Rare 1848 Vintage Grande Champagne 1 Bottle Rare 1848 Vintage Grande Champagne (Cognac) de Gernon & Cie Bordeaux (Margaux) (Clear presentation - sound capsule – level good – cork intact but looks fragile – no evidence of seepage. This Rare Cognac bottled in early 20th Century (approx. 1920’s) by Bordeaux (Margaux) Negociant de Gernon of Irish descent.

Registration No: GGF 409 Frame No: 1155 MOT: ExemptRare Sunbeam 'high cam' restored to a good standardJust a handful known to have survived on the Sunbeam RegisterMatchless-style forks and brake with check springs, Burman gearbox, and high-level exhaust pipeRunning well and used sparingly by the current ownerV5C on file with a host of paperwork and a 1939 spares bookAll correct numbersAMC bought the Sunbeam business in 1937 as a well-established motorcycle manufacturer. Production moved from Wolverhampton to Plumstead. There was so much stock available that it was enough to sustain production in London for more than a year. At the end of 1938 a new line of OHV machines was launched, ranging from a 250cc to a 600cc. The new engine design was of the high camshaft type with the cylinder barrel sunk deep into the large crankcase. It has a large timing cover with a wonderful “Sunbeam” script which contains the chain that drives the magdyno and is tensioned by a Weller tensioner. The brakes were improved, notably to an 8" drum with improved stopping. The models were offered in standard guise and in Sports (S) and Competition (T) form. The B25S had Sports mudguards, upswept exhaust pipe, and a specially tuned engine with a high-compression piston and polished cylinder head and ports. The C24S was the last pre-war Sunbeam design. This wartime 1940 Sunbeam C24S was purchased by the vendor's father-in-law way back in the early 1970s. Due to commitments, the Sunbeam was left untouched until it was left to the son-in-law, as he was seen as a worthy candidate for the restoration of the C24S and saving it from the scrap man in 1999. The current vendor finally set about the restoration of this very rare model at the start of 2000, with only a handful known to the Sunbeam Register. Completely stripped down to the frame, components were thoroughly checked, cleaned and replaced where necessary. The restoration took several years and attention to the correctness was paramount for this machine, which included a trip to Scotland from the vendor's house of some 500 plus miles. Since the restoration of the Sunbeam, until recently, the vendor had taken it to many shows and events. The restoration has held up, it presents very well and is a good example of the model. It comes complete with a V5C, old photos of when it was found and restored, handbook and parts books, copies from Bruce Main Smith and many old tax discs dating back to 1947. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Y A VICTORIAN FIGURED MAHOGANY MERCURY STICK BAROMETERLANCASTER AND THORPE, DERBY, CIRCA 1880The arched case with glazed twin canted ivory Vernier scales each calibrated in barometric inches and with the usual observations, the one on the left labelled 10 A.M. YESTERDAY opposing 10 A.M. TODAY to the right, the upper margin signed twice LANCASTER & THORPE over OPTICIANS and DERBY respectively, over flame-figured trunk with two Vernier adjustment squares to throat over inset arch glazed ivory FAHRENHEIT and REAUMUR mercury thermometer, the rounded base with moulded circular cistern cover and level adjustment square to underside.94cm (37ins) high, 11cm (4.25ins) wide. The opticians Lancaster and Thorpe were established in Derwent Street, Derby by 1885 and had expanded to become a national network of Opticians by the 1990's. The business still trades today with branches at 100 St. Peter's Street, 14 Sadler's Gate and 495 Nottingham Road, Derby. Condition Report: IVORY LICENCE REF - NELFXTABCondition Report Disclaimer

AYA A 28-BORE 'NO.4 MODEL' BOXLOCK EJECTOR, serial no. 380151, dated 1970, 27in. nitro chopperlump barrels, 2 3/4in. chambers, bored approx. 1/2 and 3/4 choke, removable striker discs, automatic safety with gold-inlaid 'S' detail, border engraving, retaining much original colour-hardening and finish, 12 3/4in. stock including 1in. ventilated rubber recoil pad, weight 5lb. 3oz., together with original 2 1/2in. stock offcut S2Sold as a Section 2 Firearm under the 1968 Firearms ActCONDITION:Please note - No.3 Non-Ejector model, not No.4 Ejector as previously statedBarrels:externally with fading to blued finish, some losses to finish at muzzles and where fore-end meets, numerous light scuffs and scratches, external surface standard level of striking, much un-evenness and undulations, internally generally clean, ring true, no evident movement on actionAction:generally tidy overall, some minor scuffs and scratches, safety and extractors operate ok with snapcapsWoodwork:average light to medium knocks and bruising from use / handling

THE MACALLAN 10 Year Old, one 37.5cl bottle, 40% vol. fill level low shoulder, seal intact, late 1980's bottling, Easter Elchies box

Very early DeLuxe with unique 1959 production features and celebrity provenance. #485 built of the Morris model of the Mini Minor. Pre-Mini launch date - built between 9-17/07/1959, the Mini was launched on 26/07/1959It's a home-market DeLuxe finished in Clipper Blue with Grey Fleck trimTDL334 was the first Mini to arrive on the Isle of Wight, bought by Mrs Margaret Flux who was 55 years old and couldn’t drive at the time. After many lessons she passed her driving test and was able to enjoy the Mini at lastShe was the grandmother of the 1980s band Level 42’s lead singer and slap bass player, Mark King. She gave him the car and he also learned to drive in it Running in the Family was a 1987 hit for Level 42 who start their '40th' Anniversary Tour this year Correct parts unique to the 1959 cars include; glass washer bottle (very rare), correct spark plug caps, rubber boot liner, correct hexagonal headed master cylinders, brass top carb, straight gear stick etc.Original engine, Gold Seal gearbox in the late 1970s. Carpets been replaced but the original seat upholstery remainsIt has benefited from a recent front brake overall, new shoes, wheel cylinders and rubber hosesMagazine featured by Mini World Very sensibly guided considering it's rarity and celebrity provenanceSpecification Make: MORRIS Model: MINI MINOR Year: 1959 Chassis Number: MA2S4585 Registration Number: TDL 334 Transmission: Manual Drive Side: Right-hand Drive Odometer Reading: 59123 Miles Make: RHDClick here for more details and images

A collection of assorted 7" singles mainly 1960's-80's to include Status Quo - The Anniversary Waltz, Paul McCartney And The Frog Chorus - We All Stand Together, Level 42 - It's Over, Lulu - I Could Never Miss You More, Brother Beyond - Be My Twin, Soft Cell - Torch, Petula Clark - My Heart, Mike Oldfield - Portsmouth, The Doobie Brothers - Take Me I Your Arms, Gene Pitney - Blue Angel, Elvis Presley - Mama Like The Roses, Freddie And The Dreamers - Don't Make Me Cry, David Bowie - Sorrow, Sting - Russians and Yoko Ono - Yes I'm Your Angel etc. (approx. 120)

AN INCREDIBLY RARE TUDOR HENRY VII/HENRY VIII OAK ENCLOSED ARMCHAIR, ENGLISH, CIRCA 1500-1530. The partly enclosed armchair of tapering form having twin crocketed finials on gently tapered uprights with a silhouette and scroll carved, moulded top rail above a horizontal panel carved with recessed nulling, the twin panelled back extending to seat level flanked by plain panelled sides terminating in square uprights, heavily worn at the top, originally with similar crocketed finials, the multi plank seat above a further twin panelled partly enclosed base, with plain lower and rear stretchers, the rear with further moulded rails, having uprights being heavier at the base, up to seat level then stepping down in depth, 113cm high, 57cm wide and 46cm deep. Note - English Armchairs from the early Tudor period are very scarce items, rarely surviving in a complete form without extensive restorations. This unusual format chair remains in original form and retaining an untouched colour and surface patination. Provenance - Maurice Goldstone Private Collection, Goldstone Antiques, Bakewell Derbyshire. Purchased from Michael Goldstone in the mid 1980’s. Maurice Goldstone established his early furniture business in Bakewell in the 1950’s. In the 1960’s he purchased numbers of early pieces directly from Haddon Hall estate workers cottagers, it is thought this Armchair was one of such items: Credit, Michael Goldstone. *CR good early example.

The Complete Star Wars Encyclopedia sealed (Stephen J. Sansweet), DeAgostini Fact Files (incomplete, 1 damaged folder) with Hasbro Rebels 29" X-Wing Fighter. Condition varies, see images.  

Aoshima Aliens Dropship Diecast 1/72 scale Standard Edition 01 (2004). Condition Excellent to Excellent Plus

Lenovo Star Wars JEDI CHALLENGES lightsaber controller AR VR HEADSET. Untested. Condition Good to Excellent

Original painting by Barry Price of D1000 Western Enterprise and GWR Castle 5072 Hurricane at Wolverhampton Low Level in the early 1960's. Oil on canvas, nicely framed, measures 27.5in x 17.5in. Painted in 2024.

Ellen Starr Lyon Front Door Stripes, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellen Starr Lyon, b. 1974 in Columbus, Indiana. Lyon is a figurative painter focusing on modern portraiture that revolves around feminism, motherhood, and coming of age. Her naturalist painting style incorporates a colourful palette and multiple thin, luminous layers capturing her models in natural light. Lyon uses her own photography to catch unguarded moments that are translated into oil paintings showing glimpses of emotion on the faces of those around her. Lyon champions vulnerability as strength while showing it as our common language. Her Red Glove Series depicts her teenage daughter wearing bright red rubber gloves and a defiant expression to talk about the next generation's fight for reproductive rights. She has work in the permanent collection of the Evansville Museum, UC Irvine, and Indiana University. Lyon has been invited to the Pouch Cove Artist Residency in July of 2024. Education BFA Painting, Indiana University Bloomington Solo Exhibitions 2023 Flora and Fauna, online exhibition through 33 Contemporary Gallery, Chicago, IL Familiar Faces, Evansville Museum of Arts, History, and Science, Evansville, IN 2022 Five Year Study, I Fell Gallery, Bloomington, IN2019 Crowd Source, Krempp Gallery, Jasper, IN 2018 Sphere of Influence, Untitled Light Gallery, Bloomington, IN Group Exhibitions 2024 Being Human, The Painting Center, New York, NY 16th Annual Juried Exhibition, Prince Street Gallery, New York, NY 100th Hoosier Salon, Indiana State Museum, Indianapolis, IN FiKVA, MiniARTures Exhibition, WG Gallery, Dordrecht, The Netherlands Reflections of Us, Sergio Gomez juror, Visionary Art Collective, Warnes Contemporary, Brooklyn, NY CONVERGE, 9th Annual Benefit Exhibition, Bridgette Mayer Gallery, Philadelphia, PA Winter Juried Exhibition, Blue Mountain Gallery, New York, NY AWA Annual Online Exhibition 92nd Annual Juried Exhibition, Indiana Artists, Indianapolis Museum of Art at Newfields 2023 CONTEXT, Miami Art Fair, Miami, FL SELF, juried exhibition, Manifest Gallery, Cincinnati, OH Femme Rage, group exhibition and zine, Bloomington, IN Me, Myself, and I, HCAA, Noblesville, IN Sutphin Invitational, Harrison Art Center, Indianapolis, IN Indiana Artists Member Show, Fort Wayne Museum of Art, Fort Wayne, IN Allied Artists of America, 110th Juried Show Hoosier Salon 99th Annual Juried Exhibition, Indiana State Museum, Indianapolis, IN 91st Annual Juried Exhibition, Indiana Artists Club, Indianapolis Museum of Art at Newfields Ohio, Kentucky, Indiana, Regional Juried Exhibition, Manifest Gallery, Cincinnati, OH A Natural Selection, Five Woman Show, Rainbow Bakery, Bloomington Gallery Walk, Bloomington, IN Illuminate: Emerging Bloomington Artists, Grant Recipients, Waldron Arts Center, Bloomington, IN Awards 2024 AWA, Annual Online Exhibition, First Prize for Associate Level 92nd Annual Juried Exhibition, Merit Award, Indiana Artists, Indianapolis Museum of Art at Newfields Public Collections Indiana University, Bloomington, IN, US University of California, Irvine, CA, US Evansville of Art, Evansville, IN, US Igleheart Foundation, Evansville, IN, US Statement about AOAP Submitted Artwork Each portrait is a moment caught in time; the model arranging her hair, my daughter asleep, a friend's daughter caught in bright light, and a self-portrait of myself in the red light of a dance club.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Power Blue Study 1 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Power Blue Study 2, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee Shadows in the Sky, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Phoebe Boddy Cowgirl, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas.   Education 2017 Fine Arts BA (Hons), Loughborough University   2014 UAL Level 3 Diploma Art & Design Foundation Studies   Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK   Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK   2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK   2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK   Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee   2020 Directors Pick, SAATCHI ART   Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Christabel Forbes Gardening Afternoon, 2025 Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Christabel Forbes is a colourist artist who draws from her reality and memory to discover otherworldly, imaginative places. Drawing directly from life is crucial to her practice, which is then explored through printmaking and painting. She uses various materials, including oil pastels, watercolours, paint pens, and inks, to bring her artworks to life in a playful manner.   Education 2022-24 City and Guilds of London Art School, MA Fine Art 2014-15 Royal Drawing School, The Drawing Year (MA level) 2013 Warsaw Academy of Fine Arts, Erasmus 2011-14 Falmouth University, (BA) Hon Fine Art Solo Exhibitions 2024 Time & Place, Caversham Picture Framer, Caversham, UK 2022 La Couleur du Voyage, Millenn'Art, Paris, France 2021 London's Green Spaces, Online 2020 Noirmoutier, Online 2019 Provence and Beyond, Blue Shop Cottage, Camberwell, London, UK   Group Exhibitions 2024 Chelsea Art Society, Group Show, London artEast, Suffolk, UK City and Guilds of Art School MA Final Show, London, UK Summer Group Show, The Violet Hour, Online Chelsea Art Society 75th Annual Exhibition, London, UK artEast, Suffolk, UK 2023 Royal Drawing School Summer Show, 21 June at Ralph Lauren Mayfair, London, UK Chelsea Art Society, London, UK artEast, Suffolk, UK Nohohouse, Barcelona, Spain   Awards 2018 Wedlake Bell Award for a Young Artist at the Chelsea Art Society Gallery Representation RiseArt, UK artEast, Suffolk, UK Caversham Picture Framers, Berkshire, UK   Statement about AOAP Submitted Artwork This artwork uses drawings from my sketchbook to revisit a comforting garden scene. It shows a person gardening, using vivid colours and expressive brush marks.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Power Pink Study, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Phoebe Boddy Just have another beer then, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas.   Education 2017 Fine Arts BA (Hons), Loughborough University   2014 UAL Level 3 Diploma Art & Design Foundation Studies   Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK   Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK   2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK   2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK   Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee   2020 Directors Pick, SAATCHI ART   Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ellen Starr Lyon Innocence, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellen Starr Lyon, b. 1974 in Columbus, Indiana. Lyon is a figurative painter focusing on modern portraiture that revolves around feminism, motherhood, and coming of age. Her naturalist painting style incorporates a colourful palette and multiple thin, luminous layers capturing her models in natural light. Lyon uses her own photography to catch unguarded moments that are translated into oil paintings showing glimpses of emotion on the faces of those around her. Lyon champions vulnerability as strength while showing it as our common language. Her Red Glove Series depicts her teenage daughter wearing bright red rubber gloves and a defiant expression to talk about the next generation's fight for reproductive rights. She has work in the permanent collection of the Evansville Museum, UC Irvine, and Indiana University. Lyon has been invited to the Pouch Cove Artist Residency in July of 2024. Education BFA Painting, Indiana University Bloomington Solo Exhibitions 2023 Flora and Fauna, online exhibition through 33 Contemporary Gallery, Chicago, IL Familiar Faces, Evansville Museum of Arts, History, and Science, Evansville, IN 2022 Five Year Study, I Fell Gallery, Bloomington, IN2019 Crowd Source, Krempp Gallery, Jasper, IN 2018 Sphere of Influence, Untitled Light Gallery, Bloomington, IN Group Exhibitions 2024 Being Human, The Painting Center, New York, NY 16th Annual Juried Exhibition, Prince Street Gallery, New York, NY 100th Hoosier Salon, Indiana State Museum, Indianapolis, IN FiKVA, MiniARTures Exhibition, WG Gallery, Dordrecht, The Netherlands Reflections of Us, Sergio Gomez juror, Visionary Art Collective, Warnes Contemporary, Brooklyn, NY CONVERGE, 9th Annual Benefit Exhibition, Bridgette Mayer Gallery, Philadelphia, PA Winter Juried Exhibition, Blue Mountain Gallery, New York, NY AWA Annual Online Exhibition 92nd Annual Juried Exhibition, Indiana Artists, Indianapolis Museum of Art at Newfields 2023 CONTEXT, Miami Art Fair, Miami, FL SELF, juried exhibition, Manifest Gallery, Cincinnati, OH Femme Rage, group exhibition and zine, Bloomington, IN Me, Myself, and I, HCAA, Noblesville, IN Sutphin Invitational, Harrison Art Center, Indianapolis, IN Indiana Artists Member Show, Fort Wayne Museum of Art, Fort Wayne, IN Allied Artists of America, 110th Juried Show Hoosier Salon 99th Annual Juried Exhibition, Indiana State Museum, Indianapolis, IN 91st Annual Juried Exhibition, Indiana Artists Club, Indianapolis Museum of Art at Newfields Ohio, Kentucky, Indiana, Regional Juried Exhibition, Manifest Gallery, Cincinnati, OH A Natural Selection, Five Woman Show, Rainbow Bakery, Bloomington Gallery Walk, Bloomington, IN Illuminate: Emerging Bloomington Artists, Grant Recipients, Waldron Arts Center, Bloomington, IN Awards 2024 AWA, Annual Online Exhibition, First Prize for Associate Level 92nd Annual Juried Exhibition, Merit Award, Indiana Artists, Indianapolis Museum of Art at Newfields Public Collections Indiana University, Bloomington, IN, US University of California, Irvine, CA, US Evansville of Art, Evansville, IN, US Igleheart Foundation, Evansville, IN, US Statement about AOAP Submitted Artwork Each portrait is a moment caught in time; the model arranging her hair, my daughter asleep, a friend's daughter caught in bright light, and a self-portrait of myself in the red light of a dance club.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee The Dark Wives, 2025 Ink on paper Signed on VersoInk on paper 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee Castles in the Air, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Registration – JXZ 8834Chassis No. – ZAMHH45C000045093M.O.T. – September 2025Odometer – 42,440When the Maserati GranTurismo S launched in 2008, it immediately became the version to have thanks to its 4.7-litre V8 engine shared with the Alfa Romeo 8C Competizione. ‘JXZ 8834’ is the vaunted S version from its first year of production. With a mere 42,450 miles recorded to date and just four previous keepers, ‘JXZ 8834’ offers a very sound provenance. This GranTurismo has been very lightly used in recent years with only around 2,000 miles being covered since 2018. Despite this light use, ‘JXZ 8834’ has been diligently maintained with a full service in 2018 together with the replacement of the engine variators, new front springs and other work. Additionally, ‘JXZ 8834’ had its gearbox oil replaced in 2023, together with wheel bearings and both rear springs. ‘JXZ 8834’ is offered with no reserve and complete with an extensive paperwork file and an advisory free MOT until September 2025.The M145 Maserati GranTurismo was very well received at launch in 2007, despite holding the title for the fastest developed new car model in history. With a conception to production period of just nine months it was only a slight lack of power that detracted from the original models. This was rectified with the arrival of the GranTurismo S in 2008. With a larger and more impressive 4.7-litre V8, the S offered 434 bhp at 7,000 rpm and a 180mph plus top speed. 0-60 mph could be dispatched in less than five seconds. Power is delivered via a 6-speed automated manual made by Graziano Trasmissioni, a system shared with the Ferrari F430.Being the optimal S version, ‘JXZ 8834’ is thus equipped. Presenting in gleaming Nero Carboni paintwork the GranTurismo features a sophisticated GT design by none other than Pininfarina. A staggered set of R20 20-inch alloy wheels are fitted and finished in a Grigio Mercury hue. This combination lends ‘JXZ 8834’ a stealthy appearance with just the right level of brooding menace exhibited. The beautifully appointed and fitted cabin presents in a combination of Rosso Corallo hued leather with grey, perforated Alcantara accents and black carpets. It’s a thrilling combination. ‘JXZ 8834’s’ cabin also benefits from a professionally fitted, state of the art Apple CarPlay head unit which cost over £2,000 and is still under warranty. If complete originality is your thing, the original parts are also included. Two original keys and an unfitted carbon fibre rear spoiler are also included.In summary:· Fine provenance and a low mileage covered to date· Complete with a recently fitted, state of the art head unit for Apple CarPlay· Offered with an advisory free MOT and stacks of additional paperwork

Registration – ANK 456GChassis No. – 2168382M.O.T. – ExemptOdometer – 55,780km (M34,660)This delightful diminutive classic offers heaps of Mediterranean authenticity having spent most of its life in the environs of Rome. ‘ANK456G’ was imported to the UK in 2016 by its first and current UK owner. The owner’s Italian heritage made the restoration of ‘ANK456G’ a true passion project. Originality has been the watchword of this project with only electronic ignition being a nod to modernity. A new battery has been fitted and ‘ANK456G’ comes with plenty of paperwork from both its Italian and British lives. Since restoration the owner has only covered a few thousand miles with ‘ANK456G’ being dry stored when not in use. For those looking for a highly original 500L with genuine Italian provenance then ‘ANK456G’ is the one for you.The Fiat 500L, or Lusso, was released in 1968 as a more generously equipped version of this archetypal city car. ‘ANK456G’ exhibits the key external L differentiators of the chromed, tubular bumper guards. A charming, full length vinyl sunroof is also noted giving the 500L full summer motoring appeal. Given the 500L’s tiny footprint, much smaller than its contemporary cousin, the cabin is surprisingly commodious. ‘ANK456G’s’ cabin is finished in black, and although it may look spartan it is actually more generously trimmed and finished in this L specification. Bodywork and paintwork win an “excellent” rating, and the interior is judged as “good.”In terms of mechanical configuration, the 500L features the well proven twin cylinder 499cc 110F rear mounted engine. The power output is incredibly modest by today’s standards but the 500L never feels anything other than sprightly and nippy. That’s most likely due to the car’s 500 kg or so dry weight. A four speed manual gearbox transfers power to the rear wheels and tiny 12 inch wheels and drum brakes complete the package. This specification is emblematic of the 500’s ethos – minimalistic but more than adequate. All ‘ANK456G’s’ mechanical systems are rated as “good.”In summary:· Imported and restored as a passion project by the current owner· Offering a high level of 1969 authenticity and originality· A fine looking example awash with character and charm

Registration – RF04 WCTChassis No. – WBSBL92090JR08922M.O.T. – November 2025Odometer – 140,200‘RF04WCT’ is an example of the third generation of BMW M3 in E46 guise. As if that’s not already tempting enough, this is a widely preferred manual version featuring the six-speed Getrag 420G transmission and is a non-sunroof model to boot. In other words, a real purists’ delight. Clearly the eight keepers to date have appreciated what they had as ‘RF04WCT’ is complete with a fully stamped service book documenting the last service in November 2024. As well as routine maintenance, ‘RF04WCT’ has seemingly wanted for nothing in terms of non-routine works, including a VANOS service, air conditioning re-gas and a re-trimmed steering wheel. This fine E46 M3 in this optimum specification comes with a current MOT valid until November 2025.‘RF04WCT’ further adds to its innate desirability by presenting in the perennially popular BMW Silbergrau, or Silver Grey livery. The exterior of ‘RF04WCT’ remains entirely faithful to the original “less is more” Ulf Weidhase design and is all the better for it. This M3 sits purposefully on its original 67M double spoked alloy wheels with diamond cut faces. These are complete with subtle M-sport badges. The vendor reports that ‘RF04WCT’s’ underside and wheel arches are very solid and free from corrosion. The M3’s cabin is finished in black leather and, again, exhibits a highly desirable level of sought-after originality. Only the Bluetooth head unit and the retrimmed steering wheel are known to be non-original. ‘RF04WCT’s’ paintwork, bodywork and interior are all rated “good” by the vendor.Any M-car’s headline act is always going to dwell under the bonnet, of course, and ‘RF04WCT’ is no exception. The E46 M3 was fitted with the S54 unit which was the ultimate evolution of the hugely admired S50, naturally aspirated straight six engine. Being an M-engine, it features separate throttle bodies for each cylinder and, new for the E46 M3, “drive-by-wire” throttle control. The results speak for themselves. Originally rated at 338 bhp at a dizzyingly high 7,900rpm. This translated into a five second 0-60mph time and a 155mph electronically limited top speed. Hugely impressive in 2004 and still very competitive today.In summary:· A highly sought-after six speed manual, non-sunroof configuration· Offered complete with a fully stamped service book and much supporting paperwork· Maintaining a high degree of originality and a popular colourway

Registration – E119 YJCChassis No. – WBAAC620100551644M.O.T. – NOOdometer – 127,860With the BMW 3 Series in second generation E30 form, it underwent a major upgrade in 1987 to see it through to the end of production in 1994. ‘E119 YJC’ is one such post facelift 3 Series in 316 Automatic guise. Offered here with no reserve, ‘E119 YJC’ has been off the road for around two years and was last MOT’d in 2021 at 121,765 miles. This example is a 316i model equipped with a ZF automatic transmission. ‘E119 YJC’ has had five keepers to date and has covered around 128,000 miles to date. Clearly with some work left to do ‘E119 YJC’ is described as “90% complete” and still requiring an ignition barrel and rear three-quarter window glass. The E30 is an everyday classic with a rapidly growing following and ‘E119 YJC’ represents an example with great potential.‘E119 YJC’ is finished in a very late 1980’s gold livery. It is clear that this example has spent some while off the road, but the underlying bones seem good and relatively easy to bring back to standard. To this end the vendor rates both paintwork and bodywork as “good,” hinting at great promise. The period-appropriate exterior livery of ‘E119 YJC’ is matched with a brown, velour interior. Whilst the driver’s seat and carpet seem to be in a significantly worn condition, the driver centric black dash and other areas of trim look nicely preserved overall. The key here is ‘E119 YJC’s’ originality. It appears to be in a highly original condition which is currently highly desirable.‘E119 YJC’ is one of those models that slightly flies in the face of BMW’s long standing numbering convention. This 316 actually is 1766cc in capacity, featuring the four cylinder M40B 16-valve engine originally rated at around 100bhp. This is mated to a four speed ZF automatic transmission making for a nicely rounded mechanical specification. The mechanical aspects of ‘E119 YJC’ are all rated as “average.”In summary:· An example of the increasingly popular E30 BMW 3 Series· Offering a high level of desirable originality· A promising looking project car offered with no reserve

Registration – X451 NLBChassis No. – WBAD141060GY23339M.O.T. – October 2025Odometer – 61,500‘X541NLB’ represents a second generation, high-specification Mercedes-Benz CL500 Coupe in C215 guise. The CL500 was based on the W220 S-Class cars and hence represented a luxurious continent crossing GT model. With just five owners to date and a moderate 61,500 covered, ‘X541NLB’ is offered here with no reserve and presents in 5-litre V8 configuration making this a 150mph plus luxury four seater coupe with few equals. Being a high specification model, ‘X541NLB’ is very well equipped with refinements including double glazed windows, heated, ventilated and massaging seats, cruise control, sunroof, and rear blind to name but a few. ‘X541NLB’ comes complete with a good service history and plenty of accompanying bills. A rare chance to secure a high powered, high specification luxury bargain.Presenting in classic Mercedes Benz silver, ‘X541NLB’ is fitted with a distinctive looking Lorinser body kit giving the car an even more sporting look. Five spoke, deep rimmed Mercedes alloy wheels are also fitted. This is a great looking uber-coupe without question. The spacious cabin is usefully commodious and beautifully fitted and finished in peak Mercedes Benz over engineered style. Those special multi-function seats are finished in perforated supple grey leather. There are even accents of highly polished walnut veneer inn here to further enhance that luxury ambiance. A high level of originality is noted, and the condition of exterior and interior presentation is rated as “good.”‘X541NLB’ is fitted with the 5-litre V8 M113 engine. This refined but powerful unit was originally rated at an impressive 302bhp with 339 Ib-ft of torque. This is mated to a smooth shifting 5-speed automatic transmission. It is reported that an aftermarket back box is fitted but that it’s not too noisy and doesn’t drone whilst cruising. Active body control active suspension is also part of the extensive mechanical specification. All mechanical systems are rated as “good.”In summary:· A rarely seen 5-litre, V8 uber-coupe offered with service history and paperwork· With a sensible recorded mileage and low owner background· A luxurious and highly specified model

Circa 1750 A.D. Each door a single board with graduated scalloped upper edge, horizontal wooden bars to the reverse, hand-forged iron hinge knuckles and D-section leader to left door; primed with tempera on both faces and painted on the obverse, each with a bottle-green field, blue-grey frontage with vermillion upper storey and gilt roof; Left Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King David standing holding an unfurled scroll, wearing a gilt crown, vermillion tunic and blue mantle; before the wall a winged angel Gabriel holding a frond, wearing a draped mantle over ankle-length chiton and sandals; above, red painted legend 'BOUNA'; to the right edge, a D-section leader painted with red, white and blue diagonal stripes; Right Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King Solomon standing holding a scroll and wearing a gilt crown, similar tunic and mantle to the other; dove descending towards Mary standing before the wall in front of a cushioned throne, with gilt nimbus around her head; red painted legend 'V E S T I R E' above; rare. Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, fig.69, for similar; cf. also Baboș, A., ’Royal Doors of Maramures beyond their appearances’ in Museikon, a journal of Religious Art and Culture, 6/2022, pp.263-294, for similar doors and discussion. 13.8 kg total, 132 x 34 cm each (52 x 13 3/8 in). [2] Property of a London, UK, gentleman collector. Accompanied by a copy of a Romanian export licence. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12466-229954.The 'royal doors' (Greek: Ωραία Πύλη) mark the entrance to the iconostasis (wooden screen hiding the altar) in an Eastern Orthodox church.

Gauge 1 scratch-built electric battery operated SD Holden B12 (GER S69 1500's) 4-6-0 loco, in LNER lined green, no.8507, built and painted to a professional standard by Dave Walker, in 2006. The loco is fitted with Slaters wheels, a two-stage MSC motor and gearbox, non-helical, dummy inside motion, cast brake detail, wire, brake rodding, sanding detail, a very good level of backhead detail, smokebox door is detached, but present, as is the drawbar, and two brakeshoes. The charging socket for the loco is located under a cover on the tender. The loco is housed in a bespoke wooden box and is in near-mint condition.

A Good Pentacon Six TL Camera Outfit, to include a Pentacon six TL, body G, shutter works, slow speeds inaccurate, with a Carl Zeiss Jena Biometar f/2.8 120mm, barrel G, optics F with haze, a Carl Zeiss Jena Flektogon f/4 50mm, barrel G, optics G, a Carl Zeiss Jena S f/4 300mm, barrel G, optics F-G with external haze, eye level finder, extension tubes, M42 adapter.

Various Gordon & MacPhail "Flat Bottle" miniatures, and Ardbeg Guaranteed 10 Year Old miniature 1970's (Please note Linkwood fill level)

2 Smaller Format Bottles of Whisky to include: Benmore (Dallas Dhu Distillery) Selected Scotch Whisky 1950's Spring Cap 70 Proof - (No Capacity Stated.Please note shoulder fill level) Loch Dhu (Mannochmore) 10 Year Old 20cl

UNITED KINGDOM. Edward VII, 1901-10. Bronze Penny, 1902. Royal Mint. High tide. Bare head of King Edward VII facing right; EDWARDVS VII DEI GRA: BRITT: OMN: REX FID: DEF: IND: IMP:. Design by George William de Saulles. / Seated Britannia facing right; date in exergue; ONE PENNY around above. Design by Leonard Charles Wyon. Edge plain.Reverse B as per Freeman - the sea level to the right of Britannia is 4.4 mm from the exergue line.UNC.Reference: S-3990; KM-794.2Mintage: 26,976,768.Diameter: 31 mm.Weight: 9.4 g.Composition: Bronze.PLEASE NOTE: A 20.00% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

GLAM ROCK - LP COLLECTION. A quality collection of around 23 glam rock LPs. Artists/ titles include T Rex inc The Slider (BLN 5001), Tanx (BLN 5002), A Beard Of Stars, Unicorn, T Rex, Bolan Boogie. Mick Ronson - Slaughter On 10th Avenue. Alice Cooper inc Schools Out (K56007, inc panties), Billion Dollar Babies (inc billion dollar note), Killers, Love It To Death, Muscle Of Love (card box sleeve). Sweet inc S/T, Give Us A Wink, Fanny Adams, Level Headed, Off The Record, Strung Up. Slade inc In Flame, Old New Borrowed And Blue, Slayed, Sladest, Six Of The Best. Condition is generally VG to Ex+.

Very rare - possibly unique - within UK Club motorsport, this well-prepared XJ-SC has the added benefit of being road-registered and is offered without Reserve. Only 1,130 examples of the six-cylinder XJ-SC were built and we can’t recall ever having seen one converted to a race car, certainly at UK club level and this striking car certainly looks the part. It was originally built to be eligible for the Standard 'Class A' of the popular Jaguar Enthusiast Club GT Championship, usually run over 12 rounds across six weekends of the season at some of the UK’s top circuits including Silverstone, Brands Hatch and Donington Park. It would undoubtedly be a welcome addition to the grids at a number of other UK Championships and being road-registered, opens up the possibility of entry to hill climbs, sprints, road rallies and even the occasional track day.In our vendor’s words, 'A bit over two years ago, a race-winning Jaguar XJ-S race preparer (JEC Champion, Colin Philpott of Powerbell Services) fitted new race suspension bushes, custom roll cage, outboard rear discs, a Topline automatic fire system, fabricated fuel tank, new Schroth Profi II ASM race harnesses worth about £900 plus all the other FIA regulation safety requirements. He then lightened the car by removing the air-conditioning, carpets and noise padding, fabricated lightweight aluminium door and interior panels, fitted twin specially commissioned new Corbeau Sprint Excel race seats worth £1,900, a period Momo removable steering wheel, appropriate period aluminium wheels and much more'.External modifications to the top lip of the boot lid as well as the bespoke slimline bumpers front and rear give the car a more pleasing outline. Our vendor feels it’s a little reminiscent of some of the early design studies by Malcolm Sayer, Jaguar’s legendary aerodynamicist and designer of the C, D and E-Types and who was responsible for the initial work on the XJ27 (XJ-S) before his untimely passing at age 53. His sleek low-nose style didn’t survive as a result of US headlight and 'fender' requirements and Sir William Lyons’ own preferences.The car presents in a Ecurie Ecosse blue paint scheme with the roundels and stripes as might have been seen in period on a D-Type, enhanced by a new navy blue soft top (£2,200) and black 5-spoke alloys. There are one or two areas where there has been a paint reaction (see images) and the original interior is available if required but is in France so a courier would be required. The appropriate registration number, C7 XSC, will remain with the car.Our vendor unfortunately sustained a long-term leg injury a week before the finished car was delivered, so this good looking Jaguar has never been raced. This is a super opportunity to enter the world of Jaguar Club Racing in a rare - possibly unique - road-registered racer that, apart from a spanner check, looks ready to go and offered without Reserve could be remarkable value.Specification Make: JAGUAR Model: XJ-SC Year: 1987 Chassis Number: SAJJNACC7CA141978 Registration Number: C7 XSC Transmission: Manual Engine Number: 9DPAMA116185 Drive Side: Right-hand Drive Make: RHDClick here for more details and images

Registration No: LDB 27V Chassis No: LRH38557 MOT: September 2025A notably rare, 'home market' Silver Wriath II (the vast majority of the 2,136 made were supplied new to North America)Recently recommissioned following some seven years' dry storage and MOT tested despite being eligible for exemptionPreviously maintained by Broughtons of Cheltenham among othersPleasingly retains its original Dark Blue leather upholsteryCredible 89,000 miles and will be driven to the salePrompted by a new generation of more driver orientated luxury cars, the Rolls-Royce Silver Shadow II was announced in February 1977. While, the Mercedes-Benz S-Class, Jaguar XJ12 and BMW 7-series could not be viewed as direct competition, they illustrated the increasing importance that the buying public was placing on chassis dynamics. Thus, while Crewe’s newcomer utilised the same bodyshell, mellifluous 6750cc V8 engine and smooth-shifting GM400 series automatic gearbox as the outgoing Shadow, it gained a prominent front air dam, larger one-piece bumpers, revised front suspension geometry and - most importantly of all - power-assisted rack and pinion steering. Undeniably better to drive, the Shadow II further benefited from the adoption of a more ergonomic facia and split level air-conditioning. Still trimmed with the finest quality hides, wood veneers, chrome fixtures and carpets available, it treated occupants to a uniquely cosseting experience. Debuting alongside the Shadow II, the Silver Wraith II was near identical except for a longer wheelbase. Offering rear seat occupants an extra 4-inches of legroom, albeit at rather greater expense, it remained in production until 1980 by which time some 2,145 are thought to have been made. Finished in the handsome combination of Caribbean Blue Metallic with Dark Blue leather upholstery, chassis LRH38557 was supplied new to the home market. First registered on 19th November 1979, the Rolls-Royce has variously sported the number plates ‘LDB 27V’, ‘TWK 930’ and ‘PMB 206Y’ (the latter suggesting it might have spent time overseas). Carrying logos for main dealer Broughtons of Cheltenham to its keyfob, tax disc holder and current number plates, the Silver Wraith II displays a modest 89,000 miles to its odometer (less than 2,000 miles per annum if averaged out). Dry stored from 2017 – 2024, the four-seater has since been carefully recommissioned and put through a MOT test (despite being eligible for exemption). Starting readily and running well at the time of our visit, ‘LDB 27V’ will be driven to the Pavilion Gardens. Offered for sale with V5C Registration Document, tool kit and assorted paperwork. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737

Registration No: V448 TEO Chassis No: YV1LS61F9Y2644877 MOT: T.B.AOffered from long-term ownershipSupplied with history file that contains old MOT certificates and invoicesCredible 37,000 Miles from newIntroduced in Europe in late 1996 for the 1997 model year and later in the U.S. for the 1998 model year, the Volvo S70 was an updated version of the Volvo 850 saloon. The S70's body style was overall more rounded compared to its predecessor. Changes included a redesigned front end with new lights, fully colour-coded bumpers and side trim, and clear indicator lenses for the rear lights, as well as a redesigned interior. According to Volvo, a total of 1800 changes were made.Standard equipment was improved with remote central locking, heated & electrically adjustable mirrors, 4 airbags, power brakes with ABS and power windows being standard on every car. Trim levels varied for each market as did the equipment levels of the most basic trims. In the United States, the badging denoted the engine variant and to some extent the equipment level, whereas in Europe engine and options could be chosen individually. On all markets more powerful versions usually received better or upgraded standard equipment. The T5 and R were the series high-performance models.First registered 1st April 2017 and with just 1 former keeper recorded, today the odometer displays a mere c.37,000 credible miles. Attractively attired in Metallic Green with a complementing Cream leather interior, the specification also includes automatic transmission and air conditioning. It is being offered at the sale from long-term ownership. It is believed to be a former government vehicle, perhaps supported by its specification and low mileage. It is being supplied with a history file that contains old MOT certificates, a collection of invoices and MOTs, the original owner’s wallet with the manual and service book and the old warranty certificate from the supplying dealer. For more information, please contact: Luke Hipkiss luke.hipkiss@handh.co.uk 07886398226

WW2 Royal Air Force Battle of Britain Combat Report of Pilot Officer William McKnight DFC & Bar, No 242 Squadron Commanded by Sir Douglas Bader, the printed and typed combat report relates to an action on 18th September 1940 over Tilbury Docks, London (Essex). The report gives the following details, ‘Forward E/Flight to intercept small enemy bomber formation with close fighter escort. Attacked a Ju88 with the C.O. and other fighters. Enemy port engine on fire and a/c rapid descent to sea level heading out to sea toward France. We turn back as Hurricanes of 302 polish Sdn are following him. Note another Junkers below with s/b engine feathered. S/Ldr Bader orders us to attack and we go in, also with a Hurricane of the Polish squadron. Enemy a/c well shot up and goes vertically down. Three crew parachute out the first catching tailplane before falling to earth. Other two down in sea. A/C down in sea off Sheerness. Time 17.30 hrs. C.O. orders us return to Duxford’. Signed in pencil by McKnight. Small area of paper loss to the top but otherwise good condition. Accompanied by a folder of research material. William Lidstone McKnight, DFC & Bar was a Canadian flying ace of WW2. He was Canada's fifth-highest scoring ace of the war. McKnight joined the Royal Air Force in early 1939 and served in No. 242 Squadron RAF during the final phase of the Battle of France, covering the Allied retreat from Brittany, and later the Battle of Britain. McKnight's aircraft wore a distinct cartoon of a jackboot kicking Adolf Hitler on the port side of the engine cowling. His Hurricane also carried a human skeleton image which held a sickle in its hand under the cockpit, on both sides of the aircraft. McKnight scored 17 victories, as well as two shared and three unconfirmed kills. McKnight was shot down and killed on 12 January 1941 during a fighter sweep over Calais. 

A particularly fine Second War ‘North Africa’ D.S.O., night fighter’s D.F.C., ‘1954’ A.F.C. group of thirteen awarded to Hurricane and Mustang ‘Ace’ Group Captain, late Sergeant Pilot, J. T. ‘Johnny’ Shaw, Royal Air Force Volunteer Reserve, who achieved rare success in Hurricanes by Day and Night and in May 1943 was recommended by Air Vice Marshal H. P. Lloyd as “probably the greatest expert on night intruding in single-engined aircraft in the Royal Air Force at the present time.” He was credited with at least 6 enemy aircraft destroyed, 1 shared destroyed, 2 probables and 2 damaged serving with 3 and 32 Squadrons, between April 1941 - April 1943. Having served with 3 Squadron over the night skies of London and beyond, he went on to command 32 Squadron in North Africa, before commanding 122 Squadron in France during the immediate aftermath of D-Day in June 1944. Distinguished Service Order, G.VI.R., silver-gilt and enamel, reverse officially dated ‘1943’, with integral top riband bar; Distinguished Flying Cross, G.VI.R., reverse officially dated ‘1942’; Air Force Cross, E.II.R., reverse officially dated ‘1954’; 1939-45 Star; Air Crew Europe Star, 1 clasp, France and Germany; Africa Star, 1 clasp, North Africa 1942-43; Italy Star; Defence and War Medals 1939-45; Air Efficiency Award, G.VI.R., 1st issue (Flt. Lt. J. T. Shaw. R.A.F.V.R.); Coronation 1953; Belgium, Order of Leopold, Military Division, Chevalier’s breast badge, silver and enamel, French motto, with silver palm emblem on riband; Croix de Guerre, L.III.R.,, bronze, with bronze palm emblem on riband, British awards mounted court-style (in this order), cleaned, generally very fine or better (lot) (13) (13) £14,000-£18,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.S.O. London Gazette 20 August 1943. The recommendation (taken from Air Ministry Bulletin 11184 of 20 August 1943) states: Squadron Leader Shaw, now on his second tour of operational duty, has led his squadron on a large number of operational sorties. These have included night intruder sorties, low-level machine gun attacks, convoy patrols and sweeps. A magnificent leader, he has invariably set an inspiring example to his subordinates.’ The following recommendation, dated 29 May 1943, also exists: ‘Squadron Leader Shaw has been on operational flying for the greater part of the war. On his first operational tour he completed 350 hours and 210 sorties on single-seater fighters, destroying six enemy aircraft and probably destroying two others. Of these, six were at night. In January, 1942, after destroying three and probably one enemy aircraft he was awarded the Distinguished Flying Cross. In September, 1942, he was given command of No. 32 Squadron and started his second operational tour, since when he has completed 186 hours operational flying and has led his Squadron on 100 sorties. These have included night intruding, ground strafing, fighter nights, anti-torpedo bomber reccos, convoy patrols and special sweeps at dawn and dusk. In April, 1943, he took an extra flight from his Squadron to Souk-El-Khemis for night intruder work in Tunisia. During the ten days they were there he destroyed two Ju 88’s and probably destroyed another over their aerodrome at night. He also made several successful attacks on enemy transport. He is probably the greatest expert on night intruding in single-engined aircraft in the Royal Air Force at the present time. He is a magnificent leader and inspires those under him to a remarkable degree. Strongly recommended for the award of the Distinguished Service Order.’ D.F.C. London Gazette 27 March 1942: ‘This officer has been engaged on operational flying since November, 1940. He has taken part in operations against enemy aircraft by night, in numerous daylight sorties over enemy occupied territory and in many attacks on shipping. Flight Lieutenant Shaw has led his detachment with exceptional skill and keenness and he has destroyed at least 3 enemy aircraft.’ The original recommendation states: ‘Acting Flight Lieutenant J. T. Shaw joined No. 3 Squadron on the 18th November, 1940, as a Sergeant Pilot and served with ‘A’ Flight, at Sumburgh, Shetlands, during the Winter of 1940/41. In April, 1941, the Squadron moved into No. 11 Group and was stationed at Martlesham Heath. During the Squadron’s stay at Martlesham Heath Flight Lieutenant Shaw, whilst acting as a Section Leader, assisted in the destruction of a Ju 88 off Ostend on the 24th April, 1941. During the period this Squadron was engaged on “Fighter Nights” over London, Flight Lieutenant Shaw attacked and probably destroyed a He. 111 on the night of the 10th/11th May, 1941. He has since destroyed one Dornier 17 off Dunkerque on the 8th July, 1941, one M.E. 109F on the 10th August, 1941, and one Dornier 215 whilst on “Intruder” operations with a Long Range Hurricane off the Belgian Coast on the 8th February, 1942. In addition to these successes he has taken part in a number of sweeps over enemy occupied territory and also in a number of shipping strikes in the Channel when the Squadron detached one Flight to Manston for that purpose. Flight Lieutenant Shaw was granted a Commission on the 7th October, 1941, and was given Command of ‘B’ Flight, No. 3 Squadron, on the 27th December, 1941, with the rank of Acting Flight Lieutenant. When the Detachment of Long Rang Hurricanes of No. 3 Squadron was formed Flight Lieutenant Shaw was put in charge of these aircraft for “Intruder” operations and by his exceptional keenness and skill has done a great deal to make the use of these aircraft a success whilst they have been based at Manston. Altogether Flight Lieutenant Shaw has been on operational flying for 15 months and he has by his keenness and ability been an outstanding example to the rest of the Pilots in the Squadron.’ A.F.C. London Gazette 1 January 1954. Belgium, Order of Leopold, Knight London Gazette 27 June 1947. The original recommendation states: ‘Sorties 546; flying hours 990. On June 9th, 1944, Wing Commander Shaw as Officer Commanding, 122 Squadron proceeded from Ford to B.7 Bayeux and operated on the Continent after ‘D’ Day. 61 sorties were carried out from this advanced airfield which included bombing of various targets in France and armed reconnaissance's over Belgium. This officer carried out a total of 200 hours operational flying in the above sectors returning to the United Kingdom on 18th August, 1944.’ Belgium, Croix de Guerre London Gazette 27 June 1947. John Thornhill Shaw was born in Worksop, Nottinghamshire in April 1916. He was educated at Nailsworth College, Adelaide, Australia, 1929-34 and was employed by R. D. C. Clowne (Surveyors), Derbyshire in January 1938. Shaw enlisted as an A.C.2 in the Royal Air Force Volunteer Reserve in May 1939, and served in the ranks as a pilot under training. Having advanced to Sergeant Pilot, and then being commissioned Pilot Officer (on probation) he was posted for operational flying with ‘A’ Flight, 3 Squadron (Hurricanes) at Sumburgh, Shetlands in November 1940. The Squadron, heavily involved during the defence of France in May, was tasked with the protection of Scapa Flow whilst it recuperated. Shaw and the Squadron moved south to Martlesham Heath in April 1941, when their role changed to flying fighter night patrols over London. The Hurricane was ill-equipped for night-fighting, and victor...

PSA 10 Gem Mint Lugia V 138/195 Silver Tempest Pokemon Card

PSA 10 Shauna Secret Rainbow 278/264 Sword & Shield Fusion Strike 2021 Pokemon card and PSA 6 Marnies Pride 171/172 Sword & Shield Brilliant Stars 2022 Pokemon card (2)

80s / SYNTH / COOL POP / NEW WAVE - BBC TRANSCRIPTION DISCS - LP PACK. A pack of 9 x LPs. Titles/ Catalogue numbers are Level 42 (CN 4285/S, Ex+), Robert Palmer (CN 4242/S, Ex+), The Psychedelic Furs (CN 4104/S, Ex+), Kissing The Pink (CN4274/S, Ex+), The Communards (CN 4916/S, Ex+), The Housemartins (CN 4866/S, Ex+), Blancmange (CN 4403, Ex+), Fashion (CN 4452/S, Ex+) and Go West (CN 4740/S, Ex+). Please note no cue sheets are included.

80s / SYNTH / COOL POP / NEW WAVE - BBC TRANSCRIPTION DISCS - LP PACK. A pack of 9 LPs. Artists/ Catalogue numbers are Level 42 (CN 4285/S, Ex+), Green On Red (CN 4670/S, Ex+/VG+), Ian Dury & The Blockheads (CN 3762/S, Ex+), Kissing The Pink (CN 4274/S, Ex+), The Communards (CN4916/S, Ex+), Culture Club (CN 4147/S, Ex+), Q Tips (CN3714/S, Ex+), Paul Brady (CN5007/S, Ex+) and Shakatak (CN4508/S, Ex+). Please note no cue sheets are included.