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THREE PIECES OF 20TH CENTURY SILVER, comprising a George VI sugar caster of baluster form, foliate pierced pull off cover, makers S Blanckensee & Son Ltd, Chester 1939, an egg cup (no liner), gadrooned rim, makers Charles S Green & Co Ltd, Birmingham 1956 and a small rectangular easel back photograph frame, oak back, inner dimensions 9cm x 6.3cm, makers M. Bros, Birmingham 1913, gross weight 4.6ozt, 143.2 grams (3) (Condition Report: sugar caster sits level on a flat surface, two small dents to widest part of belly, photograph frame in poor condition)

A Norweigan Silver Cream-Jug and Similar Sugar-Bowl, Maker's Mark C&S, 20th Century, each baluster and on spreading foot, chased with diffinger grotesque figures within foliage, the cream-jug with grotesque cast handle, the sugar-bowl engraved on one side with initials and on the other with dates, the cream-jug 10.2cm high, 7oz 17dwt, 245gr (2)Each marked underneath with maker's mark C&S and further stamped '830S'. There is some minor surface scratching and wear, consistent with age and use. They seem to sit flat when placed on a level surface. Would benefit from a polish. Some pitting inside the sugar-bowl.

A THEODOLITE BY W & S JONES, LONDON, CIRCA 1895signed on the main plate as per title. 3 in. silvered compass. 10in. sighting tube with bubble level under -- 7 1/2in. (19cm.) high

A superbly presented example of the desirable second generation 991, fitted with the sublime manual gearbox. Introduced late in 2015, the second generation 991 (now known as the 991 Gen 2) was the first entry-level 911 to be powered by a 3-litre turbocharged engine, and was regarded by critics and the motoring press alike as a major improvement in all respects. It offered more power, better handling, better 'infotainment' and SatNav, complemented by a major interior upgrade, and generally engendered much more confidence in those approaching modern 911 ownership for the first time, as well as experienced 'neunelfers'. This was the model to have in the range according to the specialist motoring press. They waxed lyrical about the entry-level 911 Carrera which offered the most useable daily driver 911 for many years, with less road noise and a much better ride quality/handling balance than the 'S' version and heaped praise on the car's 7-speed manual gearbox which was 'the cherry on the cake'.Intrigued by this potential, practicality and performance, our Iconic Auctioneers Chairman and long-term 911 owner, Nick Whale, set about finding a really good, lightly-used example for his daily use. This car was his choice, ticking all the right boxes including:C16 UK-supplied, right-hand drive, 2016 registered and one owner from new prior to NickBeautifully finished in Agate Grey Metallic with an unmarked black leather interiorAll original panels and all original paintThe all-important manual gearboxGood specification including a factory electric tilt/slide sunroof, 20" Carrera S wheels, electric folding exterior mirrors, floor mats , silver tailpipes, red seat belts and PPF to the whole front of the car including both wings and the bonnetLow warranted mileage (19,780 at the time of cataloguing)Full service history from new, on time and with main dealers up until this year, when a UK Porsche specialist service was completed in JuneFour brand new Michelin tyres, better than Pirellis on this model, fitted in June this yearTotally immaculate outside and in with no blemishes, marks or scuffs.Offered at a very tempting guide, this superbly presented Carrera is an absolute delight to own, drive and enjoy and we invite and encourage you to come along and view this impressive Porsche.Specification Make: PORSCHE Model: 911 CARRERA Year: 2016 Chassis Number: WP0ZZZ99ZHS102324 Registration Number: WP66 YLC Transmission: Manual Engine Number: 007562 Odometer Reading: 19780 Miles Make: Interior Colour: Black LeatherClick here for more details and images

The 993 Carrera 2S has rightfully become one of the most sought after modern Porsche models. This mint-condition, low-mileage example is the perfect addition to any collection. The air-cooled Porsche 993 Carrera was arguably Porsche’s finest ever incarnation of the legendary 911 Series. 993 is the company's internal name for the version of the Porsche 911 model manufactured and sold between late 1993 and early 1998, replacing the 964 and before the 996. Its discontinuation marked the end of air-cooled Porsches, with the 993 being not just the last air-cooled 911, but also the last of the hand-built 911 series. 25 years on, it still looks modern - a truly timeless design.In 1995, Porsche switched to the Varioram-equipped M64/21(22) engine. Varioram adjusts the length of the air intake ducts in line with the engine revolutions and the speed of the car increasing the power output to 285bhp giving the 993 Carrera improved performance.The wide, turbo-bodied 911 Carrera 'S' offered a higher level of equipment both inside and out. Nothing was overlooked. The suspension was lowered by 10mm at the front and 20mm at the back. The Carrera 2S shares it’s bodyshell with the Turbo, giving the car its wide stance yet retaining the all-important naturally-aspirated engine. Its spoiler is split down the middle and painted the same colour as the car, and the model designation appears on the engine compartment lid and on the tachometer. The handbrake lever, door entry guards, instrument bezels and ball-shaped gear knob were also unique.However the biggest change under the skin of the 993 was the new multi-link rear suspension, giving greater driver confidence, less road noise and excellent ride quality. Designed to give a level of passive rear-wheel steering (the 'Weissach effect'), thus controlling the way the suspension behaved under cornering, braking and acceleration, it transformed the 911. It was also the first 911 to be equipped with power steering and an advanced ABS system.This beautiful Carrera 2S was originally supplied by Porsche Austria on 2nd July 1997 to a high net-worth individual with homes in the UK, Austria, and an estate in the Bahamas. It boasts an excellent Porsche Main Dealer and Porsche specialist service history with stacks of invoices and paperwork for maintenance in addition to its original leather driver’s bookpack. It is a genuine 'C16' UK-spec car and comes with a Porsche Certificate of Authenticity confirming its original build specification, a specification that includes possibly the longest list of optional extras that we’ve ever seen.R814 TST is one of just 251 manual gearbox Carrera 2S Porsches delivered to the UK, and this one is believed to be one of just four in this specification. Finished in Porsche’s classic Guards Red with a seldom seen Cashmere and Black with Porsche script leather interior, this 993 has covered a mere 22,122 miles from new with just two former UK-keepers. Despite the minimal mileage, our perfectionist vendor decided to have the whole car resprayed due to a couple of minor stone chips and blemishes, and this was completed in October 2023, ensuring that the paintwork is as perfect as it can be. Mechanically, the car runs and drives really well, benefitting from a recent major service by Porsche marque expert Redline and the history file inspires confidence.Just as the Turbo and other low-build 993 variants have become highly collectable, the 'S' versions of the 993 have rightfully excited Porsche enthusiasts for many years. This is a rare opportunity for the discerning collector to get their hands on what might just be the very best example of the last of the air-cooled Porsche 911s in an incredibly extensive specification.At Iconic Auctioneers, we are very fortunate to deal with such high-quality motorcars, and this 993 is simply exceptional. The mileage, the rarity, the desirability, the history and the specification are simply phenomenal, and all on offer at a very reasonable guide.Specification Make: PORSCHE Model: 911 CARRERA 2S Year: 1997 Chassis Number: WP0ZZZ99ZVS314397 Registration Number: R814 TST Transmission: Manual Engine Number: 63V05116 Drive Side: Right-hand Drive Odometer Reading: 23000 Miles Make: RHD Interior Colour: Cashmere SuedeClick here for more details and images

Handsome T2, extensively restored in the past and on offer at No Reserve. Outwardly distinguishable from the Silver Shadow only by virtue of its different radiator and winged 'B' mascot, the T-Series Bentley was introduced alongside its Rolls-Royce sibling in 1965. Mechanically identical, the duo represented a complete break from tradition, being the first of the Crewe factory's models to employ unitary construction. Originally of 6,230cc, the pushrod V8 engine grew to 6,750cc in 1970 and provided identical power in either application. Introduced in 1977 alongside the Shadow II, the T2 gained split-level air-conditioning, rack and pinion steering, revised dashboard and a chin spoiler. Bentley was seen as very much the 'junior' marque at this time - its resurgence in the form of the Mulsanne Turbo was still some five years away - and sold in correspondingly limited numbers. By the time production ceased in 1980, only 568 Bentley T2s had found customers compared with over 10,500 Rolls-Royce Shadow IIs, and today this arguably more handsome car is increasingly sought after.Dating from 1978, this attractive example is finished in Caribbean Blue, a summer-fresh colour that somehow reflects the more lighthearted, sporting nature of the Bentley compared to its more serious R-R sibling in darker, diplomatic colours. The T2's interior is unusual in that, whilst the majority of the car is classically trimmed in dark blue leather, the rear seat was specified in Velour of a similar hue which apparently was preferred by the first owner's wife as it offered a bit more 'grip' when she was in the back seat and he was driving the car with some alacrity.The car presents well which is not surprising considering that it was extensively restored, including a bare-metal respray, during 2017/18 by NRT Motors with receipts on file to the value of £38,904. The paintwork remains in generally very good condition with a tiny amount of surface rust on the A-pillar and scuttle which would benefit from some attention, but otherwise we understand that it runs and drives without fault.It's on offer from a prominent UK Bentley Collection having been a stablemate to no less than three ex-works vintage Bentleys, and appears to have always been well-maintained, with the most recent service in May 2021 (£1,445) and only a few miles since. It's accompanied by an extensive history file which contains a photographic record of the restoration, MOTs, registration documents and the usual manuals etc.T2 Bentleys and Shadow IIs from the late 1970s offer a really good balance between top of the range luxury, manageable proportions and nimble handling compared to the 'ocean liners' that followed in the 1980s, and this good looking T2, very sensibly guided and on offer at No Reserve, is worthy of your consideration.Specification Make: BENTLEY Model: T2 Year: 1978 Chassis Number: SBH33098 Registration Number: XNG480S Transmission: auto Drive Side: Right-hand Drive Odometer Reading: 53516 Miles Make: RHD Interior Colour: Blue leather front, blue cloth rearClick here for more details and images

A fine and superbly well-documented Second War Hurricane and Spitfire fighter Ace’s ‘Western Desert’ D.F.C. group of eight awarded to Wing Commander J. M. Morgan, Royal Air Force Volunteer Reserve. He had distinguished himself pre-War by saving the life of a fellow trainee pilot from a crashed aircraft at No. 10 F.T.S. on 19 December 1938, and optimistically chased an enemy aircraft in a Hawker Henley during the height of the Battle of Britain whilst posted with No. 1 Anti-Aircraft Co-operation Unit - Morgan followed it all the way to Swansea before ‘allowing’ a Spitfire to take over. Destined for more glamorous flying opportunities, Morgan was posted to the famous 92 (East India) Squadron at the end of 1941. Like the rest of the squadron’s pilots he was attached to 80 Squadron in the Western Desert, whilst his parent unit was eventually kitted out with aircraft. Having destroyed several enemy aircraft whilst flying Hurricanes, Morgan was now unleashed on 92’s newly acquired Spitfires. Morgan’s flying prowess quickly came to the fore, with him rapidly being appointed a Flight Commander, before receiving the ultimate accolade: the command of 92 Squadron in December 1942 - January 1943. He led from the front, ‘in the course of the fight [7 January 1943] I shot a 109G down in flames, crashing in the sea... and damaged a second. I finally had to fight two 109’s without ammunition for 30 minutes until my aircraft received hits from a head on attack which forced me to take evasive action - the 109’s then beat it home. This was a very shaky engagement with the bullets narrowly missing my head!!!’ Morgan subsequently commanded No. 234 Wing during the short-lived defence of the island of Kos, before being appointed to the command of 274 Squadron in October 1943. Now flying Spitfires as fighter bombers, Morgan led the Squadron into Italy and on many low-level attacks: ‘we attacked several Tiger tanks and armoured cars with front guns in the Capestrano area [24 January 1944]. I strafed a tank on a mountain pass which rolled over the side into the valley below...’ Morgan was shot down by anti-aircraft fire whilst carrying out a low-level strafe near Terni, 28 February 1944. In his words: ‘Shot down over the lines after gun fight - parachuted into captivity.’ He arrived to be interned at the infamous Stalag Luft III, Sagan, just three days after the ‘Great Escape’. Carrying on in service after the war, Morgan commanded 208 Squadron in the Canal Zone at the time of the fighting following the creation of the state of Israel Distinguished Flying Cross, G.VI.R., reverse officially dated ‘1943’; 1939-45 Star; Air Crew Europe Star, 1 clasp, France and Germany, this loose; Africa Star, 1 clasp, North Africa 1942-43; Italy Star; Defence and War Medals 1939-45; Society for the Protection of Life from Fire, 5th type (1902-83), silver (John Milne Morgan, Bletchley. 19-12-38) with integral top riband bar, in John Pinches, London leather case of issue; Queen’s Messenger Badge, E.II.R., silver-gilt and enamel with pendant silver greyhound, badge reverse inscribed, ‘75’, hallmarks for London ‘1964’, in Garrard & Co. Ltd case of issue, Second War awards mounted as worn, generally good very fine (lot) (9) £10,000-£15,000 --- D.F.C. London Gazette 5 February 1943. The original recommendation states: ‘This Officer arrived in the Western Desert with No. 92 Squadron at the beginning of July when the Squadron was flying Hurricane aircraft of No. 80 Squadron. Since then he has shown great courage and considerable skill as a leader, both of a Flight and of the Squadron. In fact, a large proportion of the Squadron’s score in the Middle East has been due to this Officer’s determined leading of his Flight. He, personally, has destroyed 5 enemy aircraft, probably destroyed 1 more and damaged 4 others. By his courage, qualities of leadership and his personal example, he has made his Flight into an efficient fighting unit.’ Society for the Protection of Life from Fire: Case No. 17,324: Flight Lieutenant John Milne Morgan, Royal Air Force: Silver medal An account of the circumstances is given in Air Council Letter, dated 31 March 1939, thus: 'To Air Officer Commanding, No. 23 (Training Group), RAF Grantham, Lincs. Sir, With reference to your letter dated 7th February 1939 (No. 23G735/102/P(20)), I am commanded by the Air Council to inform you that they have noted with satisfaction the gallantry and perseverance displayed by Acting Pilot Officer J M Morgan in attempting to rescue Acting Pilot Officer W A Jenns following an aircraft accident at Bletchley on 19th December 1938. The council have caused a suitable note to be made in Acting Pilot Officer Morgan's record and I am to request that the officer may be informed accordingly'. The award was then noted in the SPLF Letter, dated 17 August 1939, thus: ‘To The Under Secretary of State, Air Ministry, S7D, Adastral House, Kingsway, London, WC2. Re: Acting Pilot Officer J M Morgan in Aeroplane crash at Bletchley, near Tern Hill - 19th December 1938. The circumstances of this case have been reported to us and the Trustees have decided to make an award of the Society's Silver Medal to Acting Pilot Officer J M Morgan. At the request of the Group Captain, No. 10 Flying Training School, Market Drayton, I am forwarding the medal to you under separate cover today. We should be greatly obliged if you would advise us of its safe receipt and be so good as to give such instructions as may commend themselves to you for its presentation to the recipient'. Both letter and medal were forwarded for conferral, the details being recorded in RAF correspondence thus: ‘HQ, No. 22 Group, RAF letter - 24 August 1939. To No. 1 Anti-Aircraft Co-operation Unit - Re: Pilot Officer J M Morgan. The attached copy of a letter received from the Society for the Protection of Life from Fire is forwarded together with the Silver Medal referred to therein, and it is requested that you will arrange for this award to be presented to the above named officer in a suitable manner, details of the presentation being notified to this Headquarters in due course.’ John Milne Morgan was a native of Balham, London, and was born in 1916. He was educated at Bonneville Road School, Clapham Park and the Henry Thornton School, Clapham Common. He enlisted in the Royal Air Force Volunteer Reserve in 1935, and was commissioned Pilot Officer in 1938. Morgan carried out his initial pilot training at No. 8 E.F.T.S., Reading and No. 10 F.T.S., Tern Hill - being stationed at the latter when he saved the life of Pilot Officer W. A. Jenns when Hart K5795 crashed on 19 December 1938. He was posted as a pilot to No. 1 Anti-Aircraft Co-operation Unit, Farnborough in March 1939, and was still serving with the unit when was war was declared in September of the same year. Morgan carried on serving with the unit with its various moves to Carew Cheriton and Cleave, and was doubtless frustrated by his posting as the Battle of Britain evolved. His limited aircraft - the Hawker Henley - did not stop him from having an optimistic go at an enemy aircraft on 6 September 1940: ‘Z.C. 6000. Spotted enemy aircraft 1,000ft below chased to Swansea, Spitfire took over.’ (Log Book refers). Despite such incidences as above, and the ‘ticker tape’ entitlement slip which shows Morgan as entitled to the Battle of Britain clasp, there is no other evidence to suggest that he qualified for the clasp. However, that did not preclude him from other sightings and scrapes with enemy aircraft during the...

Seven: Commander G. A. Thompson, Royal Navy, Fleet Air Arm 1939-45 Star; Africa Star; Defence and War Medals 1939-45; Korea 1950-53, with small M.I.D. oak leaf (Cdr. G. A. Thompson. R.N.); U.N. Korea 1950-54; Naval General Service 1915-62, 1 clasp, Near East (Cdr. (E) G. A. Thompson. R.N.) edge bruising and contact marks, nearly very fine (7) £500-£700 --- George Alan Thompson R.N. was born on 11 December 1917. He served as a pilot in the Royal Air Force prior to transferring to the Fleet Air Arm in 1938, and was granted a Commission as a Sub Lieutenant (A) with seniority of 6 August 1938 (later anti-dated to 6 April 1937). On 28 August 1938 he was appointed to the R.A.F. School at Henlow to study ‘Aero-Nautical Engineering’. On completion of this twelve-month course he was promoted to Lieutenant (A) on 6 August 1939, and is shown in the Navy List for September 1939 as serving with the Fleet Air Arm. On 6 July 1940 he was appointed ‘For Technical Duties’ to H.M.S. Condor, the Royal Navy Air Station at Arbroath, Angus, Scotland. His dual pilot and aero-nautical engineering qualifications would have allowed him to test-fly aircraft after repairs or maintenance had been carried out. In November 1942 he was appointed to H.M.S. Korongo, the Royal Navy Aircraft Repair Yard in Nairobi, Kenya. In this appointment he would have been responsible for the assembly of aircraft sent in crates from the U.K., test-flying them before handing them over to the operational naval squadrons, plus overseeing routine repairs of defects/maintenance in land and carrier based naval aircraft. In October 1943 he was appointed to H.M.S. Bherunda, the Royal Navy Air Station at Colombo, Ceylon, where he was borne as Air Engineering Officer and would have undertaken similar duties. During the last quarter of 1943 he was promoted to Acting Lieutenant Commander (A). On 9 March 1944 he was appointed to H.M.S. Nightjar, the Royal Navy Air Station at Iniskip, Lancashire, as Air Engineering Officer, retaining his acting rank of Lieutenant Commander (A). In the 1946 Navy List his rank appears as Lieutenant Commander (E) with seniority of 6 April 1946. On 1 July 1946 he was appointed to H.M.S. Daedalus, the Royal Navy Air Station at Lee-on-Solent, Hampshire. His next appointment on 1 August 1947 was to the Battleship, H.M.S. Duke of York, Flag Ship of Vice Admiral Sir Roderick McGrigor, Commander-in-Chief, Home Fleet. He remained in this posting for just over six months, returning to H.M.S. Condor on 5 February 1948. Twelve months later, on 10 February 1950, he joined the 17th Carrier Air Group aboard the Aircraft Carrier H.M.S. Theseus (Captain A. S. Bolt, D.S.O, D.S.C., RN) and was aboard this ship when she took part in the Korean War. Theseus, with 807 and 810 Naval Air Squadrons embarked, served in Korean waters from 29 September 1950 to 23 April 1951. The high serviceability rate of both squadrons’ aircraft owed much to the efficiency of the Air Engineering Department, headed by Lieutenant-Commander Thompson. His personal contribution to the high level of efficiency in aircraft maintenance was recognised by being Mentioned in the Despatch (M.I.D.) of the Commander-in-Chief, Far East Fleet, which was published in the London Gazette 29 June 1951. He was also promoted to Commander on 1 December 1950, after serving only four years. Following Theseus’s return to the UK in June 1951 he was, on 9 July, appointed to H.M.S. Daedalus as a member of the Technical Training Staff. In mid-1952 he was lent to the Australian Navy for three years, serving first at the Navy Office, Melbourne, and later aboard H.M.A.S. Lonsdale. On returning to the U.K. in mid-1955, he was appointed on 28 June to H.M.S. Eagle as Senior Air Engineering Officer on the staff of Rear Admiral R. A. Pedder, Flag Officer Aircraft Carriers. He was still serving aboard Eagle when the ship took part in ‘Operation Musketeer’, the name given to the Anglo-French attack on Port Said and the Suez Canal in October-November 1956. On 8 January 1957, he was appointed to H.M.S. Ark Royal as Senior Air Engineering Officer on the staff of Vice Admiral M. L. Power, C.B. C.B.E., D.S.C., Flag Officer Aircraft Carriers. Ten months later, on 10 October, he was appointed to H.M.S. Falcon, the Royal Naval Air Station at Halfar, Malta, where he remained for the next three years. On 3 October 1960, he was appointed an Engineer Inspector on the staff of the Director-General, Ships. He continued to serve in this appointment until 30 September 1961, when, at his own request, he was placed on the Retired List, having served in the Royal Navy for 24 years and 5 months. He died in March 2004 at Eastbourne, aged 88 years. Sold with comprehensive copied research.

A collection of mixed 80's LPs, artists to include: Dio; John Miles; Madonna; Johnny Cash; Rose Royce; Geno Washington; Level 42; Steve Miller Band; and others. (Qty)

A collection of 7" singles, mostly from the 80's and 90's, artists to include: Linx; D-Train; Sinitta; Imagination; The Cool Notes; Odyssey; Level 42; Johnny & The Asbury Jukes; Mai-Tai; and many others. (Qty)

Hornby 0 Gauge Clockwork Track (2 boxes), double-track comprising 18 curved rails (6 in original box), 15 straight sections, one cross-over track and one level crossing, (gates restored), with a quantity of single-track curves, straights, short sections, boxed turntable, some 1920's rails and other items, mostly G (qty in 2 boxes)

TOMLINSON JOHN.  Doncaster From Roman Occupation to the Present Time. Plates. Quarto. Orig. green cloth, damage to back. Doncaster, 1887; also John Tomlinson, The Level of Hatfield Chace & Parts Adjacent, Doncaster, 1882 & 2 quarto works re. Doncaster churches by John Edward Jackson, 1850's.  (4).

1980's Interest 7" Singles, 300 titles from Meteors, Cure, Bob Marley, Aztec Camera, Beat, ZZ Top, Robert Plant, Classix Nouveau Boomtown Rats, Jam, Joe Jackson, Iron Maiden, OMD, Bow Wow Wow, Black Sabbath, Rainbow, Level 42, David Bowie, Style Council and Depeche Mode to name a few, generally all very good.

1980's 7" Singles, approximately 300 titles from Foreigner, Tears For Fears, Level 42, Pet Shop Boys, Malcolom McLaren, Luther Vandross, Robert Palmer, Climie Fisher, Howard Jones, Hue and Cry, Style Council, Manillion, Van Halen, Paul McCartney, Prefab Srout, etc.

Approximately 300 7" singles from the 60's, 70's and 80's, a sample of the artists are, Culture Club, Roy Orbison, Yes, Police, Peter Frampton, Debbie Harry, Tams, ELO, Level 42, Kylie, Wham, Lena Lovich, Manfred Man, Human League, Steve Miller, and Roxy Music.

Sixty LP's and a Selection of 78's and 7" Singles, lp's include The Animals - Animalisms (Decca LK4797, 1966) UK 1st pressing, very good. Gene Vincent - Bluejean Bop (Capitol T764, 1956) original UK pressing, G. More albums, by Simply Red, Tommy Roe, Erasure, Level 42, Kate Bush, House Martins, Tom Jones, Spandau Ballet, Manfred Mann, Human League, Pretenders, etc.

A 19th century stripped pine Gothic trestle type side table, with simple planked top and pegged architectural base, 75 cm high x 122cm wide x 58 cm deep.Provenance: The contents of The Birches, Kingston-upon-ThamesThe top shows signs of old cracks and splits and historic tin tack holes, the top and frame'surface is coated with an orange pigmented varnishthe frame has been resecured by some old crude screw repairs over the years to make the frame rigid.the sledge feet have suffered with historic woodworm infestation and one end support has lost and had replaced the tips (6") of each sledge foot replaced.it's opposite support has suffered also but that has only had a shim of timber placed on the bottom of the foot on one side to ring it up level.The table has all the hallmarks of an estate made table usually consigned to scullery or below stairs usage and has been attacked by woodworm and damp to the sledge feet and shows signs of fabric being tacked to it at some point the table I s now sturdy and it's old and crude repairs could be enhanced.Any further questions please ask

Höchst seltenes Mokkaservice "Bouquet". Meissen. Schwertermarke, überwiegend Jahreszeichen 1986, 1. Wahl. Entwurf: Form 1972/1975 von Ludwig Zepner (1931-2010); Dekor Volkmar Bretschneider (*1930). Emailfarben, Poliergold. 21 Teile. Form "Großer Ausschnitt". Mit aquarellartiger, luftiger Blumenmalerei. Mokkakanne (H 19,5 cm), Sahnegießer, Zuckerschale, 6 Mokkatassen, 6 Untertassen und 6 Teller. In seiner Idee und Ausführung erinnert dieses höchst seltene Mokkaservice an den Dekor "Mandelbäumchen" und den Dekor "Blaue Orchidee", auch an die in Lösungsmalerei ausgeführten Service und Unikate der Künstlergruppe der 80er Jahre. Einzigartig gelingt Volkmar Bretschneider hier die Verschmelzung von alla-prima-Malerei und Form und findet in der goldstaffierten Mokkakanne ein besonderes Meisterwerk. Tulpenblüten umschließen raumfassend jede (als Unikat ausgeführte) Tasse. Und die Malerei auf den Tellern (auch diese jeder für sich ein Solitär / ein Hauch Malerei in pastelligen Himmelstönen mit feinen Goldakzenten) öffnet wie ein milder morgendlicher Frühlingswind einen zarten Kosmos. Geschlossen- und Geöffnetsein werden hier auf höchstem künstlerischen Niveau in expressive moderne Porzellanmalerei übersetzt. Ein neuer Typ unikaler Meissener Blumenmalerei, mit der sich Volkmar Bretschneider unauslöschlich in die Annalen der Meissener Manufaktur eingeschrieben hat. (vgl. Meissener Konturen 1960 - 1990, S. 46f., Meissener Manuskripte VII, Volkmar Bretschneider, Dekorationen auf Meissener Porzellan, S. 12/13). Aufrufzeit 27. | Okt 2023 | voraussichtlich 19:53 Uhr (CET)Highly rare mocha service "Bouquet". Meissen. Heavy mark, mostly year 1986, 1st choice. Design: form 1972/1975 by Ludwig Zepner (1931-2010); decor Volkmar Bretschneider (*1930). Enamel colors, polished gold. 21 pieces. Shape "Large cutout". With watercolor airy floral painting. Mocha pot (h 19.5 cm), cream jug;er, sugar bowl, 6 demitasse cups, 6 saucers and 6 plates. In its idea and execution, this highly rare mocha service is reminiscent of the decor "Almond Tree" and the decor "Blue Orchid", also the service and unique pieces executed in solution painting of the artist group of the 80s. Volkmar Bretschneider uniquely succeeds here in merging alla-prima painting and form and finds a special masterpiece in the gold-staffed mocha pot. Tulip blossoms surround each cup (executed as a unique piece). And the painting on the plates (each of which is also a solitaire / a touch of painting in pastel sky tones with fine gold accents) opens up a delicate cosmos like a mild morning spring breeze. Closed and open are here translated at the highest artistic level into expressive modern porcelain painting. A new type of unique Meissen flower painting, with which Volkmar Bretschneider has indelibly inscribed himself in the annals of the Meissen manufactory. (cf. Meissen Contours 1960 - 1990, pp. 46f., Meissen Manuscripts VII, Volkmar Bretschneider, Decorations on Meissen Porcelain, pp. 12/13). Call time 27 | Oct 2023 | expected 19:53 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Gedeck mit Dekor "Plus-Minus". Meissen. Schwertermarke, ohne Jahreszeichen, um 1986/87, 1. Wahl. Entwurf: Ludwig Zepner (1931-2010) (Form) nach Vorgaben Zepners frei 1986 gedreht von Gerhard Wronkowski ; Dekorausführung 1986/87 von Christoph Ciesielski (*1957). Weiß mit schwarzer und korallenroter Bemalung. Teeschale (H 4,5 cm), Untertasse (Ø 11 cm), Teller (Ø 16 cm). Form "Konus". Ist das Meissener Porzellan? Ja, "Es ist der Versuch, sich stilistisch dem modernen, sehr individuell aufgefassten Design anzunähern und für Meissener Porzellan einen neuen Weg zu beschreiten". (vgl. Meissener Konturen 1960 - 1990, S. 116) Dahinter stehen die Künstler Ludwig Zepner, Gerhard Wronkowski und Christoph Ciesielski. Sie platzierten auf freigedrehten Formen (!) einen kontrastierenden schwarzen Banddekor und produzierten lediglich kleine Atelierserien. Wer fühlt sich nicht an Art déco erinnert? Und zugleich entsteht hier etwas ganz Neues: ein expressiver, modern gedachter Entwurf, der durch die Feinheit und Originalität der Malerei überzeugt und optische Effekte präsentiert, die meisterlich modern sind. Positiv wird negativ, Linien werden gebrochen, Gerades wird ungerade, Schwarz wird weiß.... dieses Konzept bricht jede Meissener Tradition (im besten Sinn) und verlangt Form- und Dekorüberlegungen auf allerhöchstem Niveau. Ein Meissener "Atelierstück" zugleich ein Sammlungsunikat des modernen Meissener Porzellans. Literatur : "Meissener Konturen", S. 116f. und S. 268. Aufrufzeit 27. | Okt 2023 | voraussichtlich 20:02 Uhr (CET) Set with decor "Plus-Minus". Meissen. Heavy mark, without year mark, around 1986/87, 1st choice. Design: Ludwig Zepner (1931-2010) (form) according to Zepner's specifications freely 1986 turned by Gerhard Wronkowski ; decor execution 1986/87 by Christoph Ciesielski (*1957). White with black and coral painting. Tea bowl (h 4,5 cm), saucer (Ø 11 cm), plate (Ø 16 cm). Form "cone". Is this Meissen porcelain? Yes, "It is an attempt to approach stylistically the modern, very individually conceived design and to break new ground for Meissen porcelain." (cf. Meissen Contours 1960 - 1990, p. 116) The artists behind this were Ludwig Zepner, Gerhard Wronkowski and Christoph Ciesielski. They placed a contrasting black ribbon decoration on free-turned shapes (!) and produced only small studio series.Who doesn't feel reminded of Art Deco? And at the same time, something completely new is created here: an expressive, modern-minded design that convinces with the subtlety and originality of painting and presents optical effects that are masterfully modern. Positive becomes negative, lines are broken, straight becomes odd, black becomes white.... this concept breaks every Meissen tradition (in the best sense) and demands considerations of form and decoration at the very highest level. A Meissen "studio piece" at the same time a unique collection of modern Meissen porcelain. Literature : "Meissen Contours", p. 116f. and p. 268. Call time 27 | Oct 2023 | probably 20:02 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A large collection of mid 20th century woodworking carpentry tools house in a blue painted case with two drawers. The tools including, No. 700 The contractor by Disston manual saw, twist screwdriver, wood planes, level bubble, brush, chisels, s hook, folding rule and other examples. 

The winning jockey’s trophy presented to Pat Eddery for the victory on Grey Shot in the 1996 Goodwood Cup, In the form of a silver ashtray, stamped Garrard (the race sponsor) and hallmarked Garrard (maker), London, 1996, the centre with a model of a falcon, race inscription to rim, diameter 10cm., good condition Grey Shot was a British-bred grey gelding by Sharrood out of Optaria (Song). He was owned by Jeff Smith (and Robert Hitchins) and trained at Kingsclere by Ian Balding. In a nine seasons career Grey Shot won on the flat, over hurdles and over fences, totalling 13 wins from 44 starts and winning at G2 level under both codes. Pat Eddery recorded one of his earliest big race victories in the Goodwood Cup aboard Erimo Hawk in 1972. Grey Shot was to be fifth and final win, his other successes being on Valuable Witness (1985), Mazzacano (1989) and Sonus (1993). 

1972 Norton 745cc Commando RoadsterRegistration no. JMA 208KFrame no. 204114Engine no. 204114The Commando's vibration-beating Isolastic frame enabled Norton Villiers successfully to prolong the life of their ageing parallel twin. Launched in 1967, with production commencing in 1968, the Commando used the preceding Featherbed-framed Atlas model's 750cc engine and AMC gearbox, and was an instant hit with the motorcycling public, being voted Motor Cycle News 'Machine of the Year' for five consecutive years. It might have been a little down in top speed compared to rivals such as BSA-Triumph's 750cc triples and Honda's CB750 four, but the Commando more than made up for this minor deficiency with superior mid-range torque and steadier handling. New variations on the basic theme soon appeared, commencing in 1969 with the addition of the more sporting, though conventionally styled, 'S' version, complete with high-level exhausts. This was followed in 1970 by the Roadster, which was basically the 'S' with a low-level exhaust system.A symbol of timeless style and British engineering excellence, this matching numbers Commando is believed to have been imported from the US. It underwent a thorough restoration and upgrade around 2012 by the previous owner, who installed a two-into-one high-level exhaust, a single carburettor, RGM disc brake, and Boyer electronic ignition. It is believed to have last been run c.2016 and is described as being in generally good overall condition, although there are some visible signs of wear. It will require recommissioning to a greater or lesser extent prior to returning to the road. The machine comes with an extensive history file that includes a large quantity of restoration invoices, MOT's, handbook, V5, old-style V5C, V5C and handbook.4 keysFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

Peter Howson OBE (British, born 1958)Totem signed 'HOWSON' (lower left), titled and signed 'HOWSON' (on stretcher)oil on canvas153 x 123cm (60 1/4 x 48 7/16in).painted in 1992Footnotes:ProvenanceWith Flowers Gallery, London.Private collection, UK (acquired from the above in 1992).ExhibitedGlasgow, McLellan Galleries, Peter Howson: A Retrospective, July - September 1993.The present lot is an important example of Peter Howson's work from this period in the early 90s. Painted a year before he took up the role of official war artist for the Bosnian War in 1993, the subject highlights his recurring theme of working class men. The men, wearing what look to be military khakis and armed with a baton, appear menacing and poised for a conflict despite the contrast of the white flag being held in the upper right of the composition. The title of the work, Totem, perhaps simultaneously acknowledges the upright composition of the group, but also the symbolism, incorrect or otherwise, assumed by the public perception of working class men. Executed on a large scale, he has applied the paint with impressively bold and direct brushwork - this handling helps to charge the work with a sense of vigorous movement and energy. Howson's tutor at the Glasgow School of Art, Sandy Moffat, described the qualities of his student's work best:'Peter Howson also identifies with the 'radical imagination', although his work has little to do with ideological concepts. He is pre-occupied with themes and motifs which reflect his perception of urban life, the kinds of people who live, work and play in the City... his touch remains powerful and dramatic; as in his low-life scenes of prostitutes, thieves and dance hall fights...''It is exactly his ability to capture the menacing tone, to penetrate the darker heart of urban humanity, which raises Howson's painting from the ordinary passionless naturalism of academic realists to an entirely different level of creative achievement.'(S. Moffat, New Image Glasgow, exhibition catalogue, Third Eye Centre, Glasgow, 1985)Presently, in 2023, Howson is the subject of a major retrospective at the Edinburgh City Art Centre titled When the Apple Ripens: Peter Howson at 65. Howson's work can be found in collections including the Metropolitan Museum of Art, New York; the Tate Gallery, London; the British Museum, London; the Victoria & Albert Museum, London; the Gallery of Modern Art, Glasgow; and the Scottish National Gallery of Modern Art, Edinburgh.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A LARGE SILVER 'DRAGON' RETICULATED PUNCH BOWL, MARKS OF SUI CHANG AND WANG HINGExpert's note: During the 19th and early 20th century, entertaining in Europe and America became a fashionable and prestigious habit amongst the society elites. Chinese export porcelains and silver articles played a significant role in these events as they showcased the owner's level of wealth, refined taste, and culture.China, late 19th to early 20th century. The circular body richly cast, embossed and chased with dragons writhing between a pierced ground of swirling clouds around a flaming pearl cartouche, raised on three dragon supports.Inscriptions: Stamped 'Sui Chang', 'WH' (mark of Wang Hing & Co), and '90' (for 90% silver purity).Provenance: Chicago trade.Condition: Superb condition with minor old wear and manufacturing irregularities. Light scratches and occasional minuscule losses and dents. The glass liner with light scratches and manufacturing irregularities as well.Weight: 4,376 g (incl. glass liner) and 2,379 g (excl. glass liner)Dimensions: Diameter 33 cm With a matching glass bowl to the inside. (2)Probably the greatest and finest Chinese Export retailer of the period, Wang Hing started trading in Canton soon after 1842 when, with the end of the First Opium War and the treaty of Nanking, China opened its ports to foreign merchants and Hong Kong became a British colony.Wang Hing was the trading name chosen by the Lo family who established the business and passed it down for generations until 1941. Although little is known about the founder of the company, we know that the Lo's were a wealthy merchant family living in one of the richest areas of Canton, the district of Xiguan.Thanks to the fine quality of the pieces and to the entrepreneurial abilities of the family members, the reputation of the firm grew. In the 1920's Lo Hung Tong, grandson of the founder, opened a store on Queen's Road, Hong Kong and another in Shanghai.Literature comparison: For further information on Wang Hing, see David Chan, Chinese Export Silver: The Chan Collection, Asian Civilizations Museum, Singapore, 2005. See a related silver dragon punch bowl, retailed by Hung Chong & Co., Shanghai, with Koopman Rare Art, London, illustrated in Roland Arkell, “Silver Linings", Antiques Trade Gazette, October 2019.Auction result comparison:Type: Closely relatedAuction: Sotheby's London, 12 May 2015, lot 158Price: GBP 15,000 or approx. EUR 25,500 converted and adjusted for inflation at the time of writingDescription: A Chinese export silver bowl, Wang Hing, Canton and Hong Kong, late 19th/early 20th CenturyExpert remark: Compare the closely related form, cast and chased decoration on a pierced ground, and dragon motif. Note the smaller size (28.4 cm). 大型鏤空龍紋三足銀碗，“遂昌“與"宏興“款中國，十九世紀末至二十世紀初。 碗身滿工鏤空鑄造，浮雕和雕刻龍紋，飛龍騰雲；三龍托碗。 款識：遂昌；宏興；90 來源：芝加哥古玩交易。 品相：狀況極佳，有輕微磨損和製造缺陷，輕微劃痕和微小缺損和凹痕。玻璃內襯有輕微劃痕且製造不規則。 重量：4,376 克 (含玻璃碗) ，2,379 克 (不含玻璃碗) 尺寸：直徑33 厘米 内部配置玻璃碗。 (2) 文獻比較： 更多關於宏興公司介紹，見David Chan，《Chinese Export Silver: The Chan Collection》，新加坡亞洲文明博物館，2005年。一件相近銀製龍紋碗 ，鴻昌公司出品，上海，見Roland Arkell，《Silver Linings》，《Antiques Trade Gazette》，倫敦，2019年10月。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2015年5月12日，lot 158 價格：GBP 15,000（相當於今日EUR 25,500） 描述：十九世紀末和二十世紀初鴻昌款銀製碗 專家評論：比較非常相近的外形，在穿孔的底部鑄造和雕刻裝飾，以及龍紋主題。請注意尺寸較小(28.4厘米)。

A GILT COPPER-ALLOY FIGURE OF KUNZANG AKOR, BON TRADITION, TIBET, 14TH-15TH CENTURYKunzang Akor is seated in padmasana, hands held in dhyanamudra on his lap, wearing elaborate jeweled necklaces. His serene face with heavy-lidded eyes below gently arched brows centered by an urna, framed by his hair falling elegantly in curled strands over the shoulders and piled up into a topknot behind the elaborate foliate crown. The mantra 'AH' is cast on his chest. The sealed base is incised with a double-lined wan symbol.Provenance: From an old Austrian collection. The base with a collector's label, '515. 24T.' Condition: Fine condition, commensurate with age. Some wear, mostly to gilt, and expected casting irregularities. Small nicks, dents and losses, minor warping, and light surface scratches. The base is sealed. Fine, naturally grown patina with some cuprite and malachite encrustations.Weight: 826.6 g Dimensions: Height 17.3 cm The deity Kunzang Akor is the meditational form of Shenlha Okar. As in the present example, he is generally recognized by the Tibetan letter 'AH' placed on the chest at the level of the heart. The two hands are placed in the lap and hold the stems of two flower blossoms supporting a stylized yungdrung symbol on the right and a vase on the left. There are numerous traditions of ritual cycles and meditation practices for Kunzang Akor. It is also common to have a sculpture of Kunzang Akor created as a death memorial. While in Tibetan Buddhism it is more common to have a painting created in memoriam, a sculpture is more common in the Bon Religion. The Tibetan lettering on the chest, not found on Buddhist sculpture, confirms that this deity is from the Bon tradition. For a closely related example, see S. Karmay and J. Watt, Bon: The Magic Word, 2007, page 50, fig. 38. Auction result comparison:Type: Closely relatedAuction: Sotheby's Paris, 12 December 2013, lot 240Price: EUR 18,750 or approx. EUR 24,000 converted and adjusted for inflation at the time of writingDescription: Statuette Bun de Kunzang Akor en bronze dore Tibet, XVE siecleAuction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2009, lot 1356Price: USD 13,750 or approx. EUR 18,000 adjusted for inflation at the time of writingDescription: A Gilt Bronze Figure of Kunzang Akor, Tibet, 14th/15th Century 西藏十四至十五世紀合金銅貢桑阿闊像，苯教傳統貢桑阿闊成蓮花坐姿，手結禪定印，佩戴精緻的寶石項鍊。他面容平靜，雙眼微閉，眉毛微彎，雙眉之間有白毫，頭髮捲曲，垂在肩上，部分在精緻的葉冠后成一個高髻。他的胸口鑄有三字明咒中的“啊"。密封的底座上刻有萬字符。 來源：奧地利私人舊藏，底座收藏標籤 '515. 24T.' 品相：品相完好，有些磨損，主要是鎏金部分，小缺口、凹痕和缺損、輕微翹曲和輕微表面劃痕。底座密封。精美的天然包漿，帶有一些紅綠色結殼。 重量：826.6 克 尺寸：高17.3 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2013年12月12日，lot 240 價格：EUR 18,750（相當於今日EUR 24,000） 描述：西藏十五世紀鍍金銅貢桑阿闊像 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得， 2009年3月20日，lot 1356 價格：USD 13,750（相當於今日EUR 18,000） 描述：十四至十五世紀鎏金銅貢桑阿闊像

A good Second War A.F.C. group of seven awarded to Flight Lieutenant S. D. Walbank, Royal Air Force, who completed an operational tour as a Hurricane nightfighter pilot 1941-42, sometimes flying solo low-level sorties to France Air Force Cross, G.VI.R., reverse officially dated ‘1944’; 1939-45 Star; Air Crew Europe Star; Burma Star; Defence and War Medals 1939-45; General Service 1962-2007, 1 clasp, Malay Peninsula (Flt. Lt. S. D. Walbank, R.A.F.),mounted court-style, contact marks, generally very fine (7) £1,800-£2,200 --- Provenance: Glendining’s, December 1988; Dix Nooonan Webb, March 2008 and September 2015. A.F.C. London Gazette 8 June 1944. The original recommendation states: ‘This officer has been employed on Anti-aircraft Co-operation duties since October 1942. He had previously completed an operational tour with a Hurricane Night Fighter Squadron. During the time he has been employed on Anti-aircraft Co-operation work he has displayed exceptional devotion to duty and keenness in carrying out the tasks allotted him. He has completed over 100 hours night flying on Search-light Co-operation - much of it under adverse conditions. Flying Officer Walbank is a competent pilot who has shown the greatest keenness to fly at night.’ Stanley Douglas Walbank was born in Bradford in September 1917 and commenced his operational career as a Sergeant Pilot in No. 87 Squadron, a Hurricane nightfighter unit operating out of Charmy Down, and St. Mary’s in the Scillies, in March 1941. A few days later, with operations limited as a result of poor weather conditions, the Squadron’s Operational Record Book (O.R.B.) reported that ‘Two new Sergeants unfortunately overshot and made the aerodrome look rather like a salvage dump’, therein, possibly, the reason for Walbank’s transferral to No. 247 Squadron that April, although as we shall see, he was in fact a capable pilot. Also by that stage allocated to night fighting duties in Hurricanes, 247 went fully operational on moving to Predannack that summer, but a spate of convoy patrols filled the void, Walbank flying three such sorties on 27 May alone. So, too, by way of proving his skills, 25 minutes of aerobatics on 20 July, an episode made possible by using a brake-test as his excuse to get airborne - ‘a rather dubious excuse, one might add’, according to the O.R.B. And the occasional “Scramble” - and numerous “Rhubarbs” and “Intruders” - followed in the period leading up to his posting to anti-aircraft co-operation duties with No. 286 Squadron in October 1942, the O.R.B. crediting him with carrying out a solo “Intruder” operation to Morlaix and Lannion in October, the same month that he was sent to Colerne to gain experience with Havoc “Turbinlite” aircraft. But it was really after the Squadron moved to Exeter in May 1942, that the pace of cross-channel operations quickened, Walbank’s outings including a trip to Rennes in June, when his Hurricane was engaged by an E-Boat on his return to the coast - ‘He hit back and saw strikes on the vessel, the return fire ceasing, and landed back at Exeter at 0430 having carried out the whole operation between 200 and 500 feet’. While on other occasions suitable targets were frustratingly scarce: ‘Flight Sergeant Walbank took-off at 0200 to intrude on the St. Briene-Rennes railway. He had quite an interesting trip, although an unproductive one. Near Lamballe he saw a well lighted chateau with two men standing on the front steps. He restrained a strong desire to shoot them up, in case they were French, and moved on. At Montauban, and again near Rennes, he saw a train, but in both cases left them alone, as they were passenger trains - although probably full of Hun troops. He toured around a bit longer, both along the main line and up and down the branch line from Rennes to St. Malo. Eventually, he left the country at Painpol, having been over enemy territory for an hour’ (247’s O.R.B. refers). Taking into account such low-level, solo, night forays over enemy occupied territory, it is perhaps not surprising that 247’s O.R.B. describes Walbank as one of the Squadron’s best pilots, nor, too, that he was consequently selected to serve in No. 536 Squadron, a newly formed Hurricane-Havoc “Turbinlite” co-operation unit, that September. Yet, if the O.R.B’s comments are anything to go by, he must have been mighty relieved to be re-mustered with No. 286 Squadron a few weeks later: ‘The forming of 536 Squadron unfortunately lost us Flying Officer Hamilton, and Flight Sergeants Walbank and MacKay, who were posted as permanent Hurrie satellites. In view of the piss poor, repeat, piss poor, opinion held by all and sundry of Havoc co-operation duties, our sympathies go out to these types. We are sorry to lose them.’ Awarded the A.F.C. for his subsequent services in No. 286 (Anti-aircraft Co-operation) Squadron 1942-44, in which period he was commissioned as a Pilot Officer, presumably Walbank was next transferred to the Burma front. Having then been placed on the Reserve at the War’s end, he obtained a regular commission as a Flight Lieutenant in May 1948, served in the Malay Peninsula in the mid-1960s, and was finally placed on the Retired List in July 1969. Sold with the recipient’s original Buckingham Palace forwarding letter for his A.F.C.; and copied research.

A collection of over 110 12" vinyl records, mainly 1980's rock & pop to include Queen, Bryan Adams, Peter Gabriel, Bruce Springsteen, Madonna, Level 42 & many more.

STARUKH, PETRO (Ukrainian, b. 1961), still life of blue and yellow flowers in vase, green leaves and blue vase, watercolour on paper, signed lower right, framed and glazed, Image size 41 x 59 cms, framed 56 x 75 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961),  still life of flowers, black stems with flash of red, yellow central background, watercolour on paper, signed lower right, Image 40 x 49, Framed 56 x 74.5 Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b.1961), 'Microcosm Diptych', two framed and glazed abstract paintings to form a comment on Microcosm, Signed and dated bottom right, watercolour.  Diptych of two complementary panels, size 65 x 85 cms, total size 65 x 170 cms, each of which can be as a separate picture. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv;.... CONDITION: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv;2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus, 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk ... 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION", 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961),Highly stylised still life of flowers in vase, red, yellow and green, watercolour on paper, signed lower right, Image size 33 x 49 cms, Framed 48 x 65 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian b. 1961), Still life, expressionistic explosion of colour emanating from a pot, with fine back stems, red, yellow and green with vivid Ukrainian blue highlights, watercolour on paper, signed lower right, Framed 48 x 65 cms, Image 33 x 49 cms. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961), 'Musical', a sculpture constructed from interlocking and suspended circular black steel discs abstractly representing music, applied signature to convex circular base.   Height 77 cms, base diameter 21 cms. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; 2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus, 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk ... 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION", 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting. CONDITION: Further Information:Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; 2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus, 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk ... 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION", 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961), still life of blue and yellow flowers in vase,, watercolour on paper, signed lower right, framed and glazed, Image size 41 x 59 cms, framed 56 x 75 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

A Nikon F SLR Camera, chrome, serial no 6459542, shutter sticking on slow speeds, self timer catching on release button, body F, paint wear to edges, brassing to winder top, with waist level finder, G, Nippon Kogaku Nikkor-S 5.8cm f/1.4 non AI lens, serial no 174489, barrel F-G, paint wear, elements G, some light fungus, some scratches from cleaning, with front cap

A Nikon F2 Titan SLR Camera black, no name Titan, serial no 9201791, shutter working, self timer working, body VG, slight paint wear to front edge of base plate, split to mirror pad, with eye level finder, DP-11 finder, meter responsive, Nikkor 50mm f/1.2 AI-S lens, serial no 297887, barrel VG, elements VG, shutter button extender, front/rear caps, body cap, in Nikon ERC

A Nikon F2 SLR Camera, chrome, serial no 8024634, shutter working, self timer working, body G-VG, light wear, with DW-1 waist level finder, Nikkor 35mm f/2.8 AI-S lens, serial no 557512, barrel G, wear to mount/aperture grip, elements G, with lens cap

A Zenza Bronica SQ-Ai Camera, serial no 1513495, shutter working, body G-VG, with Zenzanon PS 80mm f/2.8 lens, serial no 8322316, barrel G-VG, elements VG, no hand crank, with waist level finder, speed grip S, missing connecting plate to crank, SQi 120 back, dark slide, manual and conponents maker's boxes

A collection of 80's Pop LPs and 12" Singles to include artists; Hall & Oates, Dexys Midnight Runners, Paul Young, Edie Brickell & New Bohemians, UB40, The Primitives, Simply Red, The Christians, Level 42 and Billy Joel; All conditions vary from Very Good to Very Good Plus with generally Very Good sleeves. (36)

AN ELIZABETH II SILVER MUG, of baluster form with S scroll handle, bears presentation inscription, makers Viner's Ltd, Sheffield 1964, height 10cm, 8.45ozt, 262.8 grams (Condition Report: generally in good condition, sits level on a flat surface, slightly tarnished , partial rubbing to makers mark)

1275S previously restored and powered by a Downton 970S unit. According to the accompanying Heritage Certificate, this Austin Mini Cooper S (1,275cc) is a right-hand drive, home-market, single tank car finished in Police White with Tartan Red and Gold Brocade trimBuilt on 24/11/1966, it was dispatched on 01/10/1966 to Voss Motors Limited of Liverpool, and first registered on 16/10/1966Police White was a particular shade designed to be more reflective at night, so we assume this little Cooper was destined for the Merseyside PoliceMore recently, we understand that the car was previously re-shelled as the original bodywork had rotted away and was replaced with a slightly earlier shellThe engine was also replaced with a desirable Downton-tuned 970S unit. The only other obvious variation from the original spec is a Moto-Lita woodrim and reclining front seats but they are correctly trimmed in Tartan Red and Gold BrocadeVery recent attention (August 2023) includes new clutch master and slave cylinders, new solenoid and carburettors cleaned The history file contains 18 pages of invoices dating from 1996 showing work carried out over the years, including re-assembling the vehicle after the re-shell, as well as separate parts invoices dating from 1998. Also in the history file are the accompanying Heritage Certificate, old green logbook, previous MOT Certificates and an earlier photograph of the carOn offer from long-term current ownership, the car sits well on its silver Minilites and looks good in classic Cooper black and white. With a little bit of time, effort and further detailing, this little S could be taken to the next level, and we feel that it's very sensibly-guided given the potential on offer Specification Make: AUSTIN Model: MINI COOPER S MK 1 Year: 1966 Chassis Number: CA2S7932599 Registration Number: EFE 147D Transmission: Manual Drive Side: Right-hand Drive Odometer Reading: 29809 Miles Make: RHDClick here for more details, condition report and images

XVIII Century Door Lock with 'S' shaped ward to lockable key, later brass door fittings Disston USA level

Carpenter's Cottage: A selection of antique carpenter's tools including walnut handled chisel, saw, a carpenter's plumb level, makers including R&S along with Thomas Turner & Co.

A Wirgin Edixa-Mat Reflex Mod. S 35m SLR Camera, chrome, serial no. 260020, body G-VG, shutter working, with waist-level & eye-level finders, together with a Isco-Gottingen Auto-Westagon f/1.9 50mm lens, body VG, optics VG, in maker's ever-ready case,

FOUR BOXED UNBUILT MODEL HELICOPTER KITS, to include a S&M Models Bristol Type 171 Sycamore, 1:72 scale, kit no. SM K72-36, a Whitlybird Decals WBA72050 S-61N Conversion Set for Revell Sea King, 1:72 scale in Uk Maritime & Coastguard Agency markings, kit no. S-61N MCA, a Matchbox Boeing Vertol Chinook HC Mk,1, 1:72 scale kit no. CH-47D, and a Revell Level 5 EC135 Heeresflieger/Germ. Army Aviation, 1:32 scale, kit no. 04982, contents not checked but features sealed sprues, some parts are loose, instructions included, all have some wear on corners and some panels

BEADED DRESS. An Art Deco heavily beaded & sequinned over-dress, embroidered with iridescent sequins & grey tubular beads forming a pattern of flowers & foliage, on a net foundation. The side seams split to above waist level & the front hung with 24 long strings of beads. Length approx. 100cm. (The condition of this over-dress is fragile with some holing in the net itself, especially around the neckline. Beads are mostly intact but a few sequins are missing).  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.  The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

Hennessy VSOP Reserve - NAAFI Stores for HM Forces - Circa Late 1960's/Early 1970's - No Strength or Capacity Stated (Please note fill level to shoulder. Sealed and intact closure)

Joan Miró, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miró's Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. **Cultural and Political Context**: Miró's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary.Measures 5.5 x 8 inches. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.

Joan Miró, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miró's Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. **Cultural and Political Context**: Miró's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary.Measures 5.5 x 8 inches. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.

Joan Miró, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miró's Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. **Cultural and Political Context**: Miró's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary.Measures 5.5 x 8 inches. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.Measures 11 x 9. inches.Later screenprint.

Joan Miró, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miró's Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. **Cultural and Political Context**: Miró's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary.Measures 5.5 x 8 inches. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.Measures 27.9 x 21.2 inches.Later screenprint.

Joan Miró, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miró's Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. **Cultural and Political Context**: Miró's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary.Measures 5.5 x 8 inches. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.

2018 Mercedes-Benz AMG GT R Transmission: automaticMileage:25389The GT R is a high-performance variant of the Mercedes-AMG GT and was introduced at the Goodwood Festival of Speed in 2016. The M178 engine in this variant is tuned to an output of 577bhp and with 516 lb ft of torque. The GT R accelerates from 0-62mph in 3.6 seconds with a top speed of 198 mph. While the GT R retains the key mechanical differences the GT C gains over the GT S, it also gains manually adjustable Coilover springs, an active underbody fairing, a manually adjustable rear wing, and a nine-mode AMG Traction Control system. When it was launched, the GT R had several cosmetic changes compared with the standard car, notably the vertical slats in the front grille, an adjustable rear wing, new front air intakes and new front and rear diffusers. The styling of the GT R is more comparable to that of the AMG GT3 race car. For the 2018 Formula One World Championship, the GT R became the official Formula 1 safety car and during the 2020 Tuscan Grand Prix, the safety car ran a red livery rather than the traditional silver to commemorate Scuderia Ferrari's 1,000th Grand Prix start. For the 2021 F1 season, the GT R Safety Car permanently wore a red livery rather than the traditional silver to increase the chances of drivers seeing the Safety Car in poor visibility and shared the role with the Aston Martin Vantage.The GT R completed a lap of the Nürburgring Nordschleife track in 7:10.92, in a test conducted by German magazine Sport Auto making it the fifth fastest lap time for a road-legal production vehicle around the track at the time.This example of the GT3 RS crushing GT R is presented in matte grey with contrasting black alloy wheels and boasts the uprated race seats to what is a fabulously plush cockpit given the incredible potential of this car under the bonnet. The 4.0 litre twin turbo V8 engine sounds incredible on start-up and being mounted so far back it is referred to as a front mid-engine example. With the gearbox over the rear puts the majority of the weight over the rear wheel drive axles producing a fabulously balanced car.Having covered a mere 25,389 miles, in August this year this example received it most recent Mercedes-Benz dealer history. This car was driven for the Historics 'Driving in Cars' series found on the Historics Auctions YouTube channel and Historics ambassador and auctioneer Vicki Butler-Henderson can testify to the incredible performance level with or without the traction control system engaged.Watch the Historics driving in cars episode featuring this AMG GTR! 

1985 Porsche 911 / 930 Turbo Transmission: manualMileage:71800In the early 1970's, Porsche had designs on racing a turbocharged version of the 911 and the Porsche 911 Turbo or 930 was born. It was the fastest production car available on the market. Adding this level of power to the already powerful car created a vehicle that was not for the faint hearted. In skilled hands, however, a 930 will show a clean pair of heels to most of its rivals. It was based around the Carrera RS 3.0, the engine from which was modified, courtesy of turbo technology. Initially, power output was 260bhp but from 1978, it was increased to 300bhp by raising the engine capacity to 3.3 litres as is the case in this instance.First registered on 8th August 1985, this fabulous black on black unmodified genuine C16 UK supplied 930 Turbo is not only stunning but ready to use and enjoy having had thousands lavished on it by our vendor, notably to the bodywork and engine. In addition to the extensive engine work the turbo was rebuilt, a new clutch and gearbox synchros. A recent oil service by Uber GT is coupled to a full engine rebuild by Northway Porsche at 70,000 miles before running in and all of the necessary and recommended work thereafter has been carried out by the renowned Porsche specialists.Evidence of this work is all found within the impressive history file with detailed invoices and comprehensively stamped service booklet. The bodywork is superb with a deep gloss as you would hope with this iconic car and importantly there are no signs of any corrosion, the black leather interior looks original and in keeping with the age of the car with good bolsters and a fine finish. Our vendor informs us that the car drives superbly and the engine pulls as strong as he would hope providing, as it should, a very visceral and engaging experience. The fuel system has had the necessary work to ensure that this 930 drives as you would expect, work includes reconditioned fuel distributor, pressure regulator, along with new coil pack and ignition amplifier. Michelin PS4 tyres were fitted within the last 1,000 miles and it is used regularly to keep the fluids flowing. There is a Blaupunkt Bremen fitted which looks the part of course. Recent work is in excess of £25,000 so you have the confidence you are buying a great car. The 930 Turbo is incredibly collectable, and this example not only has looks to die for but the mechanical confidence to back it up. A true icon and sure to retain its value in the coming years.

Lineol - Model Nr 5/531 - Grosse Panzerturm mit Festungsgeschutz [Armoured Turret with Fortress Gun], circa 1934 [ref: Fontana, The War Toys 2, page 81, London 1991] comprising: Large Bunker [45 x 45 cm] with Retractable Armoured Cupola, Bunker Constructed from Wood & Cardboard Covered with Sculpted Composite Material & Painted in a Green/Brown Scheme [Modelled on examples from the Siegfried & Maginot Lines of the 1930's]. The Bunker Houses a Heavy Fortress Gun in a Retractable [Rises & Falls Above Ground Level by Means of a Lever] Armoured [metal] Cupola with Full Traverse via a Traversing Rod, Ranging Indicator, Operable Firing Mechanism, Steps to Firing Platform & Gun Access Hatch. Some minor age wear otherwise Excellent overall. VERY RARE to find complete & in working order - A Rare Survivor.

A 1964/65 Nikon F SLR camera serial No. 6584109, black and chrome body, with a waist level viewfinder and a Nikkor-S Auto 1:2 f=5cm lens, serial No. 576514, together with a Nikkormat FT, serial No. FT 4148234, black and chrome body with a zoom-Nikkor 1:35 43-6mm lens, serial No. 895549. (2)

A 1970s Nikon F SLR camera, serial No. 6513191 black and chrome body, with a DW-1 waist level finder and a Nikkor-S Auto 1:2 f=50mm lens, serial No. 659304, together with a 1976 Nikkormat FT2 SLR camera, serial No. 51252108, black body, with a Nikkor-H Auto 1:2 f=50mm lens, serial No. 752575. (2)

Gitton P&F, Sancerre Les Belles Dames Silex 1989Nicked label. Level 3.5cms (1)Gitton P&F, Sancerre Les Herses 1990Nicked label. Level 3cms (1)P-J Druet, Bourgueil Vaumoreau 1996Lightly bin-soiled label (1)S Bobinet, Saumur-Champigny Amateus Bobi 2008 (1)Gitton P&F, Sancerre Galinot Silex 2010Creased label (1)Domaine Gigou, Jasnieres St Jacques 2012Torn label (1)Domaine Paget, Touraine Azay-le-Rideau Melodie 2013Nicked label (1)E&R Cognard, St Nicolas de Bourgeoil Cuvee Les Malgagues 2014 (1)J Taluau, St Nicolas de Bourgeuil L'Expression 2015 (1)D Jamain, Reuilly Les Pierre Plates 2017 (1)Lying at LCB Barking

Joan Miró, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miró's Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. **Cultural and Political Context**: Miró's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary.Measures 5.5 x 8 inches. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.Measures 31.4 x 26.7 inches.Later screenprint.

Joan Miró, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miró's Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. **Cultural and Political Context**: Miró's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary.Measures 5.5 x 8 inches. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.Measures 27.5 x 21.2 inches.Later screenprint.