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Rock, a collection of LP's to include Satana - Abraxas, Beyond Appearances, S/T (CBS 63815 J. Zack credit) & Moonflower, Status Quo - Just Supposin', Hello!, Quo, Piledriver, Ma Kelly's Greasy Spoon, On The Level, Live!, Dog Of Two Head, Whatever You Want & Blue For You, Yes - The Yes Album, Fragile x 2, Drama x 2, 90125, Close To The Edge, Tales From Topographic Oceans, S/T, Tormato, Yesterdays, Relayer & Going For The One, Uriah Heep - Head First & Firefly, Sky - S/T, 2 & 3, Slade - Slayed x 2, Till Def Do Us Part, Coz I Love You, Old New Borrowd Blue, Alive! x 2, Nobody's Fools, Sladest & The Amazing Kamikaze Syndrome. (43)

Y&nbspA FINE VICTORIAN OXIDISED BRASS FORTIN-TYPE MERCURY FORECASTING BAROMETERGEORGE S. WOOD, LIVERPOOL, CIRCA 1880Constructed with central large-bore tube flanked by silvered scales applied to separate ebonised moulded panels calibrated in barometric inches 0-32 and with rack and pinion adjusted Vernier slide to right hand side, opposing an arrangement of three plates engraved with detailed forecasting predictions within fine scroll engraved margins and incorporating recording slide labelled SET AT, 9 A.M. YESTERDAY to top, the apex with further applied bridging plate signed G.S. Wood, LATE ABRAHAM & Co., OPTICIAN, LIVERPOOL, the base with substantial cylindrical cistern incorporating glazed collar enclosing ivory level pointer between screw-clamped collars over fine level adjustment screw to underside, the instrument mounted onto the backboard of a full-height half-round glazed case opening at the front, with domed cupola surmounted with a reeded gilt brass ball finial and conforming inverted dome to base, (mercury removed).130cm (51ins) approx. high, 20.5cm (8ins) wide, 15cm (8ins) deep. George S. Wood is recorded in Banfield, Edwin BAROMETER MAKERS AND RETAILERS 1660-1900 as taking over the business of Abraham Abraham and Company located at 20 Lord Street, Liverpool in 1875 and working until 1894. The current lot is made to the principles laid down by Nicholas Fortin (1750-1831) and incorporates a glazed cistern so that the level can be calibrated via the adjustment screw to the base against an inverted conical ivory cone in the cistern in order to obtain consistency in the readings. This particular type of barometer provides an accurate reading hence was generally adopted for laboratory use throughout the 19th and early 20th centuries. The combination of comprehensive scales complete with detailed observations to assist in forecasting (based on those laid-out by Admiral Fitzroy in the 1850's) and fine bow-fronted case suggests that the current lot was either made to be exhibited by the maker (possibly in his own showroom) or for a wealthy client or institution. Condition Report: Instrument appears complete with the exception of mercury and two (of the three) brass cistern securing rods and screws (for holding the base of the cistern tight against the cylindrical glass sleeve) which are now unfortunately missing. The silvering to the register plates has some patchy discolouration but engraving is fine and crisp. The case is in good original condition with noticeable faults apparently only limited to the finial being a little bent. Condition Report Disclaimer

AN AUSTRIAN ENGRAVED GILT BRASS GRANDE-SONNERIE STRIKING CARRIAGE CLOCK IN THE ENGLISH TASTEUNSIGNED, PROBABLY VIENNA, CIRCA 1840The thirty-hour circular four pillar triple train movement with duplex escapement regulated by sprung monometallic balance vertically planted beneath a pierced bridge to the upper edge of the backplate with Tompion type regulation disc beneath, the separate hour and quarter strike trains each with visible stop-work to the backplate and sounding the hours and quarters every fifteen minutes on a graduated pair of gongs mounted on a Y-shaped stand positioned behind the movement, the rectangular single sheet silvered brass Roman numeral dial with blued steel spade hands and overall engraved with fine symmetrical acanthus scroll work, the case with hinged serpentine outline carrying handle and spiral-cut ball finials to the fine engine-turned top panel, incorporating projecting blocks at the angles decorated with foliate engraved panel infill at cornice level with dentil band to frieze between, with Tuscan three-quarter columns at the angles set on conforming foliate panel engraved plinths, the front with bevel-glazed door and the sides with elaborate engine-turned panels decorated with a series of interlaced circular motifs within circular and oval reserves incorporating repeating lozenge infill and stylised leafy motifs to the vertical line-hatched upper and lower margins, the rear with engine-milled door, on skirt base matching the cornice over spiral-band turned feet.15cm (6ins) high with handle down, 11cm (4.25ins) wide, 9.5cm (3.75ins) deep. The case of the current lot is reminiscent of those made popular by English makers such as Arnold and Dent during the 1840's, however the finely executed engine-turned decoration is a feature which Viennese makers were particularly well known for (Roberts, Derek CARRIAGE and Other Travelling Clocks pages 253-7). The specification and layout of the movement is typically Viennese and is essentially a refined version of those which first appeared during the end of the 18th century.  Condition Report: Movement is in relatively clean fully working condition with no visible evidence of alteration or notable replacements. The dial has overall patchy tarnishing/discolouration but otherwise is in fine condition. The case is in fine condition with relatively minor spots of discolouration and other light surface blemishes to the gilding and light wear/scratching in places.Clock is complete with a winding key.Condition Report Disclaimer

Robert Colquhoun, British 1914-1962 - Head of Boy (or possibly 'Kitchen-Boy - Brescia'), c.1950; oil on canvas, signed upper left 'Colquhoun', 40.7 x 30.7 cm (unframed) (ARR) Provenance: with The Lefevre Gallery, London (partial label attached to the reverse); private collection, purchased directly from the Artist; private collection, gifted by the previous owner Exhibited: possibly The Lefevre Gallery, London, 'Recent Paintings by Robert Colquhoun', December 1950, cat. no.3  Literature: possibly Roger Bristow, 'The Last Bohemians, The Two Roberts Colquhoun and MacBryde', Sansom & Company, Bristol, 2010, p.368 Note: This extraordinary image demonstrates the power and tension at the heart of Robert Colquhoun's work, marking his importance alongside his contemporaries Lucien Freud and Francis Bacon in Post-War British painting. Drawing on his own personal experience and understanding of humanity, here Colquhoun has created an image that is at once statuesque and fragile, powerful yet vulnerable. Colquhoun would often focus on a pair or a single figure with a prop, but here the figure is alone and cropped so only the head is in focus. Other similar works are 'Head, study for Three Figures in a Farm Yard, 1953' (private collection), 'Weeping Woman, 1948' (The Dick Institute) and 'Head Study, 1953' (The Fleming Collection). This creates an increased intensity, even further focused in this work by how the artist has depicted his sitter staring directly into the eye of the viewing. The level of the two eyes distorted, it is easy to read his own experience as a queer man living in an oppressive society in this defiant look. The work is in many ways comparable to contemporaneous works such as Freud's 'Man's Head (Self Portrait III), 1963' (National Portrait Gallery, London) and Bacon's 'Head of Man, 1960' (Sainsbury Centre for Visual Art) and 'Study for Portrait II (after the Life Mask of William Blake), 1955' (Tate) in its visual contradictions; the carefully composed form giving way way to a fiery and manipulated interior. However, whereas Bacon would utilise imagery derived from photographic and found material, for Colquhoun the focus is entirely the figure from his memory. Colquhoun would return more prominently to singular isolated figures in his final series of monotypes that were exhibited posthumously at the Museum Street Galleries in 1962. A number of these works are now in the British Museum. The artist's painterly style was also strongly influenced by his friend and neighbour in Soho during the 1940s, Polish artist Jankel Adler. Adler had travelled to Glasgow, where Colquhoun studied, as a refugee during the war and became a central figure of European modernism in Britain. In London, Colquhoun would develop from Adler a post-Cubist approach to the human form, breaking down features to create a heightened sense of expression. He also learnt from Adler a highly textural approach to painting, seen here in the contrast between the flattened backdrop, the impasto-ed surface of the face and the slickly sensuous linear brushwork. A similar handling of form can be seen in 'Man with a Donkey Saddle, 1950' (Middlesburgh Institute of Modern Art). Colquhoun was a central figure in the artistic world of war-time London, alongside his life-partner Robert MacBryde and their friends John Craxton and John Minton. Colquhoun and MacBryde (or 'The Two Roberts' as they were called) shot to fame under the patronage of Peter Watson, with important exhibitions of their work held at The Lefevre Gallery, The Whitechapel Gallery and numerous international mixed exhibitions. Most recently their work was the subject of a major retrospective at The National Galleries of Scotland in 2014-15. During the 1950s Colquhoun and MacBryde worked in theatre design; the original owner of this work was a friend and important figure in British theatre, television and film. This work was most likely made around 1950, following Coluqhoun's trip to Italy with the poet George Barker, and was possibly featured in Colquhoun's exhibition with Lefevre Gallery that year. The Two Roberts were at this time living between their London studio and Lewes, at the invitation of the sister's Frances Byng-Stamper and Caroline Byng Lucas, who ran a gallery there and later established the Miller's Press, which would produce a number of the pair's prints. The artist's tragically short career and the scarcity of his work on the market marks this as a highly important work of the Post-War era. With thanks to Davy Brown, author of ‘Colquhoun’s Monotypes’ for his assistance in the cataloguing of this work. 

ROCK & POP - LP COLLECTION. A smashing collection of 70 rock & pop LPs. Artists/ titles include Joni Mitchell inc Blue (K44128, Record VG+/ textured sleeve VG+), Status Quo - Hello, Dire Straits - On Every Street, Mike Oldfield - Ommadawn, Nils Lofgren - Night After Night, Bill Wyman - S/T, Free - Free Live, James Taylor inc Gorilla, In The Pocket, JT. Yello - The Race. Peter Murphy - World Fail To. ELO - Greatest Hits, The Alan Parsons Project - Ammonia Avenue, Neutrons - Tales From The Blue Cocoons, Van Morrison - It's Too Late To Stop Now. Elton John inc Goodbye Yellow Brick Road, Don't Shoot Me I'm Only The Piano Player. Santana - Abraxas, Roy Wood - Boulders, Pat Benatar, Status Quo, Linda Ronstadt, The Sensational Alex Harvey Band, Golden Earring, Pete Townshend, Level 42, Terence Trent D'Arby. Condition is generally VG to Ex.

A GEORGE III FIGURED MAHOGANY AND CROSSBANDED SERPENTINE CHEST ALMOST CERTAINLY BY THOMAS CHIPPENDALE OR JOHN COBB, CIRCA 1770 With solid mahogany drawer linings 89cm high, 109cm wide, 61cm deep overall Fitted with 'S' pattern escutcheons, this fine quality chest has a rare constructional element that points to Chippendale's authorship, the use of S-pattern keyholes, this detail is almost unique to him. In his 1768 account to Lady Shelburne, Chippendale mentioned that a commode table has 'very good spring and tumbler locks and S-bitted keys' (Gilbert, op. cit., vol. I, p. 253, and vol. II, p. 147, fig. 267). The intriguing asymmetry of the S-shaped brass escutcheon would have been Chippendale's primary objective, though the encumbrance would also have minimally increased the level of security of the lock. This keyhole pattern has very occasionally been recorded on furniture attributed to Chippendale's competitor John Cobb, for example on the commode sold anonymously, Christie's New York, 19 April 2001, lot 148. However, nearly all occurrences are on furniture attributed to Chippendale.  

Roy Goodall 9ct gold 1929-30 F.A.Cup Runners-Up medal the obverse inscribed THE FOOTBALL ASSOCIATION, the reverse inscribed CHALLENGE CUP RUNNERS UP, with ring suspension, 22grms In the 1930 F.A. Cup final played on 26th April at Wembley, Arsenal defeated Huddersfield Town 2-0. The following lots 610 to 667 relate to the career of Huddersfield Town Legend and England International Roy Goodall Provenance: Roy Goodall thence by family descent Roy Goodall Some fine footballers have heralded from the City of Sheffield and its surrounding areas over the years, the city defined as the birthplace of the modern game, and one of its brightest stars was Roy Goodall, born on 31st December 1902, he came from the village of Dronfield just a few miles outside the city centre, the home today of the World’s oldest football club, Sheffield FC. Quite how the two Sheffield professional teams missed out on his signature is the question. Both were renowned for scouting and promoting local talent through their ranks, but Goodall slipped through their fingers and signed for Huddersfield Town at the age of 19 in 1921. Now, the Manager at that point, Ambrose Langley, was a resident of the steel city, having played with some distinction for the Wednesday back in the day, so there is every chance that he may have seen Goodall playing at junior level, or been made aware of his promise through the local football grapevine, either way it was Leeds Road for Roy and not the Lane or Hillsborough. Langley departed in the year he arrived, replaced by the man brought in as his assistant, a man who himself had plied his trade as a player for the Blades and whose brother has also worn the blue and white of the Wednesday, winning an FA Cup Winners medal for them in 1907 and a man who would leave his mark and name on the beautiful game forever, Herbert Chapman. There was a Sheffield connection there. Herbert and his brother, Harry, heralded from another village on the outskirts of Sheffield, Kiveton, so another strong connection. Harry, like Langley, had also had a spell as manager of Hull City. Football is always full of connections. Chapman would make Roy Goodall his skipper, and, in turn, Goodall would go on to lead the Yorkshire side to uncharted success for one of the youngest clubs in the League at that point. In the roaring 20’s Town were the team, winning the League Championship three times in a row and, between in the period he would also win the FA Cup, collect two runners up medals, see the club finish runners up in the League three times and also lift the charity shield. Goodall was no ordinary football defender. At his peak, he was widely recognised as one of the best defenders in the world- some accolade for a lad from Dronfield, playing an incredible 25 times for his country, many as Captain and at a time when the world was a far bigger place. 25 Caps back then could arguably be the equivalent of over 100 today due to the number of games played.  Had England deemed to take a team to the first World Cup, Roy Goodall would have worn the armband, and you have to wonder what other trophies he would have lifted on an even bigger stage to add to the wonderful haul his years in the game brought. When his playing career was over, he had a spell as manager at Mansfield Town- again not that far from where he was born. Graham Budd Auctions are delighted and honoured to bring many wonderful pieces from the career of a Huddersfield Town giant and England legend to our September sale, a collection that brings to the market his medals, shirts, caps and other ephemera with the provenance from his proud descendants to find new homes and also keep his name and triumphs around for the next generations to know his name, what he did, and the style in which he did it. A true footballer.

1977 Bentley T2 Saloon Registration no. TTG 5S Chassis no. SBH 32691 Engine no. 32691Although the Mulsanne Turbo's arrival in 1982 would revitalise Bentley's image, during the T2's time in production (1977-1980) the marque was almost totally eclipsed by Rolls-Royce, with the result that a mere 558 (plus 10 long-wheelbase) T2s were made compared to nearly 8,500 of the equivalent Silver Shadow! Independent once more (from Rolls-Royce at least) Bentley today enjoys a greatly enhanced reputation that has seen interest in the 'forgotten' T-Series cars increase significantly in recent years.Outwardly distinguishable from the Silver Shadow only by virtue of its different radiator and winged 'B' mascot, the T-Series Bentley had been introduced alongside its Rolls-Royce sibling in 1965. Mechanically identical, the duo represented a complete break with 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. Nevertheless, Autocar's T2 proved the fastest of the Shadow family that the magazine had tested, accelerating to 60mph in under 10 seconds and achieving a maximum speed of 119mph. Introduced in 1977 alongside the Shadow II, the T2 gained split-level air-conditioning, rack and pinion steering, revised dashboard and chin spoiler.Acquired by our vendor in 1999, having had one former keeper, this T2 comes with some service history and a recent (2022) invoice for repairs to the fuel pump electrical circuit. Described by the vendor as in good condition throughout, the car is offered with a V5C registration Certificate. For further information on this lot please visit Bonhams.com

A collection of mostly 80's 12" vinyl records, including OMD, Soft Cell, The Bangles, Madonna, Duran Duran, Kylie Minogue, Clannad, Nik Kershaw, Erasure, Frankie Goes To Hollywood, Culture Club, The Police, Aha, Pet Shop Boys, Yazoo, Phil Collins, ABC, Grace Jones, INXS, Simply Red, Sinead O'Connor, Level 42, Sade, Human League etc.

1980's Interest L.P's, thirty titles in this well cared for collection, to include, New Order -Substance, Kate Bush - Hounds Of Love and Whole Story, Steve Winwood - Chronicles and Back In The High Life and more by Madonna, T' Pau, Fleetwood Mac, Level 42, ABC, Heaven 17, Human League, Eurythmics, Howard Jones, Gloria Estefan and Erasure.

Great Britain Postal Orders Collection 1881-2000s Collection of over 180 items (77 QV to KGVI, 90 QEII, plus foreign), virtually all different, presented neatly in a binder. Excellent condition on the scarce early items including 1881 first issue 1/- with perfect Usk cds, 1881 20/- specimen ovpt superb, 1884 design 1/6d and 2/-, 1892 5/- (and 2/- in lesser quality). Then rare 1/6d provisional KEVII head in design of 1892, with affixed 4d stamp, with faults however 'only a few known to exist' according to Lunn. The KGV with thirty items including several pre-1927 examples, plus two Pension Orders in green: 5/- Downey head type h/s 'Cancelled' with value tablet excised and 10/- profile head in near-perfect condition, followed by 6d and 2/6d orders used during the reign of Edward VIII, the 6d postmarked 9/12/36 (day before abdication) bearing stamps of KGV and KEVIII. After the extensive KGVI and QEII sections are a few nice overseas items including Ireland, Sudan and KGVI British Honduras 50cts with Belize 1986 postmark. Postal Order collections of any level are very seldom seen. Accompanied by Stephen Cribb's invaluable 1984 'Standard Catalogue of Postal Orders'. This lot is photographed in entirety online.

Three gold rings, comprising a 9ct gold Templar style diamond, sapphire, amethyst and garnet ring, 8mm wide, common control mark 375 Sheffield, a 9ct gold ruby and diamond ring, London 1985, and a 9ct gold clear stone full eternity ring, 9.83g (3) Finger size S, P, P Condition ReportFirst - shank not round; normal wear and tear; needs a good clean. Second - worn very thin, but all stones in situ. Third - band robust but stones worn level with it - they may have started as low cabochons; needs a good clean.

Ca. 1100-1200 AD (or later).A glazed ceramic two-floored model, adorned with a stunning turquoise glaze. The model is composed of a rectangular base that supports an upper surface designed to resemble a courtyard, meticulously divided into four equal sections by looped fencing. Within each section, quadrupedal animals, possibly oxen, are gathered and elegantly rendered and arranged in a harmonious manner. The sides of the model exhibit a similar pattern to the fencing, featuring open roundels and rectangular openings that enhance the visual appeal of the piece. Notably, the lower floor lacks divisions, presenting an open space. Moreover, the number of animals on the lower floor is relatively fewer than those found on the upper level, highlighting a deliberate design choice and potentially indicating varying symbolic or functional purposes for the two floors. Margaret S. Graves, "Ceramic House Models from Medieval Persia: Domestic Architecture and Concealed Activities", in IRAN: Journal of the British Institute of Persian Studies, vol. 46 (2008), pp.227-251. For a similar, please see Sotheby's, L13223, London, 9 October 2013, Lot 19. Size: L:95mm / W:230mm ; 1.73kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Postcards and Cigarette Cards; modern black album of 96 postcards of airplanes and airships, several early cards, also folder of 1960's shop interior- Thomas Level and Sports Ltd, folder of Bubblegum Cards including Kane 'Disc Stars' and ABC Footballers in large storage box with other ephemera and cigarette cards.

An assortment of vintage cameras and accessories. Comprising a UN Japanese blow brush, a two part Sangamo Weston Master V universal exposure meter no.862BJ Model S461.5, a G.E.C. illumination meter no.M903, range 50 F.C., a Johnson Wray optical rangefinder with instructions and a distance dial reel, a Brownie SIX-20 Model D with flash contacts, a Speedtron IV solid state electronic flashgun, a Vest Kodak pocket camera No.45043-1915 with a British patent, an Olympus OM10 serial No.2346145 with a Om-System Zuiko Auto-S 50mm lens serial No.5048143 (last checked October 2013), a Cherry P-3 tripod, a Kodak No.1 Pocket Camera, No.28751 & patent No.50431915 with a shutter made by Easton Kodak company from Rochester New York, a camera by H.B.M. Co Ltd and with a Tricho shutter and a Kodak No. 3-A Folding Pocket Camera September 9th 1902 manufactured by Eastman Kodak Co. with a Rapid Rectilinear Bausch & Lomb Optical Co lens with adjustable settings, a level 'bubble' and an automatic shutter, within a brown leatherette case.

A Mamiya RB67 Pro S Medium Format SLR Camera black, 1974-90, serial no.C227388, with a Mamiya-Sekor C f/3.8 90mm lens, serial no.131537, shutter working, body G-VG, lens F-G, some separation, together with waist level finder, roll film holder, lens cap, hand grip, Polaroid Land Pack Film Holder Model 2 with box and instructions, a box of expired Polaroid Polacolor 669 film and a camera instruction manual

THE MACALLAN 10 Year Old Single Highland Malt, (1980's bottling) 40% vol. 75cl. fill level mid-neck, seal intact, boxed

SINGLE MALT, One Bottle of LAPHROAIG Single Islay Malt, aged 15 years, 43% vol, 70cl, fill level bottom neck, seal intact, boxed. Possible late 1990's bottling, the distillery was awarded the Royal Warrant in 1994 the presentation tube has the inscription confirming this

A collection of approximately 585 postcards, the majority British topographical views, including photographic postcards titled 'View of S. Simpson's Harbour, Guernsey', 'The River at Putney', 'Apple Pie Camp, Longmoor', 'Torpoint and Ferry, Devonport', 'The Angel Islington', 'Sonning Lock', 'New High Level Bridge, Sunderland' and 'Priory Park Rd, N.W.'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A PAIR OF GEORGE V SILVER SAUCEBOATS, of oval form with wavy rims, S scroll handles, on three cabriole legs with pad feet, makers Martin Hall & Co Ltd, Sheffield 1913, 8.09ozt, 251.6grams (2) (Condition Report: both sit fairly level on a flat surface, a few tiny splits in the wavy rims, one handle is bent over into the sauceboat)

AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1887 S. Sydney. Jubilee bust left, spread J.E.B. with hooked J ending level on left side of truncation; first legend position; VICTORIA D: G: BRITT: REGINA F: D:. / St George on horseback slaying the dragon right, horse with short tail; mintmark S in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC AU 58, certification number 2116673-009. NGC Census in this grade: 21.NGC Census in higher grade: 15Total NGC Census: 58Reference: S-3868A; Marsh-138; McD-174Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.

A 1920's/30's silk chiffon jacket, embroidered with faux jet bead decoration, beaded half belt on the back embroidered on, a black 1950's chiffon dress, pleated bodice with insert, elaborate black sash at the back, a cut velvet and chiffon vintage evening dress, cut velvet detail to sleeves, velvet waistband and tiered skirt, each tier trimmed with minimum lace detail, a vintage net bolero jacket embellished with a border of black sequins and a black satin vintage opera cloak with a padded ruched collar and angel sleeves, single button and loop fastening below waist level ( 5)

A simply stunning 1927 20hp, one of only two bodied by Brewster as a Brougham de Ville and featured in numerous Rolls-Royce publications.    Following World War I, Rolls-Royce abandoned the ‘one model’ policy they had previously employed, and sought to expand within the luxury top tier echelons of the motor car industry and in 1922 the all-new 20hp or Twenty was introduced to their lineup alongside the simply fabulous 40/50hp Silver Ghost.The Twenty was built to reflect Henry Royce’s interest in contemporary trends within the American motor car industry, incorporating a singular construction of engine and gearbox, and featuring the modern innovation of a central ball change gearbox and a 'Hotchkiss drive' rear axle. The smooth and silent 3,127cc inline six-cylinder engine benefitted from being Rolls-Royce's first engine with overhead valves. While the car was well received overall, the three-speed, central change transmission was not well liked, so in 1925 the Twenty was reintroduced with four-wheel, servo-assisted brakes and importantly, a four-speed gearbox with a right-hand, gated gearchange.The 20hp was initially produced to target owner-drivers, but many were sold to customers with chauffeurs, somewhat expected with their clientele at the time. Only the chassis and mechanical parts were made by Rolls-Royce with the bodywork created and fitted by a coachbuilder selected by the owner.This, right-hand drive example, was purchased new, in rolling chassis form, on 31st January 1927 by Mrs A L Sylvester, a resident of the Plaza Hotel, New York and shipped to the USA aboard the SS Laconia. GAJ 15 wears unusual Panel Brougham de Ville coachwork by the respected coachbuilder Brewster, a company acquired by Rolls-Royce of America Inc. in December 1925.Presenting in simply fabulous condition, this wonderful example retains its original body and is one of just two built on the 20hp chassis. Credited to Henry Peter, 1st Baron Brougham and Vaux (1778-1868), this style of bodywork is noted for its formal upright and square appearance with a forward curving swage line in front of the rear compartment doors. This style was commonly seen on horse-drawn carriages of the time and, when the motorcar was introduced, many carriage designs were simply adapted by coachbuilders to accommodate an engine at the front as opposed to horses. This formal style is often referred to as a Town Car and would likely have been used for taking the owner(s) to the theatre or opera or other formal occasions. The well presented brightwork is nickel silver, and the style of the vertically striped paintwork is known as Dutch Pink although, in this case, it's undoubtedly red and not pink.Reportedly by Fabergé, the door furniture in the cabin is silver and enamel. The grey cord upholstery is not believed to be original, however, it presents well and the pull-down blinds are silk, albeit expectedly fragile. To confirm the high level of opulence, there is a speaking tube for the passengers to communicate with the chauffeur who sits on black leather seating. The solid artillery wheels present well. GAJ 15 changed hands five times whilst in the USA and was resident in the Powers Automobile Museum in Connecticut in the 1940s and '50s. The car returned to the UK in 1991 and soon after its arrival the engine was stripped and rebuilt before being stored between 2000 and 2005.Within the car's history file there is a list of all its owners in the USA up to and including the immediately preceding owner in the UK. Other documentation includes copies of the original Order Form and Chassis cards, photocopied literature, a quantity of old MOTs and tax discs, copies of previous registration documents, a current V5C and a most impressive quantity of bills for works carried out and parts purchased whilst with previous owners. The car has benefitted from some gentle recommissioning in our vendor's ownership having been purchased from an elderly gentleman who sadly wasn't able to maintain it due to failing health.This exceptional motor car comes complete with tools, jack, hubcap tool, rim lever and special grease gun, etc., all housed under the front seats and has a period-correct, Flying Lady mascot on a correct cap. It also comes with an original instruction book, a full set of keys for ignition, bonnet locks, rear compartment, and the padlocks on the spare wheels and the fuel can. Side-screens for the front compartment are kept in a black bag in the rear compartment. This car is featured in several publications including Rolls-Royce in America by John Webb de Campi; The Rolls-Royce Twenty by John Fasal, and Coachwork on Rolls-Royce by Lawrence Dalton. A die-cast scale model of this particular car has been made by Top Marques of Honiton and an example is included in the sale.With the other car bodied in this style still residing in the USA, and with both examples being owned by the same family in the 1960s, this is a fabulous opportunity to own a very special motor car that epitomises why Rolls-Royce were considered, and remain, the 'Best Car in the World'.SpecificationMake: ROLLS-ROYCEModel: 20HP PANEL BROUGHAM DE VILLEYear: 1927Chassis Number: GAJ15Registration Number: BF 4349Transmission: ManualEngine Number: D5WDrive Side: Right-hand DriveOdometer Reading: 1 MilesMake: RHDInterior Colour: Black/Grey Click here for more details and images

A good Surveyor Transit Level, by Watson & Sons, London, 28cms (10 1/2") in mahogany case, together with a German DBP Meter, a Kew-66 Eagle Products, OHMS multi-Meter, and a Bakelite Vintage Nevellator with conversion table- inches per yard- fall or rise. (4)

Very Large 1970's Abstract Illusion Art, Acryllic on Board - signed M Morley 1976 - 91.5cm square  Could possibly be attributed to Malcolm Morley (1931-2018), given the artist's change of signature style during the 1970's, but difficult to have any level of certainty, as the owner has no provenance, and although some signatures from his 1970's period are similar, they're not exactly the same..

Haig Dimple, 26⅔ fl oz, 70° proof, wire wrapped bottle, level upper shoulder, contained in presentation box, likely a 1970's bottling.

Property from the Marie-Louise von Motesiczky Charitable Trust, London MARIE-LOUISE VON MOTESICZKY (1906-1996)Slideshow with Piero della Francescaoil on canvas, unframed40.4 x 50.8 cmPainted c. 1970LITERATURE: I. Schlenker, Marie-Louise von Motesiczky 1906-1996, A Catalogue Raisonné of the Paintings, New York, 2009, p. 406 no. 241. In the late 1960s, Motesiczky attended adult appreciation classes at Kynaston Technical School, in Swiss Cottage. This painting shows one of those lectures in full swing. The classes, specialising in Renaissance art, were given by Marina Hoffer, a Czech artist, author and book illustrator who shared with Motesiczky a short-lived friendship. In this painting Marina Hoffer, white haired and dressed in an elegant blue coat, is depicted wielding a pointer while explaining the slide projected on the screen. The image is Motesiczky’s adaptation of a fresco from Piero della Francesca’s Legend of the True Cross (in the Cappella Maggiore of the church of S. Francesco, Arezzo). The original scene depicts the Queen of Sheba who, on her journey to see King Solomon, is about to cross a stream via a bridge that that has been manufactured from the wood on which Jesus Christ will be crucified. When, by a miracle, she learns this, she kneels in adoration. In Motesiczky’s interpretation of this scene only two figures from the fresco are maintained, a horse and the Queen of Sheba, while all the other characters are omitted. In this resulting curious juxtaposition the Queen of Sheba seemingly adores the horse, probably a mischievous attempt by Motesiczky to spice up the lesson.* Note: Burgh House, supported by the Marie-Louise von Motesiczky Charitable Trust, is organising an exhibition of Motesiczky’s work (March-Dec 2024) and would be interested in loaning the work Slideshow with Piero della Francesca. Please contact us if you wish to know more about the loan process. Selected Works from the Marie-Louise von Motesiczky Charitable Trust Motesiczky’s expressive and very painterly style had been formed before the Second World War, in large part influenced and encouraged by Max Beckmann. On first being introduced to Beckmann in 1920 she recalled: ‘A winged creature from Mars could not have made a greater impact on me’. Once in Britain it was Oskar Kokoschka, a family friend from Vienna now similarly exiled, who helped champion her work. Thereafter, and very much on a personal level, it was the writer Elias Canetti (1905-1994) a fellow émigré who exercised a major influence over her artistic output. Marie-Louise von Motesiczky grew up with her parents and her brother Karl in central Vienna. Her mother Henriette came from an illustrious Viennese Jewish banking dynasty. Her maternal grandfather, Leopold von Lieben, was President of the Stock Exchange; her grandmother, Anna, one of Freud’s early patients. She counted the Todescos, and Ephrussis among her family circle, and she, her mother and her brother Karl spent their summers at Villa Todesco in Hinterbrühl, south west of the capital. But over time family tragedy, financial difficulties and the rise of Nazi Germany took their toll. Marie-Louise’s father died at the end of 1909 and after the First World War her mother’s considerable inheritance gradually diminished through high taxation, poor investments, and the financial crash of 1929. Then, with the rise of the Third Reich and the Anschluss in March 1938, when Austria was annexed by Germany, she and her mother fled Vienna for the Netherlands before emigrating to England in 1939. Further distress followed when her brother Karl, who had remained in Austria, was arrested and deported to Auschwitz, dying of typhus there on 25 June 1943. On Motesiczky’s arrival in London Kokoschka ensured her inclusion in a series of group exhibitions, and assisted her in the staging of a solo exhibition at the Czechoslovak Institute in the autumn of 1944. Further group shows followed, and in 1960 she had a second solo exhibition at the influential Beaux Arts Gallery off Bond Street. On the Continent she received acclaim for her work in exhibitions in Amsterdam and The Hague in 1952, one of her canvases being purchased by the Stedelijk Museum. The same decade she exhibited in Munich and Düsseldorf, and in the 1960s was the subject of shows in Germany and Austria, including a one-person exhibition at the Wiener Secession in 1966. In 1985, a full twenty-five years after her work had been shown at the Beaux Arts Gallery, she was the subject of another solo exhibition in London, at the Goethe-Institut, which was widely acclaimed in the press. In 1994 a major retrospective of her work was held in Vienna at the Österreichische Galerie, Oberes Belvedere and in Manchester at the City Art Gallery. In 2006-07 her work was celebrated in a centenary exhibition at Tate Liverpool, travelling to Frankfurt, Vienna, Passau and Southampton City Art Gallery. Also in 2007 Jill Lloyd’s biography of Marie-Louise appeared: The Undiscovered Expressionist. A Life of Marie-Louise von Motesiczky, followed in 2009 by the catalogue raisonné of her paintings by Ines Schlenker itemising over 350 works. Most recently in 2019-20, Tate Britain held an exhibition devoted to her to inaugurate the gallery named in perpetuity as the ‘Marie-Louise von Motesiczky Archive Gallery’ for all future displays of Tate’s archive holdings in general. The work of Marie-Louise von Motesiczky held in public collections Institutions in the UK holding works by the artist include: the Ben Uri Gallery and Museum, the British Museum, Burgh House, Hampstead, Freud Museum, Garden Museum, National Portrait Gallery and Tate in London (which also holds her archive); the Amersham Museum, Fitzwilliam Museum, Cambridge, New Walk Museum and Art Gallery, Leicester, Manchester Art Gallery, National Galleries of Scotland, Edinburgh and the Hunterian Art Gallery, Glasgow. Elsewhere her work is in the National Gallery of Ireland, Dublin; the Stedelijk, Amsterdam; the Boijmans van Beuningen Museum, Rotterdam; the Städel Museum, Frankfurt; the German Literary Archive in Marbach; the Albertina, Österreichische Galerie Belvedere, the Leopold Museum and the Museum Wien in Vienna; the Lentos Kunstmuseum, Linz and the Stanley Museum, University of Iowa, USA. Please find a link to the Catalogue Raisonné for Marie-Louise von Motesiczky: https://www.motesiczky.org/publications/ Marie-Louise von Motesiczky 1906-1996. A Catalogue Raisonné of the Paintings by Ines Schlenker, Hudson Hills Press, New York, 2009. The Marie-Louise von Motesiczky Charitable Trust The Marie-Louise von Motesiczky Charitable Trust, is a company limited by guarantee registered in England and Wales (no. 7572024) and a registered charity (no. 1140890): www.motesiczky.org. The copyright for Marie-Louise von Motesiczky’s paintings, drawings and correspondence or other written work originating from her, her mother Henriette and brother Karl, lies with the Marie-Louise von Motesiczky Charitable Trust.

Original Master Diagram from Grumman Aerospace titled, Expanded Systems Capability, including Orbiter Cockpit Designs as developed by Grumman for NASA as part of the Space Shuttle Development Contracts in 1972.Grumman became a key player in space technology as the company designed and built the Apollo Lunar Module that was used for the moon landing. In the Post-Apollo era, NASA issued a development contract to Grumman under its new Space Shuttle program to design and develop an Orbiter vehicle which could be reused on multiple missions. These extremely rare original schematics are part of the master plans drafted by Grumman under the NASA development contracts. The plans are entirely hand drafted in pencil on a delicate ivory tinted trace paper which was a common medium used by engineers for drafting technical documents. This document still has portions of border drafting tape that was applied to the surface of the drawing. These extremely rare original schematics are part of the master plans drafted by Grumman under the NASA development contracts. The plans are drafted on translucent polyester/plastic drafting film which was a common medium used for creating master drafting documents during this period. The full description of the diagram as found in the bottom right of the document is 'Figure II-2-1 (Typical System Design Concept System Level I'; 'EA-6B Integrated Level I Functional Flow Diagram'. This diagram includes configurations for the Orbiter's Forward Cockpit and the Aft Cockpit. Notes on the diagram indicate that the drawing was configured by the Grumman Aerospace 'Systems Integration Group' at Bethpage NY. The following Grumman project members are indicated on the diagram: 'H. Gerner; G. Gelfand; J. Bright; Group LDR: H. Ziegler; Asst. Proj. Eng: V. Simone; Proj. Eng: S. Migliore'. This extensive diagram includes handwritten notations. Issued: Undated, but part of the Grumman development project created for NASA in 1972.Dimensions: 11" x 200"

1973 Jaguar XJ6 Series I (4.2 litre) Transmission: manualMileage:26128Launched in September 1968, the Jaguar XJ6 was the final model that Sir William Lyons had a, hands-on, input into the design. This new model was the result of several years of development and streamlined the extensive portfolio of models offered by Jaguar at the time. This new, reasonably priced car, managed to retain the principles of earlier Jaguars but offered a new level of driveability and safety. It created such a desire that second-hand models were achieving higher prices than new cars on dealership forecourts, such was the demand. These early models have outstanding ability and are considered by many enthusiasts as the purist form of Sir William Lyons' design.This example is no exception, in the most desirable configuration of short wheelbase, with a manual overdrive gearbox. The British Racing Green paintwork presents well and the brightwork has an equally good shine. Moving inside, the green interior also presents very well and gives the impression that the odometer reading of just over 26,000 miles, may be correct. There is evidence of £1,981 worth of work carried out in 2020, which appears to have mainly been a thorough recommission following a long stint in storage.Smart early XJ6's are becoming increasingly difficult to find, this example appears to be very original and with its manual gearbox, it is a true super saloon of the 70's. Presents in possibly the best colour combination and specification, this might just be the XJ6 you have been searching for.

1995 Nissan Skyline R33 GT-R V-Spec Transmission: manualMileage:62961The new R33 Skyline GT-R was launched in January 1995 with a base GT-R and the V-Spec model, which offered a sportier suspension set-up resulting in lower ground clearance and featured the newer ATTESA E-TS Pro all-wheel drive system, which included an Active Limited-Slip Differential which, at the time, made it arguably the most technologically advanced production car in the world. The system was conceived in the 1990s for the JTCC to enable some 600bhp to be fed through the wheels and on to the racetrack efficiently. The V-Spec also featured an active LSD on the rear axle which further aided traction by calculating the optimum torque-split between the left and right rear wheels, variable from fully locked to totally free.The increased body rigidity and improved handling potential over the previous generation R32 necessitated several specially designed cross members being incorporated into the monocoque and extra torsion bars were added to the multi-link suspension to further enhance stability. Working closely with Bridgestone technicians to perfect the Potenza tyres, Nissan put the prototype R33 GT-R through its paces in all weathers at the notorious Nürburgring, earning them a daring reputation amongst other manufacturers. Power came from the now legendary RB26DETT, Nissan's 2.6 litre twin-turbocharged straight-six masterpiece.This R33 GT-R V-Spec is rather special. Our vendor knew this car for a number of years before buying it, it belonged to a family friend and had always been his dream car, so when the opportunity came to buy it, he jumped at it. The car is presented in possibly the best, and most famous, colour for a Skyline, Midnight Purple, which presents in absolutely outstanding condition following a full bare metal respray. In recent years this car has been through a restoration costing in excess of £45,000 and covering very little mileage since, the condition throughout speaks for itself. Frankly, no stone was left unturned, the underside was all re-powercoated, new polybushes fitted throughout, AP Racing brakes all round with six-pot calipers upfront and four-pot calipers at the rear, and an engine set up to die for. The car now produces 500bhp on low-boost and up to 610bhp on high boost, which the seller informs us was his target for a very safe and reliable power output, these engines can be pushed much further but at this level the parts aren't stressed to their limits.The engine was fully stripped down and rebuilt, with the following specification, HKS super sqv4 dump valve, aluminium radiator, aluminium intercooler, Bosch 1000 cc injectors, Garrett GT2860-5 turbo's, HKS power flow exhaust system and Haltech elite 2000 ECU. Our vendor reports the car drives absolutely superbly, being very compliant in normal driving conditions.The Nissan Skyline GT-R is possibly one of the most legendary and desirable JDM cars of the 1990's and this example has been restored and rebuild by a true enthusiast with the addition of tasteful and well proven upgrades. Offered with a very attractive estimate, this could be the exact GT-R you have been waiting for.

1985 Porsche 911 Cabriolet (3.2 Litre) Transmission: manualMileage:122000Many a car enthusiast, at one time or another, has dreamt of owning a Porsche 911 and few have set the pulses racing like the poster car for the 80's generation than the 930 with its iconic whale tail accompanied by fabulous performance. Launched in 1984 and reviving the 'Carrera' name for the first time since 1977, the most notable advance on the 80's Carrera was the introduction of the 3.2 litre engine; although it remained an air-cooled 'flat-six', the 3.2 was 80% new. With 231bhp on tap, the new 'boxer' motor endowed the Carrera with a level of performance approaching that of the original 911 Turbo of 1974, a torque-rich 231bhp, enough to propel the lithe and slippery coupé to over 150mph with 0-60mph coming up in 5.6 seconds. All 3.2 Carrera's feature galvanised bodies which, together with Porsche's legendary build quality, ensure that these classics are long lasting.This example is presented in the iconic Guards Red with a black interior. Prior to our vendor purchasing the car, it had been owned by a charity who were very kindly gifted the car. It spent a long period of time in storage before being sold, so has recently been through a recommissioning process focussing on ensuring the car drives exactly as it should, the brakes had some attention due to the lack of use and the car was fully serviced. The car will be driven from Exeter to the sale. The car has a huge history file containing various invoices over the years for servicing and other works. An air-cooled 911 is always going to be something truly special, even more so in 2023 as Porsche celebrates its 75th anniversary, so why not join in the fun?

Various Bottles of mixed wines including: Beaune Superieur 1959, Shipped & Bottled by James Eadie ((Please note raised cork and what appears to be historical signs of seepage. (Fill Level Top Shoulder)); 1 Bottle Red wine missing labels but believed to be Chateau Talbot 1964; 1 Bottle Pierre Ponnelle, Pouilly-Fuisse ((Please note loose label(s) likely past peak)); 1 Half Bottle Chateau La Tour St Bonnet 1989 Medoc, Various Wines & Madeira to include 4 Bottles Cuvee Prestige Selected by Tesco, 1 Bottle Yarrunga Field 2002 Bin No303, Blandys "Duke of Sussex" Dry Special Madeira; Ernest & Julio Gallo Ruby Cabernet 2004; (Some likely past peak)

Haig's Dimple Believed 1970's no strength or capacity noted (Please note low fill level and damaged box. Bottle sealed/unopened)Whisky

[Attributed to Isaac Robert Cruikshank (1789-1856)]. A Late Arrival at Mother Wood's, hand-coloured etching on wove paper, London: George Humphrey, 19 June 1820. This satirical caricature depicts a stout and flamboyant Queen Caroline observing a cheering crowd from Sir Matthew Wood's balcony; some members of the crowd are throwing mud at a parson on horseback. 25.5cm by 39cm. Together with Monstrositys of 1825, [attributed to Henry Heath], hand-coloured etching lampooning the latest fashions, London: S. W. Fores, 28 June 1825, and The Bedford Level, [by James Sayers], etching with later colour, ridiculing the Duke of Bedford's motion for peace with France, London: Hannah Humphrey, 14 April 1795 (3)

Churchill attempts the censorship of Sherwoodon matters ‘disparaging to me personally or to my son’ [CHURCHILL WINSTON S.]: (1874-1965) British Prime Minister 1940-45, 1951-55. Nobel Prize winner for Literature, 1953. SHERWOOD ROBERT (1896-1955) American playwright and screenwriter who served as a speechwriter for Franklin D. Roosevelt during World War II. Sherwood recounted the experience in his Pulitzer Prize winning book Roosevelt and Hopkins: An Intimate History (1948). A fascinating archive of telegrams and letters between Sherwood and Lord Beaverbrook, including (in chronological order) - (i) Original typed telegram (received copy) from Sherwood, one page, oblong 8vo, New York, 11th June 1948, to Lord Beaverbrook, on the printed stationery of Canadian Pacific Telegraphs, stating, in part, 'Very anxious talk to you about urgent cable from eminent friend [Winston S. Churchill] in London raising furious questions about my book', and asking if he can talk to Beaverbrook the following morning. (ii) Original typed telegram (received copy) from Sherwood, one page, 4to, New York, 12th June 1948, to Lord Beaverbrook, on the printed stationery of Canadian National Telegraphs, stating, in part, 'Following is the text I referred to Quote It would not be right for you to publish a detailed account of my Conferences in Moscow of August 1942. Harry [Hopkins] was not present Your story is only based on the report of Averell [Harriman] a copy of which was found among Harrys confidential papers Stop This Government should certainly be consulted before any such disclosures were made Stop Pray let me know whether you have already obtained consent of the President and State Department as well as that of Everell (sic) to the publication of these secret discussions Unquote……Should greatly appreciate your views on the quoted portion of the message'. (iii) Original typed telegram (received copy) from Sherwood, two pages, 4to, New York, 16th June 1948, to Lord Beaverbrook, on the printed stationery of Canadian National Telegraphs, again relaying a message from Churchill, in part, 'Last night I received a straight message cable….from Kent as follows Quote [I] have further considered your text and propose to submit it to H. M. Government Stop I do not think they will agree to the disclosures of the conference of August Nineteen Forty Two I also object to this Stop With regards to Hopkins diary concerning [Anthony] Eden conversations with him it would be improper to publish these without Eden's consent Stop It does not rest with me to give you any permission to publish quotations from the various telegrams quoted from me to Roosevelt Hopkins and Stalin Stop These must belong to H. M. Government Stop Finally I append in my following cable notes on matters of secondary importance some of which are merely disparaging to me personally or to my son others which are prejudicial to Anglo American interests at the present time Stop Many of these are not founded on facts Stop I feel confident that for your own reputation you will delay publication till these issues have been satisfactorily dealt with Stop The present text would certainly lead to much painful controversy both official and personal…..', Sherwood concluding by informing Beaverbrook that he is seeking legal advice before replying 'to this amazing message'. (iv) T.L.S., Bob, two pages, 4to, Sutton Place (New York), 16th June 1948, to Lord Beaverbrook, marked Personal and Confidential. Sherwood refers to his telegram and Churchill's message to him and adds that somebody had tried to telephone him at 1.00am British time ('So perhaps there was an attempt made to telephone me from Chartwell before the cable was despatched') and further remarking 'I am completely at a loss to understand what is “disparaging” to WSC personally but the reference to “my son” refers undoubtedly to something written by Harry at Casablanca, - a reference to Randolph in a conversation with WSC….That is the kind of thing that I would have omitted had I been asked to do so in the usual, courteous manner', also asking for Beaverbrook's recollections of talks with Harry Hopkins in Washington in July 1944, relative to a lend lease to Great Britain following V-E Day, 'Since Harry's efforts as regards Phase Two were of tremendous importance in the light of events following Roosevelt's death, I should certainly like to have more enlightenment on this subject', and concluding by remarking that a first installment of the Hopkins material has appeared in The Sunday Express and that 'It occurs to me as remotely possible that this…..may have had something to do with the amazingly intemperate and ill-mannered outburst from Chartwell'. (v) Original typed telegram (received copy) from Sherwood, one page, 4to, New York, 18th June 1948, to Lord Beaverbrook, on the printed stationery of Canadian National Telegraphs. Sherwood informs Beaverbrook that he has received two more communications from Churchill, which he proceeds to quote from, in part, 'I have not yet received an answer from you to my latest cable which is of an urgent character. In the meantime quite apart from our personal correspondence His Majesty's Government tells me that they have read the first installments of your work appearing in The Sunday Express and they note much confidential material is being used They are therefore making inquiries…..as to whether the United States government have been consulted and what the book contains', and also adds that he would very much welcome a telephone conversation with Beaverbrook on the subject. (vi) Original contemporary typed copy of a telegram from Sherwood, one page, oblong 8vo, n.p. (New York), n.d. (21st June 1948), to Winston S. Churchill. Sherwood states that his 'detailed comments on your specific points' are being sent to Churchill via air mail, although in the meantime clarifies that he will omit the references to Randolph Churchill, as well as Churchill's own attitude toward press conferences and also Eden's comments on the reception of speeches, adding 'As to Stalin statement quoted by Willkie I of course agree that the statement was a falsehood and this is exposed and refuted in my book……However I shall be careful to insure this is entirely clear' and concluding by congratulating Churchill on the reviews of The Gathering Storm. (vii) T.L.S., Bob, one page, 4to, Sutton Place (New York), 23rd June 1948, to Lord Beaverbrook, sending the copy of the final cable to Churchill ('I have had no reply to this to date') and also referring to quotations he will be making from two letters written by Beaverbrook to Harry Hopkins in October and November 1944.Together with two other related pieces. A remarkable grouping of extraordinary content relating to Churchill's attempted censorship, on both a political and personal level, of Robert Sherwood. File holes to the left edges of each document, only very slightly affecting a few words of text, and with some light overall age wear, generally about VG, 11OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED. PLEASE REFER TO IAA EUROPE FOR FURTHER INFORMATION.       

A mid 20th century circa. 1950's ladies travel vanity set. The set comprising of comb case, soap dish, perfume bottle, lidded ointment jar and four hand held accessories consisting of thee manicure pieces and shoelace tightener. Each container having a honeycomb decoration to lids and held within fitted case lined with purple velvet. Mirror to inside of lid and brass handle to case along with its original key and split level storage. Measures 27cm x 23cm x 

THREE BOXES OF CDS, LPS AND DVDS, comprising a twenty one piece boxed set of Laurel & Hardy DVDs, approximately forty CDs, artists include Level 42, Suzanne Vega, David Gray, Peter Gabriel, etc. thirteen single records to include Jethro Tull, UFO, Human League, The Police, Status Quo, Deep Purple, AC/DC, Hammy Hagar, approximately thirty five LP records to include classical artists, Strauss, Beethoven, Tchaikovsky, Vivaldi, 1980's L.Ps include Mai Tai, Skin Games, Frankie Goes To Hollywood-Relax, Heaven 17, Alison Moyet, Album 2 Spectacular Sound Effects, 20 Number Ones 1967, The Best Of Chris Barber, etc. together with a collection of ten late 1970's live music programmes, comprising Knebworth Park 'Pink Floyd', The Who 1979, AC/DC UK Tour 1978, Wishbone Ash, Motorhead, UFO 1979, Rush 1979, Monsters Of Rock Festival, Van Halen World Tour, Boston Euro Tour 1979 (s.d) (3 boxes)

An 18th century Chinese blue & white sectional stacking box of cylindrical form, 12cms high.Condition ReportThere may be one section missing s one level does not sit snugly.

VINYL RECORDS a lot of prog rock, rock vinyl LP and EP records with Led Zeppelin, David Bowie, The Waterboys, Fleetwood Mac, The Cure, Moody Blues, David McWilliams, Alice Cooper, The Chi-Lites, ABBA, Jethro Tull, Mahivishnu Orchestra, Booker T and the M.G.'s, Rush, Sammy Hagar. Van Halen, Spider, Styx, Vangelis, Wild Angels on B.C.M. 101, Scritti Politti, Level 42 etc Condition Report:Available upon request

Railway and Other Public Transport Road and Engineering Signage, a repainted Pre Warboys cast alloy Level Crossing sign, (30cm wide x 53cm high), enamelled BR shunting signal 39cm in diameter, with label on reverse Marylebone shunting signal decommissioned 1991, small enamelled sign Signal Dept L202, two enamelled signs S.689A/A 101A, each 40cm wide x 15cm high, painted alloy notice Car Stop 8 25cm square, five circular alloy double sided signals each with a letter and mounting bracket, 24cm in diameter and a circular spray painted double sided notice with hanging hook, This train must not be moved/ G.E.C. J.L.E. N.L.P., F-G, (12)

7" COLLECTION - 60s/90s CLASSIC ROCK/POP/SOUL. Cracking diverse collection of around 400 x decade spanning 7"! To include John's Children - Desdemona (UK original, Track 604003 - Ex+ or archive stunning condition record/VG neat sleeve with one of the side tabs unglued, this could be repaired), Redbone inc. Come And Get Your Love (S EPC 1944), The Who inc. A Legal Matter, Caravan, Peter Tosh, Spitting Image, Jimmy Cliff, Manfred Mann, Freddie Mercury, Massive Attack, T Rex, Tangerine Peel, Kevin Ayers (HAR 5107 - Ex+), Michael Chapman (HAR 5002 - Ex+), Money Mark, Brian Protheroe, Stevie Nicks, Ray Parker Jr., Betty Wright, Bill Withers, Alison Moyet, Level 42 and Meat Loaf. Condition is generally clean VG+ to Ex+/archive with many grading as Ex or better

Mokkaservice "Blau-bunte Blume"Meissen. Schwertermarke, 1980er Jahre, 1. Wahl. Entwurf: Form 1972/1975 von Ludwig Zepner (1931-2010); Dekor von Volkmar Bretschneider (*1930) und Heinz Werner (1928-2019). Unterglasurblaue Malerei, polychrome Aufglasurmalerei, Goldstaffage. 14 Teile. Form "Großer Ausschnitt". Mokkakanne (H 19 cm), Milchkännchen, 6 Mokkatassen und 6 Untertassen Die Malerei erscheint außerhalb jeden Regelwerks der Porzellanmalerei und besitzt eine Lebendigkeit, die so nur auf Einzelkunstwerken, nicht aber auf Gebrauchsporzellan zu finden ist. Den Granden Heinz Werner und Volkmar Bretschneider verdanken wir, das auf diesem Service der ganze Reichtum sommerlicher Blütenpracht zur Geltung kommt. Aquarellartig, ungebunden und doch fein nuanciert und in der Kombination von Unterglasur- und Aufglasurmalerei erreichen die Künstler eine beeindruckende Tiefe und Räumlichkeit. Hier ist jedes Serviceteil ein besonderes Unikat und erlesenes Kunstwerk. Flower-Power auf allerhöchstem künstlerischen Niveau. Literatur : Ausstellungskatalog: Meissener Konturen (1991), 1991, S. 84f. und S. 253f. Mocha service "Blue colorful flower"Meissen. Heavy mark, 1980s, 1st choice. Design: form 1972/1975 by Ludwig Zepner (1931-2010); decor by Volkmar Bretschneider (b. 1930) and Heinz Werner (1928-2019). Underglaze blue painting, polychrome onglaze painting, gold staffage. 14 pieces. Shape "Large cutout". Mocha pot (h 19 cm), milk jug, 6 demitasse cups and 6 saucers The painting appears outside any set of rules of porcelain painting and has a liveliness that is so only on individual works of art, but not on utility porcelain. Thanks to the greats Heinz Werner and Volkmar Bretschneider, this service displays the full richness of summer blossoms. Watercolor-like, unbound and yet finely nuanced, and in the combination of underglaze and onglaze painting, the artists achieve an impressive depth and spatiality. Here, each service piece is a special one-of-a-kind and exquisite work of art. Flower power at the very highest artistic level. Literature : Exhibition catalog: Meissen Contours (1991), 1991, p. 84f. and p. 253f. *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.

Seltenes Speiseservice "Blau-bunte Blume". Meissen. Schwertermarke, 1979, 1990, 1991, 1. Wahl. Dekor-Nr. 1462/6110. Entwurf: 1972/1975 von Ludwig Zepner (1931-2010; Form); Volkmar Bretschneider (*1930) und Heinz Werner (1928-2019; Dekor).Unterglasurblaue Malerei, polychrome Aufglasurmalerei. 35 Teile. Form "Großer Ausschnitt". 6 Suppentassen mit 6 Untertassen, 6 Speiseteller, 6 Salatteller, 6 Dessertteller, 3 Schüsseln (Ø 14,5, 16,5 und 19 cm), 1 Sauciere und 1 Saliere. Die Blumenmalerei in Meissen hat eine lange Geschichte und eine große Tradition. Jede Epoche brachte große Meisterleistungen hervor, die die besondere Handschrift der Künstler, des Designs und der Mode jedes Jahrzehnts trugen. Der wohl größte Wurf der Postmodere der Siebzigerjahre hinsichtlich formaler und dekorativer Gestaltung ist die 'Blau-bunte Blumenmalerei', Eine beeindruckende Tafel mit diesem Speiseservice war der Höhepunkt der Standgestaltung der Manufaktur zur Leipziger Herbstmesse 1974. (vgl. Meissener Konturen 1960-1990, S. 253) Ausführlich beschreibt J. Schärer in 'Meissener Konturen' welche große Herausforderung die Entwicklung und Herstellung dieses Porzellans erforderte: Nur besonders begabte Blumenmaler konnten diese Malerei, die das Normalmaß der Blumenmalerei weit überstieg, umsetzen. Hinzu kamen hohe technische Herausforderungen. Die Folge dieser höchsten Ansprüche war, dass der Dekor nur relativ selten gemalt wurde und demzufolge sehr rar ist (a.a.O., S. 254). Die Malerei auf diesem Speiseservice erscheint außerhalb jeden Regelwerks der Porzellanmalerei und besitzt eine Lebendigkeit, die so nur auf Einzelkunstwerken, nicht aber auf Gebrauchsporzellan zu finden ist. Den Granden Heinz Werner und Volkmar Bretschneider verdanken wir, das auf diesem Service der ganze Reichtum sommerlicher Blütenpracht zur Geltung kommt. Aquarellartig, ungebunden und doch fein nuanciert und in der Kombination von Unterglasur- und Aufglasurmalerei erreichen die Künstler eine beeindruckende Tiefe und Räumlichkeit. Hier ist jedes Serviceteil ein besonderes Unikat und erlesenes Kunstwerk. Flower-Power auf allerhöchstem künstlerischen Niveau. (vgl. Meissner Konturen 1960 -1990, S. 84/85 und S.253f).Literatur : Ausstellungskatalog: Meissener Konturen (1991), 1991, S. 84f. und S. 253f.Provenienz : Erworben 2005 bei der Auflösung der Meissenhandlung ABT in Ulm.Rare dining set "Blue colorful flower". Meissen. Heavy mark, 1979, 1990, 1991, 1st choice. Decor no. 1462/6110. design: 1972/1975 by Ludwig Zepner (1931-2010; form); Volkmar Bretschneider (b. 1930) and Heinz Werner (1928-2019; decor).Underglaze blue painting, polychrome onglaze painting. 35 pieces. Shape "Large Cutout". 6 soup cups with 6 saucers, 6 dinner plates, 6 salad plates, 6 dessert plates, 3 bowls (Ø 14.5, 16.5 and 19 cm), 1 sauce boat and 1 saliere. The flower painting in Meissen has a long history and a great tradition. Each era produced great masterpieces that bore the particular signature of the artists, design and fashion of each decade. Probably the greatest throw of the postmodernism of the seventies in terms of formal and decorative design is the 'Blau-bunte Blumenmalerei', An impressive table with this dinner service was the highlight of the stand design of the manufactory at the Leipzig Autumn Fair 1974. (cf. Meissener Konturen 1960-1990, p. 253) In detail, J. Schärer describes in 'Meissener Konturen' what great challenge the development and production of this porcelain required: Only particularly gifted flower painters were able to realize this painting, which far exceeded the normal scale of flower painting. In addition, there were high technical challenges. The consequence of these highest demands was that the decoration was painted only relatively rarely and is consequently very rare (loc. cit., p. 254). The painting on this dinner service appears to be outside any set of rules of porcelain painting and possesses a vividness that can only be found in this way on individual works of art, but not on utility porcelain. Thanks to the greats Heinz Werner and Volkmar Bretschneider, this dinner service displays the full richness of summer blossoms. Watercolor-like, unbound and yet finely nuanced, and in the combination of underglaze and onglaze painting, the artists achieve an impressive depth and spatiality. Here, each service piece is a special one-of-a-kind and exquisite work of art. Flower power on the highest artistic level. (see Meissner contours 1960 -1990, p. 84/85 and p.253f).Literature : Exhibition catalog: Meissen Contours (1991), 1991, p. 84f. and p. 253f.Provenance : Acquired in 2005 at the dissolution of the Meissenhandlung ABT in Ulm.*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.

AN EDWARD VIII SILVER PAP BOAT by S Blanckensee & Son Ltd, Birmingham 1936, with ring handle, raised on a reeded oval foot. 16.2cm lip to handle, 2.1 troy ouncesMarks lightly rubbed but legible. Sits level on foot. Light surface marks and scratches commensurate with age and use.

Alexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Stillleben mit Fayenceteller und Früchten. Ca. 1931. Öl auf Malpappe. Jawlensky/Pieroni-Jawlensky/Jawlensky 1379. Verso von fremder Hand bezeichnet. 16 x 22 cm (6,2 x 8,6 in). • Durch den extremen Bildausschnitt bringt Jawlensky das klassische Sujet des Stilllebens auf eine neue Ebene. • Form und Farbe sind bestimmend und vor allem der Hintergrund hat kaum noch räumliche Bezüge. PROVENIENZ: Privatsammlung Wiesbaden. Aenne Abels, Köln. Privatsammlung Hamburg (1957 vom Vorgenannten erworben). Privatsammlung Hessen (seit den 1980er Jahren, durch Erbschaft vom Vorgenannten). Alexej von Jawlensky beschäftigt sich bereits in seinem Frühwerk mit dem Stillleben, insbesondere mit dem Apfelstillleben. In diesen Werken ist noch ganz der Einfluss des Spätimpressionismus zu sehen. Ab 1911 wird das menschliche Antlitz zum Mittelpunkt seines künstlerischen Schaffens, das er in einem obsessiven Rausch durchdekliniert. In seinen letzten, von Krankheit bestimmten Lebensjahren kehrt er zum Genre des Stilllebens zurück. Ganz in seine malerischen 'Meditationen' versunken, mag dieser Rückgriff Jawlenskys auf früh Geschaffenes wie ein Erinnern an glücklichere Zeiten anmuten. 'Meine Freunde, die Äpfel, die ich wegen ihrer reizenden, roten, gelben, lila und grünen Kleider liebe, sind für mich auf diesem oder jenem Hintergrund, keine Äpfel mehr. Ihre Töne und ihre strahlenden Farben auf dem Grund anderer nüchterner Töne verschmelzen sich zu einer von Dissonanzen durchzogenen Harmonie und sie erklingen meinem Auge wie eine Musik, die mir diese oder jene Stimmung meiner Seele wiedergibt. Äpfel, Bäume, menschliche Gesichter sind für mich nur Hinweise, um in ihnen etwas anderes zu sehen: das Leben der Farbe erfaßt von einem Leidenschaftlichen, einem Verliebten.' (Zit. nach: Clemens Weiler, Köpfe, Gesichter, Meditationen, 1997, S. 121) [SM] Aufrufzeit: 10.06.2023 - ca. 15.11 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Stillleben mit Fayenceteller und Früchten. Ca. 1931. Oil on cardboard. Jawlensky/Pieroni-Jawlensky/Jawlensky 1379. Verso inscribed by a hand other than that of the artist. 16 x 22 cm (6.2 x 8.6 in). • For the first time offered on the international auction market. • Owing to the unusual image section, Jawlensky takes the classic still life subject to a new level. • Form and color are determinant, while the background barely shows spatial references. PROVENANCE: Private collection Wiesbaden. Aenne Abels, Cologne. Private collection Hamburg (acquired from the above in 1957). Private collection Hesse (through inheritance from the above in the 1980s). Alexej von Jawlensky was occupied with the still life at an early point in his artistic career, in particular with the apple still life. In these works, the influence of Late Impressionism can still be seen. From 1911 on, the human face moved to the center of his artistic work, which he explored in an obsessive frenzy. In the last years of his life, which were dominated by illness, he returned to the genre of the still life. Totally immersed in his painterly 'Meditations,' Jawlensky's recourse to early creations seems like a reminiscence of happier times. 'My friends, the apples, which I adore for their lovely, red, yellow, purple and green dresses and on different backgrounds, are no longer apples to me. Their hues and their bright colors on a sober background merge into a harmony permeated with dissonances and they sound to my eye like a music that puts me in the mood of my soul. Apples, trees, human faces are only hints for me to see something else in them: the life of color captured by passion, by someone in love.' (Quoted from: Clemens Weiler, Köpfe, Gesichter, Meditationen, 1997, p. 121) [SM]. Called up: June 10, 2023 - ca. 15.11 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Over 300 7" Singles from The 60's to 80's, to include pop titles by Nik Kewrshaw, The Police, Aretha Franklin, The Cars, U2, Marillion, Kinks, Level,42, Embrace, Hollies Free, Madonna, Prince, Beatles, Righteous Brothers, Duran Duran, and many more.

7" Singles in Two Boxes and Eleven LPs, featuring artists from the 60's, 70's and 80's, such as Dire Straits, Sade, Bay City Rollers, Level 42, Heaven 17, Beach Boys, Fleetwood Mac, Duran Duran, Del Shannon Blondie and Adam Faith, to name a few.

Camille Souter HRHA (1929-2023)Bewley's 8.45, Filling the SugarOil on paper on board, 18 x 18cm (7 x 7")Signed; inscribed versoProvenance: With The Dawson Gallery, Dublin, December 1975 where purchased, thence by descent to the present owners; The Estates of Dr. John & Mary Esther O’Driscoll, KildareExhibited: Dublin, Douglas Hyde Gallery, 1980, addenda no. 11Literature: Garrett Cormican, 'Camille Souter- The Mirror in the Sea' 2006, catalogue no. 365, full page illustration, p. 297.This is one of a relatively small number of works by Camille Souter where a human figure takes centre stage. Camille Souter is best known for her landscapes. Part of the reason for this was her respect for other people’s privacy. If you were going to paint another person, particularly in a realistic way in which they might be recognized, she would have considered it necessary to ask their permission. This painting is, however, a more of an impressionistic genre piece. Until recent times before the proliferation of coffee shops from the mid 1990’s onward, Bewleys was something of a Dublin institution. People would go there to have their breakfast before doing their Christmas shopping, do the Irish Times crossword while having a coffee, or just going about their daily business. Trinity students would often arrive there first thing in the morning after the Trinity Ball there being nowhere else to eat open in the city centre in the early hours. The title of this work suggests a daily routine in Bewleys of filling the sugar bowls to prepare for the day ahead and begs the question: just how much sugar did Dubliners consume daily in the 1970s? There are no figures seated in the background or to either side of the table. The sole protagonist is totally absorbed by her task. It captures a very intimate, quiet moment. While reminiscent or Bonnard’s work on one level, Souter’s palette is much more muted. This in keeping with the interior of Bewleys itself and seems reflective of the first semi-somnolent  moments of day; one imagines while the artist waited for a first coffee.Garrett Cormican, April 2023

1936 Morris Eight Special Transmission: manualMileage:The Morris Eight was a small car with a production run from 1935 to 1948. Its inspiration coming from the popularity of the Ford Model Y. The success of the Eight enabled Morris to regain its position as Britain's largest motor manufacturer. Compared to its peers, the Morris Eight was a well equipped car with the driver being provided with a full set of instruments including a speedometer with a built in odometer, oil pressure and fuel level gauges and an ammeter.Registered in February 1937, this charming Morris Eight Special has been subject to a ground up restoration and built as a  homage to the 1930's racers of the period finished with an all-aluminium body by Max Szewczyk and sat on period Blockley tyres with wire knock on wheels. Owned by our vendor, a prominent trimmer for some of the world's most exclusive vintage cars, it started life as a two-seat tourer. Now finished in red with a bespoke tan leather trim and a new tonneau cover with racing spot, this is a very pretty Special turns heads everywhere it goes. Described by the vendor as being tremendous fun to drive with the 885cc engine and something he will be sad to sell. Offered to auction with a V5C registration document and sure to be very popular, viewing is highly recommended.

1969 Mercedes-Benz 280 SL California Transmission: automaticMileage:65513The stylish Mercedes-Benz W113 was presented at the 1963 Geneva Motor Show and replaced both the expensive 300 SL and entry-level 190 SL with one medium-priced two-seat sports car. The SL was a huge success, with 48,912 sold in nine years, and is now considered a true masterpiece. The body combines the elegantly trim look of contemporary Mercedes saloons with a simple grille derived from the 300 SL. Béla Barényi conceived the patented concave hardtop, soon called the 'Pagoda.' Like the best designs, the W113 has proven to be timeless in its appeal.We are pleased to offer this superb low mileage, three owner from new example which is an original and rare 'California Coupé', with the single bench seat as designated by option '417' on its factory record.Originally purchased in July 1969 by its first owner, a Mr. Luigi Bresciani an Italian ice cream manufacturer who ordered the Mercedes as a retirement present to himself. Interestingly Mr. Besciani ordered the Pagoda in UK right hand drive specification but had it delivered to his Italian residence. Later in 1972 he returned to England to join his family bringing the Pagoda with him. The Pagoda remained his pride and joy until 1982 when at the age of 80 he found his health failing and with great reluctance arranged for the car to be sold. At this stage, the car had covered some 51,000 miles. The car was then sold to its second owner, who at this time carried out various maintenance work to insure the car was ready for further use. The Mercedes was enjoyed for a further 8,000 miles and was taken around the country as well as on the continent. More recently 868 VC was purchased by our vendor at Historics auction for a figure of £113,200, elated by his purchase there were no thoughts to sell until he received the news that his driving licence was to be rescinded therefore he is forced to sell after a relatively short tenure.Offered with over four decades of single ownership, this superb example has covered a mere 65,513 miles and has had just three owners from new having been purchased recently for over £113,000. Accompanying the Pagoda is a sizeable history file with many documents, sundry bills, service records, MoT test certificates, and even the March 1983, edition of Classic and Sports which the car featured in!Having been dry stored since 1982, this Mercedes was last MoT'd in the early 2000's and has been used sparingly since but recently recommissioned by our vendor and running as it should. Presented in very good, preserved condition the paintwork retains a deep shine and shows little sign of age as does the interior and chrome work. Having covered little mileage from new and with a superb three owner history, this example represents a fantastic opportunity to acquire an ever-desirable right hand drive 280 SL Pagoda. We expect this wonderful example to be keenly contested at auction.

Lagavulin 12 Year Old, White Horse Distillers Ltd, 43% ABV, 75cl, likely a 1980's bottling, level upper shoulder, contained in carton.

Cognac - Courvoisier *** Luxe, 70cl, 40° proof, likely 1970's bottling, level upper shoulder, contained in carton.

A 75cl bottle of Mortlach Over 12 Years Old, 40% vol, level upper shoulder, bottled by Gordon & MacPhail, likely late 1970's.

Glenlivet 8 Years Old, George & J.G Smiths, 26⅔ fl oz, 100° proof, level mid-neck, likely 1960's or 70's bottling.

A 26⅔ fl oz bottle of Glen Moray 10 Years Old, 70° proof, level upper shoulder, contained in cardboard tube, likely a 1970's bottling.

Haig Dimple, 26⅔ fl oz, 70° proof, wire wrapped bottle, level upper shoulder, contained in presentation box, likely a 1970's bottling.

A 1 litre bottle of Three Barrels VSOP brandy, 40% vol, level low neck and a 24 fl oz bottle of Martell VS *** Cognac, likely a 1970's bottling. [2]

Lagavulin 12 Year Old, White Horse Distillers Ltd, 43% ABV, 75cl, likely a 1980's bottling, level upper shoulder, contained in carton.

A 26⅔ fl oz bottle of Grants Stand Fast, 70° proof, level lower shoulder, likely a 1970's bottling.

Nikos Engonopoulos (Greek, 1907-1985)Trois philosophes signé en grec et daté '37' (en bas à droite)huile sur toile106 x 93cm (41 3/4 x 36 5/8in).Peint en 1937.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceThe Artist's Estate.Private collection, Athens.ExpositionsAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 2 (listed in the exhibition catalogue, p. 294).Sao Paolo, Brazil, III Bienal de Sao Paolo, Museum de Arte Moderna, July-October 1955 (listed in the general exhibition catalogue, p. 161, no. 1).LittératureFiche Descriptive des Oeuvres Pavillon Grec, Venice Biennale, 1954, handwritten list, p.5, no. 40.K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 204, p. 76 (shown in a 1954 photograph with the artist), p. 241 (illustrated), p. 409 (catalogued and illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, Benaki Museum, Athens 2010, p. 177, fn.18 (mentioned).Nikos Engonopoulos, exhibition catalogue, Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, 2017, p. 257 (shown in a 1954 photograph with the artist).A significant missing piece of 20th c. Greek art, discovered recently by Bonhams and returned to public view after nearly 70 years,1 this pioneering work—Engonopoulos's first surrealist oil—was shown in the 1954 Venice Biennale,2 where for the first time, Greece was represented by one artist alone.In Venice, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'Here, the artist subverts—in a typical surrealist fashion—the conventional ways with which rational thought perceives the world by replacing the heads of the three philosophers with archetypal geometric forms. Paying homage to the great Cézanne who exhorted painters to depict reality in terms of simple geometric shapes and volumes, he finds in the cube, the sphere, and the triangle the underlying, basic structure of the world, the all-encompassing essential force that binds the universe. These archetypal forms echo the ideal world of Plato who considered them pure beauty and fundamental elements for building the world. Elemental and three-dimensional, these forms also seem like stemming from a Bauhaus workshop in the 1920s, forming an imaginary cultural bridge that spans the millennia. As noted by Walter Gropius, the great German architect and founder of the Bauhaus School, these original geometric shapes are purely abstract entities that dash through time and all countries, ensuring validity in all human creations.The visual act, set against the schematised and unmistakably Engonopoulian formations of travelling clouds, takes place in a shallow stage-like space that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting,3 has once said that 'under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 Navigating the viewer to a magical world of poetic metaphor, a host of details trigger various associations ranging from Medieval and Renaissance times (the chequered tilework echoes similar motifs by Mantegna and Giovanni Antonio Fasolo) to Giorgio de Chirico's pittura metafisica (highlighted by the triangular shape used in constructing the philosopher's head). In the left middleground, the red figure carrying a heavy bag possibly alludes to the myth of Sisyphus and the philosophical theory that existence is absurd, while in the upper right corner, the tall buildings perched on a steep hill are reminiscent of similar structures in works by Parthenis and de Chirico. Although the unexpected staging of dream-like scenes is a fascinating feature of Engonopoulos's art, no less impressive is his handling of colour. The shimmering yellow, green and orange tunics worn by the three standing figures and the enamel-like blues and reds applied without tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.1 The painting remained accessible to scholarly research only though a black and while archival photograph published in the artist's catalogue raisonée (see Littérature).2 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.3 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou-A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century[in Greek], Melissa editions, Athens 1974, p. 261.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