We found 2373 price guide item(s) matching your search

1997 Porsche 911 Turbo Type 993 CoupéRegistration no. P790 LDPChassis no. WP0ZZZ99ZVS370641*Delivered new in the UK*G-Force Motorsport Stage II kit (500bhp)*Last serviced in August 2020*Featured in GT Porsche magazine (March 2004 edition)Footnotes:'If the art of tuning is all about balance, then this G-Force car has the poise and precision of a Rudolph Nureyev.' - GT Porsche magazine, March 2004.An important landmark in the Porsche 911's continuing development arrived for 1994 with introduction of the Type 993, destined to be the last to use the air-cooled engine that had been a distinguishing feature of the 911 since its introduction 30 years previously. The Type 993 is regarded by many as the most beautiful 911 of all. Over the years the 911 had received numerous aerodynamic and safety-inspired add-ons, diluting the purity of the original form; the Type 993's arrival marked a return to basic principles, being recognisably a 911 but one in which all functions had been harmoniously integrated in a truly outstanding example of modern automotive styling. Along with the sleeker bodywork came new multi-link rear suspension that improved both ride quality and roadholding, reducing the 911's characteristic lift-off oversteer. The 3.6-litre engine not only produced more power than before but made it available over a wider rev range thanks to 'Variocam' variable valve timing and variable-length air intakes. Introduced in 1995, the Type 993 Turbo was the first Porsche production model to feature a twin-turbo-charged engine and the first 911 Turbo to incorporate permanent four-wheel drive. With 408PS (402.5bhp) on tap, the Type 993 Turbo offered a level of performance approaching that of the Porsche 959 supercar, racing to 100km/h in around 4 seconds on its way to a top speed of 290km/h. This Type 993 911 Turbo was delivered new on 6th March 1997 through AFN Chiswick. Nine services are recorded in the service booklet: eight between 1998 and 2005 (at 39,172 miles) plus another in August 2020 (at 39,674 miles). This car has benefited from the attentions of G-Force Motorsport, and was featured at length in the March 2004 edition of GT Porsche magazine (copy available). As fitted to this car, G-Force's Stage II kit included 100-cell sports catalytic converters; Turbo S exhaust system; GT2-specification K24 Turbochargers; ECU re-mapping; BMC air filters; Sachs sintered clutch with lightweight flywheel; and an up-rated fuel pressure regulator, the result being a maximum output of 500bhp. Bills on file from G-Force total £9,843.69. Finished in Arena Red metallic, this stunning Porsche supercar is offered its owner's manual and book pack; a quantity of expired MoTs; invoices for the above services and works; and a V5C registration document.For further information on this lot please visit Bonhams.com

USA Collection of Mint and Used Stamps Pre 1890-1939, in a four ring binder, neatly arranged and identified by Scott No.'s from S10, generally good to fine throughout, high cat value with good level of completion.

TURING (ALAN)Autograph letter signed ('Yours Alan') to Alfred William Beuttell ('Dear Mr Beuttell'), returning his notes on the Monte-Carlo system '...with a few notes on what I imagine is the explanation of its success...', going on to say '...I remember your telling me a few months ago that a method for calculating the illumination level on the working plane in a room was rather badly needed. Of course one could not expect to get a simple & accurate formula for anything so complicated...', followed by detailed explanations illustrated by an equation ('...It is illuminated by a uniform point source of candle power I placed at the centre... I am sure there is no need for me to say how one would apply it in practice... I just thought this one might be of use to you...'), sending '...Regards to everyone, and please don't feel there is any need to answer these ravings of mine...'; together with the above-mentioned four-page analysis of the Monte-Carlo system headed 'Gambling System', concluding '...The general effect is when that for short runs one most probably wins or else once loses an unexpectedly large sum. As the length of the run is increased the chances of winning becomes more remote & is negligible for 100,000 spins...', 7 pages in all on King's College headed paper, light dust staining, creased at folds, rust stain from old paperclip, 8vo (178 x 134mm.), Cambridge, 2 February [19]33Footnotes:'PLEASE DON'T FEEL THERE IS ANY NEED TO ANSWER THESE RAVINGS OF MINE': ALAN TURING'S ANALYSIS OF THE MONTE-CARLO GAMBLING SYSTEM & WORK ON A NEW METHOD OF LIGHTING.Turing's analysis of the Monte-Carlo Gambling System is couched in the language of mathematics and equations but put simply, by working out the probability of winning at increasing increments of 150, 1,520, 4,560 and 30,400 spins he proved mathematically that the longer you play, the probability of losing money increases – '...for short runs one most probably wins or else one loses an unexpectedly large sum. As the length of run is increased the chances of winning becomes more remote...', he confirms.The recipient of our letter, Alfred William Beuttell (1880-1965) was the father of Turing's schoolfriend Victor Beuttell (see the following lot). After leaving Sherborne, the boys remained close and Turing spent much time with the Beuttell family. Alfred had made his fortune by inventing and patenting the Linolite electric strip reflector lamp (better known now as the striplight) in 1901, his first important contract being a system of continuous lighting for the Coronation of Edward VII, manufactured by the Edison and Swan Electric Company with whom he had a long association. Buoyed by his company's success pre-war he enjoyed the life of a wealthy bachelor – flying (he met Bleriot and watched the Wright brothers), motor racing and sailing. He spent several months at Monte Carlo operating with some success his own gambling system. Stories of having lived for a month on his winnings piqued the young Turing's interest whilst staying with the family over Christmas 1932 after the death of Victor's mother in November: '...He showed Alan his gambling system, which Alan took back to Cambridge and studied. On 2 February 1933 he wrote back with the result of his analysis, which was that the system yielded an expected gain of exactly zero, and that accordingly Mr Beuttell's winning had been entirely due to luck and not to skill...' (Hodges, A., Alan Turing: The Enigma, 2014, p.89). Our letter is hitherto unpublished, but his biographer Andrew Hodges mentions it with reference to a letter Turing wrote to his friend Norman Routledge in 1953 mentioning the odds of being arrested for homosexuality: '...Alan Turing used logarithms of betting odds as the key to the work he had done for the 'racket' of cryptography, and his sustained fascination with probability is illustrated by that reference [in Routledge's letter] to a one-in-ten chance of being caught. In his 1953 stoic humour there is a link with innocent Anti-War undergraduate days of twenty years earlier when he analysed Alfred Beuttell's Monte Carlo gambling system...' (Hodges, p.xxxi). Whilst his analysis here was a light-hearted exercise, Turing's work on probability had wider implications, and his research paper, The Applications of Probability to Cryptology, in which he applied vigorous probability analysis to a wide range of cryptoanalytic problems, was key to the decryption work undertaken at Bletchley Park.Turing also helped Beuttell in his pioneering work in the scientific measurement of illumination. In 1927 Beuttell had taken out patents on a new invention, the 'K-ray Lighting System', designed to allow uniform illumination of pictures of posters within a glass box and in Turing he found the perfect person to find the right formula for the curvature of the glass. Turing '...suddenly produced the formula, without being able to explain it, which agreed with Alfred Beuttell's calculation. But Alan went further, and pointed out the complication which arose through the thickness of the glass, which would cause a second reflection on the front surface. This made necessary a change in the curve of the K-ray System which was soon put into application for exterior hanging signs, the first contract being with J. Lyons and Co., Ltd, the catering chain... it always delighted Alan that a mathematical formula could actually work in the physical world. He had always liked practical demonstrations, even though he was not good at them...' (Hodges, p.73-4). By the early 1930's Beuttell's work as a specialist lighting consultant brought him large projects such as the illumination of the Freemason's new headquarters in London, which Turing also advised on. Our letter provides a formula for the illumination of the floor of a hemispheric room lit from its centre, a problem which they had previously discussed ('...I just thought this one might be of use to you...'). During the Second World War, the Linolite company became the main supplier of hose clips for the de-icing systems of bomber aircraft but reverted back their main activity in 1945. The company remained in Malmesbury until its closure in 1993.A photograph of Alfred Beuttell at the time this letter was written and a copy of his biography The Man Who Made Linolite is included in the lot.Provenance: Alfred Beuttell (1880-1965); Victor Beuttell (1915-1993); and thence by descent.For further information on this lot please visit Bonhams.com

Mosquito Attack Operation Jericho Amiens Prison Raid Presentation Edition Print Three Crew Signatures .This is a personal presentation edition of the print owned by Flight Lieutenant Maxwell Nicholas Sparks AFC, Queen's Commendation for Valuable Service in the Air, who as a New Zealand Mosquito pilot flew as number 3 in the first wave of the daring low level Amiens Prison Raid in 1944 The print depicts Sparks Mosquito just after Bombs gone and clearing the Prison roof. This example is signed by three men who flew on the raid. F/L M.N. Sparks A.F.C., (Pilot.) F/L Cecil S. Elliott (Navigator), Wing Commander B.E. "Dick" Hogan (Pilot) and the artist. Unframed Size overall 28 x 19 inches . . . .See Medal Group of F/Lt Sparks for full biographical details

Six: Chief Petty Officer S. Bennion, Royal Navy Naval General Service 1915-62, 1 clasp, Palestine 1936-1939 (J.102723 S. Bennion. P.O. R.N.); 1939-45 Star; Atlantic Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Royal Navy L.S. & G.C., G.VI.R., 2nd issue (J.102723 S. Bennion. P.O. H.M.S. Gallant.) minor edge bruise to last, otherwise extremely fine (6) £600-£800 --- Provenance: O. S. Lee Collection, Dix Noonan Webb, December 2004. M.I.D. London Gazette 16 August 1940: ‘For good services in the withdrawal of he Allied Armies from the beaches at Dunkirk.’ Samuel Bennion was born in Boston, Lincolnshire, on 14 March 1906 and joined the Royal Navy as a Boy Second Class in June 1921. He was awarded his Naval General Service 1915-62 Medal for services off Palestine in the destroyer H.M.S. Gallant, aboard which ship he was also awarded his Long Service and Good Conduct Medal in January 1939. He served during the Second World War, and was Mentioned in Despatches for his services aboard the destroyer H.M.S. Grenade during the evacuation of Dunkirk on 29 May 1940. Bombed and set on fire, the Grenade drifted across the harbour, grounded and blew up. When subsequently asked by his skipper to furnish a formal account of the day’s proceedings, one of the Grenade’s Midshipmen wrote: ‘Dear Sir, There was a bloody great bang. I have the honour to be, Sir, your obedient Servant’. Fortuitously for posterity’s sake, a fellow officer, Lieutenant-Commander E. C. Peake, later left a more informative account: ‘The morning of 29 May was beautiful, warm, with brilliant sunshine, and a flat, calm sea. On the way over, there was heavy enemy air activity. And ample evidence of their success. Wreckage, corpses. I shall never forget a red-headed woman who floated face-down. Her handbag was beside her, right on station. We arrived at Dunkirk during the forenoon and berthed at the landward end of the pier, so that other small ships such as trawlers could berth astern of us. We expected to load and get back to England as soon as possible. But for some unknown reason whilst other ships filled up with troops we were kept empty. There was a rumour that the evacuation was to be called off, and that we were being kept to take off the General Staff. We remained alongside all the afternoon whilst other ships came and went. There was intense air activity the whole time, particularly from dive bombers ... The general level of noise was incredible - not only from gunfire and explosions but from hundreds of stray dogs which had been driven to the water-front. They were a pathetic sight. All of them were terrified. We suffered a few casualties on board during the afternoon, but no damage to the ship. At about 4 p.m. Stukas made a most determined attack on us and we were hit by a stick of bombs simultaneously. Two hit aft and one went straight down the foremost funnel, not touching the funnel casing and burst in Number One Boiler. I cannot remember where the fourth hit. Number One Boiler was directly below the bridge, and its bursting caused havoc on the bridge. Onlookers ashore told me afterwards that all went up about twelve to fifteen feet. I can assure anyone that being blown up is comparatively painless. It’s the coming down that hurts! As a result of the bombs, the ship was badly on fire and the engines out of action. I went round the ship to estimate the extent of the damage and reported to the captain that in my opinion, we should abandon and then cut her adrift. There was a strong tide running under the pier, and she would drift away from the pier. he agreed ... We abandoned ship and cut her adrift and, as I knew she would, she drifted to the other side of the harbour, grounded and eventually blew up ... Altogether, aboard Grenade, we had nineteen men killed and an unknown number wounded ...’ The original recommendation for Bennion’s Mention in Despatches states that he ‘ably backed Mr. Crew, displaying marked initiative and coolness’, the latter being the ship’s Schoolmaster, who in turn was recommended for ‘rescuing ratings in distress in the oil covered water, landing with a party of survivors in Dunkirk’, where he ‘took charge and eventually navigated an old motor boat back to England.’ Bennion was advanced to Temporary Commissioned Boatswain in March 1944. Sold together with the recipient’s original Mentioned in Despatches Certificate, this cut down in size and mounted in a (cracked) glazed frame, in named OHMS transmission envelope; a photograph album containing approximately 46 black and white photographs, many with annotations; a group photograph including the recipient as part of the winning team in the 1 mile Whalers Race at the Portland Regatta 1948; the recipient’s ‘On Active Service’ Bible; Admiralty enclosures for the Second War medals and the M.I.D. oak leaf; various postcard photographs; and other ephemera and copied research.

THE PRIVATE PROPERTY OF A NOBLE ITALIAN LADYA RARE HAWK'S EYE AND DIAMOND BIRD BROOCH, BY STERLÉ, CIRCA 1955Designed as a majestic bird, the torso composed of hawk's eye with long articulated gold tassel tail feathers highlighted with brilliant-cut diamonds, with similarly-cut diamond crown, eyes and beak, mounted in 18K gold, diamonds approximately 3.00cts total, signed Sterlé Paris, numbered 7.558, with maker's marks, French assay marks, length 10.2cmSterlé’s fascination with recreating the natural world inspired him to go above and beyond many of the goldsmiths and jewellers of his time. Following a visit to the Egyptian Museum in Cairo in the early 1950’s and a glimpse at the intricacy of one of Cleopatra’s bracelets,the Frenchman strove to emulate what he had seen and apply it to the creation of his designs inspired by nature. He is thus credited with the invention of what aptly became known as his distinct ‘angel wire’ or ‘knitted gold’ technique, whereupon gold wire was twisted or braided by Sterlé in such a way as to enable the artist to reproduce both the delicacy, density and movement of a bird's wings and plumage in a remarkably tactile and dynamic fashion.Ref of text: Catalogue published in 2019 for the exhibition 'Birds in Paradise' curated by L'Ecole, School of Jewelry Arts, with the support of Van Cleef & Arpels, which took place 15th May - 13th July 2019, in Paris - Sterlé, page 87. For comparable Bird brooch by Sterlé - in same exhibition catalogue, page 101, from a private collection.Pierre Sterlé (1905-1978) was famed for his innovative approach to jewellery design, embodying the dynamics of 1950s design. The son of a family of bankers, Sterlé trained as a jeweller in Paris under his uncle Maynier-Pinçon following the death of his father during the First World War. In 1934, he founded his own jewellery making company and was sponsored by many large jewellery houses located on the Place de Vendome, including Boucheron, Chaumet, and Van Cleef & Arpels, who had already used his talents for their own firms. Sterlé’s talent as a designer soon allowed him to emerge from his status as a jewellery manufacturer to a successful jeweller and artist in his own right. His reputation was cemented when he won the De Beers Diamond Award, a major achievement in the jewellery world, for three years running in 1953, 1954 and 1955. Sterlé’s success as an artist during this time ensured he received large-scale recognition in France as well as on a global scale. He worked for many heads of state and royalty, including Queen Narriman of Egypt and Princess Soraya of Iran and socialised with fellow avant-garde artisans in France, such as Jean Cocteau, Georges Bracque and Salvador Dalí.His work is distinguishable by his intricate pieces, wrought with great movement and energy, often using baguette-cut diamonds and coloured gemstones in sweeping, curling lines. Above all, it was Sterlé’s invention of the ‘knitted-gold technique’ or ‘angel thread’ which would lead to his fame at the climax of his career in the 1950s and 1960s. The meticulous use of of gold plaiting and threading enabled him to emulate recreate the intricacies of the natural world, from the textures of flowers and plants, to the wings and feathers of his famous bird brooches, all executed in a strikingly tactile and dynamic way. Although a talented jeweller, Sterlé did not experience the same level of success at business and suffered the closing of two of his own stores throughout his lifetime. Forced to close his house in 1976, Sterlé continued his work at the Maison Chaumet, where he acted as Artistic Director until his death in 1978.The late 19th century onwards until the 1950s and 60s saw a huge fascination by jewellers with the representation of birds in jewellery. This trend echoed the growing penchant for decorative naturalism and a passion for romanticising the natural world and derived from the increase in major scientific expeditions, the creation of large colonial empires and the widespread popularity of taxidermy in Western Europe. Natural history museums, zoos and richly illustrated ornithological publications inspired a growing penchant for exotic birds amongst the wealthy classes. Not only did birdwatching become a popular activity, but owning a bird of paradise was seen as a symbol of status, affluence and a stamp that the individual was well-travelled. Ever-present in mythology, a constant source of inspiration for literature and the arts, exotic birds also came to be represented in the world of jewellery. As such, without necessarily owning a specimen, wearers of ornithological jewellery thereafter invoked in their audience ideas of travel, luxury and an appreciation of the natural world. Brooches played an especially important role in the way that bird species of all kinds remained popular for over a century of jewellery design – from the mid-nineteenth century up until the 1960s. The sheer beauty of birds, alongside the vast diversity of their shapes, lines, colours and poses, allowed jewellers to experiment with creating such pieces, unlike any other animal. Over time, the use of birds as motif in jewellery design came to signify something far greater than beauty or status, and in many cases the bird was used to represent or symbolise a cause or ideal. The turtledove was strongly connotated with love, whilst the peacock remained a clear symbol of exoticism and luxury. During World War II, French jewellers including Cartier created brooches of caged birds as a symbol of freedom and patriotism during the German Occupation and at the time of the Liberation, several jewellers including Van Cleef & Arpels, used birds in their jeweller as a decided signifier of France’s new-found freedom.                As such, Pierre Sterlé was certainly not alone in his fascination with depicting birds in jewellery. The continued presence of ornithological species in brooches and pendants throughout the mid-20th century is testament to their unfailing popularity amongst buyers, from the Parisian elite to his clients further afield. Yet it was Sterlé’s invention of the ‘angel-thread’ technique which served to revolutionise the depiction of birds in the jewellery world. He was one of the most innovative artisans of the 20th century and whilst the use of his gold-plaiting and threading technique was most pertinent in the emulation of birds, goldsmiths soon acquired it in a host of new designs which allowed the artist to reproduce the finesse and density of textures from the natural world.Condition Report: Some diamonds on the bird's crown are of obvious yellow tintSignature 'Sterlé Paris' number '7.558', maker's mark for Sterlé & French assay mark located on the large pinAn additional maker's mark and French assay mark located on the reserve of the torso of the birdEagle's head for French 18K goldNormal signs of wear, overall in good conditionTotal gross weight approx. 54g

PALESTINE – COLT ARCHAEOLOGICAL EXPEDITION 1936-1937Collection of thirteen elevations and ground plans depicting the excavations at Sbaitah and Auja Hafir, including 'Sbaitah – The Church in the Centre of Town', 'Auja Hafir. The Byzantine Citadel 1935-36', 'Auja Hafir. Plan of Hellenistic Building Lower Level', others depicting the Fort and Church at Auja Hafir, the bathhouse at Sbaitah and an unidentified drawing of the cross section of a basilica depicting figures, etc., drawn by Welbury Kendall, ARIBA, with some measured by Hubert E. Bird, pen, ink and wash on Whatman drawing board, one on paper, dust-staining and a few marks, corners bumped, ten landscape, three portrait, the majority 670 x 994mm., Sbaitah [Shivta] and Auja Hafir, 1935-1937Footnotes:Harris Dunscombe Colt (1901-1973), a scion of the Colt revolver family, was one of the '...exclusive group of people who worked with that archaeological giant, Sir Flinders Petrie... [and] it was inevitable he would be caught up in the web being spun by British archaeologists in the Middle East. The 1930's were an intense period of British participation in, perhaps even domination of the Palestinian archaeological scene... At that time other archaeologists must have thought Colt somewhat eccentric: not for him the choice of a well known massive tell, but some Byzantine ruins called S'beita in the desert south of Beersheba... [and] another forgotten city in the Negev Auja-el-Hafir which had suffered much damage under the Turks...' (Obituary, Bennett, C.-M., Levant, 7:1, iii-v).C. L. Woolley and T.E. Lawrence had already surveyed the site at S'beita on behalf of the Palestine Exploration Fund in 1914 and, despite Colt's being the only large scale excavation there, it would appear his findings at S'beita were never fully published other than a report by Colin Baly, one of the team members. Much of the material from the excavations including dig notes and photographs were destroyed by insurgents in 1938 when Colt's house was attacked. Only the lintel bearing the inscription in ancient Greek 'With good luck. Colt built (this house) with his own money' survived. However, Colt's suitcase, left unclaimed after leaving in 1938, was recently discovered in lost property at the port of Haifa and was found to contain many important artefacts from the site hitherto thought lost. The contents of the suitcase are now on display at the Hecht Museum at the University of Haifa. Shivta was declared a UNESCO World Heritage Site in June 2005.Colt's important work at Auja Hafir proved it to be the Byzantine city of Nessana as shown by discoveries of papyri at the site including a collection of Greek church records and a group of Arab administrative texts, both dating from the seventh century. Colt gave up field archaeology at the outbreak of war in 1939 to set up the Colt Archaeological Institute and its publishing arm, under which his findings at Auja Hafir were published in three volumes in 1962. Welbury Kendall, the architect who drew up these plans, was involved with the British School of Archaeology in Jerusalem and worked with Colt on both sites.For further information on this lot please visit Bonhams.com

POP/ ROCK - 70s/ 80s/ 90s - LPs. A superb collection of around 105 LPs. Artists/ titles include Elton John inc Live In Australia (6785857), Yellow Brick Road (602537534951) Michael Jackson inc Off The Wall, Thriller, Bad. Billy Joel inc 52nd Street (25AP 1152, Japanese pressing), Songs In The Attic, In Concert. Robert Palmer inc Clues. Robin Gibb, Flash Cadillac And The Continental Kids, The Belle Stars, Spandau Ballet inc True, Chris Isaak, Level 42, Celine Dion, Genesis, Pepsi & Shirlie, Bangles, ABC, Dire Straits inc S/T, Thompson Twins, Eurythmics, Bananarama, Katrina And The Waves, The Police inc Every Breath You Take. Cher, Men At Work. Condition is generally VG to Ex+.

A Nikon F SLR Camera, eye level finder, serial no 6474704, shutter working, body G, small ding to to of viewfinder, light wear, with Nikkor-S 5cm f/2 non Ai lens, barrel G-VG, elements G, some fungus

Full title: Flemish school: The moon extinguishers, oil on canvas, ca. 1700Description: Work: 174,5 x 98,5 cm Frame: 190 x 114 cm The story of the 'Maneblussers': In the night of 27 to 28 January 1687, a resident of Mechelen stepped out of a pub and he thought the city tower was on fire; he immediately raised the alarm. In no time the whole city was in an uproar and the alarm bell was rung. The city council, headed by the mayor, rushed to the scene of the disaster and began organizing the extinguishing works at great speed. Buckets of water passed from hand to hand like a chain along the tower steps, but before reaching the top, the moon slid through the mist and the brave 'Malines' had to admit that they had only seen the reddish nebulae of the moon. After all, the moonlight shone through the windows of the cathedral and the low clouds stood at the level of the bell windows in the St. Rumbold's Tower, giving the impression that smoke was coming from the tower. Although they tried to keep things quiet, the people of Mechelen could not prevent being laughed at heartily even across the borders. 'Maneblusser' became very fast a popular nickname for a resident of Mechelen. The nickname is still used today and worn with great pride. Provenance: - Private collection, Belgium. Acquired by the present owner in the 1990's.

Attributed to John Lewis (fl 1745-60) Portrait of William St. Lawrence, son of William, 14th Baron Howth c 1640, approx. 48" x 36" (122cms x 92cms), in later painted and parcel gilt frame. (1) Note: Dressed as befits a young Anglo-Irish gentleman, in crimson suit, lace collar, and blue velvet coat with gold trimmings, William St. Lawrence stands beside a table, assuming an elegant pose and paying little heed to the spaniel that dances at his feet. Behind a heavy curtain, a landscape can be glimpsed. There are several books on the table, which is also draped in red cloth, the folds of which contrast with the black and white tiled floor. The portrait is remarkable in that while the artist has portrayed William as a young adult, in fact he was around ten years old?the table top is at the same level as the boy?s shoulder. Born sometime around 1732, William was given the same name as his father, William St. Lawrence, 14th Baron Howth. Although William?s mother, Lucy Gorges, was twenty years younger than her husband, they were happily married and had three children; a daughter named Mary, and two sons, Thomas (who became 1st Earl of Howth), and William, the sitter in this portrait. The St. Lawrences were friends of Jonathan Swift, who was a frequent visitor to Howth Castle and also to Kilfane, their country house in Co. Kilkenny, where William Snr indulged his passion for horses and hunting. In his poem On Rover, A Lady?s Spaniel, written a decade or so earlier, Swift had described the physical features of a toy spaniel and given advice to aspiring artists: Happiest of the spaniel race, Painter, with thy colours grace: Draw his forehead large and high, Draw his blue and humid eye; Draw his neck so smooth and round, Little neck with ribbons bound! And the muscly swelling breast, Where the Loves and Graces rest; And the spreading even back, Soft, and sleek, and glossy black; And the tail that gently twines, Like the tendrils of the vines; And the silky twisted hair, Shadowing thick the velvet ear; Velvet ears, which, hanging low, O'er the veiny temples flow. Swift?s poem is a parody of namby pamby verses written by Ambrose Phillips, in honour of Georgiana Cartaret, daughter of the Lord Lieutenant. An admirer of Swift?s, Lord Cartaret no doubt secretly delighted in the Dean?s parody. The attribution of this painting to the Dublin artist John Lewis, in Toby Bernard?s "Making the Grand Figure: Lives and Possessionsÿin Ireland 1641-1770", is convincing. Although not well-known as a portrait painter, Lewis was at the centre of Dublin?s theatre and cultural life in the mid eighteenth century, when he worked as a scene painter at the Smock Alley Theatre. He painted portraits of actor Peg Woffington, and dramatist Henry Brooke. While on a visit to Quilca House in Co. Cavan with Thomas Sheridan, he painted mural decorations, with images of Milton, Shakespeare and Jonathan Swift. He may have painted the portrait of William St. Lawrence after the boy?s untimely death. Although destined for a life as a professional soldier, and appointed an ensign in the army while still just fourteen years old, William?s military career was shortlived. While still a teenager, in April 1749, he died of smallpox. Dr.ÿPeterÿMurrayÿ2021

A brass club fender, with green leatherette upholstered corners. External length extended 154 cm, but will reduce by a further 26 cm. Length 181 cm extended (see illustration). CONDITION REPORT: The fender is probably from the 1970's. Please note the dimensions in the catalogue are incorrect. The external length when closed is 146 cm but the piece with further extend up to a maximum of another 37.5 cm. The external depth is 41 cm. All dimensions are at ground level.

A Theodolite, Hilda & Watts Microptic, Model ST156-4, No 226880, 1960, painted metal case with leather strap, a contemporary tripod, a WWII astro compass MkII, cased, a level, W S Stanley, government property mark, teak case, a sextant, Kelvin & Hughes Ltd, No 65988, government property mark, cased and a 2" brass refracting telescope with stitched leather sleeve, 19th c (6) In generally good or collectable condition

Property of a deceased's estatec.1934 Daimler V26 Saloon/Limousine ProjectCoachwork by Barker & CoRegistration no. OGL 358Chassis no. 41299Odometer reading: N/AMOT: Exempt*Pomeroy-designed 3,746cc straight eight engine*Engine original to chassis*Offered for restorationFootnotes:By the mid-1930s, Daimler's eight-cylinder engines were the work of designer Laurence Pomeroy, previously with Vauxhall, for whom he had designed the Prince Henry of 1912, arguably the world's first sports car. The first of Pomeroy's overhead-valve straight eights was the 3,746cc 'V26' of 1934, which boasted a nine-main-bearing crankshaft, detachable cylinder head, and twin Stromberg carburettors, and was mounted in a chassis of 11' 10' wheelbase. This car's original engine is still in the chassis. Dating from 1987, when the car was purchased from one Charles Canavan, correspondence on file indicates that the cylinder head was welded, pressure tested and the mating face reground at that time. The engine and all its ancillaries are complete, although the top half is awaiting re-assembly. The engine turns on the crank handle. The coachwork is aluminium and the doors have not dropped on this low-mileage vehicle. Retaining all its original instruments in the dashboard, the original interior needs restoration. The windscreen is of the opening type and in good order, but the roof needs replacement. The car is finished in yellow and black, while along the sides at door-top level is an original attractive plated metal 'flash'. The Daimler radiator surround is in good order. At the rear is an original luggage rack and trademark slatted fuel tank cover. There is also a side mounted spare wheel and the vehicle is 'rolling'.Vendor Score Total: 34/100Bidders 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: 7/25Body Work: 1Paint:1Glass:1Chrome/Plastics/Trim:2Wheels/Tyres:2RUNNING GEAR TOTAL: 10/20Gearbox/Clutch:3Axles:3Suspension:2Brakes:2INTERIOR TOTAL:4/20Seats:1Dashboard/Door cards/Carpets:1Headlining:1Trim:1ELECTRICAL TOTAL: 4/10Main components:2Ancillary components:2ENGINE TOTAL: 8/20Starting:1Running:1Under Bonnet:3Mechanical components:3Car History File: 1Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

2012 Rolls-Royce Ghost SaloonRegistration no. to be advisedChassis no. SCA664S07BUH15392Engine no. 90164954Odometer reading: 3,145MOT: 07/12/2021*One owner*3,145 miles from new*Optional panoramic sunroof To view a video of this lot please click hereFootnotes:'With the Ghost, Rolls-Royce has followed Bentley's lead and not been shy about making its 'entry-level' car substantially more powerful and therefore quicker than the flagship model above it.' – Autocar.Its name evoking that of the Edwardian-era Silver Ghost, the Rolls-Royce Ghost was conceived as a smaller and more affordable alternative to the range-topping Phantom, whose practical and aesthetically pleasing rear-hinged back doors it inherited. The prototype, coded '200EX', first appeared in 2009 at the Geneva Motor Show, with the almost unaltered production model making its debut later that year at Frankfurt. This new 'entry-level' Rolls-Royce was based on the contemporary BMW 7-Series platform and intended to compete with Bentley's Flying Spur and the Mercedes-Benz S-Class. The Ghost was powered by a 6.6-litre twin-turbocharged V12 engine, which delivered its 562bhp via a ZF eight-speed automatic gearbox, and despite its not inconsiderable weight (5,490lb) could race to 60mph (97km/h) in 4.7 seconds on its way to an electronically limited maximum speed of 155.3mph. Finished in black with Seashell Cream interior, this one-owner Ghost has covered a mere 3,145 miles from new and is presented in commensurately good condition. Its desirable factory options include the rear entertainment package; black lambs' wool floor mats; and the very expensive panoramic sunroof. Accompanying documentation includes a Rolls-Royce Certificate of Authenticity and the car also comes with its owner's handbook.Vendor Score Total: 93/100Bidders 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: 22/25Body Work: 4Paint:3Glass:5Chrome/Plastics/Trim:5Wheels/Tyres:5RUNNING GEAR TOTAL: 20/20Gearbox/Clutch:5Axles:5Suspension:5Brakes:5INTERIOR TOTAL:18/20Seats:4Dashboard/Door cards/Carpets:5Headlining:5Trim:4ELECTRICAL TOTAL: 8/10Main components:5Ancillary components:3ENGINE TOTAL: 20/20Starting:5Running:5Under Bonnet:5Mechanical components:5Car History File: 5For further information on this lot please visit Bonhams.com

1921 Vauxhall 14/40hp M-Type Princeton TourerRegistration no. BF 6712Chassis no. M730Odometer reading: 37,524MOT: Exempt*An ideal 'entry level' Vintage sports car*Imported from Australia in 2013*Running wellFootnotes:For 1922 Vauxhall matched its great rival - the Sunbeam company of Wolverhampton - in offering an alternative, smaller and less expensive alternative to its top-of-the-range 30/98: the 2.3-litre 14/40hp M-Type. Similar in looks to the larger 30/98, the latter featured a four-cylinder detachable-head engine; in-unit three-speed gearbox (instead of the separate four-speed type of the larger models); a single-plate clutch; and rear-wheel brakes only. It sold for around £750 against some £1,600 for the 30/98 but was built to the same high standard. From 1925, by which time it was being built to improved 'LM' specification, the 14/40 adopted a four-speed gearbox and for 1926 gained front-wheel brakes. Top speed increased to 65mph from the preceding M-Type's 55-60mph. An ideal 'entry level' Vintage sports car, this 14/40 Princeton tourer was imported from Australia and registered in the UK on 1st December 2013. (The Society of Automotive Historians has confirmed that it was built in 1921, although it is often thought that manufacture commenced in 1922.) The car benefits from two new tyres; a recently rebuilt carburettor; relined fuel tank; and a new speedometer cable (a newly sourced drive pinion is ready to fit). The dynamo is not charging but we are advised that the battery is healthy. Running well, this handsome Vintage-era Vauxhall is offered with a quantity of spares. Vendor Score Total: 58/100Bidders 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: 3Paint:3Glass:3Chrome/Plastics/Trim:3Wheels/Tyres:3RUNNING GEAR TOTAL: 12/20Gearbox/Clutch:3Axles:3Suspension:3Brakes:3INTERIOR TOTAL:13/20Seats:4Dashboard/Door cards/Carpets:3Headlining:3Trim:3ELECTRICAL TOTAL: 4/10Main components:2Ancillary components:2ENGINE TOTAL: 12/20Starting:3Running:3Under Bonnet:3Mechanical components:3Car History File: 2For further information on this lot please visit Bonhams.com

Gin - A 26⅔ Fl Ozs bottle Of Booth's Finest Dry Gin, 70° proof, a 1960's bottling, level low neck.

Postcards, Devon, a collection of approx. 98 mainly late 1950's to early 1960's RP cards of Devon. The majority street scenes and villages. RP's include Colyton, Axminster, Whitford, Hawkchurch, Shute, Kilmington, Stockland, Honiton, Payhembury, Broadhembury, Exeter, Colyford, Whimple, Honiton Clyst etc. Also 1950's and later photos of Colyford Stn, Colyford level crossing, Seaton Junction (with locos) (12) (mainly gd)

Family group: Four: Sergeant T. C. Owen, 18th (Queen Mary’s Own) Hussars, who served with his regiment during the Great War from the Battle of Mons and subsequent rearguard actions in August 1914 through to his death from wounds on the Western Front on 16 April 1918 1914 Star, with copy clasp (6585 Tptr: T. C. Owen. 18/Hrs.); British War and Victory Medals (6585 Sjt. T. C. Owen. 18-Hrs.); Belgium, Kingdom, Croix de Guerre, A.I.R, bronze; Memorial Plaque (Thomas Charles Owen) in card envelope and outer OHMS envelope (torn) addressed to ‘Mrs C. Ray, 130 Southam St., N. Kensington, London.’ together with a ‘crossed bugles’ cloth arm badge, nearly extremely fine Three: Private A. Ray, 1st Battalion, Prince of Wales’s Own (West Yorkshire Regiment), who was discharged in 1917 due to shell shock and contusions caused by active service on the Western Front in September 1916 1914-15 Star (11780 Pte. A. Ray. W. York: R.); British War and Victory Medals (11780 Pte. A. Ray. W. York. R.) together with Silver War Badge, numbered ‘B239569’, edge bruise to second, otherwise nearly extremely fine (9) £300-£400 --- Belgian Croix de Guerre London Gazette 15 April 1918 Thomas Charles Owen served with the 18th Hussars during the Great War on the Western Front from 15 August 1914, initially in the rank of Trumpeter. During the retreat from Mons on the 24th August 1914, on the extreme left of the British line, the 14th and 15th Brigades of the 5th Division were threatened by a German outflanking move and were forced to call for help from the cavalry. The 2nd Cavalry Brigade (including 18th Hussars), along with the 119th Battery RFA and L Battery RHA, were sent to their aid. Dismounting, the cavalry and the two artillery batteries, screened the withdrawal of the 14th and 15th Brigades during four hours of intense fighting. At Audregnies/Elouges, the cavalry charge of the 4th Dragoon Guards and the 9th Lancers and the heroic stand of 1st Cheshires and the 1st Norfolks are well documented, but the 18th Hussars were also also heavily involved and bore the brunt of the early German attacks and made a charge of their own. The Commanding Officer’s (Lieutenant-Colonel Burnett) report of the action makes apparent that the 18th Hussars were still in position along the mineral railway line between the sugar refinery and Elouges Railway Station until after the cavalry charge of the 4th D.G. and 9th Lancers had been broken up: ‘On the left 2 troops A Sqn in a sugar refinery, the centre 2 troops A Sqn on a mound about 300 yards S of the level crossing which lay about half a mile W of Elouges, the right B Sqn a little retired in a large cutting on a mineral line which led from the sugar refinery to Elouges station. C Sqn and machine gun in support near the western end of the same line. The whole position lay just S of the word Elouges. The Regiment was shelled a little during its retirement. We waited here for some time and then received orders to retire through Audregnies on Angres with the Regiment acting as rear guard to the Brigade. Two Sqns A and B were kept at the top of the rise above Audregnies, while C Sqn was sent to the ridge beyond that village. The two rear Sqns were preparing to follow C when all the Brigade was ordered back to the 2nd Position we had taken up during the retirement. The Sqns were sent to the same positions they had occupied before but B Sqn advanced too far beyond their original position and for a time lost touch. I went to find them but could see nothing of them and as rifle fire had broken out on the left and part of C and A Sqns were in action I came back to C Sqn and found a hostile attack developing in front of them and in front of A. The enemy’s guns opened on both these Sqns from the direction of Quievrechain and from north of the main Mons-Valenciennes Road. At that moment the remainder of the Brigade came over the skyline immediately in rear of us and the 9th Lancers in column of troops galloped across our front from left to right passing round the sugar refinery and the mound where A Sqn were on. They were quickly followed by the 4th (Royal Irish) Dragoon Guards in a similar formation. Both Regiments were heavily shelled and fired on from their left flank, as they executed this manoeuvre. Their ranks were broken and they sought refuge in ever increasing numbers behind these two localities, and in the cutting further to our right rear where B Sqn ought to have been. The enemy kept up an intense shell fire, concentrating it chiefly on the factory and on the mount, and their rifle fire was also very severe. Many more horses than the ground could accommodate were now massed together, and the fierce fire they were subjected to caused a good number to stampede. I went to the factory where A Sqn were and ordered Maj Stewart to retire when he could do so in safety, I then went to the mound and gave the same orders to Lt Lawrence and Lt Gorelangton’s troops who were holding that position. I then again went to try to find B Sqn but could see nothing of them. I rode almost up to the Mons-Valenciennes Road. I then rode back to see if A Sqn had retired and found they had gone back to a colliery close to Elouges Station where the majority of the Sqn rallied. C Sqn in the meantime had retired along the mineral line to the S of Elouges. The Regiment was now very much broken up, owing to the stampede of led horses and the mixture of units caused by the rallying of the remnants of the 9th Lancers and the 4th (Royal Irish) Dragoon Guards in rear of our line. We succeeded in rallying a good proportion of the Regiment at Elouges close to Elouges Station and just S of the town.’ Known correspondence from one member of the 18th Hussars confirms that his regiment had also charged the enemy at Elouges on 24 August 1914: ‘We had a fight last Sunday and Monday with the Germans. After we charged them, the regiment got split up into two parties one went one way, and the other the other. I went with one of them and stayed until Tuesday afternoon, when we had orders to go and join the other party, and take a message to them, so that we could reform the regiment as strong as possible. A Sergeant and eight of us had a tough job to get through to the remainder, but managed to join up at six o’clock Saturday morning. It is now Sunday morning, and we have just had a depatch rider landed to tell us that the party I left lost nearly all the men in a skirmish, so I think I am extremely lucky.’ (Private Archie Stephenson, 18th Hussars, letter written on 30 August 1914 to his father, published in the Hull Daily Mail, 11 September 1914) The 18th Hussars fought with the 1st Cavalry Division in both a mounted and dismounted role throughout the remainder of the Great War, winning many more battle honours, including Le Cateau, the Marne and First Ypres in 1914, Second Ypres in 1915, the Somme in 1916, Arras and Cambrai in 1917, and Amiens and Albert in 1918. Owen was promoted Sergeant and awarded the Belgian Croix de Guerre prior to dying of wounds in France on 16 April 1918. He was the husband of Charlotte Ray (formerly Owen) and is buried in St. Server Cemetery Extension, Rouen. Alfred Ray was born in Walworth, Surrey in 1888 and attested for the West Yorkshire Regiment at St. Pancras on 31 August 1914. He served with the 1st Battalion during the Great War on the Western Front from 13 July 1915 and was discharged on 3 July 1917 due to shell-shock and contusions caused by active service overseas in France and was awarded a Silver War Badge. He was the second husband of Charlotte Ray (widow of the above).

CHATEAU LEOVILLE LAS CASES, five bottles of Leoville Las Cases Saint-Julien, probable 1960's - 1970's bottlings, one bottle has a detached seal, eroded cork, label unreadable, fill level mid-shoulder, one bottle has a slightly damaged seal, no label, fill level low shoulder, one bottle has a slightly damaged seal, incomplete label, fill level mid-shoulder, one bottle has a complete seal, incomplete label, fill level mid-shoulder and the last bottle has a complete seal, no label, fill level upper shoulder

A delightful 355 soft top, UK-supplied, RHD, manual gearbox, TDF Blue and less than 28,000 miles.UK-supplied, right-hand drive, manual gearbox car. First registered on 20/03/1997Attractively finished in Tour de France Blue with a Tan (Cuoio) leather interior27,588 miles with a comprehensive service history (Ferrari and specialists)Booked in for an oil service, cam belts and a fresh MOT immediately prior to our sale in late July Accompanied by its original leather wallet with the manuals and MOT Certificates going back to 2000The Ferrari F355 is now considered a modern classic, so beautiful, so well-engineered and so well received that it marked the beginning of the end of the old-guard Ferraristi' philosophy that the only "real" Ferraris were ones with 12-cylinder engines. The F355 Berlinetta burst onto the world stage in the Spring of 1994, with the Targa GTS and Spider following in 1995. The new car shared almost exactly the same dimensions as its predecessor, the 348, yet it was virtually a new car, as its flowing coachwork indicated. Many hours of wind tunnel testing influenced the harmonious shape which incorporated an F1-style flat bottom with channelled airflow generating enough downforce to offset any lift.The F355's name is derived from its 3.5-litre V8 engine and five valves per cylinder - as denoted by the Cinquevalvole' inscription on the rocker covers, and this longitudinally mounted power unit generates an impressive 374bhp at a spine-tingling 8250rpm. The con-rods are titanium alloy, the clutch is housed in magnesium alloy, and the Bilstein shock absorbers use electronic sensors to provide active damping. In 1994, the Ferrari F355 was a technological tour de force. Around Ferrari's 1.86 mile Fiorano test track, the F355 was two seconds a lap faster than the 12-cylinder, 512 TR and that level of performance, combined with its sensational shape, ensured its success on the world stage.This delightful example is a right-hand drive, UK-supplied. manual gearbox car that was first registered here on 20/03/1997 and is finished in Tour de France Blue with a Tan (Cuoio)leather interior. The current mileage is 27,588 and the car is booked in for an oil service, cam belts and a fresh MOT immediately prior to our sale in late July. It's accompanied by its original leather wallet with the manuals and MOT Certificates going back to 2000.The service history is as follows;23/12/98 4,929 miles Mortimer, Houghton and Turner Ferrari. Service04/02/00 7,725 miles Mortimer, Houghton and Turner Ferrari Service and Belts08/02/01 11,702 miles Mortimer, Houghton and Turner Ferrari. Service12/03/02 13,470 miles Mortimer, Houghton and Turner Ferrari. Service06/03/03 14,886 miles Graypaul Loughborough. Service and Belts11/05/04 16,446 miles Graypaul Loughborough. Service27/06/05 17,911 miles Talacrest. Service21/09/05 18,750 miles Maranello Egham. Service and Belts10/03/08 24,050 miles DK Engineering. Service14/05/08 24,125 miles H R Owen. Service and Belts22/06/10 24,818 miles DK Engineering. Service and Belts15/03/13 25,129 miles DK Engineering. Service08/07/14 25,308 miles DK Engineering. Service and Belts18/03/15 27,403 miles Graypaul Nottingham. Service and Belts31/03/16 27,455 miles Ferrari Birmingham. Service18/05/18 27,530 miles Ferrari Birmingham. Service30/04/19 27,552 miles Ferrari Birmingham. Service06/07/20 27,569 miles Ferrari Birmingham. Service SpecificationMake: FERRARIModel: 355Year: 1997Chassis Number: ZFFXR48C000108183Registration Number: P196 UADTransmission: MANUALEngine Number: 45499 Drive Side: Right-hand DriveOdometer Reading: 27588 MilesMake: RHDInterior Colour: TAN/LEATHERClick here for more details and images

Fresh from a complete nut and bolt restoration, this lovely 1952 Roadster has just been run-in and is now ready for the summer. This 1952 Roadster was imported from Southern California just two years ago. Since been through a complete restoration, fully documented with photographs Converted to right-hand drive, brand new steering-box components and original right-hand drive controlsUpgrades include disc brakes, front and rear, a new servo and a bespoke Aluminium radiator More powerful 3.4-litre XK150 engine fitted, now fully rebuilt Bias towards the racing heritage with the addition of a Le Mans fuel filler, leather bonnet strap, period spotlights and the deletion of the front bumper bladesCompletely new interior, in red with leather-trimmed bucket seats "The engine pulls strongly, is silky smooth with no flat-spots, and starts on the button every time whether hot or cold."Fabulous restoration of a Jaguar Classic that bears a striking resemblance to NUB 120, the world's most famous XK JaguarA car-starved Britain, still trundling around in perpendicular pre-war hangover vehicles, glimpsed the future in October 1948 with the launch of the Jaguar XK120 at the Earls Court Motor Show. Production commenced in 1949 in Coventry, and the XK's swoopy shape and stylish occupants would become a common sight on British roads over the next 15 years. It heralded the arrival of Jaguar's famous 3.4-litre twin overhead camshaft XK engine, (the basis of all their engines for the next 25 years) with an alloy cylinder head and twin side-draught SU carburettors producing nearly 160bhp. Conceived during the war, the new six-cylinder was created by Jaguar’s chief engineer Bill Heynes and engine wizard Harry Weslake. As the firm tested various designs (labelled X for experimental and tagged G, H or J), it was a compact twin-cam four labelled ‘K’ that stood out. With two more cylinders added taking it to 3.4 litres, it became the engine that would power generations of sporting Jaguars for several decades starting with the XK120 The “120” referred to the car's top speed which, at the time, made it the fastest production car in the world. Jaguar seems to have always had a flair for marketing and to illustrate that the car's top speed was not a figment of a publicist's imagination, in May 1949, on the Jabbeke to Aeltre autoroute, an XK120 with its hood and side screens in place recorded a speed of 126mph, and no less than 132mph with the hood and windscreen detached and an undertray fitted. However, the most famous XK120 is undoubtedly Ian Appleyard's legendary 'NUB 120'. He was a director of the family car dealership, Appleyards of Leeds, and a talented rally driver. Using his alloy-bodied, privately-entered 120 and accompanied by his wife, Pat Lyons, daughter of Jaguar founder William Lyons, they enjoyed great results at International level in the Tulip Rally, RAC and Monte Carlo, however, it was their success in the Alpine Rally, finishing unpenalised three times in a row from 1950 to 1952, and becoming the first driver to win the coveted Coupe d’Or (Gold Cup), that’s most feted. Jaguar, of course, missed no opportunity to market the XK120’s success everywhere, Pathé newsreels, Sunday papers, billboards, the sides of London buses “The fastest Production Sports Car in the World”, motoring magazines, simply everywhere in the English-speaking world. With its catchy registration number, NUB 120, became a household name and is probably the most promoted individual Jaguar in the world. It still resides within the Jaguar Heritage Collection and is brought out a dozen times a year.Anyone looking at the striking XK120 Roadster on offer here can’t fail to notice the similarity to NUB 120 which, according to our vendor, the car's creator, is not entirely a coincidence.In his own words:"This 1952 Roadster was imported from the US just 2 years ago. It’s a Southern Californian car so was amazingly rust-free and proved a perfect candidate for refurbishment. It has since been through a complete restoration from end to end, fully documented with photographs taken every step of the way. It was converted to RHD using brand new steering-box components and a complete set of original RHD pedal controls. Along the way, there have been a few upgrades incorporated to help with safety and overall efficiency. Disc brakes have been installed front and rear utilising brand new components from Zeus Engineering along with a new servo system and a bespoke Aluminium radiator has been fitted and adapted for the engine which is now a fully rebuilt 3.4-litre unit from a later, more powerful XK150. The electrics have been upgraded utilising an original factory loom modified with additional relays and fuses, plus switches for the spot lights, indicators and manual control of the starting carburettor. An alternator has also been fitted allowing the rectifier to be deleted. A custom throttle-linkage has been created which allows for different pedal travel and provides much improved throttle response compared to the original rod-operated system. Finally, a unique custom twin exhaust system has been built which follows the later XK140/150 design but still retains the ‘look’ of a 120 at the rear with factory-looking twin pipes.Throughout the restoration process, there has been a biClick here for more details and images

Comprehensively restored and matching numbers MK 2 Jaguar sporting the desirable manual gearbox with overdrive. Absolutely stunning throughout.UK-supplied, right-hand drive, 3.8-litre MK2 with a manual gearbox and overdriveComprehensively stripped and restored over a period of two years, costing c.£50,000 in totalSuperbly finished in Opalescent Gunmetal over Bordeaux leather, a classic combinationLess than 1,000 miles covered since rebuildNumerous considerate upgrades to improve performance and usabilityMatching numbers throughout, as confirmed by Jaguar Heritage Trust CertificateThis lovely Mk 2's previous owner was somewhat of a Jaguar aficionado, and had enjoyed the car between 1996 and 2016, using it sparingly as part of his modest collection. The car was known to our vendor for around ten years prior to his purchase and he had often expressed an interest in owning it. The opportunity arose in 2016 and with 55,535 miles on the odometer, our vendor shipped the vehicle, along with an impressive collection of NOS panels and spare parts courtesy of the prior owner, off to those knowledgeable folks at The Splined Hub, who stripped the car down in its entirety and rebuilt it from the ground-up, addressing any issues that they found along the way.Whilst it certainly doesn’t do justice to the level of work done, a brief overview of the restoration process shows that the shell was stripped, dipped and then re-sprayed in the correct Opalescent Gunmetal, whilst the interior was also completely re-upholstered in Bordeaux Red, including new seats, new carpets, fresh veneers, a Moto-Lita steering wheel and a retro-style modern stereo resulting in a Mk 2 Jaguar that looks virtually factory-fresh and benefits from improved creature comforts.The wheels are an entirely new set with the correct knock-off hubs, sitting on a set of matching tyres that have covered less than 1,000 miles since fitting.Under the bonnet, the engine was fully stripped down and upgraded with 9:1 compression pistons, electronic ignition, a set of electronic fans were fitted to keep the car cool in modern traffic, along with a full negative-earth wiring conversion. The braking system was also uprated with four-pot front brakes and 22mm vented-discs.Included with the vehicle is a plethora of photographs documenting the restoration process, along with every invoice and receipt from the restoration itself, totalling around £50,000. In addition to this, the Jaguar Heritage Trust certificate is present, confirming that the Mk 2 has been restored to the correct factory specification, along with confirming that this is, indeed, a numbers-matching example.Presented in outstanding condition throughout, this 1965 Mk 2 Jaguar is a true collector’s piece, but one that can also be used and enjoyed without the usual reliability fears associated with cars of this era. A classic sixties Jaguar sporting saloon and a wonderful example of the breed.SpecificationMake: JAGUARModel: MK 2Year: 1965Chassis Number: 233126DNRegistration Number: AHJ 72CTransmission: Manual/ODEngine Number: LE1254-8 Drive Side: Right-hand DriveOdometer Reading: 56150 MilesMake: RHDInterior Colour: Red/LeatherClick here for more details and images

A GEORGE V SILVER SAUCE BOAT, by William Greenwood & Sons, Birmingham 1928, the scroll handle with leaf-form thumbpiece; together with ANOTHER SILVER SAUCE BOAT, Chester 1930. (2) First 19.5cm wide, 18.6 troy ouncesThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Marks clear and well struck to first (William Greenwood & Sons); maker's mark to second lightly rubbed but probably S Blanckensee & Son Ltd, the rest clear and well struck. Both stand upright on three feet - both level, no rocking. The first further struck 'WM. GREENWOOD & SONS / LEEDS & HUDDERSFIELD' to underside; the second stamped with a '*' (star) to underside. Minor dings and light surface scratches to both, commensurate with age and use

A large collection of approximately x25 original vintage empty Lego boxes, storage tubs / containers and a selection of instruction manuals and catalogues. Boxes to include Lego System 6543 Sail N Fly Marina, 6484 FI Hauler, 4547 Railroad Club Card, 4532 Manual Level Crossing and others. Lego catalogues dated from 1989 to the early 90's along with a selection of instruction manuals. 

CHATEAU LEOVILLE LAS CASES, four bottles of Leoville Las Cases Saint-Julien, probable 1960's - 1970's bottlings. Three bottles have seals intact, eroded labels and fill levels at upper shoulder, one bottle has a damaged seal, eroded cork and missing label, fill level low shoulder. There is also One Bottle of a 1961 Saint-Julien, Chateau name incomplete, damaged seal and eroded cork, fill level bottom shoulder (5)

1996 Peugeot 106 EscapeRegistration no. N505 JHUChassis no. VF31CCD2151286468Odometer reading: 30,790MOT Expiry: April 2022*Low mileage 106*Increasingly rare*2 previous ownersFootnotes:Initially offered as a replacement for the iconic 205, the Peugeot 106 was the company's entry level hatchback for much of the 1990s. Produced between 1991 and 2003, the 106 was once a common sight on the road, however today they are a much rarer sight. This 1996 example has been used sparingly throughout its lifetime with only three lady owners from new. It is reported that the second owner owned the car from 1998 to 2014 and covered just 7,000 miles. It was then purchased as a present by the current owner's father and now has a mileage showing just 30,790 miles. Inside and out the car is very original and is in a good condition. It is reported to be running and driving well and has an MOT expiry in April 2022.Vendor Score Total: 84/100Bidders 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: 20/25Body Work: 4Paint: 4Glass: 4Chrome/Plastics/Trim: 4Wheels/Tyres: 4RUNNING GEAR TOTAL: 20/20Gearbox/Clutch: 5Axles: 5Suspension: 5Brakes: 5INTERIOR TOTAL: 16/20Seats: 4Dashboard/Door cards/Carpets: 4Headlining: 4Trim: 4ELECTRICAL TOTAL: 8/10Main components: 4Ancillary components: 4ENGINE TOTAL: 17/20Starting: 5Running: 5Under Bonnet: 3Mechanical components: 4Car History File: 3Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

1955 Cadillac Coupe De Ville Transmission: automaticMileage:73556The Cadillac Series 40-62 was produced by Cadillac from 1940 through 1964. Originally designed to complement the entry level Series 65, it became the Cadillac Series 6200 in 1959, and remained that until it was renamed to Cadillac Calais for the 1965 model year. The Series 62 included a lower sleeker body, a new cellular grille insert and inverted gullwing front bumpers and tapered Dagmar style bumper guards. Round jet style dual exhaust outlets were incorporated into the vertical bumper extensions and the rear bumper was entirely redesigned. The Series 62 could be distinguished by the lack of rear fender louvers.Automatic windscreen washers, power steering, 12-Volt electrical system and aluminium alloy pistons made the long list of standard equipment for the first time. Power steering, windows, seats, and automatic headlight dimming were optional. In 1955, the grille was redesigned with wider spaces between the blades and the parking lamps were repositioned directly below the headlights. The Coupe de Ville had a golden script nameplate at the upper body belt just forward of the rear window pillar. Tubeless tires were a new standard Cadillac feature and sales reached a record 118,190, accounting for nearly 84% of all Cadillac's sold. Standard equipment included back-up lights, turn signals and automatic transmission. Mechanics rated the 0-60 mph time as 17.3 seconds at the time and air conditioning was provided by Frigidaire optionally and consisted of a self-contained unit that was retrofitted at the customers request.Presented in Champagne over Silver gunmetal, this well-known and respected Cadillac Coupe De Ville has been owned and loved by its current owner since 2012, it is published in American Car magazine that our owner even re-mortgaged her house in order to purchase this example! Nicknamed ‘King’ (Elvis too had a 1955 Coupe De Ville), to say this is a cherished example would be somewhat of an understatement with our owner and the car frequenting many a car shows together and on occasion winning best in show. In 2014 it was decided ‘King’ required some engine work and thus our vendor researched long and hard and after numerous recommendations settled upon Kevin of Zodiac Motor Services, the work as it turned out was obviously very good as the pair have since married and have enjoyed car shows together! As a side note our vendor never had to pay for the full engine rebuild but it is documented in the history file alongside the story of the purchase within the four page feature in American Car magazine. Also found within the history file are the original manuals and a photo book of the body restoration alongside the UK V5C registration document. It must be stressed that many 50’s Cadillacs lack the credentials to lace the boots of TSY 305 and we feel this estimate is very good value for such an iconic car in great all-round condition and especially with the assurance of a relatively recent full engine rebuild.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.

The ex-Juan Augusto Malcolm/Argentina1928 Maserati Tipo 26B 2.1-Litre Sports, Gran Premio and Formule Libre Racing Two-SeaterChassis no. 35*Immensely evocative early Maserati*Immensely versatile for every Historic use*Race-winning Argentine career, 1930-38*2-litre supercharged straight-8 engineFootnotes:This most attractive and very useable 'tween-wars Maserati has an unusual racing history, having spent its early active life being campaigned in Argentina by a colourful, capable and indeed intriguing private owner/driver who was an Argentine with Scottish roots. He cheerfully went by two names, Juan Augusto Malcolm being the Hispanic form, John Malcolm his English-language alter ego. He became renowned for his racing exploits in that vast country - where his family owned and ran large (and profitable) farming estancias dotted around the province of Buenos Aires, in Bragado, Lincoln and Lujan. The family business most notably bred thoroughbred horses, while also raising beef cattle and being involved in general agriculture. Juan Augusto (aka John) Malcolm was either born in Buenos Aires on July 29, 1901 - or in Oban, Scotland in 1898, being taken to Argentina by his family when they emigrated in 1900. One story he reputedly told had him being taken to the UK by aunts, eventually returning to Argentina as a youthful multiple motor-cycling champion. Another tale had him working for Bugatti from 1917, competing at Grand Prix level. When he genuinely began racing in Argentina, the always inventive local press conflictingly nicknamed him both 'El Gaucho Escocés' and 'El Inglés'... Quite apart from his achievements on track, Juan A. Malcolm is certainly recalled for brazen story-telling of great (fictional) racing exploits on trips to the USA (including participation in the Indianapolis '500') and to Europe, where he described contesting both the 1924 and 1925 French GPs, and finishing fourth in the latter, in a Delage (that place actually having been taken by Meo Costantini's Bugatti Type 35). According to Malcolm he had also led at the Nürburgring in a Mercedes S-Type before the car failed. Despite such a fertile imagination, Juan Malcolm was certainly a competitive and capable racing driver who became quite a star on the Argentine national scene which would eventually produce such genuinely world-beating talents as Juan Manuel Fangio and José Froilan Gonzalez. National Argentine racing through that period involved enthusiastic individuals fulfilling competitive ambitions, not building professional driving careers. Malcolm worked as a rancher amongst developing other business interests, and also indulged in local politics, becoming a mayor as had his father before him. In fact his weekend racing career spanned the years 1921-1948, thus overlapping with those of Fangio and Gonzalez amongst others. He campaigned a wide variety of locally-modified specials and great imported cars of considerable stature, including such marques as Hudson, Stutz, Chandler-Curtiss, Dodge, Chrysler, Fiat, Alfa Romeo RL, the immensely exotic Grand Prix Delage V12 owned by Moises Vengerow and his son Jacobo, Mercedes - and Maserati. Malcolm certainly travelled in Europe in the late 1920s. In 1928 he bought two new Mercedes-Benz cars in Paris: an SSK and a 680S (the latter acquired on November 23, 1928, for 30,000 German Marks). He shipped them back to Argentina where he later claimed he had driven the 'Caracciola SSK' to finish 2nd in the 1930 Monza Grand Prix for sports cars (when Caracciola himself had finished 2nd to Ernesto Maserati's Maserati 16-cylinder). He also claimed to have finished 3rd at Cremona, 2nd at the 'Austrian Grand Prix', and to have led at the Nürburgring before the car failed. What is demonstrably true is that in 1929 he not only visited the Maserati works at Bologna but also drove in that year's Cremona race, reports differing upon whether he handled a Maserati or a Mercedes - or indeed an Alfa Romeo - but if it was a Maserati it was not No '35' now offered here which he ordered during that trip. This Maserati certainly became the first to be imported into Argentina, perhaps significantly being liveried by the factory not in blue and yellow Argentine racing livery, but in blue and white - which would gain sporting fame as the colours of Scotland... 'John' Malcolm's birthright. The fascinating documentation file accompanying this Lot includes some wonderful original letters, invoices, receipts and other documents relating to the car in 1929-30. He paid a one-third deposit of Lire 30,000 for it, the remaining 60,000 upon completion before the car, plus spares, was shipped to Buenos Aires on the Italian luxury liner 'Conte Rosso'. Studying No '35' as it survives today one can imagine it in the liner's hold on the long voyage south. The 'Conte Rosso' was named after Amadeus VII, Count of Savoy, the so-called 'Red Count', and she was much praised in period for her lavish Italian interior decoration - all lost in wartime as she was torpedoed and sunk off Sicily in May 1941 while in use as a troopship. Her assailant was HMS Upholder, the most successful of all Royal Navy WW2 submarines, commanded by Lt Cdr Malcolm Wanklyn who was awarded the Victoria Cross - the highest British military distinction - for this action. Just touch the car and even such fleeting historical connections resonate... The documentation file also includes a receipt for initial Customs and commission payments related to the car's original shipping to Buenos Aires, dated April 16, 1930, on the 'Conte Rosso' - shipped by Fratelli Salvadori SA of Bologna, Trasporti Internazionali the fees paid totalling 2.5-million Argentine Pesos. A letter from Maserati dated March 1, 1930, advises owner Malcolm that the car should run a fuel mixture containing 45 per cent denatured alcohol, 45 per cent Benzol and 10 per cent sulphuric ether. The engine is described as being of 2109cc displacement, supercharged, 8-cylinders in-line, bore & stroke 64mm x 82mm, maximum revs 5,500 - 4 forward speeds and reverse - 6kg oil pressure to be maintained at 3,000rpm - front tyre pressure 2kg and rear tyre pressure 2.5kg. Performance potential circa 150bhp and 190km/h (118mph)... In this 2.1-litre supercharged straight-eight Maserati Tipo 26B, Juan Augusto Malcolm immediately took third place in the Circuito Primavera race at Mercedes in Buenos Aires province. In March 1932 he reappeared in the Carrasco race at Montevideo, Uruguay, but after building a notable lead he crashed, overturning the Maserati although Malcolm and his riding mechanic Angel Pieralise escaped unhurt. The car was repaired in time for two July races in Buenos Aires, leading the first until lap 7 when Malcolm was passed by Vittorio Coppoli's Bugatti, falling to third during a refuelling stop and finally finishing second overall. The car was liveried in Italian racing red by this time. He then dominated the second BA race, displacing Carlos Zatuszek's massive Mercedes-Benz SSK only for the huge and uncontrollable crowd to overflow onto the course, and in the confusion Domingo Bucci's De Soto-Chrysler beat the Maserati into second place. It was reported at the time that Malcolm was expecting delivery of a new 2.8-litre engine but it seems unlikely it was ever delivered. Still in 2.1-litre form he then won the 1933 consolation race at the Mar del Plata horse-racing track in Maserati No '35' and would race the ageing Tipo 26B again in the 1935 500 Miles race at Rafaela, the car repainted yellow and blue, Argentine national racing livery. He qualified sixth and ran with Zatuszek in the early stages before the Maserati's radiator was punctured and the engine seized. After further repair he reappeared in the November 24 race at Venado Tuerto, but failed to finish, and at Paraña on December 29 the car ran poorly. Malcolm made ... For further information on this lot please visit Bonhams.com

9 x Numismatic Fine Art auction catalogues: Comprehensive top level Greek and Roman coin auctioneers illustrated catalogues from the 1980's. Auction numbers as follows - XIV, VIII, VI, XX, X, V, XII, XXV & XXII as specified on the catalogues.

1914 J.H. 2½hpRegistration no. SV 6901Frame no. 1002Engine no. A4078One of the shortest-lived and most obscure of British motorcycle manufacturers, J.H. was named after its founder, James Howarth, who set up shop in the Mumps district of Oldham in October 1914, shortly after the outbreak of the First World War. Like many similar small-scale manufacturers, Howarth used the readily available Villiers engines, offering an entry-level 269cc two-stroke with direct belt drive, and a 349cc four stroke equipped with a two-speed gear and chain-cum-belt transmission. Larger models powered by JAP and MAG engines were added to the range before J.H. bowed out in 1916 after only two years in existence. The date of first registration recorded in this machine's accompanying old-style V5 logbook is 19th February 1921, this being shortly after the introduction of the Roads Act of 1920, which required local councils to register all vehicles at the time of licensing and to allocate a separate number to each. (Many vehicles, although in existence for several years in some cases, were only registered for the first time after the Act's passing). Roy Bacon's dating letter on file confirms the J.H.'s manufacturing date of 1914. Described by the private vendor as in very good condition throughout, the machine last ran two years ago and will require re-commissioning before returning to the road. A quantity of tax discs (2004-2014), a V5C document, and a history file come with it. For further information on this lot please visit Bonhams.com

A Victorian Brass Spirit Level, stamped G. Gibson, two Victrian brass and mahogany glass cutters stamped S. Harratt & Neath Paten , London, a brass map reader, three brass handled watchmakers screwdrivers, Newbridge watchmans time clocks etc.

This lot will be auctioned on Wednesday, June 30th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 29th or July 1st. Indiana Jones' (Harrison Ford) stunt Webley revolver from Steven Spielberg's action-adventure film Indiana Jones and the Kingdom of the Crystal Skull. Jones kept a Webley revolver in his holster as his sidearm of choice, the same type of revolver he'd carried in 1989's Indiana Jones and the Last Crusade. This stunt revolver is made of dense black rubber and features a high level of detail, including a textured grip with an eyelet on the bottom. It is in good overall condition with minimal wear from production, including some scuffing. Dimensions: 11" x 6" x 1.5" (28 cm x 15.25 cm x 4 cm) Ownership may be restricted in some countries; see replica firearm notice in Buyer's Guide. Estimate: $1,200 - 1,600

Bruichladdich - A likely 1980's bottling of Bruichladdich 15 year old single malt whisky, 75cl and 40% ABV, level low neck, contained in carton.

Jack Daniels - A 70cl bottle of Old No.7 Brand sour mash whiskey, 40% ABV, level mid neck, likely a 1980's bottling.

Jim Beam - A 70cl bottle of Jim Beam White Label sour mash whiskey, 40% ABV, level upper neck, likely a 1980's bottling.

Southern Comfort - A 75cl bottle of Southern Comfort Liquor Spirit, 43% ABV, level low neck, likely a 1980's bottling.

Glenfiddich - A 75cl bottle of Glenfiddich Pure Malt scotch whisky, 40% ABV, level upper shoulder, likely a 1980's bottling.

Jacques Sarazin, 1592 Noyvon – 1660 Paris, zug.KINDERBÜSTEHöhe: 41,5 cm. Sockelhöhe: 14 cm.Bronze, schwarz patiniert, auf eingezogenem, rundem Porphyrsockel. Bei dem plastischen Kinderbildnis dürfte es sich wohl um ein Knäblein handeln. Das Gesicht ist äußerst portraithaft gezeigt, der Oberkörper unbekleidet, mit je glatter, polierter Oberfläche. Im Gegensatz dazu zeigt das Haar bewusst markanter gearbeitete Locken. Die hohe Qualität, aber auch Detailvergleiche mit weiteren Werken des Bildhauers lassen diese Künstlernennung zu. Dies zeigt sich vor allem auch in der bekannten Büste des noch kindlichen französischen Königs Louis XIV (1638-1715), die in dessen Alter von fünf Jahren im Auftrag von der Mutter, Anna von Österreich, von Sarazin geschaffen wurde, und die sich im Pariser Louvre befindet (Inv.Nr RF2508). Auch Vergleiche mit weiteren Werken des Bildhauers, etwa die Marmor-Kindergruppe, ehemals im Park von Marly, um 1640-1667, jetzt ebenfalls im Louvre (Inv.Nr. FR 1843 A -B) erlaubten diese Zuordnung. Ebenso die in Warschau im Nationalmuseum befindliche Marmorbüste – die ebenfalls den jungen Louis XIV um 1648 zeigt, also im Alter von zehn Jahren (Inv.Nr. 126644, siehe hierzu: Dariusz Kaczmaryk, Rzezba europejska od XV do XX wieku. Katalog zbiorów, Warschau 1978, Kat. Nr. 177, S. 91). Beachtenswert ist, dass die vorliegende Büste von erkennbarer individueller Physiognomie geprägt ist, was bei Kleinkinderbildnissen eine hohe Meisterschaft erfordert. Die erkennbaren technischen Merkmale des Bronzegusses lassen eindeutig eine Fertigung in dieser Epoche erkennen. Sarazin studierte und wirkte von 1610 bis 1627 in Rom bei Jean Languille, einem französischen Holzbildhauer. Hier wurde er vom Römischen Barock geprägt und arbeitete zusammen mit dem Bologneser Maler Domenichino, aber auch mit dem flämischen Bildhauer François Duquesnoy. Simon Vouet, dessen Nichte er ehelichte, war etwa ein Jahrzehnt sein Mentor und künstlerisches Vorbild. 1648 gehörte er zu den Begründern der Pariser Akademie, die er als Direktor von 1654 bis 1660 geleitet hat. A.R. Provenienz: Privatsammlung. Literatur: Barbara Brejon de Lavergnée (Hrsg.), Jacques Sarazin. Sculpteur du roi, 1592-1660. Ausstellungskatalog. Réunion des Musées Nationaux, Paris 1992. Antoine-Nicolas Dézallier d’Argenville, Vies des fameux architectes depuis la Renaissance des arts, avec la description de leurs ouvrages. Bd. 2, Reprint der Ausgabe von 1788. Boston 2006, S. 145-158. Marthe Digard, Jacques Sarrazin. Son œuvre – Son influence. Paris 1934. (12718112) (11)Jacques Sarazin,1592 Noyvon – 1660 Paris, attributedBUST OF A CHILDHeight: 41.5 cm. Height of base: 14 cm.Bronze with black patina on recessed porphyry base. This three-dimensional bust of a child is probably depicting a young boy. The face is shown portrait-like, his upper body naked, the skin shown deliberately smooth and polished in contrast with the strikingly carved curls of his hair. The bust‘s high quality, but also comparisons of details with other works by the sculptor allow an attribution to Sarazin. This can especially be seen in Sarazin‘s famous bust of the childlike French King Louis XIV (1638-1715), commissioned by his mother, Anne of Austria when the future king was five years old, today held at the Louvre in (inv. no. RF2508). Other examples by the artist, such as a Group of Children in marble, formerly held at Park of Marly, ca. 1640-1667 and today at the Louvre (inv. no. FR 1843 A -B) compare well as does a marble bust of a youthful Louis XIV, ca. 1648, aged 10 held at the National Museum, Warsaw (inv. no. 126644, also see: D. Kaczmaryk, Rzezba europejska od XV d XX wieku, katalog zbiorów, 1978, cat. no. 177, p. 91). It is remarkable, that the present bust displays individual facial features, which requires a very high level of craftsmanship in portraits of children. Particular features of bronze casting clearly show that it was manufactured during that era. Provenance: Private collection.Literature:B. Brejon de Lavergnée (ed.): Jacques Sarazin. Sculpteur du roi, 1592-1660, exhibition catalogue, Réunion des Musées Nationaux, Paris 1992.A.-N. Dézallier d‘Argenville, Vies des fameux architectes depuis la Renaissance des arts, avec la description de leurs ouvrages, vol. 2, Reprint of the 1788 edition. Adamant Media, Boston 2006, pp. 145-158.M. Digard, Jacques Sarrazin. Son œuvre – Son influence. Ernest Leroux, Paris 1934.

A VINTAGE DIAMOND CLUSTER RING mounted in 18ct white gold and platinum, and set with estimated approx 0.44cts of old and eight cut diamonds, diamond to the centre is 0.20cts. finger size M, weight 3.1gms Condition Report: I cannot give you a full diamond appraisal, i.e the 4 C~s as I am not qualified to do so. I can tell you what I can see with knowledge of inclusions and quality of gem stones up to Gemmology Association Certificate level.. . . Diamonds;- Central stone, nice and clean, good colour, on close inspection a couple of microscopic carbon dots, barely visible with a 20x loope. other diamonds eight cuts, appear clean and bright and a good match for colour.. Mount, very little wear, stamped 18ctplat. Could do with a proper ultrasonic clean and polish..

1 BOTTLE CHAMPAGNE BOLLINGER EXTRA QUALITY ‘SPECIAL CUVEE’ BRUT NV FROM 1960’s (LEVEL AT 1.5 CMS INVERTED) SOME LIGHT SEDIMENT - NO SIGNS OF SEEPAGE - WEAR AND TEAR DAMAGE TO TOP FOIL AND LABEL 

Tim Eitel - - 1971 Leonberg - lebt und arbeitet in Paris MUSEUMSLANDSCHAFT. 2001. Öl auf Leinwand. Verso zweifach signiert, datiert und betitelt. 180 x 240 cm (70,8 x 94,4 in). • Eitel gilt als Vertreter der Neuen Leipziger Schule, eine der prominentesten figurativen Strömungen der zeitgenössischen Kunst. • Frühe großformatige Arbeit. • Tim Eitel wird von den renommierten Galerien Eigen+Art in Deutschland sowie international von The Pace vertreten. PROVENIENZ: Galerie Eigen+Art, Berlin. Privatsammlung Berlin. AUSSTELLUNG: Tim Eitel. Terrain, Museum zu Allerheiligen / Kunstverein Schaffhausen, 6.6.-8.8.2004, u. a., Ausst.-Kat. mit Abb. S. 6. tim eitel_untitled (2001-2020), Daegu Art Museum, Daegu (Südkorea), 7.7.-18.10.2020, Ausst.-Kat. mit Abb. S. 140/141. LITERATUR: Künstlerhaus Bethanien (Hrsg.), Tim Eitel, 2003, S. 17. Ab 1994 studiert Tim Eitel an der Burg Giebichenstein in Halle Freie Kunst und ab 1997 Malerei an der Hochschule für Grafik und Buchkunst in Leipzig. Diese ist Ausgangspunkt für eine Strömung der zeitgenössischen Malerei, die mit ihrer eigenen unverwechselbaren Bildsprache die 'Leipziger Schule' begründet. Zu den Gründern gehören Bernhard Heisig, Wolfgang Mattheuer und Werner Tübke, die an der damaligen Leipziger Kunstakademie studieren und später lehren. Nach der politischen Wende und der Entstehung der Hochschule für Grafik und Buchkunst entwickelt sich die Begrifflichkeit der 'Neuen Leipziger Schule', der ebenso Neo Rauch zugeordnet wird. Der Galerist Judy Lybke vertritt äußerst erfolgreich diese Schule auch auf internationaler Ebene. Tim Eitel gehört zu den namhaften Vertretern der gefragten 'Neuen Leipziger Schule'. Von 2001 bis 2003 ist er Meisterschüler bei Professor Arno Rink. In dieser Zeit entsteht die Werkfolge 'Museumslandschaften'. Hier beschäftigt sich Tim Eitel mit den Fragestellungen der Beziehung zwischen Figur und Umgebung, zwischen Betrachter und Werk, zwischen Fläche und Raum. Am Anfang steht immer eine Reihe von Fotos. Sie sind für Eitel wie ein klassisches Skizzenbuch. Er hält fest, was ihn instinktiv interessiert, dies kann ein Stück Architektur sein, eine Geste, eine Haltung. Aus diesen fotografisch eingefangenen Momenten baut er dann die Bildkomposition wie eine Collage zusammen. Dieser fotografische Ansatz setzt sich auch in der sehr präzisen realistischen Malweise Tim Eitels fort. Die Beziehung von Figur und Raum ist in der 'Museumslandschaft' von 2001 raffiniert inszeniert. Erst auf den zweiten Blick bemerkt man, dass die junge Frau vor einem Gemälde in einem Museum steht und nicht die sie umgebende Landschaft im Freien fotografiert. Als Kunstrezipientin hält sie, wie der Künstler selbst, Gesehenes fest. Das Bild im Bild ist so groß in die Komposition gesetzt, dass es fast zur Kulisse wird. Die Bildbetrachterin taucht im Bild auf und verweist das eigentliche Bild eine Ebene nach hinten. Es entsteht ein Interieur, das wir als solches selbst kaum wahrnehmen. Das Landschaftsbild im Bild besticht durch seine fein abgestimmten, fast monochromen Farbflächen, von denen sich die modisch urban gekleidete Betrachterin kontrastreich absetzt. Die Komposition überzeugt durch wohltuende Reduzierung und Klarheit mit überraschenden Blickwinkeln und gewitzten Bildlösungen. [SM] Aufrufzeit: 18.06.2021 - ca. 20.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONTim Eitel -1971 Leonberg - lebt und arbeitet in Paris MUSEUMSLANDSCHAFT. 2001. Oil on canvas. Twice signed, dated and titled on the reverse. 180 x 240 cm (70.8 x 94.4 in). • Eitel is a representative of the New Leipzig School, one of the most prominent figurative tendencies in contemporary art. • Early large-size work. • Tim Eitel is represented by the renowned galleries 'Eigen+Art' in Germany and by 'The Pace' internationally. PROVENANCE: Galerie Eigen+Art, Berlin. Private collection Berlin. EXHIBITION: Tim Eitel. Terrain, Museum zu Allerheiligen / Kunstverein Schaffhausen, June 6 - August 8, 2004, et al, ex. cat. with illu. on p. 6. tim eitel_untitled (2001-2020), Daegu Art Museum, Daegu (South Korea), July 7 - October 18, 2020, ex. cat. with illu. on pp. 140/141. LITERATURE: Künstlerhaus Bethanien (editor), Tim Eitel, 2003, p. 17. From 1994 Tim Eitel studied fine art at Burg Giebichenstein in Halle and from 1997 painting at the University of Graphic and Book Art in Leipzig. The school was the cradle of a new tendency in contemporary painting that led to the formation of the 'Leipzig School' with its own unmistakable visual language. The founders include Bernhard Heisig, Wolfgang Mattheuer and Werner Tübke, who studied at what then was the Leipzig Art Academy. Later the artists also had teaching posts at the school. After the end of the GDR and the school’s renaming to University of Graphic and Book Art, the 'New Leipzig School' developed, of which Neo Rauch was also a protagonist. The gallery owner Judy Lybke represents this school on an international level with great success. Tim Eitel is one of the well-known representatives of the sought-after 'New Leipzig School'. From 2001 to 2003 he was a master student with Professor Arno Rink. During this time, the series of works 'Museumlandschaften' (Museum Landscapes) was created. In these works Tim Eitel examines questions regarding the relationship between figure and environment, between viewer and work, between surface and space. He always starts with a series of photos, which are like a classic sketchbook for Eitel. He captures what instinctively interests him, it can be a piece of architecture, a gesture, a posture. From these photographically captured moments, he then assembles the image composition like a collage. Tim Eitel also implements this photographic approach in his very precise, realistic paintings. The relationship between figure and space is artfully staged in 'Museumlandschaft' from 2001. We notice only at second glance that the young woman stands in front of a painting in a museum and is not taking photos of the surrounding outdoors. As an art recipient, just like an artist, she captures what she sees. The picture in the picture is so dominant in the composition that it almost functions like a backdrop. The viewer appears in the picture and thus sort of relegates the actual picture one level back. The result is an interior we hardly perceive as such. The landscape painting in the picture is particularly captivating for its subtly concerted, almost monochrome color surfaces and their contrast with well-dressed viewer. With its pleasant reduction and clarity, the surprising perspectives and the clever image solutions, the composition is a remarkable work by the artist. [SM] Called up: June 18, 2021 - ca. 20.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Joseph Beuys - - 1921 Krefeld - 1986 Düsseldorf Goldhase. Um 1982. Goldbronzespray auf Karton. Unten signiert. 60,5 x 44 cm (23,8 x 17,3 in). • Das Motiv dieses Hasen taucht auch auf den 'Hasensteinen' auf. • Joseph Beuys ist einer der bedeutendsten Künstler der deutschen Nachkriegszeit. • Der Hase - für Beuys ein Tier mit Energiefunktion. • Unikat. PROVENIENZ: Galerie Heinz Holtmann, Köln. Sammlung Sal Oppenheim. LITERATUR: 10 Jahre Sammlung Sal.Oppenheim 1997-2007, S. 418, Abb. S.71. 'Der Hase ist das Element der Bewegung, der Aktion, der den starren Kunstbegriff ändert. Dann ein Bewohner von Eurasien, der über alle Grenzen hinweggeht und sogar mit der Berliner Mauer fertig wird. Damit hängt die Idee der großen Einheit zusammen, die von Mitteleuropa ausgeht' Joseph Beuys im Abendzeitung-Gespräch vom 15.11.1985. Schon in seiner Aktion 'Wie man dem toten Hasen die Bilder erklärt' in der Galerie Schmela, Düsseldorf, am 26.11.1965, verbindet Joseph Beuys die Farbe Gold mit dem Hasen. Beuys’ Kopf ist damals mit Blattgold, Goldstaub und Honig bedeckt. Sein Kopf, das wertvolle, gedankenbildende Zentrum des Menschen und Künstlers, ist mit dem edlen Metall kenntlich gemacht. Der Hase nimmt damals die Position des Betrachters ein; wohingegen die realen Betrachter:innen (= Ausstellungsbesucher:innen) auf der Straße vor dem Schaufenster bleiben müssen und noch keinen Einlass erhalten. Der Hase taucht in Zeichnungen, Aktionen und Multiples von Joseph Beuys immer wieder als wichtiges Bindeglied des Verständnisses auf. In Verbindung mit Gold etwa in seiner Aktion auf der documenta 7 in Kassel im Jahr 1982, als Joseph Beuys eine getreue Kopie der goldenen Zarenkrone Iwans des Schrecklichen einschmilzt und in die Gussform eines Schokoladenosterhasens gießt, es entsteht ein 'Hase mit Sonne'. Die Silhouette des schnell rennenden Hasen, wie sie hier zu sehen ist, begegnet uns auch auf den 'Hasensteinen'. Der Hase rennt und ist in seiner Schnelligkeit und Wendigkeit charakterisiert. Joseph Beuys sieht darin die geistige Beweglichkeit des Denkens und Wollens verkörpert. Eigenschaften, die im Verständnis des Künstlers für die Errichtung einer sozialen Plastik unabdingbar sind: Nur wer in seinem Denken beweglich und nicht verkrustet ist, kann Neues schaffen. Dieser Gedanke erscheint banal, in der deutschen Gesellschaft der Nachkriegszeit haben verkrustete, festgefahrene Gewohnheiten und Strukturen jedoch noch einen ganz anderen Beigeschmack als heute. Eine Neubelegung der Symbolik von Gold in Abtrennung vom Kapitalgedanken findet auf derselben Ebene statt. Es wird durch seine Wandelbarkeit des Zustandes ein prädestiniertes Material für Beuys, es kann geschmolzen oder fest, flächig oder gesprüht, massiv oder flüssig, kalt oder warm sein. Es ist nicht primär der materielle Wert, der interessiert, auch wenn die tradierte Würde und Erhabenheit des Materials immer mitschwingt. [EH] Aufrufzeit: 19.06.2021 - ca. 12.36 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONJoseph Beuys -1921 Krefeld - 1986 Düsseldorf Goldhase. Um 1982. Gold-bronze spray on board. Signd on the bottom. 60.5 x 44 cm (23.8 x 17.3 in). • The motif of the hare also appears on the 'Hasensteine'. • Joseph Beuys is one of the most importand artists of the post-war era in Germany. • The hare - for Beuys an animal with an energy function. • Unique object. PROVENANCE: Galerie Heinz Holtmann, Cologne. Collection Sal Oppenheim. LITERATURE: 10 Jahre Sammlung Sal.Oppenheim 1997-2007, p. 418, illu. on p.71. 'The rabbit is the element of movement, of action that changes the rigid concept of art. A resident of Eurasia who transgresses all borders and can even deal with the Berlin Wall. This is related to the idea of the great unity that Central Europe stands for. Joseph Beuys in an interview on November 15, 1985. In his campaign 'How to explain pictures to a dead hare' at Galerie Schmela in Düsseldorf on November 26, 1965, Joseph Beuys connected the color gold with the hare. Beuys’ head was covered with gold leaf, gold dust and honey. His head, the valuable, intellectual control center of man and artist, was marked with the noble metal. At that time the hare took the position of the observer; whereas the real viewers (= exhibition visitors) stood on the street in front of the gallery and followed the scene inside through the window. Time and again the hare appears in Joseph Beuys‘ drawings, actions and multiples. It serves as an important link for comprehension. Often in connection with gold, like in his action at documenta 7 in Kassel in 1982, for which Joseph Beuys melted an exact copy of the golden tsar crown of Ivan the Terrible, pouring it into the mold of a chocolate bunny, and creating a 'Hase mit Sonne' (Hare with Sun). We also find the silhouette of the running hare, as it can be seen here, on the 'Hasensteine'. The running hare is characterized by its speed and agility. To Joseph Beuys it embodies mental agility of thinking and will. In the understanding of the artist, these properties are essential for the establishment of a social sculpture: Only those flexible in their thinking and not narrow-minded can create something new. This thought seems banal, but in post-war German society narrow-mindedness and habitual thinking were of strong relevance for stagnant social development. A reinterpretation of the symbolism of gold outside its material value took place on the same level. Its changeability made it a perfect material for Beuys‘ art; it can be molten or solid, flat or sprayed, cold or warm. It is not primarily the material value that is of interest, even if the material‘s traditional dignity and sublimity always resonate. [EH] Called up: June 19, 2021 - ca. 12.36 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Andrew Beer, (1862-1954) - Oil on canvas - 'Sansovino', a racing pigeon, "Winner of the Young Bird Sweep (£10.) from Brislington, 2 miles Aug 4th 1924. Also 3rd off Bayswater Avenue (£3.) Owner S. F. Preece", signed lower left, entitled below, 29.5cm x 40cm, in gilt slip and gilt frameCondition report: A little surface dirt but ovcerall in untouched condition.PicturesThe inclusion of the artist’s full name (and dates of birth and/or death, if known) should be understood to convey that, in our opinion only, this work is probably by the artist, and probably of the period. Any qualifiers such as ‘Attributed to’, ‘Circle, Manner, School, or Follower of’ etc. convey some level of doubt on our part.Due to ongoing Covid restrictions, bidders are able to view lots in this online-only sale on the specified viewing days, by prior appointment only. There is no viewing on the day of sale. Please therefore read the following:As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey.Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

A wonderful example of a carburetted, dry-sump, UK car that has been maintained well throughout its life.CEH 677T dates from March 1978 and has been enjoyed by its present owner since July 2011Considerable sums have been invested to restore the 308’s bodywork to its former gloryRepair panels to lower parts of door skins and door casings, lower parts of front wings between wheel arches and doors and the wheel archesAt 74,000 miles, a major engine and gearbox rebuild was carried out by Italia AutosportThis work included, new valves (all-steel valves replacing the original sodium-filled inlet valves), new valve guides and valve stem oil seals, valve seats re-cut, and the cylinder heads skimmedNew liners, pistons and rings, main bearings and big-end shells were fitted. New synchro-rings were fitted to all gears and all timing belts, clutch, HT-leads and various smaller items including fastenings and seals were all replacedNow showing 76,000 miles and good to go, it’s accompanied by its original toolkit and jack in their respective leather bags, the original Driver’s Handbook and the Service book which displays six service stamps from 1978 when the car was sold new until 1982This is a wonderful example of a carburetted, dry-sump, UK car that has been maintained well throughout its lifeOfficially introduced at the Paris Salon in October 1975, the 308 GTB’s styling was created by Pininfarina. The stunning two-seat coachwork was all new but incorporated some of the old magic by blending aspects of the Dino 206/246 with the later 365 GT4/BB. Styling cues from the Boxer were the dihedral groove at bumper level splitting top and bottom, the plunging nose and the sail panels reaching back to meet a shallower spoiler, whilst the conical side air intakes and recessed concave rear window were familiar from the Dino. The 308 GTB employed a tubular steel chassis with independent coil spring/wishbone suspension front and rear, complemented by anti-roll bars, adjustable dampers and powerful disc brakes. At its heart was a Formula One-derived, all-alloy, quad-camshaft, 3.0-litre V8 engine, allied to a transversely mounted five-speed gearbox.CEH 677T dates from March 1978 and has been enjoyed by just six owners, its present since July 2011. During our custodian’s ownership, considerable sums of money have been invested to restore the 308’s bodywork and bring it back to its former glory, including repair panels to lower parts of door skins and door casings, lower parts of front wings between wheel arches and doors and repairs to the wheel arches.All of this work carried out to a very high standard by Chris Gregory in Knaresborough and a full photographic record is in the car’s history file.Italia Autosport in Meltham were entrusted with the mechanical aspects of returning the Ferrari to top form and, at 74,000 miles, a major engine and gearbox rebuild was carried out by John Pogson’s team.This work included, new valves (all-steel valves replacing the original sodium-filled inlet valves), new valve guides and valve stem oil seals, valve seats re-cut, and the cylinder heads skimmed.No significant bore wear was found but the cylinder liners had belled out at their bases, therefore new liners, pistons and rings were fitted. None of the crankshaft journals was scored but new main bearing, and big-end shells were fitted in line with good engineering practice. New synchro-rings were fitted to all gears in the gearbox although none of them were worn out significantly. All timing belts, clutch, HT leads and various smaller items including fastenings and seals were all replaced at the time of the build as you would expect from such experienced engineers.Currently showing 76,000 miles, this lovely 308 is good to go. It’s accompanied by its original toolkit and jack in their respective leather bags, the original Driver’s Handbook and the Service book which displays 6 service stamps from 1978 when the car was sold new until 1982. All the invoices for service, repairs and MOTs from 1982 up to the present time are contained in a large lever-arch file.Genuine UK right-hand drive 308GTBs are becoming increasingly rare on today’s roads and after all the restoration work has been carried out, all a new owner has to do is jump in and enjoy the benefit of someone else’s efforts.This is a wonderful example of a carburetted, dry-sump, UK car that has been maintained well throughout its life.*Forming part of A Sale of Ferraris in association with Ferrari Owners' Club of Great Britain, the buyer of this lot will be entitled to one years free membership with Ferrari Owners Club of Great Britain* SpecificationMake: FERRARIModel: 308 GTBYear: 1978Chassis Number: 24823Registration Number: 24823Transmission: ManualEngine Number: F106A021Drive Side: Right-hand DriveOdometer Reading: 76500 MilesMake: RHDInterior Colour: BlackClick here for more details and images

Large Wilson Lovatt & Sons Ltd brass bound spirit level, two vintage shooting sticks, Windsor & Newton folding artists easel, vintage umbrella and c.1960's Scarborough street map in golden oak frame

Hornby 0 gauge pre-war 2-rail Track and Track Accessories, including double-track crossovers (4), two different 'Control' brake rails, turntables (3, including 1 green 'Meccano' version), double track level crossing, two viaducts with ramps and a 3rd dismantled, numerous older (1920's) track pieces by Hornby and others, assorted buffer stops, track clips, repainted No 2 water tower and other items, varying F-VG, with playwear and damages (qty in 2 boxes)

A boxed Mamod live steam SR1a Steam Roller, of late 1970's vintage, with solid fuel burner tray but still with water level plug, complete with whistle, safety valve, scuttle and double-length steering extension, G-VG, level plug replaced with self-tap screw (original plug included in a pot of oil), some rusting inside firebox, box G

A Collection of Ortsgruppe and Kreisleitung Collar TabsSingle pair of collar tab rank insignia for Ortsgruppe Gemeinschaftsleiter, light-brown velvet on buckram backing, outer edges trimmed in light blue rayon piping, gilt washed alloy national eagle above four pips. Three pairs of collar tabs for Kreisleitung level, Ober-Gemeinschaftsleiter, Ober-Abschnittleiter and Haupt-Abschnittleiter, dark-brown velvet on buckram backing, outer edges trimmed in white rayon piping, gilt washed alloy national eagles, oakleaf/s and oakleaf bar/s, and pips. One pair Kreisleitung level Ober-Bereichsleiter with celleon embroidered national eagle above two oak leaves and single oak leaf bar, with gold wire highlights.USA-Los: Versand aus den USA.Zustand: IIA Collection of Ortsgruppe and Kreisleitung Collar Tabs Single pair of collar tab rank insignia for Ortsgruppe Gemeinschaftsleiter, light-brown velvet on buckram backing, outer edges trimmed in light blue rayon piping, gilt washed alloy national eagle above four pips. Three pairs of collar tabs for Kreisleitung level, Ober-Gemeinschaftsleiter, Ober-Abschnittleiter and Haupt-Abschnittleiter, dark-brown velvet on buckram backing, outer edges trimmed in white rayon piping, gilt washed alloy national eagles, oakleaf/s and oakleaf bar/s, and pips. One pair Kreisleitung level Ober-Bereichsleiter with celleon embroidered national eagle above two oak leaves and single oak leaf bar, with gold wire highlights.USA-Lot: Shipping from the USA.Condition: II

An Emotive WW2 Royal Air Force Battle of Britain Pilots Casualty Medal and Document Grouping of Flight Sergeant Eric Arthur Redfern 607 & 232 Squadron During the Battle of Britain, Later Killed in Action 17th August 1941, the medal group consists of 1939-45 star with bar “BATTLE OF BRITAIN”, Air Crew Europe star and 1939-45 War medal. All un-named as issued. Mounted into a small blue leather glazed display frame. Accompanying the medals is a suitcase full of original documentation relating to Redfern, including a number of personal letters written by him to his sweetheart and later wife, also a number of letter sent to his widow after he was posted as missing, later killed in action, official air ministry paperwork in relation to his loss and the proceeding procedures in relation to his pension and money owed to him etc. Another item in the grouping is a small scrapbook album containing newspaper cuttings in relation to him and other pilots from the battle, including Douglas Bader. The grouping is housed in a period leather suitcase which it has remained since the 1940’s. The grouping was originally sold in 2009 by the family and has only been in one personal collection since. We are of the opinion that the Battle of Britain bar is a later replacement. Flight Sergeant Eric Arthur Redfern was from Suffolk, the book “Men of the Battle of Britain” give the following details, “Eric Arthur Redfern. 754694 Sgt. British. 607 and 232 Squadron. Sgt Redfern of Suffolk, joined the RAFVR in July 1939 as an Airman u/t Pilot. Called up on September 1, he completed his training and was with 607 Squadron at Usworth in early July 1940. He moved to 232 Squadron at Castletown on August 27. He was posted to 242 Squadron at Martlesham Heath on January 29 1941. Redfern claimed a Bf 109 probably destroyed on a bomber-escort to Bethune on June 17, damaged a Bf 109 on the 23rd, and damaged another on a Stirling escort to Lille on July 8. 242 provided low-level escort for Blenheims sent to attack enemy supply vessels at Le Touquet on August 17 1941. The bombers turned away in the face of intense opposition and did not bomb. Redfern was one of two 242 Squadron pilots shot down and killed in action. Aged 27, he was a Flight Lieutenant at the time of his death. He is buried in Etaples Military Cemetery, France”. Research that accompanies the group states that Redfern’s Hurricane was shot down by an Me109 in the evening of 17th August 1941. Redfern was originally posted as missing, it was not until 1942 that he was presumed Killed in Action and again not until after the D-Day landings in 1944, that his grave was found, this was an un-marked grave of a RAF airman which was later confirmed as that of Redfern.

SCOTTISH FOOTBALL LEAGUE CHAMPIONSHIP GOLD MEDAL 1896/97, awarded to Tom Robertson of Heart of Midlothian F.C., the obverse with central red enamelled heart motif inscribed '1896-97', set within four footballs and a quatrefoil blue enamelled border inscribed 'Scottish Football League Champions', the reverse inscribed 'Heart of Midlothian Club, T. Robertson', 41mm high including bale, maker V&S, in nine carat gold, 15.7g Note: Tom Robertson was a Scottish International footballer who played an instrumental part in the Heart of Midlothian side that won the 1896/97 Scottish League Championship. Born in West Lothian in 1876, Robertson represented East Benhar, Heatherbell, Motherwell and Fauldhouse at a youth level, before signing for Hearts in 1896. This was a glorious period for the club, and Robertson helped them to their second ever league title during the 1896/97 season, during which they finished two points ahead of their arch-rivals Hibernian. Whilst the club had lost some key players at the beginning of the campaign, they retained many at the peak of their performance, as well as bolstering their ranks with a number of strong signings including George Livingstone, Albert Buck, Bobby Walker and of course, Robertson. Hearts were captained that season by the stalwart midfielder John Walker, and the players were again trained by legendary coach James Chapman. A crucial point in the season came against Hibs on 5th December 1896, when their Leith neighbours were four points ahead and would probably have secured the title if victorious. However, it was a goal from Tom Robertson which allowed Hearts to win the tie, bringing them within reach of the title. By mid-January, both teams, as well as a strong Celtic side, were neck and neck at 24 points apiece with two games left to play. Hibs went to 26 points after beating St. Mirren, however lost their final match in Paisley which gave Hearts a critical opportunity. The Tynecastle side went to 26 points after defeating Clyde away from home, leaving it all to play for in their final match after Celtic lost at home to Dundee. The title was secured in resounding fashion on the 20th February 1897, when Hearts beat Clyde 5-0 at home, with Tom Robertson scoring four of the goals. The importance of Robertson in the early history of the club cannot be understated, and was certainly noticed south of the border when Merseyside club Liverpool signed him for £350 in 1898. A great all-round player, he went on to score in his debut for that club, and was instrumental in the side that won their first ever English league title in 1900/01, with his medal for this achievement being in the Anfield trophy room. Robertson went on to play with Hearts again, before spells with Dundee and Manchester United, though it is that all-important first spell with the club and the critical goals he scored during the 1896/97 campaign that has secured his name in the early history of Hearts.

ALL #1's LOT: - (12 in Lot) - ALL First Printings - Includes PRIMORTALS (1995 - TEKNO) #1 + ICICLE (1991 - HERO) #1 + BLIP & THE C.C.A.D.S. (1987 - AMAZING) #1 + BLISS ALLEY: ALCHEMY AT STREET LEVEL (1997 - IMAGE) #1 + TARZAN: THE BECKONING (1992 - MALIBU) #1 + SYPHONS (1993 - NOW) #1 + TEAM AMERICA (1982 - MARVEL) #1 + TEAM 7 (1994 - IMAGE) #1 + KINDRED (1994 - IMAGE) #1 + SUNRISE (1987 - HARRIER) #1 + THRESHOLD (1998 - AVATAR) #1 + TARRARISTS (1993 - EPIC) - Flat/Unfolded

1966 Mercedes-Benz 250 S Transmission: automatic Mileage: 23622Premiered at the Frankfurt Auto Show in 1965, the initial model lineup of the W108 consisted of the 250 S, 250 SE and 300 SE, as well as a sole W109, the 300 SEL. Engines for the new car were carried over from the previous generation, but enlarged and refined. The 250 S was the entry-level vehicle fitted with a 2496cc straight-six M108 engine, with two dual downdraft carburettors, delivering 130 bhp at 5400 rpm which accelerated the car from standstill to 62 mph in 13 seconds and gave a top speed of 113 mph. Approximately 130,000 of the 250 S/SE models were built during the first two years of the W108/109's existence.Bill Wyman, founder member of The Rolling Stones, purchased this classic 'stacked headlamp' Mercedes-Benz 250 S Saloon and it was delivered to him on Monday 22nd August 1966. This was the first Mercedes with curved black windows. Although Mercedes-Benz had rejected Bill's order for black windows, a company in West London removed the 250's windows, they were curved not flat, took a mould and commissioned Pilkington to make special glass to fit. Then of course I got stopped all the time, Bill recalls. Though the police usually just wanted to see who was in it. Bill used the car frequently until 1969, when The Rolling Stones were not in the studio or touring, to help relax; being a keen photographer he would drive around the country taking photographs. After selling her in 1969 and purchasing a number of other Mercedes-Benz along the way, he purchased the car back in 1991 from a lady in Bury St. Edmunds, sadly the car was in poor condition. Having a real soft spot for this 250 S, Mr. Wyman commissioned a restoration project in 1997 which was undertaken by Tony Davey, a classic car specialist with a good reputation and vast knowledge. After the restoration, KYM 585D was stored as part of Bill Wyman’s private collection and was subsequently sold in June 2015.Still in good order throughout, this Mercedes-Benz benefits from owners that have loved and cherished her. These ‘stacked headlamp’ models are extremely handsome and highly sought after, particularly in this condition and with such an interesting history. Supplied with a V5C registration document, together with confirmation of Bill Wyman’s ownership, this Mercedes-Benz 250 S is offered for sale at a realistic estimate given the restoration cost of such an example.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.

One bottle vintage Old Lady~s Dry Gin^ Marie Brizard^ c.1960s^ 48 deg (low level)

A VERY FINE AND RARE HUANGHUALI YOKEBACK ARMCHAIR, GUANMAOYI17th centuryWith a well-carved protruding crestrail supported on a broad S-shaped splat and curved rear posts continuing to form the rear legs, the curved arms supported on tapering stiles and curved front posts continuing through the seat frame to form the front legs, the seat frame enclosing a soft-mat seat above a shaped apron and spandrels, the legs joined by stepped stretchers on the sides and a footrest on the front. 115cm (45 2/8in) high x 59cm (23 2/8in) wide x 44cm (17 3/8in) deep. Footnotes:十七世紀 黃花梨四出頭彎材官帽椅Provenance: Grace Wu Bruce, Hong Kong Sotheby's London, 13 May 2015, lot 115An important European private collection來源：香港古董商嘉木堂倫敦蘇富比，2015年5月13日，拍品編號115歐洲重要私人收藏Huanghuali yokeback armchairs such as the present example convey timeless elegance through the simplicity and balance of their lines which represents spare but opulent aesthetic of the Ming elite. They are distinguished by their large size, the generous sweep of the crestrail, well-shaped terminals and elegantly-curved front and back posts. The remarkable level of carpentry of this chair is also visible in the plain S-shaped back splat, which is carved from the same piece of wood and tongue-and-grooved into the underside of the top rail and tenoned to the back member of the seat frame. In addition, only four pieces of wood were used for the four verticals of the front legs and front arm-posts, back legs and back posts, with each vertical passing through the frame of the seat. Referring to the winged hat of the formal attire worn by Ming officials, the term guanmaoyi conveyed status and authority associated with the highest-ranking classes in China. Prior to the Ming dynasty, yokeback armchairs served as seats for Imperial family members and deities. Gaozong's empress (Gaozong r. 1127-1162), for example, is depicted gracefully seated on a yokeback armchair in one of a series of portraits of Song dynasty Imperial figures in the National Palace Museum, Taipei; see S.Handler, Austere Luminosity of Classical Chinese Furniture, London, 2001, p.46, fig.4.4.Illustrations included in literary sources of the Ming and Qing dynasties frequently show armchairs like the present example next to large tables in sumptuous reception halls, and beside writing tables in a scholar's studio. See, for example, a woodblock print in the 1616 edition of the 'Golden Lotus' Jin Ping Mei, depicting the main male character and his principal wife seated on a guanmaoyi chair while dining with his secondary wives and concubines seated on stools, illustrated by C.Clunas, 'The Novel Jin Ping Mei as a Source for the Study of Ming Furniture, in Chinese Furniture: Selected Articles from Orientations 1984-2003, Hong Kong, 2004, p.118, fig.8. For a general discussion about the basic model and decorative vocabulary of guanmaoyi armchairs, see C.Evarts, 'From Ornate to Unadorned', Journal of the Chinese Classical Furniture Society, Spring, 1993, pp.24-33.Compare with a nearly-identical huanghuali yokeback armchair, late 16th-early 17th century, in the Museum of Fine Arts, Boston, illustrated by N.Berliner, 'When Vernacular Meets Fine: Thoughts on Chinese Furniture Studies', Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, pp.215, fig.11. A similar huanghuali yokeback chair, 17th century, was sold at Sotheby's New York, 20 March 2012, lot 127.主體以圓材製作，素面三彎靠背板嵌入搭腦下方與椅盤後大邊槽口，後腿上截穿過椅盤作肩出榫納入彎弧搭腦，三彎弧形的扶手同樣作肩出榫接合後腿上截，前方接前腿鵝脖，穿過椅盤成前腿足，中間支以三彎形上細下大的圓材聯幫棍。椅盤為格角榫攢邊框，抹頭見透榫，邊抹冰盤沿上舒下斂底壓窄邊線，四框內緣踩邊打眼造軟屜。座面下安券口牙子，沿邊起線，上方齊頭碰椅盤下面，二側嵌入腿足，底端出榫納入踏腳棖。左右兩面安相似券口牙子，後方為短牙子。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。官帽椅，顧名思義，是由於像古代官吏所戴的帽子而得名。四出頭官帽椅，以其簡潔的結構和協調的造型傳達出驚人的現代性，體現了明代文人逸士古雅雋永的美學追求。有別於更為常見的直材四出頭官帽椅，本拍品構件纖細，但彎曲程度大，製作時需用大料搜挖，以實現「柔婉」的效果，為堅硬的木材賦予了彈性之美。官帽椅歷史上常與中國統治階層的崇高地位息息相關。明代以前，官帽椅多用作皇室貴冑之坐具。台北國立故宮博物院館藏一件宋高宗後坐像，描繪了高宗皇后端&... 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

EMS Synthi VCS3 Mk2 modular synthesizercirca 1978,in original wooden case with two panels providing controls for: two voltage controlled oscillators (VCOs), a low frequency oscillator (LFO), voltage controlled low pass/band pass voltage controlled filter (VCF), trapezoid envelope generator, noise source, ring modulator, voltage controlled spring reverb, 16 x 16 patch board matrix and 18 resistive connecting pins, joystick providing X, Y modulation control, reverse with power connector, headphone output, oscilloscope output, stereo output, two voltage control outputs, keyboard connector, two line level inputs and two microphone level inputs, trigger input, accompanied by a EMS manual and plug, approx 17in wide x 20in high (43cm x 51cm)Footnotes:Electronic Music Studios, Ltd, better known as EMS was formed in 1969 by Peter Zinovieff, Tristram Cary and David Cockerell, mainly as a way to fund Zinovieff's experimental music studio. The Cockerell-designed VCS3 'Putney' (after the location of the studio) was the first commercial product. It was an attempt, at a time when the current offerings from early synthesizer companies such as Moog and Buchla were large modular systems that covered walls, to provide a compact (considered portable at the time) version of an electronic studio, hence the name VCS (Voltage Controlled Studio). The VCS3 was also modular, but utilized an ingenious patch matrix that alleviated the need for patch cables to connect the separate modules. The synthesizer soon found its way on to the soundtracks of popular television programs like Doctor Who and onto a number of popular albums of the day. It was prominently featured on tracks by Pink Floyd (such as the Dark Side of the Moon's 'On the Run,') The Who (the 'Won't Get Fooled Again' intro includes Lowrey organ processed through a VCS3), Roxy Music where it was played by original member Brian Eno who also used it on his solo albums, Led Zeppelin (played by John Paul Jones on 'Four Sticks,') Hawkwind, King Crimson, Jean Michel Jarre, Tangerine Dream, etc.The VCS3 Mk2, known as the 'Synthi' remedied some of the issues of the earlier iteration especially regarding the oscillator instabilities and issues with the power supply and added envelope triggering on external audio through the input channel. This particular example was purchased by the consignor directly from EMS in the late 1970s and carefully maintained through the years. It's uncertain how many VCS3s were built, but some estimates put the number at 800. Doubtlessly, many of those had been discarded with the change of fashion that came with widely available digital synthesis and MIDI in the 1980s. This is a rare opportunity to purchase one of the legendary British synthesizers from the golden age of synthesis.For further information on this lot please visit Bonhams.com

1969 Austin Mini Cooper S MK IIMake: AustinModel: Mini Year: 1969Mileage: 39927VIN: WOL/27/69Configuration: Right Hand DriveRegistration: YJW549HTransmission: ManualACA previously sold this car in 2017 as 90% complete. The vendor has since finished-off the work and describes the car as a concours level restoration with new suspension, completion of wiring and interior, correct switches and accessories. It is described as performing very well. Comes complete with large history file containing restoration photos, many receipts, log books with ownership details from new and MoTs. The mileage is recorded at 39,927. PLEASE SEE BELOW FOR VIDEO PRODUCED 31ST MARCH BY ACA OF THIS CAR.

A Mamiya C33 Professional TLR Camera, interchangeable lens 6 x 6cm TLR, 120 film back, waist level viewing hood, body G-VG, dust on mirror, two Mamiya-Sekor 80mm f/2.8 lenses F-G, dust and haze, Seikosha-S shutter working, with a plate holder, lens cap, ERC, maker's camera and lenses boxes

CLASSIC POP 80's - 00's / 7" COLLECTION. An extensive collection of around 400 7" singles. Artists include Madonna, Midge Ure, ABC, The Peelers, INXS, Musical Youth, Art Garfunkel, Liza Minnelli, Concrete Blonde, Mike Douglas, Genesis, Maxi Priest, Eddy Grant, Culture Club, The Blow Monkeys, Level 42, Rod Stewart, Elton John, Kylie, Rick Astley, Simply Red. Buggles, Robert Palmer, Don McLean, Chris Rea, Bass-O-Matic, Ten City, Wildlife, Tanita Tikaram, Trio, Julee Cruise, Grandmaster Flash, Johnny Logan, Shakin Stevens & Bonnie Tyler, Was Not Was, Paul Simon, Mister Mixi, Urban Rhyme Squad, Steve Miller Band, Cherry Gillespie. Condition is generally VG to Ex, some may vary.

1 BOTTLE DEWARS FINEST SCOTCH WHISKY 'WHITE LABEL' 1950'S 'SPRING CAP' - Level at the shoulder