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A Small Collection of Surveying Instruments, A Small Collection of Surveying Instruments, a green card prismatic compass/clinometer by J Hicks (clinometer faulty), an Abney level in leather case, by E R Watts, retailed by E Esdale, Sydney, a cased dip needle by W s Darley & Co (one glass cracked) and a brass protractor with vernier, protractor diameter 20.3cm

A vintage 1960's Cowley sighting level; others, sight square, contract; a cased drawing implement set

1966 Austin Mini CooperRegistration no. HAY 571DChassis no. C-A2S7/873721Odometer reading: 33,600MOT Expiry: N/A*Immaculate 1960s Mini*UK car with large history file*Car shown at events, including 50 years of the Mini CooperIntroduced in 1959, the Austin Mini soon became an icon of 1960s British popular culture. The example shown here, a 1966 Austin Mini Cooper with the 998cc engine, was a later vehicle manufactured towards the end of the run in April 1966 for the UK market. The car was specified in the de-luxe trim to include a factory heater. Sold new via Lathams of Leicester, the car stayed local to Northampton until 2006. Between 1987-2005 the car was owned by John's Motors in Fosters Booth, Northampton. Established in 1963 the company has been run for many years by the founders son, well known historic single seater racer Jon Millicevic. Jon is well known for winning in superbly self-prepared cars. Whilst in his care he changed the colour of the car from the original white with a black roof (as described on the Heritage Certificate on file) to the current livery of fiesta yellow and white roof. In 2005 he sold it to Edward Bishop, Managing Director of Connaught Racing Cars. He kept the car for 18 months before selling to the next owner who undertook substantial work, ending in the car being sent to a rolling road (results on file). After buying the car in 2011, the current owner continued to take the car to the potential concours winning level it presents itself in today. The car has been shown at Autolegends, Goodwood's celebration of 50 years of the Mini Cooper, and the Festival Italia celebrating The Italian Job as well as the car being a regular visitor to Goodwood's Sunday breakfast meets. So whether you want to enter Concours events, have a great car to go to Goodwood Revival or simply have that Mini Cooper you have always promised yourself, you will not find a better example. Footnotes:Vendor Score Total: 94/100Bidders should note that the automated 100-point Seller's Assessment is provided by each Seller at the point of consignment using the guidelines below, and is not provided, assessed or verified by Bonhams MPH. Accordingly Customers (Bidders) are on notice that each vehicle is offered 'as is / as seen' subject to the Conditions of Sale for the auction, and Customers (Bidders) are strongly recommended to view the Lot(s) being offered, before bidding, in order to satisfy themselves as to their condition; Bonhams MPH will not entertain disputes over Sellers' Assessments. Key for sellers' assessments:1/5 POOR. A project vehicle | Requires urgent attention | Damaged | Parts missing2/5 AVERAGE. Useable condition | Requires some attention | Light damage3/5 GOOD. Drive away | Presents well | Good history file | Drives well4/5 VERY GOOD. Well restored | Running and driving with no noticeable faults | Sound throughout5/5 EXCELLENT. Concours condition | Beautifully presented | Driving very wellEXTERIOR TOTAL: 25/25Body Work: 5Chrome/Plastics/Trim: 5Glass: 5Paint: 5Wheels/Tyres: 5INTERIOR TOTAL: 14/20Dashboard/Door cards/Carpets: 3Headlining: 3Seats: 3Trim: 5ENGINE TOTAL: 20/20Mechanical components: 5Running: 5Starting: 5Under Bonnet: 5RUNNING GEAR TOTAL: 20/20Axles: 5Brakes: 5Gearbox/Clutch: 5Suspension: 5ELECTRICAL TOTAL: 10/10Ancillary components: 5Main components: 5Car History File: 5For further information on this lot please visit Bonhams.com

1972 Ford Escort Mexico Rally CarRegistration no. DGA 2KChassis no. BFATMR05179Engine no. 711M6015BAOdometer reading: N/AMOT Expiry: N/A*Iconic Escort Mexico*Dry stored in a Carcoon*Great potentialThe Ford Escort is one of Britain's most well-loved cars and was Ford's most successful rally car, winning at Championship level for more than a decade. Launched in December 1970, the Ford Escort Mexico was a tribute to Hannu Mikkola and Gunnar Palm after their victory in an Escort in the London to Mexico World Cup of that year. The Mexico edition rally car was engineered to satisfy any keen driver whilst also maintaining agile and controllable handling for the road. The Mexico featured uprated suspension, larger disc brakes, and was powered by the same Kent 1,600cc engine as the standard car but with a progressive twin choke downdraft Weber carburettor. This 1972 example is in good condition and has spent a lot of its life in a Carcoon, but will require some work. The car is currently not running, but the vendor is aiming to get the car running and started by the time of the sale. The interior is in good condition, but the running gear such as suspension and brakes will require further attention. There is good history with the car including MOT certificates and the MSA historic identity forms from 2001. There is great potential on offer here with this special homologation vehicle.Footnotes:Vendor Score Total: 67/100Bidders should note that the automated 100-point Seller's Assessment is provided by each Seller at the point of consignment using the guidelines below, and is not provided, assessed or verified by Bonhams MPH. Accordingly Customers (Bidders) are on notice that each vehicle is offered 'as is / as seen' subject to the Conditions of Sale for the auction, and Customers (Bidders) are strongly recommended to view the Lot(s) being offered, before bidding, in order to satisfy themselves as to their condition; Bonhams MPH will not entertain disputes over Sellers' Assessments. Key for sellers' assessments:1/5 POOR. A project vehicle | Requires urgent attention | Damaged | Parts missing2/5 AVERAGE. Useable condition | Requires some attention | Light damage3/5 GOOD. Drive away | Presents well | Good history file | Drives well4/5 VERY GOOD. Well restored | Running and driving with no noticeable faults | Sound throughout5/5 EXCELLENT. Concours condition | Beautifully presented | Driving very wellEXTERIOR TOTAL: 15/25Body Work: 3Chrome/Plastics/Trim: 3Glass: 3Paint: 3Wheels/Tyres: 3INTERIOR TOTAL: 14/20Dashboard/Door cards/Carpets: 4Headlining: 3Seats: 3Trim: 4ENGINE TOTAL: 11/20Mechanical components: 4Running: 1Starting: 2Under Bonnet: 4RUNNING GEAR TOTAL: 16/20Axles: 4Brakes: 4Gearbox/Clutch: 4Suspension: 4ELECTRICAL TOTAL: 8/10Ancillary components: 4Main components: 4Car History File: 3For further information on this lot please visit Bonhams.com

A post-War M.B.E. group of seven awarded to Warrant Officer Class 1 C. Blair, Royal Army Service Corps The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 2nd type, breast badge, silver; 1939-45 Star; Burma Star; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Malaya, E.II.R. (S/57366 W.O. Cl. 1. C. Blair. M.B.E. R.A.S.C.); Army L.S. & G.C., E.II.R., 1st issue, Regular Army (S/57366 W.O. Cl. 1. Blair. M.B.E. R.A.S.C.) last officially renamed, generally very fine (7) £200-£240 --- M.B.E. London Gazette 7 June 1951. The original recommendation states: ‘This Warrant Officer has been recommended previously for an M.B.E. in the New Years Honours Lists 1950 and 1951 and similarly for the Birthday List 1950. The citations on these occasions were as shown below: New Year 1950: ‘In recommending this Warrant Officer for the award of an M.B.E. I am of the view that it would indeed be difficult to find a case more deserving of consideration in time of peace. He has been employed in A.G.8. since 1 April 1946, and has given outstanding service throughout this period. During the past year in particular he has been subjected to quite abnormal conditions, all of which he has overcome in the most exemplary manner. Owing to reductions in staff the clerical work of the Branch has frequently been at breaking point, but on each occasion by his own personal example, initiative and untiring work Blair has averted a crisis. He has been fighting personal ill-health or illness in his family throughout this period, has been uncomplaining and cheerful and the requirements of the Service have always been put before his own personal problems, acute though they have been. To weld into a happy and hardworking team a mixed staff of military and civil servants, many of whom are over 60, is a remarkable achievement, which reflects the greatest credit on such a young Warrant Officer. Birthday 1950: ‘S.S.M. Blair was most highly recommended for the award of a M.B.E. in the New Years Honours List 1950, in view of his outstanding service over many years, the extremely difficult circumstances under which he fulfilled his task as Chief Clerk, A.G.8. up to August 1949, and the success with which he had welded into a happy and hardworking team the mixed staff of military and civilian clerks comprising the establishment of A.G.8. Since that period he has continued to render outstanding service, and his personal example, initiative and untiring devotion to duty have been maintained at the outstanding level on which the previous recommendation was made. Additionally he has devoted himself to the recreational interests of the personnel at Stanmore outside normal working hours.’ New Year 1951: ‘S.S.M. Blair has continued to deserve the high praise given in these previous citations and I would most strongly recommend that he be given the award in recognition of his outstanding services since 1946.’

AN EXCEPTIONAL AND VERY LARGE CANTON ENAMEL ‘SCHOLARS’ DISH, EARLY 18TH CENTURYChina. This piece is notable for its imposing size, the broad surface of which has been delicately rendered with a rich scene of scholars, literati and pupils observing an artist working on a scroll, painted with bamboo springing from craggy rockwork, the yet unfinished oeuvre being the talk of the gathering.Provenance: From a private estate in Pennsylvania, USA. The backside with an old collector’s label inscribed “C-09” and a second label with the inscription “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”. Condition: The foot rim with a hole drilled for suspension. The center with circular hairlines along the foot and two old fillings, each the size of a coin. The outer border with an old, restored section of ca. 10-15 cm, barely extending into the yellow border, mirrored at the back. Minuscule firing flaws, pitting, hairlines, dents, losses and fills. The metal mounts with a fine, naturally grown patina. Old wear and traces of use. Overall, in good condition, especially considering the magnificent size of 2.365 cm², with less than 60 cm² of restored area, equivalent to only 2.5% (!) of the total surface.Weight: 3.7 kg Dimensions: 55 cm Furthermore, we find a building with a terrace, a garden with scholar’s rocks, an imposing Ming dynasty altar table with a bitong and various brushes, an inkstone and several garden stools, as well as a peaceful lake and mountains in the far distance completing the inspiring scene.The cavetto with a dense scroll of pink peonies and lavender-colored lotus against an Imperial yellow ground, all within two circumferential bands of leaves and vines. The reverse shows a neatly painted still life of two peaches, lingzhi, flowers and a single bat against a white ground. The border with a band of grapes.The present dish is among the earliest examples of the successful combination of Western imaging techniques with traditional Chinese motifs during the first half of the 18th century. The subtle gradations of tone and the rendering of light and shade are particularly successful in the central panel, where cautious shading is introduced along the walls and canopy of the building. Even these few shades already give the composition a certain three-dimensional depth, heretofore unknown in Chinese painting. Moreover, the similarly rendered pink flowers are depicted in full bloom and appear to loom out from the contrasting yellow background. The fusion of East and West is therefore not only found on a technical level, but also in the stylistic approach to this painting, where the Chinese tradition of outlining has cleverly been combined with the European pursuit of naturalism through shading. Wares that combine a finely enameled scholarly motif on the interior with a vibrant yellow ground exterior were also produced in porcelain and celebrate the newly developed Famille Rose palette of the early eighteenth century. Tang Ying (1682–1756), as of 1728 the superintendent of the Imperial Kilns at Jingdezhen, notes in his work “A Brief Account of Ceramics”, that yangcai (Western color) enamel wares should be classified as combining falang glazes with Western painting styles (see the National Palace Museum exhibition catalog, Stunning Decorative Porcelains from the Qianlong Reign, Taipei, 2008, pp. 32-40).Painting in enamels on copper is essentially a Western art that gained prominence in northern Europe during the Renaissance and flourished in China under the reign of the Qianlong emperor. Once the piece was shaped, the copper was prepared with a ground of plain enamel to receive the painting in glassy pigments which then bonded to it by firing. The resulting clear and brilliant contrast of colors, which allowed for ornate decoration, was particularly suited to the young Qianlong emperor's taste for the opulent and exotic. The technique was first introduced to Guangzhou by Jesuit missionaries who entered the port with samples of Limoges wares from Europe around 1700. It was then presented to the Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou, who supplied versatile artisans dedicated to developing and improving the standard of the imperial Enamel Workshop (see Yang Boda in the catalog to the exhibition Tributes from Guangzhou to the Qing Court, Art Gallery, The Chinese University of Hong Kong, Hong Kong, 1987, page 63).Curator’s Summary: The frugal use of shading points to an early date during the first period of enamel production, which can possibly be even narrowed to 1710-1725. After this period, shading became more sophisticated and stippling was introduced. It is even possible that this monumental work, obviously conceived to impress, and difficult to make with the limited production capacities of the time, was among the few large template pieces presented to the Imperial Palace Workshop between 1714 and 1716 by the enamel factories in Guangzhou. This would explain the lasting albeit simplified reappearance of closely related scholarly motifs in later imperial works. Overall, the present dish must therefore not only be regarded as extremely rare, but also as an important contributor to what was later to become the most sophisticated producer of enamel wares in the history of mankind: The Imperial Palace Workshops in Beijing. Literature comparison: A similar use of yellow ground with multi-colored floral scrolls along panels containing depictions of scholars in garden landscapes can be seen on a Qianlong hand-warmer – with a red enamel six-character Qianlong seal mark within a single square – in the collection of the National Palace Museum, Taipei (illustrated in Enamel Ware in the Ming and Qing Dynasties, p. 243, no. 134) although the frames of the panels on the hand-warmer are in red tones and created using more sophisticated abutted S- and C-shaped elements. The use of imperial yellow grounds ornamented with multi-colored floral scrolls was much admired by the court in the Qianlong reign and can be seen on a number of items in a range of forms preserved in the collections of the Palace Museum, Beijing, and the National Palace Museum, Taipei.A scene of scholars in a garden setting, related to the one on the present plate, appears on a Qianlong enameled tea container in the collection of the State Museum of Oriental Art, Moscow (illustrated by Marina Neglinskaya in Kitayske raspisnie zmali, Moscow, 1995, cat. 38), although in the case of the Moscow piece, one scholar is playing the qin while another listens, and a servant approaches with refreshments. The enamels on the Moscow tea container are less rich than those on the present plate and the hand-warmer from the National Palace Museum Collection, and the dominant color in the background is blue rather than yellow, but it is interesting to note that the style was appreciated by the European elite as well as those in China.Auction result comparison: Compare with a closely related but much smaller plate at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on December 1st 2010, lot 3229, sold for HKD 350,000.十八世紀初廣州銅胎畫琺琅開光文人賞畫圓盤 中國. 尺寸宏偉，盤内開光，繪畫精美，文人及其學生欣賞一位畫家在捲軸上作畫的場景，四周山水湖泊以及院内假山竹林。 來源： 美國賓夕法尼亞州私人遺產。盤底有老藏家的標簽 “C-09” 以及第二個標簽 “Canton Enamel Charger 22” Diam. (18TH C) #78 (10.15.K)”。 品相： 完整中文品相報告請至www.zacke.at查看。其餘中文敘述請至www.zacke.at查看。

4 Rare Islay and Skye Whisky Miniature Bottles from 1970’s / 80’s comprising : 1 x 5cl Laphroaig 10 yo from 1980’s boxed – good fill level – 1 x No content mark Ardbeg 10 yo 70’s/80’s - good fill level – 1 x 1⅔ fl.oz. Bowmore ‘Deluxe’ 1970’s – good fill level and 1 x 50ml (on glass) Talisker 100° Proof 1970’s - ¾ fill level

A collection of mainly 1980's LP records and 7" singles, Paul Simon, Paul Young, UB40, Level 42, etc.

Chateau Mouton Rothschild 1945 Pauillac 1 bt U/S No 30492. Bought by the current owner's grandfather in the years immediately following the war and stored in underground cellar south of Birmingham until these passed to their present owners just over a year ago. The condition of these bottles is remarkable. The label and vintage slip are in outstanding condition there is slight damage to the capsule as can be seen in the images of the lot. With an upper shoulder level and excellent colour, this opportunity to purchase a genuine bottle of Mouton 1945 with excellent provenance should not be missed.

POP - LPs PLUS 12". Cracking collection of around 110 x Pop LPs plus around 55 x 12" (around 165 titles in total). Largely from the 80s/90s, artists/titles include Shakespear's Sister - Hormonally Yours (1992 og, 828 375-1 - Ex+/VG+), Elton John inc. Live In Australia (box set), Kylie Minogue - S/T and Enjoy Yourself, Cher, Fairground Attraction, Michael Jackson inc. Off The Wall and Thriller, Nick Lowe, Garland Jeffreys, Spandau Ballet, Tina Turner inc. Foreign Affair (multiple copies including one sealed), Curiosity Killed The Cat, Janet Jackson, Gloria Estefan, Sarah Brightman - As I Came Of Age, A-ha, Chris Rea, Duran Duran, Level 42, Shakin' Stevens, Kim Wilde, Matt Bianco, INXS, Aswad, 10CC, Sting, Pet Shop Boys, Huey Lewis & The News, Wham! and George Michael - Listen Without Prejudice and Faith (4 copies). Condition is generally VG+ to Ex+.

Marlene Dumas (South African 1953 - ) THE SUPERMODELsigned, dated 1995, inscribed with the title and numbered 87/100 in pencil in the marginlithographsheet size: 66 by 51cm In the 1990’s, a small group of highly paid models who had reached celebrity status were referred to as ‘supermodels’, many of them becoming household names. Marlene Dumas’ Supermodel is a depiction of Niaomi Campbell, the first person of colour to be described as a supermodel. Dumas produces images from reference photographs, some are her own documented images, while others are found images from print media. The image of Niaomi Campbell is arguably produced from the latter.  Marlene Dumas is known for her high level of empathy which feeds into her ability to imbue her subjects’ emotional state with loose, unhampered brushstrokes. The subject of Supermodel with her downcast eyes, appears sad, wan, perhaps tired of the constant attention. Yet her countenance has been recorded again, this time by an artist interested in translating her mood and inner world, as well as her immediate outer beauty. The work we have on our February offering is a lithograph of an edition of 87/100. The original watercolour is in the collection at MoMA, New York. Dumas remains one of the top performing artists on the international auction market.                                                                                                                         Suzanne Duncan

Irma Stern (South African 1894 - 1966) MELON SELLER AT A ZANZIBAR MARKETsigned, dated 1952gouache on card50,5 by 61cmPROVENANCEStephan Welz & Co, Cape Town, February 2015, lot 603 In viewing this work one is immediately struck by its rythmic , upbeat mood . It feels possible that music can be heard , certainly the natural music of the seething market place . Evidently it was painted on a day when the artist felt no' hinderiances ' of any kind , and here we refer to Irma's letter to Freda Feldman of Aug 26 th 1957,  where she expresses her urgent desire to travel to Europe on Sept 14 th  and hopes that her companion Dudley's 'Damned Office ' will not present any obstruction to her plans !        In her book A Feast for the Eye Marion Arnold refers to Irma Stern's work of the 50 s as a period of 'pictorial experimentalism' and of her being' overwhelmed by Picasso' . Certainly she was inspired by her  exposure to Post War European art on her travels . The war years spent  in South Africa in the 1940 s  were deeply frustrating to the artist on almost every level , and her expressed  desire to travel in the 50 s and 60 s bears testimony to this , and she certainly attained her goal , clocking up what would now be referred to as air miles ,  at a remarkable rate . The travels wrought within her a surge of creativity and a desire for new approaches , a breaking away from the 30 s and 40 s . Her palette bears evidence to this as we see a new tonal range ; powder blues , silvery greens , greys of all kinds , and white to accentuate movement and vigour. This work is a particularly fine example of all these elements . The seated MELLON SELLER,  seated slightly to the right of centre , consequently  adds a complex and arresting pictorial dimension , which accentuates the angular lines and 'jiggling' figures in the background.                                                                                                                         Christopher Peter  Irma Sterns letter to Freda Feldman ; IRMA STERN are you still alive ?  Sandra Klopper  Orisha Publishing  2017  

Various Tools including L S Starrett Co machinists level, sharpening stone, pliers and a few others together with assorted drawing instruments

An impressive collection of antique corkscrews, comprising a Victorian Lund single lever corkscrew, marked, the level plate marked 'Lund Patentee London' and 'The Patentee, 24 Fleet St & 57 Cornhill, London', traces of copper paint remain, another similar unmarked with brass lever plates, possibly also by Lund, and two associated Lund worms, possibly original to the two lever corkscrews, one with ivory handle, the shank marked ?Lund?s Patent? and ?London?, the other with integral metal handle marked ?Lund? and ?London? traces of copper paint visible, a Heeley & Sons ?Lazy Tongs? Patent mechanical corkscrew, being an example of Marshall Wier's 1884 concertina corkscrew manufactured by James Heeley & Sons, traces of copper paint still visible, eight direct pull corkscrews with wooden handles, including three with turned rosewood handles and dusting brushes, one being a Georgian / Victorian corkscrew with ridged handle and cork gripping teeth, another Victorian Henshall type with jump ring attached, the third with simple shaped handle and plain shank, five further of plainer form, one signed ?I. Sorby, Sheffield, two Clough direct pull corkscrews, one advertising ??Tully? Ales & ?Beano? Stout ? on the Great Eastern Section of the L&NER? the other ?LMS Hotels?, WRG Crown Cork Opener, Newman Publishing & Manufacturing Co, a direct pull corkscrew advertising ?Sanderson?s VAT 69?, a folding bow corkscrew, a folding corkscrew with four part hinged handle, likely a Carl Hollweg's collapsing corkscrew, two pocket roundlet corkscrews, one with fold-out screw from a two part case, the other with a two part screw case containing four interchangeable ?tools?, corkscrew, screwdriver and awls, a two part ?picnic? corkscrew advertising ? J & G Stewart?s (Ltd) Gold Medal Scotch?, two Victorian eyebrow corkscrews, two Cellarman type, one with bulbous shank, a brass figural two finger pull corkscrew with ?Boston Stump? finial, a simple chromed two finger pull / T shaped corkscrew, and three direct pull corkscrews and bottle openers disguised as brass keys, together with an Edwardian champagne tap with wooden handle, a miniature ?Mack & Son? bottle opener and tankard, and four pairs of nut crackers. (36)

A superb selection of around 7 punk/ new wave/ power pop 7" singles. Artists/ titles include The Kicks - Get Off The Telephone/ Big Boys Don't Cry (CAR 138, Ex/ VG+), The Reruns - SInce You Gotta Cheat/ So So Alone (SPDR-102, Ex/ VG+), Clive Oxford - For Your Entertainment/ Fading Star (RITZY1, Ex/ VG+), The Prats - 1990's Pop EP (x2, RT042, both copies Ex/ Ex), Brynger - The Break/ Sea Level (VTR001, Ex) & The Torpedos - No Pills/ Dreamin' (SO-38, Ex/ Ex).

A smashing collection of around 45indie/ alt rock/ new wave LPs & 12" singles. Artist/ titles include The Smiths - S/T (ROUGH 61, printed inner, Ex/ Ex), The Specials - More Specials (CHR TT5003), The Jam - The Gift, Throbbing Gristle - D.O.A, Ian Dury inc New Boots and Panties & Do It Yourself. Prefab Sprout - Steve McQueen, Tom Petty - Damn The Torpedoes, The Undertones inc Positive Touch & The Sin Of Pride. The Dream Academy, Adult Net, Japan, Level 42, Sparks, Southside Johnny, Soft Cell, David Sylvian, The B52s, Everything But The Girl, Graham Parker, Suzanne Vega, Squeeze. Condition is generally Ex to Ex+.

Three Wirgin Cameras, an Edixa Mat Kadet, shutter working, body G-VG, with 50mm f/2.8 Cassaron lens, elements G, an Edixa Flex, shutter working, sometimes lever sticks on return, body G, with 50mm f/2.8 Cassar S lens, elements G, both with waist level finders, in cases, a cased eyelevel finder and a Edixa, shutter not cocking, body G, with 43mm f/2.8 Isconar lens, in makers case

Electrical and Other Measurement Equipment, including an Evershed & Vignoles direct reading resistance box for use with a "Megger" instrument, a Muirhead decade resistance box, a military surveyor/mapping rule in wooden case, a Rabone wooden spirit level, several hinged measuring rules, a Fowler circular long scale calculator in a leather case

A Mamiya C33 Professional 6 x 6cm TLR Camera, interchangeable lens TLR, 220 film back, waist level viewing hood, body F, with two Mamiya-Sekor 80mm f/2.8 lenses G and Seikoshas-S shutter, shutter blades stuck closed, with ERC and other items

PUNK / POST PUNK / MOD REVIVAL / NEW WAVE / NEW WAVE OF BRITISH HEAVY METAL, COMPILATION LP?S - 5 RARE UK PUNK / POST PUNK / NEW WAVE COMPILATION LP?S including: 1. VAULTAGE 80 - A VINYL CHAPTER including amongst others: BIRDS WITH EARS, THE OBJEKS, THE REQRD SYSTEM, THE RED SQUARES, DICK DAMAGE AND THE DILEMMA and many more (1980, UK 1ST PRESSING, ATTRIX RECORDS), A RARE compilation of Brighton Punk / Post Punk / New Wave / Synth bands, VINYL is EX+++ / NEAR MINT, P/S is EX+ / EX++, plus DOUBLE SIDED INSERT in EX+++ condition. 2. DOG ROCK COMPILATION including: THE DALMATIANS, MICHAEL?S TOY, CAPITAL ROSE (1982, UK 1ST PRIVATE PRESSING, DOG ROCK RECORDS), VINYL is MINT-, PS is VG+++ / EX. 3. 499 2139 - MOD REVIVAL COMPILATION including: THE LAMBRETTAS, THE ACT, LES ELITE, THE CLASSICS, ESCALATORS, WARDENS, THE VYE and others (1979, UK 1ST PRESSING, ROCKET RECORDS), VINYL is EX+++ / NEAR MINT, P/S is EX++, plus PRINTED INNER SLEEVE. 4. ALL TOGETHER - A Newcastle compilation of PUNK / NWOBHM / MOD and Pub Rock bands (1977, UK 1ST PRESSING, BEDROCK RECORDS) VINYL is EX+++ / NEAR MIMT, P/S is VG+++ / EX. 5. BLUE RIDGE PRODUCTIONS PRESENTS - POST PUNK / DIY PUNK private pressing compilation including: THE ANONYMOUS SISTERS, JOHN, THOSE VIRGINIA MOUNTAIN BOYS (1982, UK 1ST PRIVATE PRESSING, BLUE RIDGE PRODUCTIONS), VINYL is EX+++ / MINT-, P/S is VG+++ / EX. + STREET LEVEL - 20 NEW WAVE HITS (SEX PISTOLS, STRANGLERS, BLONDIE, IAN DURY and others).

A Collection of Italian Stamps, used in a Minkus one country album from 1890 to 1930 sparse then from 1930's to 1990's with a good level of completion, condition good to fine used.

Transvaal : Excellent substantial coll on Oriel gold-edged leaves, much duplication for shades and postmarks, incl. page of 1870-75 Arms with fresh fine used examples to 1s, 1877 (June) V.R. 1d ovpt. inverted (reprint?) unused plus 1s fine used, 1877 (Sept) used values to 6d (also 1879 V.R. 3d (2) used, 1878-80 recess to 6d o.g./unused, plus duplicated 1d to 2s used, 1885-93 Arms extensive range mint (various perfs) and used incl. £5 (4, one used, reprints?), 1885-93 surcharges incl. better, 1894-97 extensive wagon types incl. blocks, 1895 ½d on 1s surcharge inverted block of 4, double (o.g. and used pair), 'Pennij' mint and used (each central stamp in strip of 3), on 2½d inverted mint block of 4 and used single, 1900 VRI duplicated to £5 (reprint) incl. 5s and 10s handstamped SPECIMEN and ½d, 2½d, 6d and 2s6d with 'no stop after V' variety, 1902 set to 10s mint (ex. 3d), most with 2 or 3 of each value, used to 2s6d, 1904-08 used to £1 (2) etc. Also Pietersburg and Lydenburg ½d and 3d on 1d (2), 'as is', plus 2d on 4d registered postal stationary cut-out. A valuable lot, offered in its entirety with nothing removed and with potential for working up to the next level. (100's)

In order to view full details and any additional images for this lot as well as place advanced bids or bid live, please click here to view this lot on the auctioneer's websiteA Great War anti-U-boat operations D.S.M. group of six awarded to Leading Seaman J. S. MacKenzie, Royal Navy and Royal Fleet Reserve, who, as Gunlayer of the 12-pounder gun aboard H.M. Trawler Ina Williams scored two if not three direct hits, resulting in the probable destruction of a German U-boat in June 1915 Distinguished Service Medal, G.V.R. (S.S. 700 J. S. MacKenzie A.B. H.M. Tr. Ina Williams.); 1914-15 Star (SS. 700 J. S. Mackenzie, L.S., R.N.); British War and Victory Medals (S.S. 700 J. S. MacKenzie. L.S. R.N.); Royal Fleet Reserve L.S. & G.C., G.V.R. (SS. 700 Dev. B. 2806 J. S. MacKenzie. L.S. R.F.R.); Imperial Service Medal, G.VI.R., 2nd issue (John Simpson MacKenzie, D.S.M.) the last with official corrections, good very fine (6) £1,000-£1,400 --- D.S.M. London Gazette 6 August 1915. The recommendation states: ‘H.M.T. Ina Williams No. 2658. Action with German submarine 5 June 1915. Gunlayer 12pdr gun. The firing of two hits and possibly three out of six from a trawler is excellent. The action reflected the greatest credit on Sub Lieutenant Nettleingham and his crew.’ John Simpson MacKenzie was born at Bathgate, Linlithgow, on 16 June 1886, and entered the Royal Navy as an Ordinary Seaman in July 1904. Coming ashore as an Able Seaman ‘time expired’ in July 1909, he enrolled in the Royal Fleet Reserve and was recalled on the outbreak of hostilities in August 1914, when he joined the battleship H.M.S. Albion. But it was for his subsequent services in H.M. Trawler Ina Williams in the following year, on 5 June 1915, while operating out of the Queenstown base Colleen, that he was awarded the D.S.M. Newbolt’s Submarine and Anti-Submarine takes up the story: ‘The Ina Williams (now His Majesty's Trawler, Ina Williams) was steaming towards the Irish coast at seven o'clock, one evening in early summer, when she sighted a large submarine on her port beam, some two and a half miles away. The enemy had just come to the surface; for there was no sign of him in that direction a few moments before, and he had not yet got his masts or ventilators up. The Ina Williams was armed, fortunately, with a 12-pounder gun, and commanded by Sub-Lieutenant C. Nettleingham, R.N.R., who had already been commended for good conduct, and after nine months’ hard work was not likely to lose a fighting chance. He headed straight for the U-boat. She might, of course, submerge at any moment, leaving the pursuer helpless. But Mr. Nettleingham calculated that she would disdain so small an enemy, and remain upon the surface, relying upon her trained gunners and keeping her superiority of speed, with her torpedoes in case of extreme necessity. He was right in the main. The U-boat accepted battle by gunfire; but a torpedo which missed the starboard quarter of the Ina Williams by only 10 feet must have been fired at least as soon as the trawler sighted her, and showed that the enemy was not disposed to underrate even a British fishing-boat. Mr. Nettleingham had saved his ship by the promptness with which he turned towards the submarine, and he now opened fire, keeping helm to avoid any further torpedoes. The fight was a triumph for English gunnery. The Ina Williams had the good fortune to have fallen in with a wildshot. All his five shells were misses - some short, some on the trawler's starboard side. The gunner of the Ina Williams had probably had no experience of firing at a moving target, almost level with the water. The U-boat was going 10-12 knots, too, and that was faster than he expected. The result was that his first three shots failed to get her; they fell astern, but each one distinctly nearer than the last. The pirate commander did not like the look of things; he called in his guns’ crews and prepared to submerge. Too late. The British gunner's fourth shot caught the U-boat on the water-line, half-way between conning-tower and stern. A fifth followed instantly, close abaft the conning-tower itself. The wounded submarine was probably by this time out of hand, for she continued to submerge. Just before she disappeared, the sixth shell struck the conning-tower full at the water-line, and the fight was over. It had lasted fifteen minutes, and the Ina Williams was still 3,400 yards away when the enemy sank. She steamed straight on to the position of the U-boat, and found that even after the ten minutes which it took her to reach the spot, large bubbles of air were still rising, and the sea was being more and more thickly covered with a large lake of oil. The depth was fifty fathoms, and out of that depth, while the Ina Williams steamed round and round her buoy, she had the satisfaction of seeing the dead brute's life-blood welling up with bursts of air-bubbles for nearly an hour, until the sea was thick for five hundred yards, and tainted for a much further distance. The smell of the stuff was peculiar, and new to the trawler's crew; they could not find the right word to describe it. But they were eager to scent it again, and as often as possible, for it meant good work, good pay and a good report. This was a thoroughly professional bit of service, a single fight at long range.’ Sub-Lieutenant Nettleingham was rewarded with the D.S.C. and Able Seaman Mackenzie, the gunlayer, with the D.S.M. MacKenzie would appear to have remained employed in trawlers for the remainder of the War and was demobilised in March 1919. He was afterwards employed as a postal and telegraph officer in Edinburgh and was awarded the Imperial Service Medal in 1949 (London Gazette 1 November). Sold with full research.

A German late 18th century ormolu and white marble mounted mahogany, burr elm, maple, mother-of-pearl and stained sycamore 'Schreibschrank' attributed to the circle of David RoentgenCirca 1795, the superstructure comprising a pierced fretwork gallery surmounted by five urn finials above a pair of mirror-inset panel mounted doors enclosing one shelf, interspersed with three Corinthian columns, over a concealed stepped central drawer flanked by projecting block and urn finial mounted angles, the frieze drawer below with an inset hinged top, above a fall enclosing an architectural interior comprising a catch-activated cedar-lined drawer with triangular pediment mouldings, over a central arched recess with a mirrored interior and chequered lozenge-inlaid floor centred by a model tempietto, flanked by two arched recesses and interspersed with four composite columns and two conforming engaged end columns, with two pierced fretwork secret drawers below, above five catch-activated mahogany-lined drawers, the reverse of the fall inlaid with a central conch shell oval, over a ribbon-tied oak-leaf mounted waist with projecting mille raie block angles, with three long panelled drawers below, flanked by canted classical youth herm-tapering and husk pendant mounted pilaster angles, terminating in square tapering panelled feet, 112cm wide x 54cm deep x 210cm high, (44in wide x 21in deep x 82 1/2in high)Footnotes:ProvenanceFormerly from the Estate of Elizabeth Fondaras, USA.With Peter Muhlbauer, Lower Bavaria, between 2013 and 2017.Then purchased by the vendor from Christie's, London, 4 July 2017, European Furniture and Works of Art, lot 57.A comparable, albeit slightly plainer, version of the offered lot sold Christie's, Amsterdam, 24-25 June 2008, lot 751. This Berlin 'Schreibschrank', or secretaire a abbatant, attributed to Georg Ruppert is of similar design and incorporates related characteristics such as white marble or alabaster columns, the Ionic capitals appearing one level below Corinthian ones, a galleried cabinet superstructure and a fitted architectural interior. It was supplied by Ruppert to the Prussian General Carl Freidrich Henrich, Graf von Wylich und Lottum (1767-1841).Although due to the current absence of relevant documentation the cabinet maker responsible for the present secretaire is unknown, as more academic research is completed and further information made public then this will inevitably change over time. However for now it is clearly the case that whoever produced such a magnificent piece, or meisterstuck, of German craftsmanship had undoubtedly been directly influenced by the incredible output and legacy of one of the most renowned cabinet makers of all time, David Roentgen (1743-1807).This wonderful secretaire perfectly typifies the latter stages of the Neoclassical style, and in particular the gout Grec, which was indicative of the height of fashion across Europe during the period 1770-1800. The impact of David Roentgen, whose output was always distinct, elegant, supremely high quality in terms of its construction and often enclosed ingenious mechanisms, especially dominated Prussia, or what is now modern day Germany. And this impact can be seen in the works produced by the contemporaries and immediate successors of Roentgen, which very often sought to emulate the latter's example and merely introduced subtle variations to his stock designs and clearly defined models. It is also worth noting that, during the peak of its fame, the annual income of the Roentgen workshop rivalled that of the Meissen porcelain manufactory, W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, p. 3.As a result of Roentgen's successful personal and working relationship with perhaps his most important patron, Crown Prince Frederick William who later became Emperor Frederick William II, he was honoured with the title of Royal Prussian Privy Councillor. Then in 1791, by which time Roentgen had evidently already begun to draw back from accepting new commissions, he chose to give his financial backing and influential support to his foreman, David Hacker, so that the latter could set up his own workshop and in essence become Roentgen's most immediate successor. Hacker, who himself went on to supply many of the Prussian Royal palaces with furniture, appears not to be the likely maker of the present lot however Johann Georg Stein and Johannes Andreas Beo, who both trained under and worked for the former, are indeed possible candidates. Stein and Beo, who evidently inherited Hacker's predilection for the working method and aesthetics originally developed by Roentgen, each executed a practically identical model of 'Schreibschrank', which in turn closely relate to the offered example, A. Stiegel, Berliner Mobelkunst, 2003, Berlin, fig.'s 28-9, p. 95. All three of these have characteristics in common including the use of brilliant mechanisms, a la Roentgen, such as concealed drawers and compartments stored within separate central architectural units. In an inventory of the Charlottenburg Palace undertaken in 1800, the secretaire by Stein is documented as being housed in the private dressing room of Empress Louise (1776-1810), wife of Friedrich III. While the Beo version, which seems to have once enclosed an impressive clock mechanism (in direct continuance of the tradition of Roentgen) remains for now at the Getty Museum (84.DA.87).As well as helping Hacker to establish himself, it appears that Roentgen also assisted Johann Cristian Harder, another cabinet maker who had worked for the former, to also found his own firm in Brunswick in circa 1800. Harder even calls it the Braunschweigische Priviligierte Kunst-Meuble-Fabrik von Neuwied in honour of Roentgen. Constructed following the same stock design as the three aforementioned secretaires, Harder's comparable model, in the collection at the Kunstgewerbemuseum in Berlin, is even more impressive in terms of the extremely complicated and ingenious mechanisms stored within it. And as a result this particular variant features, analysed in meticulous detail, in W. Koeppe, Extravagant Inventions, The Princely Furniture of the Roentgens, 2012, New York, app.'s 3.1-3.15, p. 234.Ultimately the difficulty in attributing the above lot to any of the previously referenced makers - Hacker, Stein, Beo or Harder - proves the immense consistency and cross fertilisation in terms of ideas, innovations and artistry among these Prussian cabinet makers during this period. However one common thread uniting all of them is clearly the enormous and understandably all-pervasive influence of David Roentgen.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Willem van de Velde the Younger (Leiden 1633-1707 Greenwich)A battle of the Third Anglo Dutch War, probably the London at the Battle of the Texel, August 1673 indistinctly signed with initials 'WVV*' (on spar, lower centre, W and V in ligature)oil on canvas110.7 x 137.6cm (43 9/16 x 54 3/16in).Footnotes:ProvenanceBelieved to have been bought by James Christie (1730-1803) and by descent through the family until offeredSale, Christie's, London, 14 November 1997, lot 64, where purchased by the late ownerExhibitedNorwich, Castle Museum, Norfolk Maritime History, 1957, no. 2 (as 'Battle of Solebay, May 28, 1672')LiteratureM.S. Robinson, The Paintings of the Willem van de Veldes, London, 1990, vol. I, pp. 221-3, no. 71, ill.The late Michael Robinson, Keeper of Pictures at the National Maritime Museum, London, described the present painting as 'a work substantially by the Younger' van de Velde, and as was often the case, there may be studio participation in incidental elements of the background. A slightly larger variant, described by Robinson as 'mainly the work of Van de Velde's studio', is in the Yale Center for British Art, New Haven, Connecticut (B. 1973. 1.60). Robinson suggested the probability that the principal ship depicted here is the London at the battle of the Texel, which took place in August 1673. Sir Edward Spragge was Vice-Admiral of the Red at the Battle of Solebay in 1672, but he was promoted soon after the battle to Admiral of the Blue before the van de Veldes came to England, and is unlikely to have commissioned a picture of the London when he was Vice-Admiral; he was drowned the following year at the Battle of the Texel. In 1673, Sir John Harman was Vice-Admiral of the Red at the Battles of Schooneveld and the Texel in the London. It was at the Texel that the Dutch officer Jan de Liefde was killed in the Vrijheid, when he was Vice-Admiral in de Ruyter's squadron, which was heavily engaged with the English red squadron. It would be reasonable to expect that van de Velde would be asked by Harman to show the Vrijheid in her damaged state in action with the London. Other details of the background ships would also be correct for this battle. The Dutch ship with the common Dutch flag at the main would be Aert van Nes in the Eendracht as second in command to de Ruyter; and the red flag below the Eendracht's topsail would be the flag of Sir John Chicheley, Rear-Admiral of the Red in the Charles. The London was a large second-rate ship built in 1670 on the bottom of what remained of the Loyal London after her sinking by the Dutch on the Medway in 1667. There are two drawings by van de Velde which show her stern, one in the Boymans Museum in Rotterdam (inv. no. MB 1866/T441), and the other in the Science Museum, London (inv. no. 1865-52). The sterns are not exactly alike; nor are the drawings exactly like the painting, but the main constructional features are alike: for example, the drawings do not show the four round gunports that the painting shows cut in the decoration at the upper deck level or the two gunports in the decoration at the middle deck level; the prominent prancing horses with riders either side of the stern lantern are not in the drawings; the drawings also show, as in some paintings, the four principal decorated stern timbers continuing to the quarterdeck level, whereas in the two versions of this painting they stop at the upper deck level, where the four large gunports are showing; these ports do not appear in the drawings, although the Boymans drawing does have the word 'poorten' written by the Elder van de Velde at this level.For further information on this lot please visit Bonhams.com

A Mamiya RB67 Professional S medium format camera: with rotating back, with 50mm, f4.5 lens, 90mm, f3.8 Sekor lens, 37mm f4.5 Sekor lens, 150mm f4 Sekor lens, 180mm f4.5 lens and 360mm f6.3 Sekor lens, digital eye level viewfinder in an aluminium flight case.

A Mamiya RB67 Professional S medium format camera: with rotating back, 140mm f4.5 Macro lens, with waist level electronic viewfinder, 120mm back, Mamiya No.1 and No.2 extension tubes, miscellaneous filters and accessories in a flight case.

An uncommon boxed German-made 0 Gauge clockwork Train Set for the British Market, the box lid showing a 'Flying Scotsman-style' locomotive no 3409 passing a gated level crossing, marked 'S&M' (or M&S) in the bottom left of the picture, possibly 'Schuhmann & Müller', the contents comprising un-numbered green 4-wheel non-reversing locomotive with fixed key (mech tested ok), matching tender, two blue/grey Pullman cars with rd window frames, two-part tunnel, signal, 'Stop' sign, oval of track and a station, all non-trade-marked though the station is identical with a known marked Schuhmann (AS) example, overall G-VG, box G, moderate wear to edges and slight damp damage to one side

Simply remarkable. Over £84,000 new, only 1,620 miles from new and very modestly guided.The F-Type Roadster was unveiled at the Paris Motor Show in September 2013Gorgeous looks and electrifying performance, a worthy successor to the XKThe 3.0-litre supercharged V6'S' is a real step up from the entry-level car with 375bhp, a limited-slip differential and adaptive dampersGleaming Polaris White, Jet Red leather and in a condition commensurate with its 1,620 milesMassive spec. The options list was ticked to the tune of £14,000. (see Condition Report)Accompanied by the original Bill of Sale totalling £84,695.56. Handbook pack, spare keys etc.This fabulous Jaguar was an unwanted gift (!) and only lightly used. Very sensibly guidedYou can now book a one-to-one appointment (up to one hour) to view this lot at our central location of Stoneleigh Park (CV8 2LG) Monday to Friday, between Monday 7th December and Friday 11th December. Please contact Nick Bicknell on 07957 279 000 / nickb@classiccarauctions.co.uk to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more information, condition report and additional photographsSpecification:Registration: DX63 GVCYear: 2013Make: JaguarModel: F-Type 3.0 S AutoRHD/LHD: RHDChassis Number: SAJAC65B8E8K09344Odometer Reading: 1620 milesTransmission: AutomaticEngine Capacity: 3Engine Number: 13092718500306PSBody Colour: WhiteInterior Colour: Red

Group including larger Mordan brass postal scales & weights: Together with carved wooden bookends, Art Deco copper ashtray by JS & S., stereoscopic viewer, wooden level etc.

Offered from the National Motorcycle Museum Collection1936 Brough Superior 982cc SS100Registration no. VD 6582Frame no. M1/1661Engine no. BS/X 1001•Delivered new to Edinburgh•Matching frame and engine•Earliest numbered engine in a production modelLegendary superbike of motorcycling's between-the-wars 'Golden Age,' Brough Superior - 'The Rolls-Royce of Motorcycles' - was synonymous with high performance, engineering excellence and quality of finish. That such a formidable reputation was forged by a motorcycle constructed almost entirely from bought-in components says much for the publicity skills of George Brough. But if ever a machine was more than the sum of its parts, it was the Brough Superior. W E Brough's machines had been innovative and well engineered, and his son's continued the family tradition but with an added ingredient - style. The very first Brough Superior MkI of 1919 featured a saddle tank - an innovation not adopted by the rest of the British industry until 1928 - and the latter's broad-nosed, wedge-profiled outline would be a hallmark of the Nottingham-built machines from then on. Always the perfectionist, Brough bought only the best available components for his bikes, reasoning that if the product was right, a lofty price tag would be no handicap. And in the 'Roaring Twenties' there were sufficient wealthy connoisseurs around to prove him right. Introduced in 1922, the JAP-powered SS80 achieved instant fame when a racing version ridden by George became the first sidevalve-engined machine to lap Brooklands at over 100mph. With the new SS80's performance threatening to put the overhead-valve MkI in the shade, it was decided to completely redesign the latter. The result was the legendary SS100. First shown to the public in 1924, the SS100 employed an entirely new 980cc JAP v-twin engine. A frame of duplex cradle type was devised for the newcomer, which soon after its launch became available with the distinctive, Harley-Davidson-influenced, Castle front fork patented by George Brough and Harold 'Oily' Karslake. And just in case prospective customers had any doubts about the SS100's performance, each machine came with a written guarantee that it had been timed at over 100mph for a quarter of a mile - a staggering achievement at a time when very few road vehicles of any sort were capable of reaching three-figure speeds. With this level of performance available in road trim, it was only to be expected that the SS100 would make an impact on the race track, particularly the ultra-fast Brooklands oval, and the exploits of Brough Superior riders - among them Le Vack, Temple, Baragwanath, Fernihough, and Pope - did much to burnish the marque's image. When Brooklands closed forever at the outbreak of WW2, Noel Pope's Brough Superior held both the sidecar and solo lap records, the latter at an average speed of 124.51mph.Brough entered the 1930s with an entirely JAP-powered range and then, after a brief absence, the SS80 reappeared in 1935 as the SS80 Special, this time with an engine built by Associated Motor Cycles. The following year the SS100 adopted an overhead-valve version of the AMC power unit, and the two models continued to use the Plumstead-made engines until production ceased in 1939. Brough Superior Club records show that this particular SS100, frame number '1042', left the factory with the following special features:Foot gear controlSeparate oil tank c/w filter and C&S capBattery on engine pin bracketDetachable carrier – not fittedSmall type curved top pannier bagsNon-valanced rear split guard – WasdellWasdell front guard – with flapAlum oil bath front chain caseTop & bottom rear chain coversAmal handlebar fittings – R & LH internal twist gripsLHS brake pedalPillion footrestsPropstandDual silencer & fishtailsAll of which serves to emphasise the essentially bespoke nature of the Brough Superior. Records show that this particular SS100, frame number 'M1/1661', was despatched to Rossleigh Ltd in Edinburgh, who were Brough Superior agents for much of Scotland. It has the lowest engine number ('1001') of all the AMC-powered production SS100s (the prototype's engine was '1000') but is actually the seventh of this model despatched from the Nottingham factory. Rossleigh's sales manager Jimmy Watson later recalled selling the Brough to first owner James Shaw of Blantyre, Lanarkshire.Issued in 1960, an old-style logbook on file records the owner at that time as Hubert Don of Newport, West Calder, followed by Jimmy Watson's firm Watson Bros (Aidrie) Ltd in 1963. There is a (copy) photograph on file depicting Jimmy Watson with the Brough. 'VD 6582' was next owner (from 1964) by William Proctor of Accrington, Lancashire followed by John Proctor at the same address. In 1974 the machine passed to L Potter of Newbury and since 1979 has belonged to the National Motorcycle Museum, where it was restored to 'show' specification. Following its lengthy period of museum display, re-commissioning and the usual safety checks are advised before returning the Brough to the road. The machine is offered with a copy of its Works Record Card and a V5C document.Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com

§ Laurence Stephen Lowry RBA RA (British, 1887-1976). 'Level Crossing', offset lithograph in colours, signed in pencil 'L. S. Lowry' lower right, image size 46 x 56cm. Framed and glazed, frame size 74 x81.5cm. With The Street Gallery label verso. Please note that Artists Resale Right maybe additionally payable on top of the hammer price for this lot, where above the threshold, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information. § No damage found but not seen out of frame.

A 19th century mahogany banjo barometer, with a broken swan neck pediment, hydrometer, alcohol thermometer, convex mirror, silvered dial inscribed "L: Martinelli & Son, 62 King Street..." and a spirit level inscribed "S,. Calderara, london"

Alfred KubinAschermittwoch Aquarell und Tuschfederzeichnung auf Bütten (Rückseite einer Katasterkarte) 39,5 x 31,6 cm Unter Glas gerahmt. Unten rechts mit Tusche signiert 'Kubin', unten links mit Bleistift betitelt 'Aschermittwoch'. - Im Rand gebräunt und mit vereinzelten Stockflecken.Hoberg Mappe V/II/2 und Raabe 168 (die nach dieser Zeichnung entstandene Lithographie)ProvenienzPrivatsammlung, WestfalenWie kaum einem Künstler der Moderne gelingt es Alfred Kubin die sozialen Realitäten des Alltags mit den unterschiedlichsten Fiktionen und Traumbildern organisch ineinander übergehen zu lassen. In einem Brief an seinen Künstlerfreund Fritz von Herzmanovsky-Orlando bezeichnet sich Kubin 1908 selbst als „Organisator des Ungewissen, Zwitterhaften, Dämmerigen, Traumartigen“ und tatsächlich offenbaren sich seine Werke dem Betrachter als abgründiges Amalgam von Gesehenem und Unsichtbarem (Brief vom 9. Januar 1908, in: Fritz von Herzmanovsky-Orlando, Sämtliche Werke Bd. VII. Der Briefwechsel mit Alfred Kubin. 1903 bis 1952, Salzburg/Wien 1983, S. 10). Zwischen Apokalypse und Karneval präsentiert sich der Aschermittwoch in unserer prachtvoll aquarellierten Tuschezeichnung als Limbus für Mensch und Kreatur. Auf der Schwelle von Rausch und Affekt, Buße und Erlösung ist der Karneval ein in vielfacher Hinsicht naheliegendes Thema für den Künstler, steht das Fest doch sinnbildlich für die Verwandlung und liefert als irdischer (Alb-)Traum par excellence eine ideale Folie für Kubins Inszenierung unterschiedlicher Wirklichkeitsebenen. Auffällig ist nicht nur der für Kubin so typische Detailreichtum, der die einzelnen Bildelemente und dargestellten Wesen in einer Fülle phantastischer Erzählungen aufgehen zu lassen vermag, sondern auch die zeichnerische Dichte. Meisterhaft setzt Kubin Hell- und Dunkeltöne und untereicht die obsessive Drastik des Sujets mit jedem einzelnen Strich auch auf formaler Ebene. In dieser Qualität und Größe präsentiert sich das vorliegende Blatt, nach der auch eine Lithographie für die Mappe „Traumland II“ (Hrsg. von Fritz Gurlitt, Berlin 1922) erschien, als bildgewaltiges Meisterwerk eines der bedeutenden Zeichner des 20. Jahrhunderts. Alfred KubinAschermittwoch Watercolour and pen and ink drawing on laid paper (reverse side of a cadastral map) 39.5 x 31.6 cm Framed under glass. Signed 'Kubin' in India ink lower right, titled 'Aschermittwoch' lower left. - Marginal browning and with few foxmarks.Hoberg Mappe V/II/2, and Raabe 168 (lithograph after this drawing)ProvenancePrivate collection, WestphaliaThere is scarcely another artist of the modernist period who succeeds like Alfred Kubin in organically merging the social realities of everyday life with the most varied fictions and dream images. In a 1908 letter to his friend and fellow artist Fritz von Herzmanovsky-Orlando, Kubin refers to himself as “organiser of the uncertain, ambiguous, shadowy, dream-like” (Letter of 9 January 1908, in: Fritz von Herzmanovsky-Orlando, Sämtliche Werke vol. VII. Der Briefwechsel mit Alfred Kubin. 1903 bis 1952, Salzburg/Vienna 1983, p. 10) and his works do in fact reveal themselves to their viewers as an enigmatic amalgamation of the seen and the invisible. In our ink drawing magnificently toned with watercolours, Ash Wednesday presents itself as something between the Apocalypse and Carnival, as a limbo for human beings and creatures. On the threshold between intoxication and passion, penance and salvation, Carnival is an obvious theme for the artist in many respects: after all, the festival serves as a symbol of transformation and, as the earthly dream (or nightmare) par excellence, it provides an ideal foil for Kubin to stage different levels of reality. What is striking is not just Kubin's very typical wealth of detail, which is able to make the individual elements of the picture and the depicted creatures culminate in an abundance of fantastic narratives, but also the graphic density. Kubin has masterfully placed his light and dark tones and used every single stroke to also underscore the obsessive explicitness of his subject on a formal level. In this quality and grandeur, this sheet - which also provided the source for a lithograph for the portfolio “Traumland II” (publ. by Fritz Gurlitt, Berlin 1922) - presents itself as a visually overpowering masterwork by one of the 20th century's most important draughtsmen.

Philips WouwermanPferdestall mit Reisenden Öl auf Holz. 29,5 x 38 cm.Monogrammiert unten rechts: PW (ligiert).ProvenienzSlg der Barone van der Houven. – 1710 von Raschke mit einem weiteren Gemälde von Wouwerman in Antwerpen erworben für August II., Kurfürst von Sachsen und König von Polen, Dresden. – Seitdem in der Königlich-Sächsischen Sammlung, Dresden (Inv.-Nr. A 506). – Dem Haus Wettin im Jahre 1924 übergeben. – Auktion Fischer, Luzern, 17.-18.6.1977, Lot 396. – Auktion Sotheby’s, London, 10.4.1986, Lot 139. – Auktion Christie’s, London, 24.5.1991, Lot 10. – Auktion Christie’s, London, 15.4.1992, Lot 121. –Johnny van Haeften, London.LiteraturCornelis Hofstede de Groot: A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, Bd. II, London 1909, S. 397, Nr. 485. – Karl Woermann: Katalog der Königliche Gemäldegalerie zu Dresden, Dresden 1905, Nr. 1460. – Ulrich Thieme und Felix Becker: Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, Bd. 36, Leipzig 1947, S. 266. – Birgit Schumacher: Philips Wouwerman (1619-1668). The Horse Painter of the Golden Age, 2 Bde., Doornspijk 2006, Bd. 1, S. 204, Nr. A91, Abb. Bd. 2, Tafel 87.Philips Wouwerman gehört zu den vielfältigsten und produktivsten Malern des Goldenen Zeitalters der Niederländischen Kunst. Seine Bilder waren bereits zu seinen Lebzeiten, vor allem aber im 18. Jahrhundert, in ganz Europa sehr gefragt. Davon zeugen noch heute umfangreiche Sammlungen von Wouwerman-Gemälden in den ehemals fürstlichen Kunstkollektionen, z. B. der Staatlichen Ermitage in St. Petersburg oder der Gemäldegalerie Alte Meister in Dresden. Eine Vorliebe für diesen Maler hatte auch Hinrich Bischoff. Von keinem anderen Künstler hat er im Laufe seines Sammlerlebens wohl mehr Bilder erworben als von Philips Wouwerman. Mehrere davon sind in den letzten Jahren über Lempertz verkauft worden. Die drei hier angebotenen Gemälde entstanden in den 1660er Jahren, also im letzten Lebensjahrzent des Malers. Philips Wouwerman wurde in Haarlem geboren und hat, bis auf einen kurzen Aufenthalt in Hamburg, seine Heimatstadt wohl nie verlassen.1640 wurde er Mitglied der dortigen St. Lukas-Gilde, 1668 starb er hier. Früh heiratete er Anna Pietersz. van Broeckhoff, die ihn nur um zwei Jahre überlebte. Wouwerman hinterließ ein beträchtliches Erbe, das vor allem dem Erfolg seiner großartigen Bilder zu verdanken war. Begehrt waren die Werke von Philips Wouwerman schon immer wegen ihrer exquisiten Malerei. Abgesehen von der erstaunlichen handwerklich-technischen Qualität berührt und begeistert aber vor allem die tiefe Humanität seiner stimmungsvollen Bildszenen, in denen der Mensch und sein vielfältiges Verhältnis zum Tier, ebenso naturgetreu wie poetisch, erfasst wird. Omnipräsent ist darin zwar immer das Pferd, Wouwerman aber darum als reinen „Pferdemaler“ zu bezeichnen, wird seinem Werk nicht gerecht. Ein genauerer Blick auf die Pferdedarstellungen in Wouwermans Gemälden ist dennoch lohnend. Wir sehen dort die beliebtesten und gängigsten Züchtungen der Niederlande im 17. Jahrhundert. Da ist z. B. der Lipizzaner mit seiner Andalusischen und Neapolitanischen Abstammung. Es ist ein eher kleines Tier, das bis etwa 1660 von Soldaten und als Dressurpferd bevorzugt wurde. Häufig dargestellt ist auch die böhmisch-österreichische Zucht der Kladruber Pferde und die friesisch-zeeländische Rasse der niederländischen Zug- und Arbeitspferde. Ab Mitte der 50er Jahre verdrängte das elegante spanische Pferd mit seiner hohen Statur, dem schmalen Kopf und den langen Mähnen als Dressur- und Reitpferd zunehmend die bis dahin bevorzugte Kladrub Rasse. Nach 1660 taucht es entsprechend immer häufiger in Wouwermans eleganten Kompositionen auf. Der Maler hat also die Präferenzen der Pferdeliebhaber seiner Zeit aufmerksam verfolgt. Während des gesamten 17. Jahrhunderts und in ganz Europa war das Weiß des Schimmels durchgehend und mit Abstand die bevorzugte Farbe. Entsprechend gibt es nur wenige Bilder von Philips Wouwerman, in denen das weiße Pferd fehlt. Philips WouwermanA horse stable with travellers Oil on panel. 29.5 x 38 cm.Monogrammed lower right: PW (conjoined).ProvenanceThe Barons van der Houven;1710 acquired in Antwerp with another painting by Wouwerman by Raschke on behalf of August II, Elector of Saxony and King of Poland, Dresden;Thence by descent at Dresden in the Saxon Royal collection (inv. no. A 506);Given to the House of Wettin in 1924;Anonymous sale, Fischer, Lucerne, 17-18 June 1977, lot 396;Anonymous sale, Sotheby’s, London, 10 April 1986, lot 139;Anonymous sale, Christie’s, London, 24 May 1991, lot 10;Anonymous sale, Christie’s, London, 15 April 1992, lot 121;With Johnny van Haeften, London.LiteratureCornelis Hofstede de Groot: A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. II, London 1909, p. 397, no. 485;Karl Woermann: Katalog der Königliche Gemäldegalerie zu Dresden, Dresden 1905, no. 1460;Ulrich Thieme and Felix Becker: Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, vol. 36, Leipzig 1947, p. 266;Birgit Schumacher: Philips Wouwerman (1619-1668). The Horse Painter of the Golden Age, Doornspijk 2006, vol. 1, p. 204, no. A91, reproduced vol. 2, plate 87.Philips Wouwerman was one of the most diverse and productive artists of the Golden Age of Dutch Art. His paintings were already in great demand throughout Europe during his lifetime, but became especially popular in the 18th century. The extensive collections of Wouwerman paintings in the former princely art collections, for example in the State Hermitage in St. Petersburg or the Gemäldegalerie Alte Meister in Dresden, still bear witness to this today. Hinrich Bischoff also had a special preference for this painter. He probably acquired more works by Wouwerman throughout his time as a collector than by any other artist. Several of those paintings have been sold through Lempertz in recent years. The three works offered in this sale were created in the 1660s, the last decade of the painter's life. Philips Wouwerman was born in Haarlem and, except for a short stay in Hamburg, he probably never left his home town. He became a member of the Guild of St. Luke in Haarlem in 1640, and died here in 1668. He married Anna Pietersz. van Broeckhoff at an early age, and she survived him by only two years. Wouwerman left behind a considerable legacy, mainly owing to the great success of his paintings. Wouwerman's works have always been sought after for their exquisite quality. Apart from the astoundingly high level of their craftsmanship and technique, they manage to touch and inspire us above all through the deep humanity of the atmospheric scenes depicted, in which humans and their multifaceted relationship to animals is captured as realistically as it is poetically. Although the horse is always omnipresent in his oeuvre, to call Wouwerman a pure horse painter does not do justice to his works. It is nonetheless worthwhile to take a closer look at the depictions of horses in Wouwerman's works. They depict the most popular and common breeds in the Netherlands in the 17th century, for example the Lipizzan horse with its Andalusian and Neapolitan pedigree. It isFull description on lot-tissimo.com

Tommaso Cuccioni, zugeschriebenKolosseum Albuminabzug. 33 x 47 cm. Auf Originalkarton aufgezogen.LiteraturRott/Siegert 2005, S. 142 mit Abb.; Bonetti 2008, S. 43 und S. 156 mit Abbn. (Kat. 99)Von den hier zum Aufruf kommenden Außenansichten des Kolosseums ist die dem Italiener Tommaso Cuccioni zugeschriebene diejenige, die die Monumentalität des Bauwerks am stärksten betont. Sie erinnert dadurch an die Ansichten von Piranesi, der die Architektur allerdings in der für ihn typischen perspektivischen Verzerrung wiedergibt. Bewirkt wird der monumentalere Eindruck durch eine stärkere Fokussierung auf das Motiv, d.h. seine Isolierung aus dem städtebaulichen Kontext. Der Abzug besticht zudem durch seine ungemeine Präzision. Tommaso Cuccioni, attributed toColosseum Albumen print. 33 x 47 cm. Flush-mounted to original card.LiteratureRott/Siegert 2005, ill. p. 142; Bonetti 2008, ill. p. 43 and p. 156 (cat. 99)Of all the views of the outer structure of the Colosseum featured in this sale, it is this one - attributed to the Italian Tommasso Cuccioni - that best captures its monumentality. It is reminiscent of the views of Piranesi, although this artist depicted the architecture with his own typical manner of warping perspective. The monumental appearance is achieved through an increased focus on the motif and its isolated position within the urban context. The print is also impressive for its high level of precision.

Grande Champagne Cognac, Plantie du Chene, Peuchet Circa 1950/60's's damaged labels 1 bottle L/S and 1 bottle has a very low level 2x70cl

Astronomie - - Christian Doppler. Beiträge zu Fixsternenkunde. Aus den Abhandlungen der königl. böhm. Gesellschaft der Wissenschaften (V. Folge, Band 4) besonders abgedruckt. Mit 4 Figuren auf einer litograph. Tafel. Prag, In Commission bei Borrosch und André (Gottlieb Haase), 1846. 26 S. 4°. OBrosch. mit lithogr. Bordüre (Rücken mit 5 kleinen Einrissen, etwas fleckig und mit Gebrauchsspuren). Erster und sehr seltener Abdruck dieses wichtigsten Papiers von Doppler, in dem er vorschlägt, die Fotografie oder Daguerreotypie zur direkten Bestimmung der Durchmesser von Fixsternen sowie zur Bestimmung des Helligkeitsgrades von Fixsternen mit dem von ihm konstruierten Photometer (15 Jahre vor Zöllner) zu verwenden. Astronomy. - With 1 lithographic plate showing 4 illustrations. - First and very scarce offprint in the original wrappers, of this most important paper by Doppler, where he suggests to use photography or daguerreotypy for the direct determination of diameters of fixed star, as well as to determine the level of brightness of fixed stars with the photometer he constructed (15 years before Zöllner). - Lithography and letterpress on fresh machine paper, in original publisher's brochure on blue-coloured stock with black ornamental lithographic title printing (spine with five tiny cuttings of former binding, some staining and wear).

Wiener Schreibpult 106 x 66,5 x 55,3 cm. Wien, um 1808. Gestreiftes Ebenholz, Ahorn, Mahagoni und Eibe, Einlagen in Buchsbaum, Silber und Kupfer. Grün gefasste und vergoldete Schnitzereien in Lindenholz. Ormolu-Beschläge, Lederauflage ergänzt. Die geschnitzten Elemente aus der Danhauserschen k.k. priv. Möbelfabrik. Gestaltet nach einer Meisterzeichnung von Gottlieb August Pohle, 29. März 1806 (Seiten- und Grundriss in der Höhe der Kurbelwelle, Quer- und Längsschnitt. Vier naturalisch gestaltete, auseinanderstrebende Füße mit Stegverbindung. Seitlich den eigentlichen Korpus tragend. Schreibplatte zusätzlich in der Ausrichtung verstellbar. Druch einen Mechanismus (Kurbelwelle) in der Höhe verstellbar. Drei Geheimladen im Kasten über der Schreibfläche. Diese ist zweifach, zum höheren Stehpult verstellbar. Literatur: Vgl. Gabriele Fabiankowitsch, Christian Witt-Dörring, Genormte Phantasie, Hrsg. Peter Noever für MAK-Österreichisches Museum für angewandte Kunst, Wien 1996, S. 59, Abb. 11 links. (1250063) (13) VIENNA WRITING DESK 106 x 66.5 x 55.3 cm. Vienna, ca. 1808. Striped ebony, maple, mahogany, yew wood inlaid with boxwood, silver and copper. Green and gilt lime wood carvings. Ormolu fittings, leather lining replaced. The carved elements created at Danhauserschen k.k. priv. furniture factory. Created after a master drawing by Gottlieb August Pohle, 29 March 1806 (layout and outline at the level of the crank, in profile. Four naturally carved diverging feet with connecting struts carrying the structure on the sideways. Writing desk can be adjusted additionally. Height can be adjusted mechanically (crank). Three secret compartments within the box above the writing desk, which can be adjusted twice to create a taller lectern. Literature: Compare G. Fabiankowitsch, C. Witt-Dörring, Genormte Phantasie, Peter Noever VIENNA WRITING DESK 106 x 66.5 x 55.3 cm. Vienna, ca. 1808. Striped ebony, maple, mahogany, yew wood inlaid with boxwood, silver and copper. Green and gilt lime wood carvings. Ormolu fittings, leather lining replaced. The carved elements created at Danhauserschen k.k. priv. furniture factory. Created after a master drawing by Gottlieb August Pohle, 29 March 1806 (layout and outline at the level of the crank, in profile. Four naturally carved diverging feet with connecting struts carrying the structure on the sideways. Writing desk can be adjusted additionally. Height can be adjusted mechanically (crank). Three secret compartments within the box above the writing desk, which can be adjusted twice to create a taller lectern. Literature: Compare G. Fabiankowitsch, C. Witt-Dörring, Genormte Phantasie, Peter Noever (ed.) for MAK-Österreichisches Museum für angewandte Kunst, Vienna 1996, p. 59, ill. 11 left.

A M-125 FIALKA CIPHER MACHINE, Russian, 1950's,Serial no. 98-70280 detailed on top of wheel-locking lever, the machine complete with ten rotors, each with 30 Cyrillic characters, and a three row keyboard in Latin and Cyrillic with five-level paper tape reader below and paper tape punch and tape printing mechanism on top with punch card input on the left hand side, in grey metal casing with cover, with power supply, the case with stencil number 98-73320 to case, 11in (28cm) wide Footnotes:A highly complex ciphering machine used by the Soviets during the Cold War era, and also widely used by many of the Warsaw Pact countries of Europe and their allies including Cuba. For many decades this machine was virtually unobtainable from behind the iron curtain, but in the last few decades examples have been released to the world. The Fialka, often called the Russian Enigma, was developed in the late 40s and early 50s by the Soviets, who needed a secure ciphering machine for message transmissions. The first one was used in 1956 and was the mainstay of secure communications until the fall of the Berlin Wall in 1989. The original M-125 was succeeded by the new revised version the M-25 3 in the 60s, and various communist countries rewired and changed the settings for their own languages. Some have compared the structure of Fialka to NEMA, but it is far more complex with the 10 electronic rotors compared to 4, but in its structure it derives much from the German Enigma.For further information on this lot please visit Bonhams.com

Abigail Whistler's (Jessica Biel) bow, quiver, arrows and backpack from David S. Goyer's action-thriller sequel Blade: Trinity. Abigail used her weapon in multiple scenes and handed the backpack to Hannibal (Ryan Reynolds) when she rescued him after his capture by vampires.The compound bow consists of a black metal frame with three red-and-black cables. It has a five-pin sight with a built-in spirit level connected to the front, and comes inside a camouflage Boorman Archery bag. The canvas quiver contains three tubes, in which seven plastic arrows are adhered. The triangular backpack features sections made from a variety of materials, a mesh pocket and adjustable straps with clip fastenings. The lot displays minor wear from production use, including remnants of dirt on the backpack, and one of the arrows has become loose within its tube. The lot is accompanied by two New Line Cinema letters of authenticity. Dimensions (bow): 37 cm x 7 cm x 89 cm (14 1/2" x 2 3/4" x 35"); (quiver): 73 cm x 11 cm x 5 cm (28 3/4" x 4 1/4" x 2"); (backpack): 56 cm x 39 cm x 10 cm (22" x 15 1/2" x 4")Estimate: £3,000 - 5,000 M

POP/ COOL/ SYNTH - LPs. A lovely collection of around 48 LPs and 20 7" singles. Artist/ titles include Frankie Goes To Hollywood - Two Tribes, Madonna inc Like A Virgin, True Blue. Altered Images - Bite, Simple Minds inc Street Fighting Years, In The City Of Light, Aya RL - S/T, Westworld, Yazz - Wanted, a-ha - Stay On These Roads, Methods of Dance, Mr Mister, Fine Young Cannibals, Working Week, Brother Beyond - Get Even, Johnny Hates, Ultravox - Vienna, Black - Wonderful Life, Double, Matt Bianco, Betty Boo, Level 42, Thompson Twins, Martika, Tears For Fears, Howard Jones, OMD, Duran Duran, Paul Young, Adam And The Ants, Simply Red, T'Pau. Condition is generally VG to Ex.

Meschac Gaba (Benin, born 1961)Wheelbarrow banknotes, paper and wood121 x 121cm (47 5/8 x 47 5/8in).Footnotes:ProvenancePrivate collection, Netherlands.For Gaba, the wheelbarrow is an object of symbolic importance. In 2014, the artist exhibited a wall-mounted coin bank in the shape of a stylised barrow entitled Bankivi: Workers' Bank at the Tanya Bonakdar Gallery, USA. The title of the work emphasizes that this is a savings account, not a donations box. It communicates Gaba's belief that individual contribution and collective investment are of greater benefit to the developing world than isolated acts of charity.The present lot has been wrapped in decommissioned Central African franc banknotes; a stark visual reminder that the current institutions need reform.The global economy and economic exchange between Africa and the West has preoccupied Gaba since the late 1990's. Born in Cotonou, Benin, but raised in the Netherlands, the artist has a foot in both camps. His dual identity caused him to question the the relationship between the 'first' and 'third' world, and consider how the existing systems might be restructured.The wheelbarrow 'banks' encourage us to engage with the problem of Africa's struggling economies at a personal level. In choosing to deposit a coin, the visitor is indicating their support for international collaboration.Since completing his studies at the Rijksakademie in Amsterdam, Meschac Gaba has exhibited at numerous international fairs such as the 50th Venice Biennial in 2003 and Documenta 11 in 2002. Tate Modern in London acquired a major installation in 2013, entitled Museum of Contemporary African Art. He is now a household name across the world.For further information on this lot please visit Bonhams.com

Walthers: A collection of three boxed Walthers Proto, 85' P-S Bi-Level Commuter Coach, Southern Pacific (Lighted), 920-16541, HO Scale, all in original boxes, slight crushing to boxes. (3)

Walthers: A pair of boxed Walthers Proto, 85' P-S Bi-Level Commuter Coach, Southern Pacific (Lighted), 920-16541, HO Scale, both in original boxes, slight crushing to boxes. (2)

SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra um 1700 Titel: Portrait eines Ritters von Malta (angeblich Antoine Manoel de Vilhena). Technik: Öl auf Leinwand. Maße: 106 x 87,5cm. Rahmen/Sockel: Rahmen. Gutachten: S. Causa, Neapel, nach Begutachtung des Originals im August 2020. Provenienz: Privatbesitz, Italien. Das vorliegende halbfigurige Portrait beeindruckt durch die ungeheure Präsenz des dargestellten Mannes in einer Prunkrüstung. Die linke Körperhälfte, Schulter und Arm sind dem Betrachter zugewendet, den Kopf hat der Dargestellte aber so gedreht, dass sein Gesicht nahezu en face zu sehen ist. Sanft und gleichzeitig selbstbewusst schauen die großen Augen unter der weißen Allonge-Perücke den Betrachter an. Der Orden, der an einem Samtband auf dem Harnisch hängt, weist ihn als Malteser-Ordensritter aus. Möglicherweise handelt es sich um den Portugiesen Antoine Manuel de Vilhena (1663 - 1736), der von 1722 bis zu seinem Tod Großmeister des Malteserordens war. Der Künstler dieses Werkes ist Francesco Solimena. Er war in der ersten Hälfte des 18. Jahrhunderts einer der berühmtesten und begehrtesten Maler seiner Zeit. Solimena lebte und arbeitete fast ausschließlich in Neapel, das zunächst zur spanischen Krone gehörte, nach den spanischen Erbfolgekriegen dann Österreich zugeschlagen wurde. Die führenden Herrscherhäuser und der Hochadel Europas hatten durch diese politischen Wendungen Zugang zu Solimena, der vor allem durch seine vielfigurigen sakralen und profanen Gemälde und Fresken Berühmtheit erlangt hatte. Und er begegnete den Auftraggebern auf Augenhöhe: Sein Zeitgenosse, der Künstler-Biograph Bernardo de Dominici, bezeichnete ihn als "principe di tutti i pittori viventi" ("Fürst unter allen lebenden Malern"). Der ovale Bildausschnitt des Portraits kontrastiert nur wenig zu den Winkeln des Gemäldes. Brauntöne herrschen vor, das Rot des flatternden Umhangs und die wenigen Blautöne in der Rüstung und im Hintergrund sind die einzigen zurückhaltenden Farbakzente. Dagegen setzen die hell und weiß gemalten Partien kontrastreiche Betonungen: Das von weißen Locken und dem Kragen gerahmte, ausdrucksvolle Gesicht, die mit trockenem Pinsel souverän gemalten, breiten Lichter, die die Rüstung reflektiert, der Orden an der Brust aber vor allem die weiß behandschuhte linke Hand des Portraitierten am unteren Bildrand, die den gemalten ovalen Bildausschnitt überdeckt und gleichsam in den Raum des Betrachters hineinzuragen scheint. Solimena steigert so, in subtiler Weise die Präsenz des Portraitierten. Erläuterungen zum Katalog Francesco Solimena Italien 17./18. Jh. Originale Porträt Malerei Historische Personen SOLIMENA, FRANCESCO SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra ca. 1700 Title: Portrait of a Knight of Malta (presumably Antoine Manoel de Vilhena). Technique: Oil on canvas. Measurement: 106 x 87,5cm. Frame/Pedestal: Framed. Certificate: S. Causa, Naples, after examination of the original in August 2020. Provenance: Private ownership, Italy. This half-figure portrait impresses by the enormous presence of the man depicted in magnificent armour. The left half of the body, shoulder and arm are turned towards the observer, but the sitter has turned his head so that his face is almost en face. The large eyes under the white allonge wig look at the observer gently and at the same time confidently. The order hanging on a velvet ribbon on the armour identifies him as a knight of the Maltese Order. Probably the Portuguese Antoine Manuel de Vilhena (1663 - 1736), who was Grand Master of the Order of Malta from 1722 until his death. The artist of this work is Francesco Solimena. In the first half of the 18th century he was one of the most famous and sought-after painters of his time. Solimena lived and worked almost exclusively in Naples, which initially belonged to the Spanish Crown, but after the War of the Spanish Succession was annexed to Austria. The leading dynasties and the high nobility of Europe had access to Solimena through these political turns of events. Solimena became famous mainly for his multi-figured sacred and profane paintings and frescoes. And he met his patrons at eye level: his contemporary, the artist biographer Bernardo de Dominici, described him as the "principe di tutti i pittori viventi" ("prince among all living painters"). The oval framing of the portrait contrasts only slightly with the angles of the painting. Brown tones predominate, the red of the fluttering cloak and the few shades of blue in the armour and background are the only restrained colour accents. In contrast, the light and white painted areas set high-contrast accents: The expressive face, framed by white curls and the collar, the broad lights painted with a dry brush in a sovereign manner, which reflect the armour, the medal on the chest but above all the white-gloved left hand of the sitter at the lower edge of the image, which covers the painted oval section of the image and seems to project into the space of the viewer, as it were. Solimena thus subtly heightens the presence of the portrayed person. Explanations to the Catalogue Francesco Solimena 17th/18th C. Old Masters Portrait Painting Historical people

A vintage good bottle of 1940's Taylor's port having fantastic level for a bottle dated 1948. Sadly no label and damage to the wax seal has. 75cl bottle. 

A 1930s Philips pocket surveyor with instructions, boxed, a W.S Darley & Co dipping needle instrument dial, an optical instrument by Chas. Lowinson, a leather cased protractor and level by E. Esdaile Sydney, a Short & Mason service pattern clinometer, a Philip Harris dial indicator and a similar instrument with weights. (7)

A small white marble Buddhist stele, Northern Qi Dynasty, the standing figure depicting Guanyin dressed in a lotus petal crown and a shoulder scarf that crosses at the waist level of his long robe to fall over the right arm raised, and the left lowered with indefinite attributes in each hand, the curving support beneath his feet trimmed with further overlapping lotus petals in contrast to the rough surface of the rectangular base, the base inscribed with 'April Zhu Tian'an', one corner of the base chipped so the year made cannot be unidentified, 30cm high See a larger stele with similar standing figure in Terukazu Akiyama and Saburo Matsubara, Arts of China: Buddhist Cave Temples, New Researches, Kodansha, 1969, no. 193, p. 189 and p. 240 (54cm height overall)Provenance: Property of a Gentleman collected in the 1980's or 1990's 北齐 "朱天安敬造"白石雕观音像拍品来源：英国私人收藏，购自上世纪八十至九十年代之间Condition Report: Smashed into four pieces and restored, extensive wear and with chips to the edgesCondition Report Disclaimer

2 Tickets to Europe’s tallest High Ropes at The Bear Grylls Adventure at the NEC, Birmingham, with goodies Escape the ordinary and experience the awesome at The Bear Grylls Adventure, located at Birmingham’s NEC. Are you ready to take on High Ropes? At 65ft tall, this is the tallest high ropes course in Europe, and rewards those brave enough to reach the top stunning views of the surrounding area. With its free roam structure, you can create your own adventure on the course, and select which of the 36 obstacles you take on, from the simple rope bridges to the challenging rolling log on the course’s top level. As the only outdoor activity, the High Ropes is made all the more challenging by the British weather, which of course is never predictable! In true Bear Grylls fashion, rain won’t stop this adventure, and extra layers are recommended when taking on this activity. The action doesn’t end here, as you’ll have unlimited access to The Bear Grylls Adventure Royal Marines-inspired Assault Course throughout your visit date PLUS some Bear Grylls goodies! Goodies include: A Bear Grylls bamboo T-shirt, firelighter, waterproof pouch and a copy of Bear’s book, Survival Guide for Life, and Mud Sweat and Fears. The perfect souvenirs for your adventure filled day. T&C’s: Guests must be aged 8 or older 8 and 9 year olds must be accompanied on the activity by an adult who also holds a full activity ticket Under 16’s must be accompanied on the day by an adult for check in Winners can contactinfo@beargryllsadventure.com to book in their visit time and date Due to the activities at the attraction, every guest is required to complete a participation form and risk acknowledgment prior to their visit or on entry to the attraction. Guests who do not sign a participation form and risk acknowledgement, or do not comply with any of the terms set out in the participation form and risk acknowledgement or these entry conditions, are prohibited from taking part in activities at the attraction Due to the nature of the activities, pregnant guests are not permitted to take part Final bidders must agree a suitable date to redeem the prize on a specified or mutually convenient date (subject to availability), as agreed with The Bear Grylls Adventure Subject to related government guidelines Experience may not be resold or re-auctioned For full Terms and Conditions of NEC Birmingham, please visit https://www.beargryllsadventure.com/birmingham/tsandcs Donated by: Bear Grylls OBE https://www.beargryllsadventure.com/birmingham

2 Gold Level Tickets to the 2022 GRAMMY Awards® and the After-Party as the Guests of the President of the GRAMMY Museum® Two gold-level tickets and two official after-party tickets to the 2022 GRAMMY Awards® as personal guests of the GRAMMY Museum’s® President, Michael Sticka. You and your guest will experience an unforgettable, star-studded evening with performances from the world’s greatest artists, as the music industry recognises outstanding achievement. The GRAMMY Museum® is a non-profit organisation, dedicated to cultivating a greater understanding of the history and significance of music through exhibitions, education, grants, preservation initiatives, and public programming. Paying tribute to its collective musical heritage, the Museum explores and celebrates all aspects of the art form — from the technology of the recording process to the legends who’ve made lasting marks on our cultural identity. T&C’s Apply: Please read the following terms and conditions as they will be strictly enforced. All sales are final and there will be no refunds. Please bid carefully. The winning bidder must personally utilize the awarded tickets/experience and attend the event or experience with his/her invited guest(s). The winner’s name will be submitted along with his/her guest’s name for fulfilment. Tickets/experience cannot be resold, transferred or re-auctioned. Tickets/experience sold, otherwise transferred or used in violation of this policy shall be deemed revoked and void, and their bearers deemed trespassers at event. No Refund/Replacement for Unused or Lost Tickets. All sales are final. There are no refunds or replacements for unused or lost tickets, and there will be no entrance to the event without a ticket. All tickets must be used for the event and or experience specified on the date specified. Valid for two (2) people Winner must be approved by charity and artist management before final payment will be accepted and the experience fulfilled. While auctioned experience packages may include tickets to events of The National Academy of Recording Arts & Sciences, Inc. (“The Recording Academy”) or its affiliated charities, the GRAMMY Museum Foundation and MusiCares (collectively, the “GRAMMY Charities”), all auctions are hosted by the GRAMMY Charities. All tickets to Recording Academy or GRAMMY Charities events that are a part of experience packages are subject to The Recording Academy’s ticket policy provided immediately below (the “Ticket Policy”). Ticket Policy: Tickets to Recording Academy and/or GRAMMY Charities events, including but not limited to the GRAMMY® Awards, are for use by the winning bidder and his/her invited guest(s) only, are not transferable by winning bidder or any of his/her invited guests, and may not be sold, otherwise transferred or used for any other purpose, including promotional, commercial, advertising, or other trade purposes, without the express written consent of the entity authorizing issuance of the ticket(s) (i.e., The Recording Academy, the GRAMMY Foundation and/or MusiCares). Tickets are non-transferrable. Tickets sold, otherwise transferred or used in violation of this policy shall be deemed revoked and void, and their bearers deemed trespassers at all Recording Academy and/or GRAMMY Charities events. By accepting delivery of tickets, the winning bidder and his/her guest(s) are bound by this Ticket Policy and the winning bidder agrees to inform with due diligence all of his/her invited guests of the terms of this Ticket Policy. The Recording Academy and GRAMMY Charities reserve all legal rights and remedies. The Recording Academy and GRAMMY Charities reserve the right to refuse fulfilment in their sole discretion, and may refuse, refund and/or cancel fulfilment at any time, for any reason or for no reason at all. To be eligible for this auction, bidder must be at least 18 years of age and must not have won an auction for (or otherwise obtained) more than four (4) total tickets to the GRAMMY event or experience in auction. The winner and their guest must provide a state issued photo ID prior to event for security purposes. The winning bidder is solely responsible for accommodations, meals and transportation to and from the event/venue unless otherwise stated in the description. The Recording Academy, GRAMMY Charities and artist management will not be responsible for the winning bidder or his/her guest(s) inability to arrive as requested to the determined event/venue for fulfilment of this package. GRAMMY Charities shall not be liable to the winning bidder for any failure, delay, cancellation, interruption or changes to any provision of services, events or travel packages purchased which is occasioned by causes beyond our control including, but not restricted to fires, earthquakes, floods or other inclement weather, war, civil commotion or disturbances, strikes, lockouts, labour disputes, accidents, epidemic, interruptions in or delays of transportation services, electrical or power failures or outages, failures or delays in obtaining delivery from donors or manufacturers, suspension or nonrenewal of the venue’s license for any reasons whatsoever, or any act ruling, regulation or law of any government bureau or agency or public authority. Delays so caused shall not release winners from their obligations to accept and pay for the items purchased. The winning bidder and his/her guest(s) will be held to a high standard of behaviour. Any misconduct or inappropriate behaviour at any point in time during the experience will be cause for immediate removal from the event and may result in the winning bidder and his/her guest(s) being blocked from any further participation in GRAMMY Charity Online Auctions and/or being refused entry to future GRAMMY events. Tickets and experience packages do not include a meet & greet with any of the artists performing. This package includes only the items/services/opportunities specified within the listing page description above. No additional items/services/opportunities are included. Unless otherwise stated, the location of the tickets will not be released until the winner picks up tickets for entrance into the concert. Tickets are “Gold” level seating, but the exact location and seating within that level is at the sole discretion of The Recording Academy and/or GRAMMY Charities. Gold level seating does not include floor seating or access to floor seating. The winner and his/her guest(s) consent to the conduct of a criminal background check the results of which must be satisfactory to The Recording Academy and/or GRAMMY Charities, in their sole discretion, before tickets to any Recording Academy and/or GRAMMY Charities event will be released to the winner. Cameras and/or personal photography will not be permitted during these experiences. GRAMMY Charities neither warrant nor represent and shall in no way be held responsible for the correctness of description, genuineness, authorship or provenance of condition of the Auction items. No statement contained in the description or made orally at the auction or elsewhere shall be deemed to be warranty, representation or assumption of liability by The Recording Academy or the GRAMMY Charities. Donated by: GRAMMY Museum® President Michael Sticka https://grammymuseum.org/

2003 Ken McIntosh Manx Featherbed Dominator 500cc. Registration number not registered with DVLA. Frame number 07/03. Engine number 78514. When production resumed post-war, Norton?s over-the-counter Manx racer emerged much as it had been in 1939, with single-overhead-camshaft engine, ?square? cylinder head finning, upright gearbox, and plunger-suspended ?garden gate? frame. Only the presence of the Roadholder telescopic front fork readily distinguished the new Manx from its immediate predecessor. 1949 brought the first significant change in engine specification, the Manx gaining a double-overhead-camshaft cylinder head like that enjoyed by the works bikes for many years, but the major development was the arrival of the Featherbed frame for 1951. Works rider Geoff Duke had debuted the Featherbed at Blandford in April 1950, crushing the opposition and setting a new lap record, and the McCandless-designed chassis would enable Norton to remain competitive with the more powerful multi-cylinder opposition for the next few seasons. Today the popularity of the Manx in classic racing remains undiminished, with original examples racing alongside replicas of differing specification produced by specialist manufacturers worldwide. Made to exacting standards and to the same dimensions as the originals, a McIntosh Manx Featherbed replica would compliment any collection or classic race enthusiasts stable. This well raced McIntosh Dominator engined machine was used by East Yorkshire racer Mick Brown, the engine was originally in a genuine Manx frame which Mick purchased from Dick Helm, but sold the frame in the late 70?s. Fast forward into the naughties and with redundancy money, Mick was able to purchase a Ken McIntosh Manx Featherbed to once again hold the Dominator engine. Unfortunately, paperwork has been lost as to the purchase when Mick?s home was flooded. The cataloguer made contact with Ken McIntosh, he was not able to release any records without an invoice, but did say that looking at the photos supplied of the bike that it was one of his frames and that the date of manufacture is on the top face of the top head steady lug at the top of the steering head as per originals. The date stamp on this bike shows that it was born in July 2003. Ken has confirmed that he welds all the frames and his employee Peter, who has worked for him for 36 years, does all the tube fitting and fabrication. The frame supports a 500cc Norton Dominator engine with primary drive being by chain to a close ratio four speed gearbox. To keep the decibels at bay, a Steve Maney two into one high level exhaust is used exiting on the left hand side of the bike. To keep an eye on the horses, an original Smiths Conical racing rev counter is used. The engine breathes through twin Amal Mk1 Concentric carbs, and stopping power is by a Triumph Conical rear hub drum brake, while the front uses a Robinson 4 leading shoe configuration. Unfortunately, the back plates are missing for the front brake. Various Dunstall parts also adorn the bike. Last raced by Mick at Cadwell Park on 1 October 2006, the machine would benefit from an overhaul and usual safety checks to recommission it for racing or classic parade use. Sold with the Historic Racing Certificate from 2006, his competition licence and a 1976 Oliver's Mount race program where his number was 120.

CATTO'S 12YO - 1970s An unusual bottle of Catto's 12 Year Old Blended Scotch Whisky which we estimate as being from the 1970's. No strength or capacity statements (approx. 75cl). Level bottom neck. Some marks and wear to labels. 1 bottle.

Property of a distinguished gentleman1924 Vauxhall 30-98 OE-Type Velox TourerRegistration no. NM 5557Chassis no. OE165*Outstandingly original*Full matching numbers*Known ownership history from new*Present ownership since 1968*Restored by Arthur Archer 1978-1988Footnotes:This is a most handsome example of what is considered by many knowledgeable enthusiasts to be the finest British sporting car of the Vintage period. Vauxhall 30-98 adherents will maintain that while Bentley generated greater publicity - thanks largely to their victories at Le Mans - the Vauxhall company (which raced at both Grand Prix and Tourist Trophy level before the Great War) had produced a car which could run rings around 3-Litre Bentleys on cross-country journeys. The 'big engine/lightweight car' formula has been repeated to good effect many times throughout the history of the sporting motor car, and Vauxhall's famous 30-98 was one of its earliest successful applications. As has so often been the case, the spur behind this particular combination was the desire for competition success; the first 30-98 being constructed at the behest of car dealer and motor sport competitor, Joseph Higginson, in 1913. Higginson's first objective was victory in the Shelsley Walsh hill-climb in June of that year, and the Laurence Pomeroy-designed 30-98 duly obliged, setting a hill record in the process which was to stand for fifteen years.Laurence Pomeroy's tenure as Vauxhall's Chief Engineer saw the Luton-based concern produce some of the truly outstanding designs of the Edwardian period, commencing with the 20hp Prince Henry in 1910. A larger version of the Prince Henry's four-cylinder side-valve engine was developed for its successor, the D-Type, which, with some 70bhp on tap, was good for 70mph-plus when not overburdened by formal coachwork. Pomeroy's 30-98 was powered by a 4.5-litre, four-cylinder, side-valve engine - in effect a stretched version of the Prince Henry/D-Type's - mounted in a conventional but lightweight chassis; suspension being by beam axle at the front and live axle at the rear, with semi-elliptic springs all round. Power was transmitted via a multi-plate clutch to a robust four-speed gearbox, and thence via a short prop-shaft to the straight-cut bevel rear axle. The braking system consisted of a foot-operated transmission brake and a handbrake operating on the two rear drums, the front wheels being un-braked.At first glance this unremarkable specification seems an unlikely one for a performance car - even an Edwardian example - but the 30-98's 90bhp-plus power output, combined with a weight of only 24cwt (with the factory-built, four-seater 'Velox' tourer coachwork) gave it a formidable power-to-weight ratio for the time. A fully road-equipped 30-98 was capable of around 85mph, and when stripped for racing the company guaranteed a top-speed in excess of 100mph for the later overhead-valve models, a capability demonstrated at Brooklands on numerous occasions. Only a handful of cars were sold before the outbreak of WWI interrupted production, and when manufacture resumed in 1919, the model was given the designation 'E-Type' - its Prince Henry predecessor having been the 'C' and the 25hp Tourer the 'D'. Manufacture of the E-type ceased in September 1922 after 287 cars had been constructed, there then being a slight hiatus in production before its successor, the overhead-valve 'OE', commenced delivery to customers in early 1923. Despite a reduction in capacity to 4.2 litres, the power of the ohv motor went up to 110bhp-plus, although this increase made little difference to the car's performance.The OE was not to gain front-wheel brakes until late 1923, when a cable system was introduced. This was operated, along with the transmission brake, by the foot pedal, with the linkages and compensating mechanism - the inaccurately-termed 'kidney box' - mounted somewhat untidily in front of the radiator. Hydraulic actuation of the front-wheel and transmission brakes was adopted in 1926. By the time the final batch of OE chassis had been completed in early 1927, there were few customers for the 30-98, the antiquity of the design telling against it when compared to the more refined competition from Bentley and Sunbeam. Total production of OEs numbered 312 cars. While some may argue that the E-Type was the last of the totally Pomeroy-designed cars, and is therefore for the purists, it is the OE that has become more sought after by enthusiasts over the years.This exceptional matching-numbers Vauxhall 30-98 retains its original chassis, axles, steering box, engine, gearbox, and Velox tourer body. 'NM 5557' was first owned by coachbuilders E D Abbott Ltd and was registered to its late owner on 1st August 1968. The Vauxhall was purchased from Chiltern Cars and comes with their sales receipt for the sum of £295. This car's entry in Nic Portway's The 30-98 Vauxhall Centenary Index lists all its owners, the second of whom was Sir Ralph Millais, a descendent of Sir John Everett Millais, the celebrated artist and founder member of the Pre-Raphaelite Brotherhood. In 1978 the car was entrusted to Arthur Archer for a complete restoration which occupied the next ten years and cost £55,000 - a colossal sum at that time and not inconsiderable now. The interior was re-trimmed in correct Connolly leather by Barry Lummis in 1987 for £2,500, while new wheels and tyres were supplied by Richard Brothers in 2012 at a cost of £7,000. Maintenance and running notes for the period 2003-2019 are on file.In 2013 'NM 5557' was displayed at Shelsley Walsh for the Vauxhall 30-98 Centenary celebrations, and in 2015 took part in the Gordon Bennett Rally in Ireland. The car comes with a nice history file containing the aforementioned purchase receipt; an old-style continuation logbook (1960); tax discs from the 1960s; expired MoTs; and a V5C Registration Certificate. This is the finest and most correct Vauxhall 30-98 to come to the market in many years. When one considers the recent £1m-plus sales result for a Wensum-bodied car, this Velox tourer represents exceptional value.For further information on this lot please visit Bonhams.com

Frank Auerbach (British, born 1931)J.Y.M. Seated in the Studio VI 1988 oil on canvas55.9 by 50.8 cm.22 by 20 in.This work was executed in 1988.Footnotes:ProvenanceMarlborough Gallery, London (no. 38919.6)Acquired directly from the above by the present ownerExhibitedBonn, Kunstmuseum; London, Tate Britain, Frank Auerbach, 2015-2016, p. 113, illustrated in colour LiteratureFrank Auerbach and Mel Gooding, Frank Auerbach, Recent Work, London 1990, p. 34, no. 2c, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 306, no. 603, illustrated in colourFrank Auerbach's style is inimitable, sensual, studied, and timeless. The ambition of his gesture and profundity of his artistic pursuit cannot be overstated. His sitters have been a constant subject of engagement and experimentation, and for four decades, 'J.Y.M.' – Juliet Yardley Mills – was a central protagonist in the work of the German-born émigré. Depicted here by Auerbach in 1988, J.Y.M. Seated in the Studio VI is a definitive example of the artist's exquisite and accomplished style, selected by Auerbach himself for inclusion in his seminal Tate Britain retrospective in 2015. Auerbach has stood at the vanguard of painterly practice since his emergence in the 1950s, and remains today a period-defining artist who renewed the deep tradition of portrait painting with unrivalled vigour over the course of his career. Born in Berlin in 1931, the artist arrived in Britain a refugee in 1939. Coming of age in the war-torn London of the 1950s, Auerbach emerged alongside Francis Bacon, Lucian Freud, David Hockney and Leon Kossoff as a chief member of, what has popularly been termed, the School of London; a label coined by R.B. Kitaj in the 1970s to describe the preeminent painters of the post-war period in the United Kingdom. In the midst of a close friendship with Freud – who was himself an avid collector of Auerbach's works – the two painters shared an unrelenting fascination with the live sitter. As Freud was so often cited as describing his passion for the flesh and corporeality of his subject, Auerbach instead sought to capture a likeness that evoked the intimacy of his relationship with his human focal point; the materialisation of a psychic image. Placing the realisation of his subject at the heart of his practice, this lifelong project to produce a work of autonomous energy is described by Auerbach as 'a set of sensations of conflicting movements and experiences, which somehow one hopes has congealed or cohered or risen out of the battle into being an image that stands up for itself' (the artist in: 'Frank Auerbach at Tate Britain: Images in Flux,' Jackie Wullschlager, Financial Times, October 16, 2015, online). Across the variegated surface of J.Y.M. Seated in the Studio VI, the luscious coiled peaks of chromium yellow give way to level flourishes of ochre, claret, and deep cerulean blue, amounting to a virtuosic feat of artistry that rends form in passages of sculpted colour. The scrupulous and agile nature of Auerbach's style is never quite so immaculately realised as in the present work, whose curlicues of paint and unambiguous edges generate a forceful image of his sitter as a commanding, statuesque presence. An artist whose use of colour, form, and composition is fearless and original, Auerbach's major retrospective at the Tate Britain in 2015 was a compelling, cumulative vision of an artist striving for a perfect synthesis of the material and metaphysical. Auerbach personally selected the paintings to represent six decades of his career, of which J.Y.M. Seated in the Studio VI was one of them. Writing for the Financial Times, Jackie Wullschlager commented, 'this retrospective at Tate Britain is an exhilarating mix of joy and desperation, architectonic splendour and a rush of fleeting moments [...] Many magnificently memorable images stand up for themselves in this great show' (Ibid.). Few artists will have the honour of a major, career-long survey at the Tate Britain, fewer still in their lifetimes – it is an affirmation of the importance of Auerbach's career and this present work that it should be selected to hang in the U.K.'s premier art museum as a benchmark of his oeuvre. A definitive image of one of his most important sitters, the present work was painted in a period of great accomplishment for Auerbach, winning the prestigious Golden Lion at the Venice Biennale, representing Britain in 1986. An artist of sterling reputation and respect amongst academic, critical and commercial circles, there are few painters whose work is so universally admired. In the raw, freshly applied, impasto surfaces of his most astute works, there is a clarity of vision and feeling that is palpable and electric. Held in museums around the world that includes the Museum of Modern Art, New York, the Louisiana Museum of Modern Art, Humlebaek, and the National Gallery of Australia in Canberra, Auerbach remains one of the most prolific and collectible artists currently working. J.Y.M. Seated in the Studio VI is a testament to a truly great painter who has long since earned his place in the canon of art history.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Various Instruments, W & S Jones pair of dividers, in fitted case; mid-19th Century Thomas Jones & Sons anodised brass pierced T-square, with paper-pricking needles, in wooden case; Gaiffe electro-medical device, in mahogany case; Short & Mason Tycos aneroid altimeter, 105mm diam., brass coin rocker, in case; George Wadham thermometer, in case; pocket scales, in oval tinned iron case; and Troughton & Sims circular pocket level (a lot)

A Victorian rosewood banjo barometer by S. Spelzini, Hatton Wall, London, complete with spirit level, thermometer, subsidiaries dial, with engraved brass dials (swan neck pediment a/f) (h.104cm x d.31cm)

One of only seven CTR3s built to the desirable Clubsport specification2013 RUF CTR3 Clubsport CoupéChassis no. WO9BM0382DPR06019*Ultra-rare German supercar*Believed the only right-hand drive example*Delivery mileage (46 miles)*Dry stored for its entire life*'As new' conditionFootnotes:'Bottom line. The CTR3 is comfortably the finest Ruf to date. It's also by far and away the best 911 Porsche never made.' – evo.From a tuner and modifier of Porsches, Alois Ruf graduated into automobile manufacturer, being awarded that status in 1981 by the German Automobile Manufacturers Association. The first group of Ruf-designated cars - numbered BTR1, BTR2, and BTR3 - was constructed in the 1980s. Ruf's favoured Porsche 911 was the basis for the trio. The BTR's engine was based on the 3.3-litre Turbo's but displaced 3.4 litres and was fed via a Ruf inter-cooler by an oversize KKK turbocharger. The resulting 369 horsepower was transmitted to the road via a Ruf five-speed gearbox, while the suspension and brakes were of Ruf design also. Finished cars could be purchased either directly from the Ruf factory, or customers could have their own cars converted.Ruf's concept of a super-tuned and upgraded Porsche 911 progressed via the CTR and CTR2, the latter based on the Type 993 model introduced for 1995. Testing one of the first CTRs, Road & Track magazine nicknamed it 'Yellowbird' on account of its striking bright yellow livery, and the name stuck. With a top speed of around 213mph (343km/h), the original CTR held the title of world's fastest production vehicle for many years. The successor CTR2 was based on the Type 993 Porsche 911 Turbo, its 3.6-litre engine tuned by Ruf to produce 520bhp and 505ft/lb of torque, while later versions came with 580 horsepower on tap. Other enhancements included Ruf's own suspension system, bigger brakes, Kevlar body panels, lightweight glass, integral roll cage, redesigned rear wing, and Recaro racing seats with Simpson five-point safety belts. With a recorded top speed of 217mph, the CTR2 was, just like its predecessor, the world's fastest production vehicle at the time of its introduction. Two-wheel and four-wheel drive versions were available.Launched in 2007, the CTR3 gained rave reviews as the most polished, complete car Ruf had ever made. The CTR3 debuted on 13th April that year at Ruf's new factory at the Bahrain International Circuit, the kingdom's ruler, Sheik Salman bin Hamad Al-Khalifa, being the German firm's wealthiest customer. Unlike many previous Rufs, which were closely based on the Porsche 911, the CTR3 is built on a largely bespoke platform developed by Ruf in collaboration with Canadian motor sports specialists Multimatic, who more recently were responsible for manufacturing the new Ford GT. The forward part of the chassis is that of the Porsche 911 GT3 RS, while a tubular sub-frame supports the engine, the latter mid-mounted (as in the Porsche Cayman) rather that at the rear (like a 911). One consequence of the engine's altered position is that although the CTR3 is the same length as a 911, it is longer in the wheelbase by a considerable 274mm (10.8'). The 911's MacPherson strut front suspension was retained and a multi-link arrangement adopted at the rear rather than the customary double wishbones. While undeniably resembling a Porsche from many angles, when parked next to a 911 the CTR3's differences become very clear - most notably its increased width and greatly reduced (by 114mm) height. Boasting leather-trimmed carbon fibre bucket seats, the cabin is necessarily somewhat cosier than that of a 911.Powering the CTR3 was Ruf's Porsche 911-based 3,746cc flat-six twin-turbocharged engine producing 691bhp, which delivered its power to the rear wheels via a six-speed sequential gearbox (with clutch) that eschewed the almost universal shift paddles in favour of a conventional gear lever. Ruf claimed a top speed of 235mph (378km/h) for the CTR3, a stupendous performance reined in by 15' cross-drilled carbon-ceramic brake discs gripped by six-pot callipers. It is also notable as one of the tiny handful of supercars with a power-to-weight ratio exceeding 500bhp/ton, albeit only just (by one horsepower). 'Towering as the Ruf's performance undoubtedly is, its chassis is simply exquisite,' observed evo's tester David Vivian. 'The CTR3 is a car you instinctively trust. It makes fast easy in the same way that a Boxster or Cayman does, stripping away the cause-and-effect concerns that would haunt the nine-tenths 911 pilot. It's gun-it-and-go raised to a supernatural level. Momentum and mass seem perfectly synchronised, the car's potential feels uncannily accessible; there's a tremendous sense of precision and immediacy in everything is does and a wonderful, exploitable balance.'At the 2012 Geneva Motor Show Ruf unveiled the CTR3's replacement: the CTR3 Clubsport. More aggressively styled than the stock CTR3, the Clubsport featured a large fixed carbon rear wing; flared wheelarches to accommodate a wide track; and a new front section with splitter. The Clubsport also featured a revised engine producing a phenomenal 777bhp and 723lb/ft of torque, and could be ordered with an optional seven-speed dual-clutch 'PDK' transmission. Despite its enhanced performance, the more track-focused Clubsport remains as easy to drive and useable as any Porsche, thanks to its combination of original 911 and custom Ruf suspension. It even enjoys the benefit of a front axle lift system. The interior is beautifully finished in leather with carbon fibre detailing, again using a blend of familiar Porsche switchgear and custom Ruf items such as the seats and steering wheel. Around 30 Ruf CTR3s were produced, with a further seven sold in Clubsport specification. This particular Ruf CTR3 Clubsport is believed to be the only right-hand drive example in existence. Built in 2013, it was originally supplied through Ruf Singapore and immediately was put into storage. The car was shipped to the UK in 2017 and again placed immediately into storage, and is now offered for sale with only 46 miles covered from new. As one would expect, the Ruf is in 'as new' condition throughout, representing an exciting acquisition for any significant private collection.Should the vehicle remain in the EU, VAT of 20% will be payable on the hammer price and buyer's premium.For further information on this lot please visit Bonhams.com

Offered from the estate of the late Michael Patrick Aiken, MBE1939 Lagonda V12 Drophead CoupéCoachwork by LagondaRegistration no. 324 XUJChassis no. 14069*One of only 189 V12s built*Known ownership history*Restored in the USA in the 1990s*Present ownership since 2007*Professionally maintained with no expense spared*Class winner at Pebble Beach in 1997Footnotes:'In making an evaluation of the better British cars, the Lagonda V12 certainly must be considered an excellent design and one that contributed to raising the state of the art - not forgetting, of course, that it probably should be considered W O Bentley's masterpiece.' - Road & Track, October 1978. A quite remarkable piece of automotive engineering, the W O Bentley-designed Lagonda V12 was one of the outstanding British models of its day and one of the exclusive handful of 1930s road cars that could exceed 100mph in standard tune. Not only that, but the magnificent, 4½-litre, V12 engine produced sufficient torque to endow the car with a walking-pace-to-maximum capability in top gear. Approximately 185 V12s of all types were built before the coming of WW2 prematurely ended production.For Lagonda, the year 1935 had brought with it bankruptcy and rescue, its benefactor being a young solicitor named Alan Good. Good reorganised the company and recruited W O Bentley, by then disillusioned with life at Rolls-Royce, which had acquired Bentley in 1931. Bentley succeeded in refining the muscular, Meadows-engined Lagondas while working on a vastly more-advanced design that many consider the great man's finest.First seen in 1936, the Lagonda V12 did not commence deliveries until 1938 and only 189 had been built before the coming of WW2 ended production. The advanced chassis employed double-wishbone independent front suspension and was available with a varied choice of coachwork, including limousine. Frank Feeley, stylist of Aston Martin's post-war 'DB' cars, was responsible for the elegant factory bodywork. As usual, the short-chassis Rapide roadster provided even more performance.The V12's announcement demonstrated that the revitalised company was very much back in business, an impression Lagonda's decision to enter the 1939 Le Mans 24-Hour Race can only have enhanced. The marque already possessed a creditable Le Mans record, a short-chassis 4½-Litre driven by John Hindmarsh and Luis Fontes having won the endurance classic outright in 1935. In October 1938, Earl Howe had set a new national record by covering 101.5 miles at Brooklands in a single hour, despite having to stop to change a burst tyre.This magnificent achievement, together with other high-speed tests during which the Lagonda V12 had shown complete reliability, indicated that it would be a highly suitable candidate for reviving British prestige at Le Mans. Accordingly, it was decided to enter a two-car team in 1939 with the aim of securing valuable data, and then to mount a full-strength challenge the following year. In the race the two streamlined two-seater Lagondas fared better than expected, Messrs Brackenbury and Dobson finishing in third place with Lords Selsdon and Waleran fourth. Had a less conservative race strategy been employed, then either might have won. By the time the outbreak of war halted production, only 189 of the fabulous cars had been produced; sadly, the V12 was not revived when peace returned.A wonderful example, chassis number '14069' is fitted with the factory's Frank Feeley-designed drophead coupé coachwork, and according to the Lagonda Club was first registered on 31st March 1939. The first owner's name is illegible but the records show that this short-chassis car was supplied finished in jewelescent grey with red leather interior and burr walnut woodwork. The supplying agent was University Motors in London and the Lagonda was first registered as 'MG 6448', a Middlesex mark.The second owner, immediately after WW2, was Eric B Fox of the Fox's Glacier Mints company based in Leicester. Immediately prior to his ownership the Lagonda had been used by the manufacturer in its advertising, appearing in a Lagonda factory magazine, Photo World, dated April 1945 and in an Autocar magazine advertisement in May of that year. These advertisements were captioned thus: 'In Due Course: A new, less expensive and smaller LAGONDA will carry the name into markets hitherto unacquainted with all LAGONDA has signified to discerning motorists for over 40 years'. Why Lagonda chose to use the far from cheap V12 to promote a forthcoming smaller and less expensive model is a mystery.'MG 6448' was last serviced at the factory in 1947 while still in Mr Fox's ownership. The next record is dated 1960 when the car is recorded with one R Nicholson in Kent and a few years later with W G V Hall in Southwest London. Subsequently the Lagonda was exported to the USA, and in 1968 was owned by famous collector Jack Nethercutt. In 1987 Mr Nethercutt sold it to another respected and discerning collector, General William Lyon. The Lagonda was next owned by Pebble Beach Concours Judge, Mark Tuttle, passing in 1993 to William Roberts of Bainbridge Island, Washington State. The latter then commissioned an extensive restoration, with the paint and bodywork entrusted to recognised specialist Walter Johnson of Bainbridge Island, a craftsman with numerous Pebble Beach concours winners to his credit.The engine was fitted with new Jahns pistons, Carrillo con-rods, and Crower camshafts with a modern profile, while the internals were updated for improved performance and reliability. An enthusiastic owner/driver, the then owner made every effort to keep the Lagonda as original in appearance as possible, the only non-original items visible being the dipstick and separate reservoir for the Bijur lubrication system.The interior was re-trimmed throughout with finest American leather, colour matched to the coachwork, while the wood was re-veneered to original specification by a master violin maker, and a new high-quality soft-top made. All the considerable work and expense was rewarded when the Lagonda was awarded 1st Prize in the Open European Classic class at the Pebble Beach Concours d'Elegance in 1997.Since deceased, the present owner, Michael Patrick Aiken MBE, purchased the car in 2007 at the Amelia Island auction. A successful businessman who achieved boardroom-level appointments in the brewing and shipping industries, Michael Aiken was CEO and owner of Wightlink Ferries, and received his MBE in 2013 for services to National Heritage. In his hands since its acquisition in 2007, the Lagonda has been meticulously maintained by recognised specialists including Blakeney Motorsport, Harwoods, BishopGray, etc).W O Bentley's Lagonda V12 is one of the most sophisticated, attractive, and exclusive cars of the pre-war era and this fine example, with its well-chronicled provenance, is an opportunity not to be missed.For further information on this lot please visit Bonhams.com

1967 Ferrari 330 GTSCoachwork by PininfarinaRegistration no. PHJ 224EChassis no. 10113*Delivered new in Italy*Formerly resident in the USA*Imported into the UK in 2004*Present ownership since 2005Footnotes:Ferrari convertibles have always been produced in considerably smaller numbers than their closed cousins and thus are even more coveted by collectors. In essence a closed version of the 275 GTS, the two-seat 330 GTC debuted at the Geneva Motor Show in March 1966 and was intended to fill a gap in Ferrari's line-up between the four-seat 330 GT 2+2 and the racer-on-the-road 275 GTB. Later that same year the open version - the 330 GT Spider, or GTS - was introduced at the Paris Salon.Beneath the 330's bonnet resided the 4.0-litre, 300bhp version of Ferrari's familiar, two-cam, 60-degree V12, as used in the 330 GT 2+2. The short (2,400mm wheelbase) chassis followed Ferrari's established practice of tying together sturdy oval-section main tubes in a steel spaceframe, while the suspension was independent all round by wishbones and coil springs. First introduced on a road-going Ferrari in 1964 (on the 275 GTB) the rear suspension incorporated the five-speed, all-synchromesh gearbox in the form of a transaxle. Unlike the 275 GTS, the 330 GTS (and 330 GTC) employed the superior torque-tube transmission introduced on the 275 GTB towards the end of 1965.Testing a 330 GTS in 1968, Road & Track magazine found that the fully sorted, all independent, transaxle chassis gave 'a soft, level ride, wonderful adhesion and excellent behaviour. Out on the road, once the driver has the feel of things, he feels he could do almost anything with this car'.Luxuriously equipped in the best Gran Turismo manner, the 330 GTS interior boasted leather seats and electric windows as standard, radio, air conditioning and Borrani wire wheels being the options. With a top speed in excess of 150mph, excellent ride comfort and sure-footed handling, the 330 GTS justified Ferrari's claim that it was the world's finest convertible two-seater. Only 100 were produced by the factory between 1966 and 1968, alongside 600 examples of the 330 GTC Berlinetta.The 38th of its type produced, Ferrari 330 GTS chassis number '10113' was originally finished in Blu Chiaro with Rosso leather interior and matching top, and was equipped with instruments in kilometres and the optional Borrani wire wheels (see Massini Report on file). The car was completed in July 1967 to European specification and delivered to dealer M Gaston Crepaldi in Milan, Italy. Sold by Crepaldi to its first owner, a Mr Domeneghetti, the Ferrari was exported to the USA in the mid-1970s and in 1980 was sold to Laird L Cleaver in Milwaukee, Wisconsin. The Massini Report lists various works carried out while the Ferrari was owned by Mr Cleaver, who stored it at his winter home in Utah, unused, between 1989 and 1996 when the engine and transaxle were overhauled by Motion Products Inc of Neenah, Wisconsin.In 1998, '10113' passed to its next private owner, Gary Hornbarrier of Advance, North Carolina, who kept the car for the next three years before selling it to Ferrari collector Michael Westrick of Fort Wayne, Indiana in 2001. Michael Westrick owned the Ferrari until January 2004 when it was sold via dealer Mike Sheehan to Paul Wignall in the UK. Registered as 'PHJ 224E', the Ferrari was re-commissioned by marque specialists TDH Classics (Terry Hoyle) and later in 2004 was fitted with four new shock absorbers (bills on file). Next owner Andrew Fletcher acquired the Ferrari in November 2004, and in December of that year TDH carried out further remedial works and installed inertia-reel seatbelts (bill available). The current vendor (its third owner in the UK) acquired '10113' on 7th December 2005, since when the Ferrari has been maintained by John McAleese in Scotland. Representing a wonderful opportunity to acquire one of the rarest of soft-top V12-engined Ferraris, this beautiful 330 GTS is offered with a current V5C Registration Certificate and a history file of bills and other paperwork.For further information on this lot please visit Bonhams.com