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Daphne Du Maurier original signed, type written 2 sided letter dated Feb 22nd 1978, and on Kilmarth headed paper. One of two associated letters that we are selling in this auction, the other offered as a separate lot. The letter was written to an A level student, hoping to provide material for her school magazine, and who had hopes on becoming a journalist. The response in this letter from Du Maurier was genuinely friendly and open. Comes with provenance in the form of a declaration from the original, now retired recipient, who did became a journalist and for the last 30 years a high court reporter, Ms S M Gibson.

1962 Triumph TR4 Transmission: manualMileage:75331Produced between 1961 and 1967, the TR4 combined a new, modern and aggressive body design by famed Italian stylist, Giovanni Michelotti with the basic chassis of the previous TR3A. The TR4 also improved passenger comfort with wind-up windows, face-level ventilation and an optional hardtop. The 2138cc engine of the late-production TR3A continued while the 1991cc engine was also made available to buyers who wanted to participate in two litre racing. When equipped with the optional overdrive, the TR4 was good for a top speed of almost 110mph. Today, the four-cylinder TRs are among the easiest of post-war classic sports cars to own and maintain being supported by a multitude of component suppliers and other specialists.Purchased new by Alan Bates, renowned Jazz record producer, impresario and the man who launched the career of Jamie Cullum, this TR4 is finished in red with black trim and first registered to Mr Bates on 14th June in 1962. Mr Bates had worked previously with Jimmy Hendrix, Tina Turner, and Otis Redding, while working for Polydor records, but in the late 60's we are informed by his daughter that he took this left-hand drive example to Paris where he lived and worked for several years opposite the Moulin Rouge, running Riverside Records before returning with the car to Southwest London where it remained. Sadly, after his passing in January 2023, the car was left to his wife and now owner of 2063 WK, who informs us that the car has been dry stored under covers in the family garage for about a decade, however, it was subject to an oil change and run in the summer of 2017 by Mr Bates nephew. Recently the car has been discovered, removed from the garage and sent to NVS for a light recommissioning, new oil, fuel and plugs all fitted and the car, although would benefit from further recommissioning should the buyer wish to use it on the road, it now starts and runs on the turn of the key and rolling freely however will be required to be trailered away. One can only imagine the people who have been passengers in 2063 WK and the events it would have been parked outside, a car Alan could not bare to part with throughout his life and was fondly remembered by his family, but for further recommissioning a wonderful sports car with a nice provenance and just one previous keeper. Consignor Mathew Priddy

1974 Lamborghini Urraco 250S Transmission: manualMileage:In the early '70s, the late Ferruccio Lamborghini had decided it was time to add a smaller model to the line-up that until then, only consisted of V12 engine cars. It was this decision that led to a V8 powered model being produced that was able to compete on the same level as the Ferrari Dino 246 or the Porsche 911, so, preliminary work began on a model that would become the Urraco. At the November 1970 Turin Auto Show, the first pre-production Urraco crafted by Marcello Gandini, designer of the Lamborghini Countach, went on display, showing off its handsome looks, angular frontage with pop-up headlights and large, wide opening doors. All-in-all a well-balanced car that, once you got to know it, was acknowledged as a true 'Raging Bull'. 1972 saw the improved two-door coupé, Urraco S introduced, utilising a full leather upholstery, powered windows that were now also tinted and an optional metallic paint coat available. The engine also received an update, and was fitted with new Weber 40 DCNF carburettors, capable of synchronous opening and high rates of flow making them ideal for highly tuned engines.This superb example of this rare Italian sports car is presented in Blue Tahiti with Senape leather/cloth interior. It was delivered from new to Achilli Motors in Italy and there is a Certificate from Lamborghini confirming the original car configuration (right hand drive) which is in the history file. The car was first registered in the UK in 1982 and was purchased by the present owner in 2008. The car benefits from air conditioning and electric windows and has been kept in long term, secure, dehumidified storage as part of a significant Italian car collection and used regularly. It has history going as far back as 1996 with specialists Colin Clarke and Emblem Sports Cars with a major service including cambelt change in 2017 at 15,843km with the current odometer reading 15,962 which is believed to be genuine. The owner has recently carried out a minor service, checkover and MoT which was done in February 2024. Everything works as it should we are informed and the car is featured in Landsem's 'The Lamborghini Urraco' and it comes with a fitted indoor car cover. A superb example of this sought after Italian marque which are becoming more difficult to find. Consigned by James Good.

1950 Jaguar XK120 Roadster Transmission: manualMileage:32000The Jaguar XK120 was manufactured between 1948 and 1954; Jaguar's first sports car since the SS100, which ceased production in 1940. The XK120 was launched in roadster form at the 1948 London Motor Show as a show car for the new Jaguar XK engine. It caused a sensation thus persuading Jaguar founder and design boss William Lyons to put the car into production. The '120' in its name referred to its 120mph top speed which made the XK120 the world's fastest standard production car at the time of its launch. It was available in two open versions; first as the roadster then also as a drophead coupé from 1953 and also as a closed, or 'fixedhead' coupé from 1951. With an alloy cylinder head and twin side-draft SU carburettors, the double overhead-cam 3.4 litre straight-six XK engine was comparatively advanced for mass-produced units of its time. This same basic design of the XK engine, later modified into 3.8 litre and 4.2 litre versions, survived late into the 1980s.Manufactured in August 1950, this XK120 Roadster is one of the earliest XK's built in steel after the factory moved away from aluminium over an ash frame. Notable features indicating this as an early car include the separate chrome side lights, the lack of wing vents, the early 'studless' cam cover engine and tall carburettor dashpots. Built at the Browns Lane Jaguar factory in Coventry, the accompanying letter from Jaguar Heritage confirms that the car was sold directly and shipped to Brylaw Motors of Melbourne, Australia. The car remained in Australia up until the late 1980's when the owner, a Mr. Hall shipped the car back to the UK when his job for Coca-Cola took him from the South Pacific region to Europe. He later went on to become Vice President of Coca-Cola in Europe and presumably, this influenced the decision to move.The car boasts an impressive specification including a five-speed gearbox, telescopic shock absorber upgrade, polyurethane suspension bushes, aluminium fuel tank, electric Kenlow cooling fan, adjustable electric power steering, aluminium sports bucket seats, Brooklands wind deflectors, recessed Monza style fuel filler cap, bonnet strap and bonnet louvres. To add to all this, the car has also benefitted from recently being repainted to a high level in British Racing Green and retrimmed in tan leather. The vendor reports the car to run and drive very well and is only offered for sale to fund a new acquisition.Supplied with a V5C registration document and file of receipts amongst other information. The Roadster version of the beautiful XK120 has always been the most coveted of the XK120 line up and to find such an early car with subtle, but practical modifications is a rare find. Consigned by Will Penrose.

1997 Rover Mini John Cooper Sports Touring Transmission: manualMileage:63000When it was launched in 1959 the Mini became an instant favourite at every level of society, and soon became a motorsport champion across multiple racing genres, partly thanks to John Cooper Garages, who having homed their skills in Formula 1 began modifying the car for more performance, becoming an authorised upgrade from the factory. By the 1990s there were glossy brochures showing all the available options for upgrading your Mini with Cooper Garages while keeping your new car warranty, whether you wanted cosmetic, interior, handling or engine upgrades, Cooper had you covered so you could make the infinity customisable Mini as individual as you wanted. The Sport 5 was a conversion offered by John Cooper Garages, which boosted power to 86bhp. This version featured, as standard, a five-speed Jack Knight Designs gearbox, which helped to maximise the extra performance of the reworked engine. The Mini Cooper S Touring was virtually the same as the Sport 5, both conversions added unique side decals and other exclusive details. These conversions could also be fitted to non-Cooper MPi Minis and limited editions, although the majority were added to Cooper models. Both conversions were approved by Rover as factory conversions in 1999.This 1997 Sports Touring presented in British Racing Green boasts the five-speed Jack Knight Designs gearbox and upgraded power unit from John Cooper Works. The optional John Cooper deep leather bucket seats adorn the interior as does the leather door cards, sunroof and wood veneer trim finish. Supplied with the bookpack and importantly conversion certificate, this example was put into storage in 2016 as special Mini prices began to increase and has been fully recommissioned this year. The odometer has been changed but this was denoted correctly on the MoT test certificate with the true mileage 63,000. Offered with an MoT test certificate and those iconic Mini spotlights, this is a fast, rare, iconic and yet luxury 90's Mini we think certain to appreciate in value with just three former keepers. Consignor Mathew Priddy.

A RARE PAIR OF BLUE AND WHITE MINIATURE TEAPOTS AND COVERS, KANGXI PERIOD 康熙時期一對青花小茶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 1662-1722. Each delicately potted, of rectangular section, the bulbous body with a curved spout and a tall U-shaped handle over the domed cover surmounted by a knop finial. Each finely decorated in well graduated shades of cobalt blue to the body with foliate-shaped panels enclosing floral sprays and rockwork, surrounded by floral scroll, the rim and cover with scroll bands, the spout and handle with swirling clouds. (2)Provenance: From the collection of Frances L. Dickson, and thence by decent within the family. One teapot with an old collector’s label, ‘John S. Lindisay’, the other with two old collector’s labels, ‘John S. Lindisay’ and ‘25I2’, to the base. Frances Louisa Dickson (1876-1967, née Maunsell) was an avid collector of both European and Chinese porcelain. She lived with her husband, Colonel William Dickson, and their four daughters at Kildimo House, county Limerick, Ireland, and in Bournemouth, England, in 1910. While little is known about her life, Frances Dickson’s substantial contribution to The Fitzwilliam Museum, Cambridge University, has been noted for a great variety of porcelain figures and vessels from various ancient periods.Condition: Very good condition with minor wear and firing irregularities, including dark spots and some minor surface level scratches. One teapot with a shallow chip to the mouth, and a small chip to the cover with an old repair.Weight: 163.4 cm and 177.4 cmDimensions: Height 10.6 cm (each), Width 9.8 cm (each) Expert’s note: In the late 17th and early 18th centuries, miniature versions of Chinese blue-and-white porcelain forms were highly prized among collectors. Some of these miniatures would even be placed in ornate ‘porcelain cabinets’, alongside larger ceramics. An example of such a display can be viewed at the Kunstmuseum Den Haag (formerly the Gemeentemuseum, The Hague) where an elaborate 18th-century dollhouse contains its own miniature ‘porcelain room’.Literature comparison: Compare a related group of three miniature blue and white teapots similarly decorated with ‘Long Elizas’ and with a ‘yu’ mark on the base, dated to the Kangxi period, from the Robert Lehman Collection, in the Metropolitan Museum of Art, accession number 1975.1.1712.Auction result comparison:Type: Closely relatedAuction: Christie’s London, 12 November 2002, lot 103Price: GBP 5,019 or approx. EUR 12,500 converted and adjusted for inflation at the time of writingDescription: A rare small blue and white ‘lotus’ teapot and cover, KangxiExpert remark: Note that with a width of only 5.3 cm this is also a miniature teapot from the Kangxi period. 康熙時期一對青花小茶壺中國，1662-1722 年。小方壺，鼓腹，流彎曲，高高的 U 形手柄，壺蓋有凸鈕。壺身青花開光描繪卷葉花卉紋。壺嘴和手柄上飾有雲紋。(2) 來源：Frances L. Dickson收藏，並在家族傳承。 一個茶壺的底部有一個收藏家的標籤 “John S. Lindisay”，另一個茶壺的底部有兩個收藏家的標籤 “John S. Lindisay”和“25I2”。Frances Louisa Dickson（1876-1967 年，née Maunsell）是歐洲和中國瓷器收藏家。1910 年，她與丈夫Colonel William Dickson上校以及四個女兒居住在愛爾蘭利默里克郡基爾迪莫莊園和英國伯恩茅斯。雖然人們對她的生活知之甚少，但Frances Louisa Dickson對劍橋菲茨威廉博物館的重大貢獻眾人皆知。品相：狀況非常好，有輕微磨損和燒製不規則現象，包括黑點和一些輕微的表面劃痕。一隻茶壺，壺嘴處有一個淺缺口，蓋子上有一個小缺口，經過小修。 重量：分別163.4 厘米與177.4 厘米 尺寸：各高 10.6 厘米, 寬 9.8 厘米文獻比較： 比較一組三件相近的康熙青花，底部有「玉」款識，來自Robert Lehman收藏，收藏於大都會藝術博物館，館藏編號1975.1.1712。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2002年11月12日，lot 103 價格：GBP 5,019（相當於今日EUR 12,500） 描述：康熙青花蓮紋茶壺 專家評論：請注意寬5.3厘米，以及為康熙時期。

AN ARCHAIC YELLOW & RUSSET JADE DRAGON PENDANT, EASTERN ZHOU DYNASTY 東周黃玉龍紋佩Please note this Lot is to be sold at No Reserve. 本拍品不設底價Opinion: The quality of this example is perhaps most visible when images of the right and left sides are viewed simultaneously, because only then it becomes apparent how much care was given by the craftsman to ensure that the spiral c-scroll clouds were laid out in an identical fashion. The quality is further personified by the rare color of the jade and the magnificent polish.China, 6th-4th century BC. Carved in the form of a sinuous dragon, with head turned looking back, the s-shaped body with spirals carved in relief. The translucent stone of a fine yellow tone with russet shadings at the edges.Provenance: Collection of Pierre Lallier. Pierre Lallier (1946-2021) was a master printer, having run the famous Atelier Georges Leblanc since 1968. He was also a passionate scholar and committed private collector, spending nearly half a century of his life building his private collection. He started at the age of 12, perusing the Parisian flea markets with his father, extensively researching every piece of interest, while also confirming its dating and provenance. He loved his objects, cherished them, and never wanted to part with them.Condition: Very good condition with minor wear, few minuscule nicks, some of which have smoothened over time. Natural inclusions and fissures.Weight: 21.9 gDimensions: Length 8 cmJade, known as the ‘Stone of Heaven’, represents wisdom, beauty, courage, and perfection. This combined with the powerful iconography of the dragon, creates a strong symbol of luck and good fortune. Jades in this form have a long tradition of being used as ritualistic objects, in particular tokens of rank and symbolic aids for the celestial journey thought to be undertaken by the dead. In the Zhou dynasty, the number of ritualistic jades increased significantly in burial sites, as multiple plaques, pendants, and beads were draped over the face and body of the deceased.Literature comparison: Refer to Michael Gulbenkian’s article Archaic Jades, Arts of Asia, May-June 1983, where the carved c-scroll cloud motif is used as a methodology to date archaic jades.Auction result comparison:Type: Closely relatedAuction: Christie’s Hong Kong, 30 May 2017, lot 2719Price: HKD 1,860,000 or approx. EUR 239,000 converted and adjusted for inflation at the time of writing.Description: A white jade dragon-form pendant, Warring States period (475-221 BC)Expert remark: This comparable shows another iteration of the same design. Particular attention should be paid to the depiction of the lower jaw and snout of the dragon as they are executed in the same manner. While the primary color of the stone is of a different hue, the Christie’s pendant also has an attractive russet tinge around the outer edges, possibly signifying that both these ‘pendants’ were carved from pebbles just slightly larger than their finished size.Auction result comparison:Type: Closely relatedAuction: Christie’s Hong Kong, 2 December 2021, lot 2702Price: HKD 687,500 or approx. EUR 82,500 converted and adjusted for inflation at the time of writing.Description: A group of three jade dragon form pendants, late Spring and Autumn period, circa 570-476 BCExpert remark: The first pendant in the lot is part of a closely related group of archaic jades that includes our pendant. While the color of the chosen stone is just as attractive, there is a clear demarcation between the two pieces. Christie’s carving is clearly a work of art, but it is not accompanied by the same level of quality or beauty as our pendant. It is also worth noting the placement and number of suspension apertures on each of the three Christie’s pendants. Looking at the multiple examples simultaneously shows that these are later-added features, as they are either off-center or through part of the carved design, and so these features should not be taken into account when assessing such ‘pendants’ as this was not their original function.

An L S Starrett Co. metal cased spirit level

A RARE PRINTED CARD 'WEATHER FORECASTER' CALCULATORPILKINTON'S COPYRIGHT, BUXTON, CIRCA 1930The rectangular card applied with three graduated rotating discs, the upper inscribed HANDICAP VALUES ARE SHOWN IN THE SLOTS with aperture revealing a number opposing an arrow indicator for printed settings to the upper margin the middle disc beneath annotated STEADY HIGH, STEADY LOW, RAPID FALL, SLOW FALL, RAPID RISE and SLOW RISE over inscription BEHAVIOUR OF THE BAROMETER, this second disc also with an aperture revealing a number opposing a pointer for the lower disc titled WIND DIRECTION, WHENCE COMING annotated in a similar manner N., NE., S., CALM, SE., SW., E. and W., this last disc again with further conforming aperture revealing a number opposing a pointer to read against a scale calibrated in barometric inches annotated IN INCHES, BAROMETER, REDUCED TO SEA LEVEL printed on the card back panel, the upper margin titled WEATHER FORECASTER over inscription PILKINTON'S COPYRIGHT, BOROUGH METEOROLOGISTS FOR A THIRD OF A CENTURY beneath the discs, the lower margin with instructions for use and GRADED FORECAST TABLE providing weather forecasts from the numbers revealed within the apertures; together with an ivorine pocket weather forecaster, Negretti and Zambra, early 20th century formed as three discs, the outer for setting DIRECTION OF WIND and signed NEGRETTI & ZAMBRA, LONDON, the middle for BAROMETER AT SEA LEVEL and the centre pierced with three sectors annotated FALLING, STEADY and RISING and inscribed PAT. NO. 6276/15, the rear is annotated with 26 sectors describing a weather forecast beside a letter of the alphabet, in original card box with instructions titled WEATHER FORECASTER, (2).The panel 32.5cm (12.75ins) high, 18.5cm (7.25ins) wide; the pocket forecaster 5.5cm (2.25ins) diameter.  The design of the first item in the present lot was almost certainly devised by Miss E.W. Pilkington who was the Borough Meteorologist for the area around Buxton 1923-62, and appears to be based on the principals first incorporated by Negretti and Zambra into their 'weather forecaster' patented in 1915, an example of which is also included in the lot. Negretti and Zambra's design used actual weather conditions over a ten-year period and was said to be 80% accurate by the Manufacturers. By setting the wind direction and barometer reading on the outer two scales, the weather can be forecast by reading the letter that appears within the appropriate sector in the centre of the dial taking into account whether the pressure has been rising, falling or remaining steady and the season (summer or winter). 

1935 Triumph 2/1 250 OHV Twin Port Registration Number:  BHT 458 Frame Number: IR5 1470 - In current ownership since 1978 One of the first single-cylinder models designed by Val Page on joining Triumph, the 2/1 was designed to be a simple entry level machine, but in fact proved to be expensive to produce. In terms of naming, the first number relates to the capacity, the second number is the model number in the range. So 2/1 is the first model in the 250 range (whereas the 2/5 was the top of the range). The Model 2/1's engine was excellent, but as it shared much else with the 350cc range, although robust it was deemed a little on the heavy side at the time. The 2/1 was fitted with 6 volt electrics and Magdyno lighting, and an electric horn. The 3 speed gearbox could be upgraded to 4 speed for an extra 30 shillings. The model survived until the first of the new Tigers came out in 1937. First registered in March 1935 to the Bristol area of England, this 2/1 has remained in the area ever since, being in the current owner’s collection since 1978. The bike is complete and in the main original, with the exception of the oil pressure indicator. The engine (SL1936) and gearbox (L277) are believed to be original. Offered for the first time in over 45 years, this lovely machine is recorded on the VMCC register, the 2/1 is offered with a file of information and receipts.

1936 Triumph 2/1 250 OHV Single Port Registration Number: ATG 167   Frame Number: SL3603  - In current ownership since 1987 - Previously owned by ex-TT racer Ernie ‘Les’ Griffiths  One of the first single-cylinder models designed by Val Page on joining Triumph, the 2/1 was designed to be a simple entry level machine, but in fact proved to be expensive to produce. In terms of naming, the first number relates to the capacity, the second number is the model number in the range. So 2/1 is the first model in the 250 range (whereas the 2/5 was the top of the range). The Model 2/1's engine was excellent, but as it shared much else with the 350cc range, although robust it was deemed a little on the heavy side at the time. The 2/1 was fitted with 6 volt electrics and Magdyno lighting, and an electric horn. The primary drive was enclosed in an aluminium oil bath. The 3 speed gearbox could be upgraded to 4 speed for an extra 30 shillings. The model survived until the first of the new Tigers came out in 1937. First registered on 13th January 1936, this 2/1 Single Port was previously owned by Ernie ‘Les’ Griffiths, who competed in the Isle of Man TT races in the 1960s (coming 5th and 3rd in the 1967 and 1968 ultra lightweight ‘50cc’ category respectively). The Triumph has been in current ownership since 1987 (with 5 owners in total), and retains its original engine (IR6 2527) and gearbox (L6.1566). This fine machine is recorded on the VMCC register, and is supplied with original buff registration document, also a file of information and parts receipts.

Gemischter Sammlernachlass von Orden, Abzeichen und Medaillen aus deutscher Geschichte sowie etwas Ausland. Darunter bspw.: 1 x Preussen - Brosche/Erinnerungszeichen für Verdienste um das Feuerlöschwesen ca. 1925; 1 x Taschenkette mit Miniaturmedaillen wie bspw. Kriegsdenkmünze für die Schlacht bei Königgrätz 3. Juli 1866 sowie diverse Denkmünzen in Miniatur diverser Korps und Armeen; 1 x Dt. Kaiserreich - Kriegerverein - Kreuz für 40 Jahre Treue im Verein an Damenschleife; 1 x Drittes Reich - VDA Volksbund für das Deutschtum im Ausland, 29 versch. Städtewappen am Tuch; 1 x Drittes Reich - Paar an Schulterklappen der Deutschen Wehrmacht 1935-1945 des Oberst (Grenadiere). 1 x mit und 1 x ohne Regimentsnummern (817?); 1 x Drittes Reich - Ehrenkreuz der Deutschen Mutter in Gold, 1. Stufe 2. Form, 16. Dezember 1938 mit Band im Originaletui Hersteller R. Hauschild Pforzheim; 1 x DDR - Deutsches Rotes Kreuz, Verdienstabzeichen in Bronze, mit Miniaturausführung im Originaletui; 1 x UdSSR - Ruhmesorden 3. Klasse nach 1943; Und einiges mehr. Diverse Alters- und Gebrauchsspuren. Des Weiteren eine kleine Goldmünze: 1 x Preussen - 5 Mark 1877, s-ss, tiefe Kerben, 1.7 g Au fein. Und etwas Kleinmünzen alle Welt. Bitte besichtigen!| Mixed collector's estate of orders, badges and medals from German history and some foreign countries. Among them for example: 1 x Prussia - brooch / commemorative badge for services to firefighting ca. 1925; 1 x pocket chain with miniature medals such as war memorial coin for the Battle of Königgrätz July 3, 1866 as well as various memorial coins in miniature of various corps and armies; 1 x German Empire - Kriegerverein - cross for 40 years of loyalty in the club on ladies bow; 1 x Third Reich - VDA 'Volksbund für das Deutschtum im Ausland', 29 versch. City coat of arms on cloth; 1 x Third Reich - pair on epaulettes of the German Wehrmacht 1935-1945 of the colonel (grenadiers). 1 x with and 1 x without regimental numbers (817?); 1 x Third Reich - Cross of Honor of the German Mother in gold, 1st level 2nd form, December 16, 1938 with ribbon in original case manufacturer R. Hauschild Pforzheim; 1 x GDR - German Red Cross, merit badge in bronze, with miniature version in original case; 1 x USSR - Order of Glory 3rd class after 1943; And some more. Various signs of age and use. Furthermore a small gold coin: 1 x Preussen - 5 Mark 1877, F-VF, deep notches, 1.7 g Au fine. And some coins from all over the world. Please visit!

 A simply incredible example with just 1,179 miles from new, family ownership and in truly amazing condition that needs to be seen to be appreciated. Back in 1999, if you wanted a back-to-basics roadster that was quick, handsome and had a stiff chassis with 50/50 weight distribution, you didn’t have too many options. The MX-5 wasn’t far off, but you could hardly call that quick – and the MG F was little-better.Before the S2000, roadsters generally came with scuttle shake – that awful vibration of the windscreen and dash when you hit a bump – and Honda’s motorsport engineers, who were tasked with making the S2000, were determined to eliminate this. Their solution? The high X-bone frame. This steel monocoque chassis and body structure gave the S2000 levels of rigidity previously unheard of in open-top cars. There hadn't been a roadster with this level of focus on the driver since the Lotus Elise.The S2000's engine also set the Honda apart from the rest, producing 237bhp from a 2-litre block – impressive enough today, let alone back in 1999 – and it did so without forced induction. What’s more, the S2000 also revs to 9,000rpm and that four-pot is placed so far back in the engine bay, it technically made the Honda a front/mid-engine sports car. The car was available in GT-spec which included headlight washers, traction control, PAS, CD and a factory hardtopOffered here is probably an unrepeatable S2000 GT as it has covered an incredible 1,179 miles from new and presents as such. A UK-supplied right-hand drive car finished in Nürburgring Blue Metallic with a matching hardtop, complemented by a blue convertible roof with a black leather interior. Equipment includes an electrically-operated convertible roof (with stand and cover), heated rear window, air con, radio C/D player, electric windows and electrically-adjustable door mirrors.Despite the incredibly low mileage, the service book has been stamped a remarkable seven times and accompanying the car is the Owners Manuals, service book, tool kit, MOTs (current valid until June 2024) and service invoices.The car has been garaged from new and this is clear to see from its spectacular condition, which needs to be seen to be appreciated. The Honda was owned for the majority of its life by the brother of the low-mileage 205 GTI that’s also in our Race Retro sale and the family were clearly fastidious in how they looked after and stored their pride and joys.The Honda S2000 GT is becoming very collectable and quite right for such an involving sports car. This particular example will certainly be hard to repeat considering its condition, mileage and diligent history. A true 'best-of-breed' contender, we welcome and encourage your inspection at the Race Retro auction to fully appreciate the quality on offer.Specification Make: HONDA Model: S2000 GT Year: 2002 Chassis Number: JHMAP11302T201116 Registration Number: HG02 MLE Transmission: Manual Engine Number: F20C21021066 Drive Side: Right-hand Drive Odometer Reading: 1178 Miles Make: RHD Interior Colour: Blue convertible hood and a black leather-trimmed cabinClick here for more details and images

One of only 47 UK right-hand drive 'Touring' examples, manual gearbox, huge specification, GT Silver Metallic and just 14,200 miles from new. 'The GT3 is simply one of the most spectacularly immersive and engaging sports cars in the world, and the Touring treatment does nothing to change that. Instead, it glosses the GT3’s already towering appeal with a little of Porsche’s stellar heritage and a dollop of aesthetic restraint.' - CAR magazine.It is not perhaps just a coincidence that Porsche’s only other 911 model able to be specified as a ‘Touring’ was the illustrious 1971 911 2.7 RS - there had been plenty of suitable 911s during that time (including more than 18 years of the GT3) - but it shows just how special and highly regarded by Porsche the 991.1 GT3 Touring is.Porsche unveiled the 911 GT3 Touring Package, a more approachable alternative to the rare, expensive and totally focused 911 R, at a media function on the eve of the 2017 Frankfurt Motor Show. It was the latest in a line of road-friendly models aimed at purists intent on securing one of the last remaining 911 models powered by a naturally-aspirated engine. Porsche says the GT3 Touring Package is designed for 'enthusiasts who particularly value an understated appearance combined with a high level of driving enjoyment'.In fact, the GT3 Touring could even be considered a better car that the 911 R, as this Touring uses the newer 4-litre GT3 engine with its stiffer crank, new intakes and 9,000rpm redline (remember the R 4-litre goes to a paltry 8,500). Power is 493bhp, torque is 339lb/ft and the top speed is 196mph. It gets better too, as the GT3 Touring is manual, only aided and abetted by a mechanical limited-slip differential. The gearbox is said to offer 'particularly sporting shift characteristics', with 62mph coming up in 3.9 seconds and nearly 200mph - this truly is harking back to the spirit of those legendary air-cooled 911s from the mid-1970s.Further differences between the standard GT3 and the Touring are small but important; up front, it features the same bumper assembly and air ducts as Porsche's standard race-bred model. The rear, however, receives a more understated look, with the automatically deploying spoiler assembly from the standard 911 Carrera, complete with an additional Gurney Flap and a unique grille insert bearing a GT3 Touring logo.Other exterior touches include headlight washer system covers, highlights around the side windows, and sport exhaust tailpipes, all in silver although buyers could specify a so-called 'Black Exterior Touring Package' to change these elements to black. In a further departure from the standard 911 GT3, the internal headlight graphics and tail-light lenses are darkened in colour.Inside, the new model swaps the Alcantara accents of the standard car for genuine leather trim on the steering wheel, gear lever, door panel armrests, centre console storage compartment lid, and door handles. The seat centres are upholstered in black fabric, whilst the headrests feature an embossed Porsche logo. There are also black aluminium trim applications within the dashboard.The 911 GT3 Touring Package rolls on 20" centre-lock wheels - 9" in width up front and 12" in width at the rear and they are shod with 245/35 and 305/30 profile tyres respectively. Clothed in the same aluminium body as the 911 Carrera 4, the model is 44mm wider than the standard 911 Carrera and lowered suspension also sees it sit 25mm closer to the ground.Among other innovations is a rear-wheel steer function which points the rear wheels in the opposite direction to the front wheels for added agility at lower speeds and (comfortingly) in the same direction as the front wheels for greater longitudinal stability at higher speeds.The 2018 Porsche 911 (991.2) GT3 Touring presented here is one of 47 UK-market right-hand drive examples and was ordered with an enviable specification (full details below), including ceramic brakes, front lift system, interior carbon package and full bucket seats and is finished in Porsche’s signature GT Silver Metallic paintwork. It features bespoke chequered upholstery for the seat inserts – not dissimilar to ex-Top Gear presenter, Chris Harris', own 991.2 GT3 Touring, a car he has owned for many years and in which he has done over 50,000 miles, which he describes as - 'one of the best drivers' cars I’ve ever driven'.Our GT Silver car was supplied new through Porsche Centre Sheffield and received its first service there in July 2020 (at 213 miles), whilst a subsequent 111-point Porsche Check was conducted by Porsche Centre Preston in August 2021 (3,492 miles) at the time our vendor acquired the car. At just over 5,000 miles, the car was involved in a rain-induced spin, thankfully avoiding any third-party collision. Zurich Insurance and his local Porsche Centre set about its meticulous repair, using all-new OEM parts and, upon its completion, the car was selected to be inspected as part of a formal Porsche Workshop Compliance Audit, where it was deemed 'to Porsche specification' as good as new. The incident wasn’t worthy of any Insurance Categorisation and any HPI check or similar will display all clear. Obviously, all related paperwork and invoices are available for inspection.Our vendor has subsequently fully used and enjoyed the car, which has performed faultlessly ever since, for the next 10,000 miles or so, with the odometer currently indicating 14,200 miles. It was treated to its second service at Porsche Centre Reading in July 2022 (at 10,132 miles) with no major issues identified.The 991.2 GT3 Touring is quite rightly regarded as one of the best modern-era Porsche models – all the ingredients are there; how much longer will we see these sorts of cars? Brimming with technology but still with a healthy dose of analogue character to ensure the driver is still the driver. This is an opportunity to own a very rare and enormously capable 911 at a sensible guide price.The specification includes:039 F: Touring Package with exterior in Black450 F: Porsche Ceramic Composite Brake (PCCB)454 F: Cruise control474 F: Front-axle lift system486 F: 6-speed GT sports manual transmission583 F: Smoking package749 F: Leather interior with stitching in red7X9 F: Reversing camera9VL F: BOSE® Surround Sound-SystemDFS F: Vehicle key painted with key pouch in leatherEKG F: Interior package carbon (including door trim strips)P11 F: Full bucket seats (leather-trimmed carbon fibre with Porsche crest embossed in Headrest)QR5 F: Sport Chrono PackageQV3 F: Digital RadioXAJ F: Side-skirts paintedXEY F: LED main headlights in black including Porsche Dynamic Light System Plus (PDLS Plus)XGT F: Wheels painted in Satin Black with wheel outer edge painted in Guards Red (since changed to silver)XYB F: Fuel filler cap with Aluminium-look finishSpecification Make: PORSCHE Model: 911 991.2 GT3 TOURING Year: 2018 Chassis Number: WP0ZZZ99ZJS167140 Registration Number: YT18 EHS Transmission: Manual Engine Number: 005205 Drive Side: Right-hand Drive Odometer Reading: 14200 Miles Make: RHD Interior Colour: Black leather Click here for more details and images

Raced by two giants of British saloon car racing, initially in Production Saloons and now 'Group 1', this well-known Autoplan Warranties 3.0 S Capri has amassed a trophy cabinet full of wins over the last four decades and is now on offer with a new set of FIA papers. A slightly tongue-in-cheek suggestion by Roger Williamson, proprietor of Willhire Vehicle Rentals in Norfolk, resulted in the arrival on the club motor racing scene of the Willhire 24 Hours, an endurance race for production cars and Britain’s first 24-hour motor race.The event was staged every year between 1980 and 1994 at Snetterton Circuit, becoming known simply as 'The Willhire', and there can’t be many drivers at club and national level during those years that didn’t get involved at least once. Many Willhire winners went on to enjoy success in other forms of motor sport and we are proud to mention that our own Lionel Abbott won the race twice, firstly in 1986 with Mike Smith (the first two-driver team to win the race) and in 1988 with Graham Scarborough.It was initially assumed that a production car being hammered around Snetterton for 24 hours would self-destruct and so, for the first two years, it was a team event with up to four cars used, however the survival rate was surprisingly good and, from 1983 onwards, it became an individual event with cars shared by between two and six drivers.The Capri on offer today is a 1981 3.0 S that was originally built from a Ford-supplied trimmed body shell for the 1981 production saloon car championships. With funding from Autoplan Warranties, it was put together by Roger Dowson of Gerry Marshal Racing (prior to Roger forming Roger Dowson Engineering) and was finished just in time for the Willhire, where the ebullient Gerald Marshall and the equally quick but considerably better behaved Graham Scarborough co-drove the car to second place in that race. Gerry continued to race the car for the rest of the season winning every race entered and both Production Saloon Car Championships (BARC and BRSCC). At the end of the year, Gerry sold the car to Harold Hagan in Ireland, where it continued to race with much success.Some 15 years later, in late 1996, Graham Scarborough bought the car, still in it’s original Autoplan livery, and set about fully stripping it and rebuilding the Capri to 'Group 1' specification in order to compete in the Classic Saloon Car Club Pre-83 'Group 1' Championships. Graham’s well known standards of preparation and his undoubted ability behind the wheel resulted in years of success including many wins, dozens of class wins plus the Championships outright in 1998 and 1999 and the Class in 2000 and 2001. The car was well known at Spa, enjoying many successful visits up to its last outing there at the end of 2016.The Graham Scarborough-built 'Group 1' engine was refreshed in 2018 and was set up on Neil Brown’s dyno late in 2021 having done just three races and not used since. A new clutch has been fitted which transmits through to an original Hewland 'Group 1' close-ratio gearbox and an Atlas 3.44 ratio rear axle. More recently, the car has benefitted from a thorough refresh with the paintwork and period livery being restored to a very high standard. The car is well set up and well balanced with Bilstein dampers all round. The Capri is complete with recently issued FIA/HTP papers valid for ten years, making it eligible for Legends, Goodwood Members' Gordon Spice Trophy, Classic Touring Car Club (CTCRC) and the Historic Racing Drivers Club (HRDC) Gerry Marshall Trophy.Well known, much admired and superbly prepared, the 'Autoplan Capri' has always proven to be a very fast and very reliable front-running car and, in the right hands, should continue to be a winner.Specification Make: FORD Model: CAPRI Year: 1981 Chassis Number: N/A Registration Number: N/A Transmission: Manual Drive Side: Right-hand Drive Make: RHD Interior Colour: BlackClick here for more details and images

Cognac - One bottle of Hennessy Extra, 70° Proof, Not Less Than 24 fl ozs, contained in carton, level mid-shoulder, a 1970's bottling. [W]

A 26⅔ fl ozs bottle of Glen Flagler Rare All-Malt Scotch, 8 Years Old, 70° Proof, contained in velvet pouch, level lower neck, 1970's. [W]

A 26⅔ fl ozs bottle of Glen Grant 21 Years Old Director's Reserve, 80° proof, likely a 1970's bottling, level low shoulder, neck / cap label detached. [W]

A 1970's bottling of Dufftown Glenlivet 8 Year Old, 26⅓ fl ozs, 70° proof, contained in presentation box (seam split on box), level low neck. [W]

Canadian Whisky - A 1970's 25 fl ozs bottle of Black Velvet Rye Whisky, 70° Proof, contained in card tube, level upper shoulder and a 1970's bottling of Seagram's V.O. 26͘⅔ fl ozs, 70° Proof, level low neck. [2]. [W]

Bourbon - A 25 fl ozs bottle of Haller's County Fair Straight Bourbon Whiskey, 70° Proof, level low neck, likely a 1970's bottling. [W]

Large tray containing Hornby-Dublo accessories (mainly D1): Through Station with white edges, complete with ramps (E) (BE); another, unboxed, some fading (F-G); Island platform, plain edges (E) (BVG); footbridge (F-G); two level crossings (F-G). Non-Dublo signal, newspaper kiosk, platform barrow. Copy of ‘Hornby-Dublo Trains’ by Michael Foster, published by New Cavendish with dust cover (E); Christies catalogue ‘The Great Hornby-Dublo Collection’ 1992 (E); Tony Oakes booklet ‘H-D Post War 3-rail Guide, some fading (VG); some price lists from late 50’s.

Over Seventy L.P's, from the 80's, by artists including, Dire Straits, Michael Jackson, Erasure, Alison Moyet, KLF, Queen, Bryan Adams, Mike and The Mechanics, Phil Collins, Mica Paris, Pointer Sisters, Madness, UB40, Joe Cocker, Teardrop Explodes, Soft Cell. Level 42, OMD, Eddy Grant, ABC and Heaven 17.

Vinyl / Autograph - 12 signed 1980s Pop / Rock albums and 12”s, to include: Level 42 (promo copy 12" signed by 2 members including Mark King), Texas (signed by Sharleen Spiteri ), Simply Red (2 albums signed by Mick Hucknall), Wet Wet Wet (promo album signed by Marti Pellow and another), Paul Young (signed by Paul Young), ABC (signed by Martin Fry), Go West (signed by Mel Collins), INXS (signed by 2 members), Jools Holland (signed by Jools Holland), Eighth Wonder (signed by Patsy Kensit), Inga Rumpf (signed by Inga). Condition VG overall

Seltenes Speiseservice "Blau-bunte Blume", 34 Teile. Meissen. Schwertermarke, verschiedene Jahreszeichen 2. H. 20. Jh., 1. Wahl. Entwurf: 1972/1975 von Ludwig Zepner (1931-2010; Form); Volkmar Bretschneider (*1930) und Heinz Werner (1928-2019; Dekor).Unterglasurblaue Malerei, polychrome Aufglasurmalerei, Goldstaffage. 13,25 kg. 34 Teile. Form "Großer Ausschnitt". 6 Suppentassen und 6 Untertassen, 6 Speiseteller, 6 Salatteller, 6 Dessertteller, 2 Schüsseln (Ø 13,5 und 20,5 cm), 1 Schale (Ø 24 cm) 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.| Nachtrag 18.02.24: Chip an 1 Untertassenstand Aufrufzeit 23. | Feb 2024 | voraussichtlich 19:13 Uhr (CET)Rare dinner service "Blue colorful flower", 34 pieces. Meissen. Sword mark, various years 2nd half 20th century, 1st choice. Design: 1972/1975 by Ludwig Zepner (1931-2010; shape); Volkmar Bretschneider (*1930) and Heinz Werner (1928-2019; decoration).Unglazed blue painting, polychrome overglaze painting, gold decoration. 13.25 kg. 34 pieces. "Large cut-out" shape. 6 soup bowls and 6 saucers, 6 dinner plates, 6 salad plates, 6 dessert plates, 2 bowls (Ø 13.5 and 20.5 cm), 1 bowl (Ø 24 cm) and 1 saliere. 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 achievement of postmodernism in the 1970s in terms of formal and decorative design is the 'Blue and Colorful Flower Painting'. An impressive table with this dinner service was the highlight of the manufactory's stand design at the Leipzig Autumn Fair in 1974 (see Meissener Konturen 1960-1990, p. 253). J. Schärer describes in detail in 'Meissener Konturen' the great challenge that the development and production of this porcelain required: Only particularly talented flower painters were able to realize this painting, which far exceeded the normal standard of flower painting. Added to this were the high technical challenges. As a result of these high demands, the decoration was only painted relatively rarely and is therefore very rare (op. cit., p. 254). The painting on this dinner service appears to be outside any set of rules for porcelain painting and possesses a liveliness that can only be found on individual works of art, but not on utilitarian porcelain. It is thanks to the greats Heinz Werner and Volkmar Bretschneider that the full richness of summer floral splendor comes to the fore on this service. Watercolor-like, unbound and yet finely nuanced and in the combination of underglaze and overglaze painting, the artists achieve an impressive depth and three-dimensionality. Each service piece is unique and an exquisite work of art. Flower power at the very highest artistic level. (see Meissner Konturen 1960 -1990, p. 84/85 and p.253f).Literature : Exhibition catalog: Meissener Konturen (1991), 1991, p. 84f. and p. 253f.Aufrufzeit 23. | Feb 2024 | voraussichtlich 19:13 Uhr (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 W. & S. Jones Brass Y-Level, English, Early 19th century,signed W&S JONES, HOLBORN, LONDON, the sighting telescope with rack-and-pinion focusing, surmounted by bubble level, supported by two brackets above a magnetic compass, on staff-head mount, in fitted mahogany case, 20in (51cm) longcase 5 1/4in x 20 3/4in x 4 1/4in (13.5cm x 53cm x 11cm) For further information on this lot please visit Bonhams.com

Joan Miro, 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**: Miros 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*: Miro'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. 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.

Ed McVey (as Prince William): An Eton-style school uniform and 'Pop' waistcoatSeason 6, Episode 7, 'Alma Mater'Comprising a black wool morning coat with braided trim, grey wool trousers from M&S, a collarless shirt, a white-winged collar, collar studs, a white cotton bow tie, a half blue, half gold waistcoat with green back, together with a twisted copper bracelet (8)Footnotes:As seen in Ed McVey's (as Prince William) A-Level Exams scene.The Pop waistcoat is a garment associated with the boarding school Eton College, which Prince William attended from 1995 to 2000.The Pop Society at Eton was founded in 1811 as a debating society, from the Latin 'Popina', meaning 'Cook Shop', which is where the elite group of students used to meet. Today, members of the society can be selected due to intellectual or sporting merit, and members must wear a waistcoat of their own choice. These often included garish colours, national flags and sequins.For further information on this lot please visit Bonhams.com

Ballantine's Finest Scotch Whisky 1960's - 70 Proof - Still in original paper wrapping (Please note fill level appears to be to shoulder)

2 Bottles to include: Captain Morgan Black Label Rum Circa 1960's - No Capacity Stated/70 Proof (Please note fill level) and Drambuie "Ship Stores/Duty Free" 50cl e

2 Bottles 100 Piper Blended Whisky to include: Hundred Pipers 1970's - 26.4 Fl Oz (Please note slightly low fill level) & Seagram's 100 Pipers 1980's - 75cl

A Mamiya RB67 Professional S Medium Format SLR Camera Outfit, to include a Mamiya RB67 Pro S camera body, F-G, well used but working, mirror & ground glass VG, together with a waist level finder, magnifier optics G, also with a Mamiya-Sekor C f/4.5 50mm lens, body G, shutter working, optics G, some internal haze, with caps & hood, also with a Mamiya-Sekor NB f/3.8 90mm lens, body G, shutter working, optics F-G, some haze present, also with a Mamiya-Sekor C f/4.5 180mm lens, body VG, shutter working, optics G, some haze present, with front & rear caps, together with a Mamiya No.2 82mm extension tube, VG condition, also with a Mamiya Cds Prism Finder, body F, well used, meter doesn't appear to work, optics G, also with a Mamiya 220 film magazine, a Mamiya 220 ProS magazine, another Mamiya 220 ProS magazine, a Mamiya 120 6x4.5 magazine, also with a damaged/broken film magazine, two Mamiya body rear caps, a Mamiya quick shoe, & a Mamiya grip,

5 Revell Model Kits. A 1:16 Level 4 Porsche 356 Cabriolet. 1:25 Level 5 Kenwood W-900. 1:25 Level 5 Fast & Furious 69 Chevy Camaro. 1:12 Level 5 Honda CBX 400F motorcycle. Plus a 1:72 Level 4 German Fast Attack Craft S-100 Class. All are as new and unopened, one box faded. From a closed down Model shop. VGC-Mint. £60-80

Whisky. Laphroaig 15-year old single Islay malt, pre Royal warrant 1990's.  Condition: Seal intact and level top of shoulder. 

Glenfarclas, 25yr old, single highland malt. 1990's bottling. Seal intact, level top of shoulder. 

Louis XV Style Mahogany Slant Front Desk Having a shaped and inlaid drop-down lid opening on two center shelves flanked by six small dovetailed drawers and a sliding-top hidden well, above two short drawers flanking a faux drawer (fronting the hidden well) and a long drawer, all having Baroque style brass pulls having integral key holes, brass escutcheon to lid, key present and works, the peg constructed cabinet having a slight swell at lower drawer level, supported on cabriole legs Property from: an Estate, Wilton, Connecticut Height: 49 1/2 inches, Width: 54 inches, Depth: 20 1/2 inches Condition: overall light to moderate wear consistent with normal use, the lid does not close properly, a large chip off a foot (included) Category: Furniture > Cabinets Estimated Sale Time: 11:53 am (America/Chicago) ** This lot is being sold for the United States Bankruptcy Court. The lot is Sold As-Is, Where-Is, with no warranties or guarantees. Leonard Auction is required to provide the buyer�s first and last name to the United States Bankruptcy Court. ** Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5

‘Terrible trials were averted by those brave airmen, who rose from fog-enveloped aerodromes with little prospect of ever reaching earth again alive. Many a time the report “nothing seen” would be rendered; but seeing nothing themselves they were frequently seen by their prey and so frustrated many a raider. If the list of unknown heroes were being compiled these would assuredly figure amongst the first.’ (The German Air Raids on Great Britain, by Captain J. Morris refers) An early and rare Great War ‘Defence of Great Britain’ M.C. group of four awarded to Captain R. C. L. Holme, Royal Flying Corps, late Somerset Light Infantry, who distinguished himself in the fight against raiding Zeppelins with 39 (Home Defence) Squadron, alongside such pilots as ‘Bomber’ Harris and William Leefe-Robinson. Transferring to 33 Squadron, Holme crashed on take-off whilst attempting to intercept one of the 16 airships intent on raiding London - one of which, SL11, was shot down by Leefe-Robinson during his V.C. winning exploits on 2-3 September 1916. Holme suffered badly both physically and mentally as a result of his crash - having to be removed from underneath his burning aircraft. Despite these setbacks, he went on to be posted to France as a Flight Commander with 29 Squadron and gained ‘Ace’ status in SE.5a single seater fighters during 1918. Holme survived the War, only to tragically die as a result of injuries and burns sustained as a passenger in a Vickers Vernon which crashed in Baghdad in October 1922 Military Cross, G.V.R., unnamed as issued; 1914-15 Star (2. Lieut. R. C. L. Holme. Som. L.I.); British War and Victory Medals, with M.I.D. oak leaves (Capt. R. C. L. Holme. R.A.F.) generally very fine or better (4) £3,000-£4,000 --- Provenance: Dix Noonan Webb, September 2000. M.C. London Gazette 24 January 1917 (Home Honours): ‘For valuable services rendered in connection with the War.’ One of a handful of known ‘Home Defence’ gallantry awards for the Air Defence of Great Britain during the Great War, five of which were awarded in respect of gallantry during 1916 and 1917 - these including a V.C., a D.S.O., a Second Award Bar to the M.C., and 2 M.C.’s (the latter including Holme’s award). These early awards were for actions against Zeppelins, whilst the remainder were primarily for actions against Giants and Gothas in 1918. M.I.D. London Gazette 25 January 1917: ‘For distinguished services rendered in connection with the War.’ Robert Charles Lyon Holme was born in Reading, Berkshire, in November 1896, and in his youth resided in Norton-sub-Hampden, Somerset, and Barnes, London. He was educated at Repton and Sandhurst, and was commissioned into Prince Albert’s Somerset Light Infantry 11 November 1914, the day after his 18th birthday. Holme served with the Regiment in France from December 1914 to March 1915. He transferred to the Royal Flying Corps later that year, and despite being initially seconded as an Observer to 16 Squadron, Holme qualified on a Maurice Farman for Aviator’s Certificate No. 1665 at the British Flying School, Le Crotoy, on 28 August 1915. He had already been in combat with 16 Squadron, with Second Lieutenant H.M. Goode as his pilot, on 17 June 1915. On this date the pair carried out a reconnaissance in a BE.2a over Seclin, armed only with an automatic rifle, when they engaged an Aviatik bi-plane: 'The German machine was first seen going south over Gondecourt, where upon we changed our course in order to get within range – when within about 200 yards we made a sharp turn heading north and opened fire, we followed him as far as Loos firing all the time. By then he had increased his lead to some 1,000 yards and was losing height rapidly, we then turned and continued our reconnaissance. During the later point of the combat we were in range of the Lille anti-aircraft guns which had opened an ineffective fire.' (Combat Report refers) A ‘Dash’ with ‘Bomber’ Harris Holme was officially seconded as a Flying Officer (Observer) in the Royal Flying Corps in September 1915, and left 16 Squadron the same month. He was posted for Home Defence duties, for the defence of Great Britain, in December 1915. Holme carried out further training as a pilot, and served with 39 (Home Defence) Squadron (BE.2cs) at Sutton’s Farm and Hainault Farm, Hounslow. By the start of the new year, he was up in the air trying to intercept Zeppelins: ‘On the night of 25/26 April 1916, one of Holme’s squadron colleagues, Captain A. T. Harris, became the first to use the new and still experimental Brock explosive bullets against a raiding Zeppelin (LZ97). (Harris would gain undying fame in the Second World War as ‘Bomber’ Harris). Soon after closing with LZ97, Harris’ Lewis gun jammed and whilst he was clearing it, the Zeppelin slipped away into the surrounding gloom. Holme and another colleague spied the same Zeppelin in the distance, coned in the light of searchlights, but it was too far away to be caught.’ (The Military Cross to Flying Personnel of Great Britain and the Empire 1914-1919, by H. Giblin and N. Franks refers) Holme, Harris and one Lieutenant W. Leefe-Robinson (later V.C.) had attempted an attack on one of five raiding Zeppelins that night. Both Harris and Leefe-Robinson were unsuccessful, and Holme took up the pursuit. However, he encountered a fuel problem and was forced to make a dead-stick landing at Chingford. Hunting Zeppelins with Leefe-Robinson Holme advanced to Temporary Captain, and transferred as a Flight Commander to 33 Squadron (BE.2cs) at Bramham Moor. The Squadron was engaged on Home Defence duties, protecting the Midlands and the North against Zeppelin raids. On the night of 28-29 July 1916, the Squadron received information from the Humber Garrison Commander that hostile airships (six Imperial Navy Zeppelins) had been sighted 40 miles east of the mouth of the Humber proceeding due west. At this time, however, a thick fog in the vicinity of the aerodrome precluded any attempt being made to despatch aeroplanes. At 2 a.m. a further report was received of a Zeppelin proceeding from Driffield towards Hull. The weather being slightly clearer by this time, Lieutenant Holme was the only pilot to ascend from Bramham Moor, but at 3,500 feet above the aerodrome could barely see the landing flares and as the fog was becoming thicker he was forced to descend. So bad was the weather that he was forced to abandon his attempt to stalk Kapitanleutnant Koch’s L24, which had been reported in the Hull area. On the night of 2-3 August 1916, six Zeppelins raided England, whilst the Squadron was operating from Beverley. Although the German force confined their raid to the eastern counties of Norfolk and Suffolk, 33 Squadron sent out a protective patrol over Hull and the Humber. Holme took off at 2.25 am and patrolled towards Driffield, then turning south he circled round Hull at 10,000 feet. Visibility was bad and he could see nothing on his own level, so descending to 8,000 feet he went out over Hedon to the coast and followed it north to Atwick, where Holmes stated: 'I now saw a searchlight at Beverley giving me the pre-arranged signal that all was over, accordingly I throttled to come down. My lights had gone out and wishing to keep my headlamp until near the ground I came down without it to 4,000 feet. When trying my engine I got into a mild nose dive but came out of it all right and landed without damage at 3.35 am.’ Exactly one month later, on the night of Leefe-Robinson’s V.C. victory over SL11, Holme crashed on take-off in BE.2c 2661 at one o&rsqu...

A fine Second War ‘Dieppe Raid’ D.F.C. group of six awarded to Squadron Leader R. B. Newton, Royal Air Force Volunteer Reserve, who, in command of 411 (Canadian) Squadron, led his pilots on four separate offensive sweeps over the French coast on 19 August 1942, on one occasion participating in a 30-minute dogfight with 120 Fw. 190s and sharing in the destruction of one of them: one of his clashes with the enemy that day is preserved on gun camera footage held at the Imperial War Museum in London Distinguished Flying Cross, G.VI.R., the reverse officially dated '1942'; 1939-45 Star; Air Crew Europe Star; Pacific Star; Defence and War Medals 1939-45, mounted court-style for wear, nearly extremely fine (6) £2,600-£3,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- D.F.C. London Gazette 29 September 1942. The original recommendation states: ‘Squadron Leader Newton has taken part in over 60 offensive operations over enemy territory and the Channel. He has destroyed one enemy aircraft, shared in another, probably destroyed two and damaged one. He has commanded No. 411 Squadron since 2 August 1942; he led the Squadron in the recent operations over Dieppe, during which he shared in the destruction of an enemy aircraft. This recommendation for a decoration is based not on his 'score' but on his zeal, courage and leadership in offensive operations, and particularly his leadership of his squadron during the Dieppe operations.' Robert Buckley Newton enlisted in the Royal Air Force in September 1939 and commenced pilot training at Prestwick in June 1940. Commissioned Pilot Officer, he was posted to No. 57 O.T.U. at Hawarden, where he converted to Spitfires, prior to joining 72 Squadron at Acklington in February 1941. Having participated in numerous operational patrols off the coast - and in convoy patrols - he moved south with the Squadron to Gravesend in the first week of July 1941. A few days later, with Biggin Hill as their forward base, the pilots of 72 Squadron commenced a flurry of cross-Channel sorties to Northern France; three of them were shot down in the unit’s first encounter with the enemy on 10 July 1941. Newton's flying log book bears grim testament to many such encounters - and resultant losses - in the period leading up to September. On 17 July he attempted to establish the fate of a fellow pilot - L. B. F. 'Fordy' Fordham - whose Spitfire had been hit by flak over Calais. He lost him in the cloud but later discovered he had drowned off Dunkirk. A few days later - on 23 July - he saw another comrade go down in flames and himself engaged a 109. The very next day his own Spitfire was hit during a 10-minute dogfight with a 109 and he had to make a deck-level retreat with his adversary pursuing him halfway across the Channel. Sweeps to such places as St. Omer and Lille continued apace in August, Newton getting in hits on a 109 on 12 August: 'Observed pieces fly off his tail. Broke off at 2,000 feet, 109 still going straight down' (the recipient’s Flying Log Book refers). Then on 29 August 72 Squadron encountered swathes of 109s: 'More opposition than ever before. Attacked 3. No results. Terrific party … Sky full of Huns' (ibid). Regularly assessed as an 'above average' pilot, Newton was posted as a Flight Commander to 403 (Canadian) Squadron at Debden, from where he continued to fly a hectic agenda of cross-Channel sweeps. On the 27 September 1941, he and his fellow pilots were jumped by 'many 109s' just after crossing the enemy coast. Newton engaged three of them and 'got 1 in flames' (ibid). In the following month, the Squadron took up convoy patrol duties, Newton getting in some hits on a Dornier 215 off Orfordness on 25 November. At the end of the month Newton rejoined 72 Squadron as a Flight Commander at Gravesend, before being appointed C.O. of another Spitfire unit, 411 (Canadian) Squadron, at Hornchurch in early February 1942, with the acting rank of Squadron Leader. Newton was quickly back in action, flying a 'Roadstead' to the Dunkirk-Ostend sector on 13 February 1942; amidst heavy flak, he damaged an E-Boat. One of his Sergeant Pilots was killed. Then on 28 February, after a collision with Flight Sergeant Gridley, he somehow coaxed his damaged Spitfire back to Manston for a belly-landing: 'Both O.K. but I was scared! Poor old 'B' written off' (ibid). And on 15 April he scored a spectacular victory over Desvres: ‘Dived at 580 m.p.h. (True) from 15,000 feet to 2,000 feet after FW. 190 (Flamer). Pulled out, + 9G, approx. 30 feet above sea' (ibid). From May to July, in addition to ongoing cross-Channel sweeps, 411 Squadron carried out numerous patrols off Skegness, Newton damaging a Ju. 88 on 21 May. By now a veteran of over 60 cross-Channel operations, Newton led his squadron on no fewer than four trips to Dieppe during the famous raid, Operation Jubilee, on 19 August. The Dieppe Raid
On the first of those sorties, as part of No. 12 Group, Newton’s flying log book refers to a 'terrific battle' of 30 minutes’ duration with 120 Fw. 190s, one of which fell to his guns. The Greatest Air Battle, by Norman Franks, gives further context:
‘Wing Commander Pat Jameson's 12 Group Wing from West Malling, comprising three Spitfire squadrons, were flying low towards Dieppe. Jameson was leading 485 New Zealand Squadron, commanded by Squadron Leader R. J. C. 'Bob' Grant, D.F.M., 411 Squadron as the middle squadron commanded by Squadron Leader R. B. Newton, plus 610 Squadron led by Squadron Leader J. E. 'Johnny' Johnson, D.F.C. as top cover. Up above all was Squadron Leader 'Raz' Berry's 81 Squadron from Fairlop. They would all meet Focke Wulfs. The Wing raced above the wavetops at zero feet then, nearing the hostile smoke covered shore, began to climb. Bob Grant had taken his New Zealanders up to between 3,000 and 4,000 feet when they arrived over the ships at 8.15 a.m. Above them they could see many enemy fighters. Robert Newton too saw many enemy fighters above, noticing that the Wing was greatly outnumbered by the 190s … Ranging from ground level to 20,000 feet and having a diameter of 25 miles, the air battle drifted and eddied over the coast and inland. The Wing had lost its cohesion but 36 Spitfires, or what was left of them, still carried out their task by fighting in pairs and fours and so achieved some concentration in the target area
Immediately below 610's battle, Newton's Canadians too were hotly engaged by the enemy fighters. Pilot Officer Reid's machine was hit by cannon and machine-gun fire but he - Red 4 - returned safely. Red 3, Pilot Officer P. R. Eakins was seen to be hit by cannon fire which blew off his Spitfire's radiator. He failed to return. Pilot Officer D. Linton - Red 2 - was last seen going after a German fighter and he too failed to get back to West Malling. Red Leader, Robert Newton, got in a telling burst at a 190 which was claimed as destroyed. Flight Lieutenant R. W. McNair also saw strikes on a 190 which he claimed as probably destroyed. Blue 4, Sergeant S. A. Mills, was hit and wounded in the head by shrapnel but got his machine home.’ The initial raid over, Newton led his squadron back to West Malling to refuel and re-arm, an exercise he would repeat on three further occasions before the day was out. On the last of those - as cover for the withdrawal from the beaches - he encountered and damaged a Dornier 215. Newton’s own Log Book entries for his four sorties state: (i) ‘Dieppe. Cover at 4,000’ for ships in harbour. 485, 411, 610. Terrific Battle for 30 mins. with 120 FW 190s. Got 1 Destroyed.’ (ii) ‘Escorted 2 Bostons at 0 Feet into Dieppe Harbour for smok...

Assorted 1970's Rock Albums Including Queen, T-Rex & The Who. Includes: The Who – Meaty, Beaty, Big & Bouncy (1971 gatefold sleeve), Deep Purple & The Royal Philharmonic Orchestra – Concerto For Group And Orchestra (1970 gatefold textured sleeve), Fleetwood Mac ‎– Fleetwood Mac Greatest Hits (1971 gatefold sleeve) Queen – Greatest Hits (1981), Queen – A Night At The Opera (Mid-1980's pressing, gatefold sleeve), T. Rex – Electric Warrior (1971 1st Pressing HIGHFLY6 with poster) Golden Earring – Moontan (1973 textured gatefold sleeve), Status Quo – On The Level (1975 gatefold sleeve), Status Quo - Down The Dustpipe (1975 pressing), Status Quo – Piledriver (1973 gatefold sleeve pressing).Overall condition: sleeves show light creasing and general wear but no rips or splits. Vinyl have light scuffs and generally look well looked after for age. Very Good/Very Good Plus.Also included various CDs: The Who - Who's Better, Who's Best, Queen - Greatest Hits, Marc Bolan & T Rex - The Essential Collection, Status Quo - 12 Gold Bars. Plus others. (18)

A collection of 1980's Pop & Rock LPs to include artists; Level 42, Mel & Kim, The Sisters Of Mercy, Queen, The Human League, Diana Ross, Howard Jones, Kool & The Gang, The Big Sound Authority, Tears For Fears, Kajagoogoo, Sinita, Heart, Joan Amratrading, Culture Club, As well as other artists; All conditions from Good to Very Good including sleeves. (Lot may include duplicates). (qty)

ROCK & POP - LP COLLECTION. A smashing collection of around 75 LPs. Artists/ titles include Virginia Astley - Hope In A Darkened Heart (WX78), The Triffids - Raining Pleasure (MINIHOT1), Squeeze - Eastside Story, Vic Goddard & The Subway - Songs For Sale, Ian Dury - Do It Yourself, Pretenders - S/T, Wings - Band On The Run, Ultravox inc The Collection, Vienna. The Rolling Stones - Emotional Rescue, The Who - Meaty Beaty Big & Bouncy, Chris Rea - The Road To Hell, Steve Harley - Hobo With A Gun. Roger Daltrey - S/T. Joan Armatrading, Abba - Greatest Hits. Sting, Jean Michel Jarre, Lene Lovich, Level 42, Matchbox, Mike Oldfield, TRB, 10CC, Graham Parker, The Police, Toyah, Steve Winwood, Climax Blues Band, Nektar, Youngbloods, Fox, Thompson Twins. Condition is generally VG to Ex.

Lego - x4 factory sealed Lego Hidden Side sets comprising; 70418 J.B.'s Ghost Lab (x2), 40336 Newbury Juice Bar and 71248 Mission Impossible Level Pack.

Full title: Lucas van Leyden (1494-1533): Esther before Ahasuerus, engraving, 16th C.Description:Dim.: 28,5 x 23,5 cm In June 1521, in the diary that Albrecht Durer kept of his journey to the Netherlands from July 12, 1520, to July 15, 1521, he wrote that he had met 'Master Lucas ... a little man, born in Leyden in Holland.' On that day he drew Lucas's portrait in metalpoint (now in Lille, Musee des Beaux-Arts), and a few days later the two exchanged prints. This terse account is the only surviving written document of the meeting between the German artist and his younger Netherlandish counterpart, an encounter that brought together two consummate printmakers who were to leave their mark on the development of the medium in Europe for the next century. Durer was the first to bring together the separate traditions of woodcut and engraving, and his prints in both these media, the product of his apparently inexhaustible imagination, began to attract notice almost as soon as he started making them in the 1490's. Well before the end of the decade, with a print such as 'Samson Rending the Lion', Durer had elevated woodcut to the level of engraving. Lines as lively and free as these, and compositions as dense and complex, had never before been executed in woodcut. By 1500, with his engravings 'The Prodigal Son' and, especially, some esoteric allegorical such as 'The Dream of the Doctor' and 'Hercules at the Crossroads', had established the medium as a bearer of highly sophisticated images and subjects, of meanings. In 1521 Durer was fifty, and he had created most of his more than three hundred prints (indeed, throughout his trip to the Netherlands he stayed ahead of his expenses by selling a number of them). His extraordinary production established the possibility of the print as a medium for artistic ideas in an unprecedented way. Lucas van Leyden, close to twenty years younger than Durer, was a prodigy who was said to have begun making prints when he was nine years old. He also was famous by 1521, and his engravings, such as the poignant 'Saint Paul Led away to Damascus', were admired both for their unusual or unexpectedly treated subjects and for their refined, delicate style. Both artists' innovations had a striking influence on Renaissance printmaking and on subsequent developments of the medium. Remarkably,their creative inventions were built on techniques for suggesting form and tone in a purely black-and-white medium that had only recently been invented and honed by Gothic artists such as Master ES and Martin Schongauer, who had guided the print from its roots as a comparatively coarse craft and workshop by-product to a refined and noble art. At the time of Lucas's and Durer's meeting, printmaking had only a fifty-year history as a medium capable of producing the type of sophisticated artwork that these two men created. (source: Suzanne Boorsch/Nadine M. Oorenstein, The Print in the North, The Metropolitan Museum of Art Bulletin, Spring 1997 (External link available on rm-auctions.com)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

A GILT COPPER-ALLOY FIGURE OF KUNZANG AKOR, BON TRADITION, 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Kunzang 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

Lego Dimensions packs x 6 includes Fantastic Beasts and Where to Find Them Story pack 71253; The A-Team (B.A. Baracus & B.A.'s Van) Fun Pack 71251; Back to the Future Level Pack 71201; Back to the Future (Doc Brown & Traveling Time Train) Fun Pack 71230; Gremlins Team Pack 71256; Jurassic World Team Pack 71205; all within Near Mint sealed packaging. Ex-Shop Stock. (6)

Collection of 0-16.5 and 0 Gauge unmade Wagon Lineside and Accessory kits by various makers (40+), Duncan Models Corrugated Lamp Hut (2), Chicken House with Chickens and other items, Corrugated sheets, Rabbits, Sash Windows (2), Station Door and Frame, Port Wynnstay Trent Valley Full Brake Coach and seating detail pack, Wrightlines W033 Box Van and Barrels, Mercian Cattle wagon and Quarry wagon, NNB GWR Platform End Ramps (3 packs), MSE Level Crossing, Phoenix Horse and Rider, Station Staff (3), Knightwings Boxes and Crates (N Gauge), ABIS and Auzzie Tin Corrugated Strips (2), ABS People Packs Station Staff, Ten Commandments wagon load, PLM Cows, S&D, Ladder, Tools, Painter, Dog, Seated Gent, Buckets (5 packs , two per pack), Narrow Gauge Association HandLamps (2 packs), Tool Set (2 packs), almost all in original packaging, VG-E, packaging G-VG (40+)

Fritz Koenig 1924 Würzburg - 2017 Ganslberg Poseidon. 1963/64. Bronze mit grau - grüner Patina. Einer von 3 ausgeführten Lebzeitgüssen aus einer geplanten Auflage von 5. Höhe 110 cm (43,3 in). • Einer von 3 Lebzeitgüssen. • Ein weiterer Guss befindet sich im Museum Folkwang, Essen. • Erstmals ist ein Exemplar dieser kraftvollen Bronze auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice. com). • Die Symbiose von Mensch und Tier verschmilzt Fritz Koenig buchstäblich zu einer dynamischen Einheit. • Im Entstehungsjahr nimmt Fritz Koenig an der documenta III in Kassel teil und wird auf den Lehrstuhl für Plastisches Gestalten in der Architekturabteilung der TU München berufen. PROVENIENZ: Fritz-und-Maria-Koenig-Stiftung, Landshut. LITERATUR: Dietrich Clarenbach, Fritz Koenig. Skulpturen. Werkverzeichnis, München 2003, WVZ-Nr. 318, S. 290 (m. Abb. S. 100f.) Peter-Klaus Schuster, Fritz Koenig. Skulptur und Zeichnung, Ausst.-Kat. München/Berlin 1988/89, S. 16 (m. Abb.). 'Zu verstehen sind diese Hybriden aus Mensch und Tier nicht einfach als Belege des Bemühens um die Fusion plastischer Werte, sondern auch – und vielleicht vor allem – als Ausdruck einer Vorstellung kreatürlichen Einvernehmens, wie sie auf anderer Ebene des Künstlers Tätigkeit als Pferdezüchter bestimmt.' D. Clarenbach, Fritz Koenig, München 2003, S. 13. Aufrufzeit: 08.12.2023 - ca. 13.28 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONFritz Koenig 1924 Würzburg - 2017 Ganslberg Poseidon. 1963/64. Bronze with gray - green patina. One of 3 executed lifetime casts from a planned edition of 5. 110 cm (43.3 in). • One of 3 lifetime casts. • Another copy is in the Museum Folkwang, Essen. • This is the first time that a copy of this powerful bronze is offered on the international auction market (source: artprice.com). • Fritz Koenig literally merges the symbiosis of man and animal into a dynamic unity. • In the year of its creation, Fritz Koenig took part in documenta III in Kassel and was appointed to the chair of sculptural design in the architecture department of the Technical University of Munich. PROVENANCE: Fritz-und-Maria-Koenig-Foundation, Landshut. LITERATURE: Dietrich Clarenbach, Fritz Koenig. Skulpturen. Catalogue raisonné, Munich 2003, no. 318, p. 290 (fig. pp. 100f.) Peter-Klaus Schuster, Fritz Koenig. Skulptur und Zeichnung, ex. cat. Munich/Berlin 1988/89, p. 16 (fig.). 'These hybrids of human and animal are to be understood not simply as evidence of an effort to fuse sculptural values, but also - and perhaps above all - as an expression of an idea of harmony of creatures, as it determines the artist's activity as a horse breeder on another level.' D. Clarenbach, Fritz Koenig, Munich 2003, p. 13. Called up: December 8, 2023 - ca. 13.28 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Alexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Öl auf Malpappe. Links unten monogrammiert sowie rechts unten datiert. Verso mit einer Ölstudie zu einem Bauernschrank sowie der Bezeichnung '12'. 22 x 15,5 cm (8,6 x 6,1 in). • Ein besonders farbstarkes Exemplar aus der wichtigen Serie der 'Abstrakten Köpfe'. • Radikal überwindet Jawlensky hier die klassische Porträtmalerei. • Harmonische Komposition in reizvoller, geometrisch-inspirierter Symmetrie. • 1933 als Geschenk von Jawlensky an die Kunsthistorikerin und Freundin Mela Escherich. PROVENIENZ: Sammlung Mela Escherich, Wiesbaden (1933 als Geschenk vom Künstler erhalten). Nachlass Mela Escherich, Wiesbaden (seit 1956). Sammlung Hanna Bekker vom Rath, Hofheim im Taunus. Privatsammlung. Privatsammlung (1989 vom Vorgenannten erworben). Privatsammlung Süddeutschland (1992 vom Vorgenannten erworben). LITERATUR: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, Bd. II (1914-1933), München 1992, S. 481, WVZ-Nr. 1417 (m. Farbabb. S. 493). Sotheby's, London, 29.11.1989, Los 199 (m. Farbabb.). Grisebach, Berlin, 24. Auktion, 29.5.1992, Los 63 (m. Farbabb.). Mela Escherich, in: Der Cicerone, Jg. XVIII, 1926, zit. nach: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, S. 129. Von Beginn an verfolgt Alexej von Jawlensky konsequent lediglich drei Bildsujets: Das Stillleben, die Landschaft und das Porträt. Zunehmend wendet er sich der Thematik des Porträts zu, das er in den 'Meditationen', 'Variationen' und später in Serien bis zu seinem Tod 1941 in Wiesbaden immer wieder aufgreift. Schon 1914 im Exil in der Schweiz entstehen erste 'Heilandsgesichter' und 'mystische Köpfe', die den Porträtcharakter der bisherigen Köpfe bereits fast vollständig hinter sich lassen. In logischer Konsequenz geht er einen weiteren Schritt in Richtung Abstrahierung sowie Entwicklung der Farbfeldmalerei und wendet sich von 1918 bis 1933 den 'Abstrakten Köpfen' zu. Unser 'Abstrakter Kopf' von 1933 verbindet ein besonders spannendes Spiel von fröhlicher Farbigkeit einerseits und einem geschlossenen Blick voll innerer Einkehr andererseits. Das den traditionellen russischen Ikonendarstellungen entnommene Schema entrückt Jawlensky restlos einer naturalistischen Darstellung. Auf der Suche nach einer Tiefe im Ausdruck werden die Gesichtsmerkmale aufgelöst in geometrische Formen und in einer beinahe architektonischen Symmetrie neu angeordnet. Mit einer Komposition aus scharfen Linien und fein abgestimmten Farbfeldern dringt Jawlensky mit seiner Kunst auf eine mythische Ebene vor und macht das Unsichtbare fühlbar. Diese Thematik beschäftigt auch die Kunsthistorikerin, Schriftstellerin und Freundin Jawlenskys Mela Escherich, aus deren Besitz das Gemälde stammt. Nach ersten Kontakten zu Beginn der 1920er Jahre entwickelt sich eine enge Freundschaft zwischen diesen beiden Gleichgesinnten. Escherich versorgt ihn sowohl mit Lektüre als auch mit finanzieller Unterstützung und wird mit Jawlenskys zunehmender Bewegungseinschränkung eine seiner sog. 'Nothelferinnen'. Der Künstler dankt es ihr mit Bildgeschenken wie dem 'Abstrakten Kopf' von 1933. Auch nach seinem Tod agiert sie als unermüdliche Befürworterin und unternimmt sogar erste Anstrengungen hinsichtlich eines Werkverzeichnisses. Es ist also nicht nur die besondere Ausdruckskraft des Werkes, was dieses mit einem so geistvollen Charakter kennzeichnet, sondern auch die spannende Provenienz und einzigartige Hintergrundgeschichte. [AW] Aufrufzeit: 09.12.2023 - ca. 17.36 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Oil on cardboard. Lower left monogrammed and lower right dated. With an oil study of a rustic wardrobe and the inscription '12' on the reverse. 22 x 15.5 cm (8.6 x 6.1 in). • A particularly color-intense copy from the important series of the 'Abstract Heads'. • Jawlensky left classic portraiture behind him in a radical manner. • Harmonious composition in an appealing symmetry informed by geometry. • In 1933 present from Jawlensky to the art historian and friend Mela Escherich. PROVENANCE: Mela Escherich Collection, Wiesbaden (gifted from the artist in 1933). Estate of Mela Escherich, Wiesbaden (since 1956). Hanna Bekker vom Rath Collection, Hofheim im Taunus. Private collection. Private collection (acquired from the above in 1989). Private collection Southern Germany (acquired from the above in 1992). LITERATURE: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. II (1914-1933), Munich 1992, p. 481, no. 1417 (color illu. p. 493). Sotheby's, London, November 29, 1989, lot 199 (color illu.). Grisebach, Berlin, 24th auction, May 29, 1992, lot 63 (color illu.). Mela Escherich, in: Der Cicerone, year XVIII, 1926, quoted from: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, p. 129. From the beginning on, Alexej von Jawlensky consistently pursued only three subjects: the still life, the landscape and the portrait. He increasingly turned to portraits, which he revisited in meditations, variations and in serial works, until his death in Wiesbaden in 1941. As early as in 1914 while in exile in Switzerland, he made first “Savior Faces” and “Mystical Heads” in which he would almost completely overcome the portrait character of previous heads. As a logical consequence, he made another step towards abstraction and the development of color field painting with the “Abstract Heads” made between 1918 and 1933. Our 'Abstract Head' from 1933 combines a particularly exciting play of cheerful colors on the one hand, and inner contemplation on the other. Jawlensky entirely removed the scheme, taken from traditional Russian icons, from all naturalistic representation. In search of depth of expression, he broke facial features into geometric shapes and rearranged in an almost architectural symmetry. With a composition of sharp lines and finely coordinated color fields, Jawlensky's art reached a mythical level at which he made the invisible tangible. This topic also concerned the art historian Mela Escherich, writer and friend of Jawlensky, who was among the work’s early owners. After they had met in the early 1920s, the two like-minded people became close friends. Escherich provided him with reading material as well as with financial support and, as Jawlensky became increasingly ill, she was one of his so-called 'emergency helpers'. In return for her help, the artist gave her pictures such as the present 'Abstract Head' from 1933. Even after his death, she acted as a tireless supporter and even made first efforts to compile a catalogue raisonné. So it's not just the special expressiveness of the work that gives it such a spirited character, but also the exciting provenance and the unique background story. [AW] Called up: December 9, 2023 - ca. 17.36 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Karl Hofer 1878 Karlsruhe - 1955 Berlin Mädchenporträt. Um 1920. Öl auf Kupferplatte. Rechts unten monogrammiert. 40 x 34,5 cm (15,7 x 13,5 in). Während der Besetzung der Niederlande 1940–1945 wurde das Bild zusammen mit der Sammlung des Besitzers von Direktor Sandberg im Stedelijk Museum in Amsterdam verborgen gehalten. [AW]. • Radikal moderne Ästhetik: klar-reduzierte Komposition in flächig-leuchtender Farbgebung. • Ausdrucksstarkes Porträt von einnehmend klarem Blick aus der besten Schaffenszeit. • Eindrucksvoll gelingt es Hofer in seinen Porträts, das individuelle Schicksal der Dargestellten zu visualisieren, um es gleichzeitig in den Zustand des Allgemeingültigen zu heben. • Seit beinahe 100 Jahren in Familienbesitz. PROVENIENZ: Das Kunsthaus Herbert Tannenbaum, Mannheim. Sammlung William (Dr. Wilhelm) Landmann (1891-1987), Mannheim/Amsterdam/Toronto (in den frühen 1920er Jahren vom Vorgenannten erworben). Sammlung Martin Landmann (1923-2021), Vancouver, Kanada (1953 vom Vorgenannten erhalten). Seither in Familienbesitz. AUSSTELLUNG: Stedelijk Museum, Amsterdam (Juli 1939-1946 als Leihgabe aus der Sammlung Landmann). European sculpture and painting from the collection of William Landmann, Art Gallery of Ontario, Toronto, 18.10.-17.11.1946. European Paintings, Art Gallery of Toronto, 1962 (m. Abb. S. 4). Für die Kunst! Herbert Tannenbaum und sein Kunsthaus. Ein Galerist – seine Künstler, seine Kunden, sein Konzept, Reiß-Museum der Stadt Mannheim, 11.9.1994-8.1.1995, Kat.-Nr. 179 (m. Abb.). LITERATUR: Karl Bernhard Wohlert, Karl Hofer. Werkverzeichnis der Gemälde, Bd. 2, hrsg. von Markus Eisenbeis, Köln 2007, WVZ-Nr. 402 (m. Abb.). Unterlagen zur Einlagerung / Leihgabe der Sammlung Landmann, Archiv des Stedelijk Museum Amsterdam, Ordner 707. Unterlagen zur Einlagerung / Leihgabe der Sammlung Landmann, Archiv des Stedelijk Museum Amsterdam, Ordner 698, S. 18, lfd. Nr. 601. Ausstellungsliste von 1946, Archiv der Art Gallery of Ontario, Toronto. Sammlungsinventar (Karteikarte) der Sammlung Landmann, Privatbesitz. Paul Duval, German, Mexican and American Art Shows Varied National Characteristics, in: Saturday Night, Band 62, Nr. 8, 26.10.1946, Toronto, S. 2f. (m. Abb.). Aufrufzeit: 09.12.2023 - ca. 18.34 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Hofer 1878 Karlsruhe - 1955 Berlin Mädchenporträt. Um 1920. Oil on copper plate. Monogrammed in lower right. 40 x 34.5 cm (15.7 x 13.5 in). During the occupation of the Netherlands from 1940 to 1945, the picture, alomngside other works from the collection, was hidden at the Stedelijk Museum in Amsterdamby by its director Sandberg. [AW]. Radically modern aesthetics: a clear, reduced composition in flat, bright colors. • Expressive portrait with an engaging clear look from the best creative period. • In his portraits, Hofer impressively succeeded in visualizing the individual fate of those depicted, while he also takes the pictorial content to a universal level. • Family-owned for almost 100 years. PROVENANCE: Das Kunsthaus Herbert Tannenbaum, Mannheim. William (Dr. Wilhelm) Landmann Collection (1891-1987), Mannheim/Amsterdam/Toronto (acquired from the above in the early 1920s). Martin Landmann Collection (1923-2021), Vancouver, Canada (obtained from the above in 1953). Ever since family-owned. EXHIBITION: Stedelijk Museum, Amsterdam (July 1939-1946 as loan from the Landmann Collection). European sculpture and painting from the collection of William Landmann, Art Gallery of Ontario, Toronto, October 18 - November 17, 1946. European Paintings, Art Gallery of Toronto, 1962 (fig. p. 4). Für die Kunst! Herbert Tannenbaum und sein Kunsthaus. Ein Galerist – seine Künstler, seine Kunden, sein Konzept, Reiß-Museum der Stadt Mannheim, September 11, 1994 - January 8, 1995, cat. no. 179 (fig.). LITERATURE: Karl Bernhard Wohlert, Karl Hofer. Catalogue raisonné of paintings, vol. 2, ed. by Markus Eisenbeis, Cologne 2007, no. 402 (fig.). Documents on the storage / loan from the Landmann Collection, archiev of Stedelijk Museum Amsterdam, folder 707. Documents on the storage / loan from the Landmann Collection, archiev of Stedelijk Museum Amsterdam, folder 698, p. 18, no. 601. Exhibition list from 1946, archive of Art Gallery of Ontario, Toronto. Collection inventory (file card) of Landmann Collection, privately owned. Paul Duval, German, Mexican and American Art Shows Varied National Characteristics, in: Saturday Night, vol. 62, no. 8, October 26, 1946, Toronto, pp. 2f. (fig.). Called up: December 9, 2023 - ca. 18.34 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.

1970's Faust Lager gift set, including x3 275ml bottles and glass / Please see images for fill level and general condition. Please be aware that the lack of a condition statement does not signify that this item is in flawless condition or devoid of wear and tear, imperfections, or signs of aging. Bottles that have aged may have traces of sediment. We cannot gaurantee that the contents of this bottle will be immune to the effects of aging, cork taint, oxidation, or other potential faults.

LALIQUE: TOURMALINE, DIAMOND AND PLIQUE-À-JOUR ENAMEL PENDANT NECKLACE, CIRCA 1905Set with two cushion-shaped tourmalines, accented by old brilliant and rose-cut diamonds, decorated with green enamel, between green plique-à-jour enamel wings, suspended from a chain of twisted baton-links decorated with green enamel, mounted in gold, pendant signed Lalique, pendant length 6.0cm, later fitted caseFootnotes:Provenance:Sold Sotheby's London, 3rd December 1998, lot 102.Literature:For a pendant of similar design, see S. Barten, René Lalique Schmuk und Objects d'Art 1890-1910, Munich, 1977, ill.p.344, no.733.René Lalique (1860-1945) was the undisputed master of Art Nouveau jewellery design. Nature was a pivotal theme in his work, his appreciation stemming from time spent in the French countryside during his childhood holidays. Here, Lalique has used plique-à-jour enamel to represent the delicate transparency of dragonfly wings. This intricate process of placing glass between fine windows of metal was initially used in the Middle Ages, but saw a resurgence in the second half of the 19th century and was used masterfully by Art Nouveau jewellers, who elevated the technique to the highest level of quality. Please note, this lot has VAT at a preferential rate of 5% on the Hammer Price and VAT at the prevailing rate on Buyer's Premium.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A TRAY OF AUTOGRAPHS AND PHOTOGRAPHS, LETTERS, CARD AND PAPER OF POP GROUPS, to include Coldplay, Gerry and The Pacemakers, Groundhogs, Dodgy Elbow, Misteeq, Fun Lovin Criminals, Muse, Enemy, Feeder, Erasure, Hozier, ZZ Top, Kasabian, Heaven 17, Hearsay, Electrical Prunes, Girls Aloud, Foreigner, Charlatans, Temperence 7, Greenday, Cast, Mungo Jerry, M People, Hamsters, Level 42, Catatonia, Babylon Zoo, Ocean Colour Scene, Big Country, Chemical Brothers, Caravan, Razorlight, Rubettes, Dr. Feelgood, Huey Lewis & The News, Lighthouse Family, Beautiful South, Bananrama, Quireboys, Pet Shop Boys, Stereophonics, Sugarbabes, Proclaimers, Suede, Space, Stiff Little Fingers, Strawbs, Sparks, Soft Cell, Stylistics, etc** VIEWING IN PERSON RECOMMENDED**Condition Report:The signed items in this lot are part of a private lifetime collection consigned by the deceased 's relative. There is no provenance other than the confirmation they were an avid p autograph collector during their lifetime.

South Atlantic 1982, with rosette (M. S. Temple) extremely fine £300-£400 --- M. S. Temple served aboard the P & O ferry Norland during the Falklands War. Originally a cargo and passenger vessel operating between Kingston upon Hull and Rotterdam, she was requisitioned by the Ministry of Defence for use as a troopship in the Task Force. Anchoring in San Carlos Water to facilitate the amphibious landing of nine hundred Commandos and Paratroopers, Norland was fortunate to escape repeated low-level attacks by fighter aircraft of the Argentine Air Force. These events have been recently detailed by author Warren Fitzgerald in his book All in the Same Boat: The Untold Story of the British Ferry Crew Who Helped Win the Falklands War, offering a very personal insight into the lives of the volunteer crew at this time.

Circa 6th century A.D. Corner piece with polished face; an old handwritten label to the side reading 'Stone from Ananiani's house Damascus May 1861'. See S., Ko?cielniak, K., ‘The Churches of Damascus according to Ibn ‘As?kir (d. 1176), The Destruction of the Church of St. John the Baptist by Caliph Wal?d I’, in Rocznik Orientalistyczny, Vol. LXIV, Z.1, 2011, pp.133-139, p.135. 182 grams, 82 mm (3 1/4 in.).Found Damascus, Syria, in May 1861. UK private collection. Property of a Nottinghamshire gentleman. With a late 19th century handwritten identification label attached.The Chapel of San Anania is a religious building located in a two-room crypt in Damascus, approximately four meters below the current street level, reachable by descending a staircase of twenty-three steps from the courtyard of a house that traditionally is attributed to Ananias, the Christian martyr who helped Saul (who became Paul the Apostle), baptised him and helped him hide and leave Damascus, after he had attracted the hatred of the Jews who had organised his killing. It is an apse of an Eastern Roman basilica from the 5th-6th century, cited several times by Arab historical sources such as al-Mussalabeh (of the Holy Cross), brought to light by the excavations carried out by the count Eustache de Lorey. [No Reserve]

Billy Wright blue England v. Wales, Northern Ireland and Scotland International cap, 1955-56 the blue velvet cap with embroidered three lion badge inscribed W v. E, E v. I S v E 1955-56 The above cap represents Wright's 70th, 71st and 73rd appearance for England, in the match against Wales played on 22nd October 1955 at Ninian Park, the match ended in a 1-1, in the match against Northern Ireland played 3rd November at Wembley, England defeated Northern Ireland 3-0 and in the match against Scotland played on 14th April 1956 at Hampden Park, the match ended in a 1-1 draw The following Lots 688 to 693 relates to the career of England and Wolves legend Billy Wright CBE Billy Wright CBE Truly one of the "All-Time Greats" William Ambrose Wright was a model professional and ambassador for the game. He was without doubt an inspiring captain for Wolverhampton Wanderers and England in the late 1940s and 1950s another mark of his greatness was the fact that he was never sent -off or even cautioned. Billy Wright was born on 6th February 1924 and joined Wolves ground staff straight from school, turning professional in 1941. In the war years he made guest playing appearances for Leicester City and as a corporal in the Shropshire Light Infantry he made his first appearance for England in the unofficial "Victory" match against Belgium on 19th January 1946, he played a further two "Victory" Internationals matches before making his first full International against Northern Ireland played on 28th September 1946 at Windsor Park, Belfast, with England defeating Northern Ireland 7-2. Just a year later after a full season in League football Wolves manager Ted Vizard made him club captain and one year on from that at 24, England manager Walter Winterbottom made his captain of the International side. Wright made 59 appearances for England at wing-half before being moved to centre-half during the 1954 World Cup in Switzerland and this move has been widely accepted as prolonging an already exceptional career. Settling into the new position was comfortable for Wright and he was able to display his defensive capabilities to their best advantage. At this stage in his domestic career he had already captained Wolves to their 1948-49 F.A.Cup victory and later in 1953-54 to the club's first-ever League Championship. He was awarded the Footballer of the Year in 1952 and arguably should have had two more awards for the 1958 and 1959 League Championship-winning season. His International career spanned almost 13 years and made his final appearance for his country in a 8-1 victory against the USA played 28th May 1959. He is unique as he was the first-ever player to make 100 appearances at International level and that milestone was reach in the match against Scotland played on 11th April 1959. His last 70 appearances were consecutive a then record (until bettered by legendary Spanish goalkeeper Andoni Zubizarreta) and all were as captain, another record. After playing in excess of 500 matches for Wolves he retired from playing in August 1959 and became manager/coach of England's Youth team in October 1960 and finally managing his boyhood club Arsenal until 1966

FOUR BOTTLES OF EXCELLENT WINE comprising one bottle of Richebourg Cote De Nuits 1957, imported and bottled by John Harvey & Sons Ltd, Bristol, fill level mid-shoulder, seal intact, one bottle of Chateau de Beaucastel, Chateauneuf-Du-Pape, early 2000's bottling, fill level low neck, seal intact, one bottle of Ogier Reserve des Argentiers Chateauneuf-du-Pape 2008, fill level mid-neck, seal intact and one bottle of Vigneti de Roccolo Amarone Della Valpolicella Classico 2010, fill level low neck, seal intact (4)

ONE BOTTLE OF THE MACALLAN 10 Year Old Single Highland Malt Scotch Whisky, 1990's bottling, distilled and bottled by The Macallan Distillers Ltd. Craigellachie, Scotland, 40% vol. 70cl, fill level mid-low neck, seal intact, boxed

A late 19th century stained and planked pine and metal bound military travelling trunk, the cover annotated for Lt General Richardson, enclosing a zinc lined interior with twin iron end carry handles, 104 x 64 x 42cmNote; From the estate of the late Lt. Gen. Sir George Richardson, KCB, CSi, CIE, this extraordinary survivor of many military campaigns (see below) has been cleaned and waxed and comes with a new key, the original having been lost/misplaced.As frequently the case with these wonderful old 'barn find' trunks, the base planks had decayed over the years and have been expertly replaced by a local craftsman.This trunk bears the number 9 and was therefore one of a suite of officer's trunks that accompanied Lt. Gen. Richardson throughout his distinguished military career, eventually following him home to retirement in rural Hampshire.It should be noted therefore that over the years the stenciled destination to the lid would have been updated, the present location being Bombay.Interestingly it also bears a rare label for Henry S King & Co, London, a military outfitting, transportation and servicing company that were later to be known as "Cox & King".For those unfamiliar with the British Army officer rankings it should be noted that Lt.General is a most senior command level, counterintuitively superior to Major General and second only in command to a full General (4 star) and Field Marshall.

A large collection of mainly 80's 12" vinyl records, including Sinead O'Connor, Wham, Pet Shop Boys, Steve Arrington, Kylie Minogue, Madonna, Kool and The Gang, Bobby Brown, Frankie Goes To Hollywood, Jive Bunny, George Michael, Adamski, Phil Fearon, Milli Vanilli, Lisa Stansfield, S'express, Ce Ce Peniston, Inner City, The Farm, Midge Ure, Level 42, Luther Vandross etc.

Atlas Model Train HO Scale Assortment (16) items including a #20001119 N&S articulated auto carrier, a #10002500 NJ Transit ALP-45 DP locomotive and (5) NJ Transit commuter cars including #20004112 multi-level cab car and multi-level coaches #20004123, #20004124, #20004125 and #20004126, locomotives including a #10003276 M&E C424 Phase 2, a #10001215 Long Island GP38-2, a #10000983 Indiana Harbor GP40-2 Phase 2, a #10001205 US Army NRE Genset, a #10000508 South Shore GP38-2, a #10000954 National Locomotive RS-36, above all in original packaging, unboxed locomotives including a GT GP38 #5806, IC GP38 #3074 and am Amtrack electric #911 Property from: an Estate, Downers Grove, Illinois Height: 4 3/4 inches, Length: 25 3/4 inches, Depth: 2 1/4 inches (longest box) Condition: most seemingly unused, overall light wear consistent with normal use to unboxed, light wear to packaging Disclaimers: not inspected out of packaging, not tested, we cannot guarantee the operation Category: Collectibles > Model Trains - HO Scale Estimated Sale Time: 5:23 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1