We found 155251 price guide item(s) matching your search

T Wheeler (British, exh. 1817-1845) Portrait miniature of a gentleman, 1836 Inscribed in ink on the reverse and dated 'Painted by / T Wheeler / 55 Regent / Quadrant / March 1836' watercolour on ivory 10.20 x 8cm (4 x 3in) Other Notes: T. Wheeler exhibited as a "Miniature Painter" at the Royal Academy every year from 1817 to 1845. His address is given as 184, Fleet Street. However, another exhibitor, Miss M.A. Wheeler (afterwards Mrs. David Johnston) Painter, who exhibited in 1834 and 1835, is listed with the address 55, Regent Quadrant. She may be his daughter. It is signed TWheeler = so possibly by T. Wheeler, but perhaps stayed at a different address, with his daughter, in 1836. Unframed and the surface is warped. Cream edges are discoloured. Central image is clear and good. Top left-hand corner is missing.

Italian School (19th Century) - A Shepherd and his Cattle in an Italianate Landscape at twilight, oil on board, 21.5 x 27 cm. Old label verso for James A Butti Art Collectors, 7 Queen Street, Edinburgh, who operated in the late 19th and early 20th Centuries - amongst their most important clients was General Augustus Pitt Rivers who founded the Pitt Rivers Museum in Oxford in 1884 Dark and dirty. Varnish is yellowed and degraded. Areas of paint loss in the sky and around the edges. Unframed.

Rear Admiral Sir Charles Burrard (British, 1793-1870) - Mr Park's Cottage, inscribed on the reverse "Burley - New Forest - 1846" and with an inscription wrongly attributing it to a Sir 'Richard' Burrard, watercolour, 26 x 32 cm. Sir Charles Burrard was a naval officer and artist, second and last Baronet of Lymington who lived in the New Forest.

William Henry Mander (British, 1850-1922) Welsh landscape with waterfall signed lower left "W H Mander" watercolour 44 x 32cm (17 x 12in) William Henry Mander was a landscape painter who lived in Birmingham, North Wales, Lincoln and Sheffield and specialised in painting views of the Midlands and North Wales. His style is similar to that of Benjamin Williams Leader when Leader broke away from the influence of the Pre-Raphaelites towards a broader, and more naturalistic style. Mander exhibited between 1882 and 1914 and although he never showed his paintings in London he was a frequent exhibitor at The Royal Society of Artists in Birmingham (66 works) together with his contemporaries David Bates and Benjamin Williams Leader. A little loss of colour to the sky but generally colours are good.

An ebony walking stick carved HONI SOIT QUI MAL Y PENSE 'Evil on him who thinks Evil' (Order of the Garter motto) with a carved Australian nut, circa 1920s (2)

An autographed photograph of Nanette De Valois who was instrumental in setting up the English National Ballet

Marx Doctor Who and the Mysterious Daleks: battery operated Dalek in silver, plastic, height 16cm. Complete and G+, grubby, in G creased and scuffed picture box.

- 1 of just 405 DBS V8s made (but only c.130 manual cars) - Current family ownership since 1988 but off the road since 2002 - Credible but unwarranted 48,000 miles showing on its 200mph speedometer The William Towns-penned DBS was intended to be a direct replacement for the ageing DB6 and slated to be V8-powered from birth. However, Tadek Marek's now much vaunted engine took longer to develop than expected, so the newcomer was unveiled in 1967 with the straight-six unit of the DB6, with what became known as the DBS V8 finally appearing in 1970. In this form, the newcomer could rush to 60mph in as little as 5.9 seconds and on to c.160mph, making it one of the fastest production cars in the world at that time. This fascinating lot represents the chance to obtain a rare, apparently low mileage Aston Martin part way through restoration. 'YCF 222' is one of just 405 5.3-litre fuel-injected DBS V8s made (only around 130 of which were similarly equipped with ZF manual five-speed transmission) and has remained within the same family since 1988. It was purchased by the vendor's father from Linden Classic Cars, Essex and the advert of the time stated that the Aston had previously been owned by a lady and had a new fuel system, but the bodywork was in need of restoration. In 1993 tenure was assumed by the vendor's brother, at which point it is imagined there was a degree of restoration and the colour was changed from Brown to Green. Ownership passed to the vendor in 1998 who is now putting the car on general sale prior to emigrating. The DBS is thought to be substantially complete but has been partially stripped and is being sold strictly as seen. The odometer currently displays an unwarranted but credible 48,061 miles and the car comes complete with: air conditioning; a 2002 invoice for £1,057.24 detailing work to the gearbox and brakes, engine service and MOT; selection of photos, plus a copy of the aforementioned advert. An unusual opportunity.

- Offered from the estate of engineer and jazz musician Jim Shelley - Tuned Meadows 4.5 Litre six-cylinder engine, higher ratio back axle - Fabric covered 'Bugsback' coachwork fabricated using aero modeller techniques According to information kindly provided by The Lagonda Club's Hon Registrar Arnold Davey, chassis Z10462 began life as a 3 Litre model fitted with silent travel pillarless saloon coachwork. Sporting the London registration number 'ALR 149' and previously the property of a Mr McLoughlin, the car had been rebodied as an open tourer prior to its acquisition by the late Jim Shelley during 1971. A renowned jazz musician, engineer and model aeroplane builder whose friends included Len Vale-Onslow MBE, Dr Carl Chinn MBE and father and son Brian and Paul Morgan (the latter of Ilmor Engineering fame), Mr Shelley is the only keeper listed in an accompanying green logbook which was issued on 23rd July 1974 and erroneously lists the Lagonda as a M45 model complete with engine number 9573 (the Meadows 4.5 Litre straight-six that it retains to this day). Writing in the Winter 1990/91 issue of 'The Lagonda' magazine, Jim Shelley outlined the work that had gone into restoring his M45 (sic). A former Alvis 12/50 Beetleback and Bentley 3 Litre 'Red Label' Park Ward Tourer owner, he was determined to imbue chassis Z10462 with a more Vintage aesthetic. The resultant 'Bugback' coachwork was constructed using aeromodelling techniques whereby steamed plywood planks were screwed and glued on to an ash and ply frame. Notably light and stiff, the four-seater, single-door body was covered in stretch leathercloth by Ron Passam of Barton under Needwood who was also responsible for trimming the new seat frames with red Connolly hide. The engine which features a larger 'Cormorant' crankshaft and heavier conrods was thoroughly overhauled by Allards of Newcastle under Lyme before having its performance further enhanced via an oil cooler, tubular exhaust manifold and 9.2:1 compression ratio. As well as being treated to a new wiring loom, the Lagonda received attention to its water pump, magneto, petrol pump, SU carburettors and rear axle (uprated with a higher 3.5:1 ratio by Paul Morgan). Although reportedly competitive when entered for Vintage Sports Car Club events at Oulton Park, Silverstone and Curborough etc, the reconfigured 'ALR 149' was predominantly enjoyed as a road car and on various rallies. Entrusted to marque specialist John Ryder of Claverley for new track rod ends during August 2004, the 3 / 4.5 Litre remained in regular use up until Jim Shelley's death. Now offered for sale by his family, the 'Bugback' Tourer started readily upon inspection. The undoubted jewel in Mr Shelley's motorcar and motorcycle collection not to mention a fitting tribute to his lifelong desire to tinker and improve, this handsome Post Vintage Thoroughbred is offered for sale with green logbook, V5C Registration Document, Lagonda Club Magazine (No.147), sundry paperwork and a copy of Jim Shelley's The Magic of the Midlands and the Black Country - Strictly Vintage and 'In Tune'.

- The ex-Spectre Supersport demonstrator and last of 23 examples built - Three former keepers and 22,000 miles from new, MOT'd till Nov 2016 - Quoted 175mph top speed, 4.6 litre V8 (350bhp/335lbft) and 5-speed transaxle A very decent junior supercar, then? Indeed, but also one that fulfilled its creators' self-imposed brief, to be a supercar that was easy for a novice to drive, docile around town and, as Spectre's brochures suggested, 'a super sportscar that is no more expensive to maintain than a family saloon'. - Alastair Clements, Classic & Sportscar (May 2009) Conceived by Ray Christopher of GT Developments as a roadgoing GT40 for the 1990s, the R42 was based around a Group C-style honeycomb-reinforced folded aluminium sheet monocoque equipped with all-round independent suspension, four-wheel vented disc brakes and power assisted rack and pinion steering. Originally developed for Ford and Audi respectively, its 4603cc all-alloy 350bhp/335lbft V8 engine was allied to a five-speed Getrag transaxle. The GRP-bodied design was put into production by Anders Hildebrand of Spectre Supersport Ltd who got Stockholm University to hone its 0.28 drag coefficient and multiple Le Mans-winner Derek Bell to come on board as chairman and development consultant before securing the mid-engined, 175mph two-seater a starring role in the 1997 film RPM alongside David Arquette, Famke Janssen and Jerry Hall. Priced at a loss making £74,950 due to the 2,000 hours that each one took to complete, R42 production was strictly limited. A former Spectre Supersport Ltd demonstrator and the last of just 23 examples made, 'S759 KLJ' is further notable for being the very machine that Classic & Sportscar profiled. Having used the R42 to break the ice with petrolhead clients, the vendor describes it as 'a quick, well-appointed car with no known faults that is a joy to drive and easy to own'. Maintained during his tenure by ZUL Racing of Derby, recent work has seen the Spectre treated to a new battery, rear tyres, air-con pump overhaul and replacement fuel tank. A real rarity that has covered just 22,000 miles from new, 'S759 KLJ' is offered for sale with its Spectre company mileage logbook, CD stereo, sat-nav, manual and fresh MOT certificate.

- Believed to be one of just eleven with this Curvilinear body style - Copies of registration books back to 1937 - Current owner since September 1974 H&H are delighted to be able to offer this beautifully bodied Derby Bentley by the desirable coachbuilder Gurney Nutting, which we believe to be one of only eleven such cars to wear this "Curvilinear" body style. We are fortunate to have copies of registration books in the history file covering the years 1937 to 1973 which detail the majority of the ownership history of chassis B-25-HM. The Bentley's guarantee is believed to have been issued to a Mr Neil Cleaver on February 17th 1937 and the registration books show that it was first registered for road use in England on February 18th 1937, with the registration number 'DXA 624'. The books also show that the Bentley still enjoys being powered by its original engine, number J8BA. In May 1937 a Gordon Graham Wood of Weybridge in Surrey is reported to have owned the car, and in July 1937 custodianship passed to Drevor Frederick Acton Neilson of Queen Anne Street in London's Marylebone, W1. It is thought that Mr Neilson was a distinguished Ear, Nose, and Throat Specialist, hence his proximity to London's famously medical Harley Street, in Marylebone. In what is believed to have been December 1939, possession transferred to someone in Harley Street, London, W1, who seven years later reallocated ownership to a company in George Street, Marylebone. September 1951 saw tenure pass to a Warwick Waghorn Sayers of Woodland Drive in Hove, East Sussex, who retained the Bentley for the next twenty-two years. Interestingly, the day before Mr Waghorn is recorded as becoming the registered keeper of the car, the stated body colour in the registration book was changed from black to blue. A couple of months later in December, he changed the registration number from 'DXA 624' to 'GAP 959', the plate it still wears today. In October 1973 ownership passed to a Richard Howard Shaw of Priory Terrace in West Hampstead, London NW6, but in September 1974 Mr Shaw exchanged the car with our vendor for a Lancia Flaminia Sport Zagato. The car has lead a sheltered and leisurely existence during our vendor's forty-one years of ownership. The car was exercised on an occasional basis during the 1980's, but for the majority of the 1990's it remained in the vendor's car showroom. In 2003 the vendor decided to recommission the car and invoices on file total nearly £12,000 for the works. However, the car's driving was to remain limited, but it should be noted that throughout the last 41 years, the car has been kept in near perfect storage conditions in a well ventilated car showroom. This Bentley is not only special for its beautiful body, but for the very original condition of both its body and interior. This car has remained pretty much untouched since its last repaint, which is believed to have been done in 1951. Those scratches in the paintwork and splits in the leather seats all have a story to tell and ooze character, and if ever it is fully restored, the car will never be as rare and special as it will loose its originality. In recent years the demand for perfect restorations has reduced as people realise that a car is only original once, and once restored, it has lost some charm and character that it will never have again. Many of the finest concours events around the world now have Preservation Class sections, where unrestored or very original cars compete for awards. The importance of this car's current condition has been reflected in recent years by its display at several of the world's finest concours events in Preservation Class sections, such as The Louis Vuitton Classic at Saint-Cloud in Paris, The Hurlingham Club in London, and more recently the Chantilly Arts and Elegance Concours in September 2015. Recent work in preparation for the Chantilly Concours included a full service (spark plugs, points, etc) and the fitting of a new fuel pump. The vendor describes the car as being 'very original' and in 'generally good order' with 'obvious signs of age', adding that the doors open and close easily and the engine 'runs well'. This is an exceptionally rare opportunity to acquire an incredibly beautiful and original motor car from extremely long term ownership.

- Formerly UK registered but little used in recent years - Described as being in 'good' condition and said to drive 'very well' - Offered with certificate of export and handbook The Morris Minor is almost as universal a symbol of England as the London bus and the red telephone box and, with over 1.3 million manufactured in its 23-year reign, is one of the most successful cars of all time. Designed by Alec Issigonis (who later penned the ubiquitous Mini), the Minor was unveiled at the 1948 Earls Court Motor Show and 13 years later became the first British car to achieve a million sales. The final iteration followed a year later and featured an increase in engine capacity to 1098cc, a modified facia layout with recessed centre section in textured steel, a return of a glovebox lid for the passenger-side cubby hole, improved heater and more contemporary-looking front light units. The four-door sale car is one of the last of the breed. Finished in Light Blue matched to Grey interior trim it has most recently lived in Eire, where it has seen little use. Nevertheless, the vendor informs us that it needs little more than some adjustment to the brakes and clutch and is primarily 'in good condition and drives very well'. Formerly UK registered as 'MSX 2787H', the Morris is now offered complete with certificate of export and drivers' handbook.

PLEASE NOTE: The original owner's handbooks and service book do not accompany this vehicle.   - Supplied new to Singapore and only 1 UK registered keeper - 13,000 recorded km (c.8,000) miles and MOT'd into February 2016 - Offered with its original owner's handbooks and service book The Arnage replaced derivatives of the long-serving Mulsanne during 1998 and was initially powered by a DOHC 4.4-litre BMW engine. However, it was around this time that Bentley passed to the Volkswagen Group, who were forced to find an alternative powerplant. In fact they sourced two, creating the option of Red and Green Label Arnages, with the former powered by a Cosworth-built version of Bentley's single-turbo OHV 6.75-litre V8. Coincident with the engine changes, the models were treated to additional legroom, stiffer bodyshells, bigger brakes and larger wheels. Finished in Dark Blue with Cream leather upholstery and riding on 18-inch Bentley alloy wheels, this particular right-hand drive example was supplied new to the city state of Singapore where it resided until earlier this year. Displaying just 13,000km (c.8,000 miles) to its odometer, the Arnage is described by the vendor - who is also its sole UK registered keeper - as being in 'very good' condition with regard to its turbocharged V8 engine, automatic transmission, interior trim, bodywork and paintwork. 1 of just 2,282 Red Label cars made, 'MP03 PXR' is offered for sale with its original owner's handbooks, service book and a MOT certificate valid until February 2016.

- Two owners from new & 22,800 recorded miles - Offered with original handbooks, invoices and old MOT's - MOT'd into September 2016 Mercedes-Benz's SLK was introduced in 1997 as a competitor for the Porsche Boxster and BMW Z3 and was among the first models to feature an electro-hydraulic retractable hardtop. The first generation examples (codename R170) were manufactured until 2004, when they were superseded by the substantially revised R171-Series. This longer wheelbase model brought many revisions including: sharper styling; a galvanised, stiffer bodyshell; two-stage airbags; a faster-folding retractable roof; fabric wind-blocker; a new range of engines that began with a 1.8-litre supercharged unit; and the option of seven-speed automatic transmission. The punchy new powerplant was capable of whisking the revised two-seater to 62mph in 7.9 seconds and on to c.143mph. 'PK54 NZM' is a right-hand drive R171-Series example from the first year of production and is equipped with the aforementioned supercharged 1.8-litre engine coupled to the new automatic gearbox. It is very tidily-presented in Silver matched to a Black leather interior and has had just two owners to date who, between them, have apparently accumulated a mere 22,800 miles. The baby Benz now seeks a suitably caring new home and is being offered complete with its original handbooks, collection of invoices and old MOTs, plus one valid to September 26th 2016.

- First registered to Jaguar Cars and used by its then chairman Sir John Egan - Current (third) ownership since 1996 and 49,900 recorded miles - Offered with extensive history file and MoT'd into March 2016 It was in 1988 that the fully Convertible version of the XJ-S replaced the Targa-Type XJ-SC, and this smartly-presented righthand drive Artic Blue example hails from April of that year. It has a fine history, having been first registered by Jaguar Cars and apparently used on occasion by the then Chairman, Sir John Egan. In October the following year it was sold to Central News presenter Bob Warman who retained until 1996, when it was acquired by the vendor. Since then it has been garaged, reserved for the summer months, and maintained, updated and serviced on a regular basis by former Jaguar Cars engineers at Specialist Motor Services of Halesowen, and more recently by the vendor's local garage. He currently regards the bodywork and paintwork as being in 'good condition' and the V12 engine as 'smooth and quiet'. This Convertible cat's total indicated mileage stands at just 49,925 and the Jaguar is now being offered complete with an extensive history file containing full documentation, Jaguar workshop manuals etc, tonneau cover and waterproof hood bag, plus the benefit of aftermarket central locking and FoxGuard alarm and immobiliser systems. Good examples of these delightful motorcars are becoming more and more keenly sought.

- 1 of just 16 examples known to the DVLA - 2 owners from new (the first being an NSU dealer) - Recent cosmetic renovation, original livery and fresh MOT NSU's Prinz 1000 model range (the Prinz tag was dropped in 1967) was launched at the 1963 Frankfurt Motorshow. Evolved from the Prinz 4, the similarly-styled newcomer was larger and had a four-cylinder rear-mounted OHC powerplant rather than the Prinz 4's two-pot OHV one. The 40bhp of the 996cc version fitted to the 1000 and more luxuriously-equipped 1000 C was sufficient to endow the little NSU with performance on a par with the Mini-Coopers and Hillman Imp Sports of the day. The very pretty right-hand drive 1000 C now offered has had just two keepers from new. The first was the proprietor of an East Yorkshire NSU dealer, who was sufficiently smitten with the NSU to retain it for himself when the agency closed down. Then in 1992 it was acquired by a marque enthusiast who retained it until he passed away earlier this year. 'WAJ 156K' was recently treated to a (glass removed) cosmetic renovation and is now offered in its original attractive livery of River Blue bodywork teamed with Tobacco-coloured interior trim. One of just 16 such NSUs known to the DVLA, it represents a rare opportunity to acquire an unmolested example of a much admired model.

- Modified in period by racing driver Sid Hurrell of SAH Accessories - 40DCOE Weber carbs, stainless steel exhaust and adjustable gas dampers - Subject to an extensive restoration and current ownership since 2002 Introduced in late 1968, the TR6 was effectively a cleverly updated TR5. Triumph initially turned to Michelotti for the body revisions - the Italian maestro who styled the TR4/TR5 - however he couldn't meet their schedule and the changes were ultimately achieved by Karmann. A total of 94,619 TR6s were produced, a mere 8,370 of which were sold on the home market. This very pretty-looking TR6 was supplied new in 1971 complete with conversion by SAH Accessories - the tuning shop operated by racing driver Sid A Hurrell was synonymous with modified Triumphs of the period. Just prior to the vendor's purchase from a Triumph dealer in 2002, it was treated to an extensive restoration, at which point it gained the following: 40DCOE Weber carburettors, stainless steel exhaust system, overdrive in third and top gears, adjustable gas dampers, uprated front anti-roll bar, five new wire wheels, skid plate, hood and tonneau covers, detachable wind deflector and storage bag. Finished in the pleasing combination of Green bodywork and Tan-coloured interior, 'DUB 548K is currently described by the vendor as having 'excellent' bodywork, paintwork, interior trim, six-cylinder engine and manual gearbox. An unrestored Works hardtop is available by separate negotiation.

- Splendidly-original early Land Rover and just three owners from new - Offered with a comprehensive history file including the original buff log book - Ex-military Series 1 2-litre petrol engine and extensively toured though Europe This splendidly-original early Land Rover has had just three owners from new. The supplying dealer was Windmill & Lewis of Bristol and the first keeper BBC Natural History Unit employee Mr Desmond Hawkins. In 1957 'PHT 188' was acquired by a Mr Unwin who used it as a site vehicle/tug on the caravan parks he owned in Somerset. An engine problem caused it to be rested in 1976, and it then stood in an open-sided shed until 2007, when it was rescued by a Land Rover enthusiast who passed it on to the vendor. He recommissioned rather than restored the vehicle, meaning it remains remarkably original with a pleasing degree of patina. It was totally dismantled, the chassis repaired, and the bulkhead replaced with a galvanised original item. The wheel and master cylinders were re-bored and sleeved in stainless steel. The brake lines were replaced to original specification and a new Autosparks wiring loom, Exmoor Trim seat bases and Undercover Covers hood installed. The current engine is an ex-military Series 1 2-litre petrol unit. Since completion this wonderful old Landy has been toured extensively throughout Europe and featured in many Land Rover publications. It comes complete with comprehensive history file, including the original buff log book.

- 2.5-litre engine, manual gearbox and colour-keyed hardtop - Offered with comprehensive service history and 34,505 recorded miles - MOT'd into September 2016 with 'no advisories' The chic two-seater Boxster was unveiled in late 1996 and was the first road-going Porsche since the 550 Spyder to be designed from scratch as a Roadster. It was penned by Dutch designer Harm Lagaay, who was also primarily responsible for the 968, 993, Cayenne, 996 and Carrera GT. The Boxster sobriquet was a contraction of 'boxer-engined roadster' - the newcomer being a convertible with water-cooled flat-six engine mounted amid-ships. At launch it was 2.5-litres in capacity, though increased to 2.7-litres in 2000. Its M96 engine was directly related to that in the 996, and the newcomer also shared that car's bonnet, front wings and headlights. Suspension was independent all round by MacPherson struts and coil springs, braking by power-assisted ventilated discs and steering by rack and pinion. The very tidy-looking 2.5-litre Boxster on offer was supplied new by the Stratstone Porsche Centre, Wilmslow in June 1999. It is a manual gearbox example that features Silver bodywork matched to a Black leather interior and comes complete with: colour-keyed hardtop, comprehensive service record from 2000 to January 2013 and 30,823 miles (the odometer now registers 34,505 miles), and an MOT that's valid to September 28 next year and is free of advisories.

- 1 of just 2 Porsche 911 Turbos reconfigured by bb to this specification - Exhibited at the 1986 Geneva Motor Show and only 10,921 recorded miles - Bespoke digital dashboard, upholstery and Blaupunkt stereo system etc This amazing-looking 911 Turbo Targa is one of just two created by German car designer Rainer Buchmann's Frankfurt-based bb company in 1985, at a cost of c.DM250,000. It was remodelled in steel, features standard Porsche 930 running gear - ie 3.3-litre flat-six engine and four-speed manual transmission - but boasts a highly innovative bb digital dashboard. Thirty years later, this extraordinary Porsche has reputedly covered just 10,921 miles. We are grateful to the vendor for the detail contained in the following background information. The Porsche these days registered `VOK 294' started life as a standard 1985 911 Turbo Coup£ that was delivered new to Charles Follett, London and allocated the registration `B911 XYB'. The car was Grand Prix White with contrasting Burgundy leather interior. So how did it obtain its Targa top and become adorned with a flat-nose front, 959-esque rear and Black and White hide interior? That's the question that Chris Healey, who bought the 911 back in 1990, set out to answer. "I wrote to Porsche who informed me that, as far as they knew, the car was a White 911 Turbo Coupe with limited-slip differential and colour coded alloy wheels." He eventually established the car's up-to-date identity by talking direct to bb's Rainer Buchmann who "straightaway confirmed that this was one of the last cars his company had worked on. bb (not b+b, or B+B), existed from the mid-1970s to mid-1980s, carrying out exclusive modifications to the cars of the always rich and often famous. Far from being a mere customiser, the firm was responsible for some major innovations in the automotive world, including remote central locking and the first fully functioning digital dashboard." Buchmann revealed: "The car has a 928-style front with original Porsche 928 lights, redesigned side sills, and a new rear fashioned by a Mexican I had working for me called Carlos Sanchez." bb based the Targa conversion on the shell of a standard 930 Coupe, re-strengthening the body as required. And where today's modifiers make extensive (and expensive) use of carbon fibre, back in the `80s the material of choice for most design houses was fibreglass. For bb though, steel was the best material for the job, as Buchmann said: "If it wasn't done in steel there would be vibrations where the existing steel and fibreglass met. This wasn't in keeping with the Porsche quality." The result of all bb's fettling is a 911 that looks totally bespoke, though it is worth noting that there were in fact two such cars built: this White right-hand drive example, and a left-hand drive one in Black, both of which were displayed on bb's stand at the 1986 Geneva Salon. Using the car for the next couple of years, Healey took the total mileage up to a scant 10,000 before putting it into storage. It was recommissioned in May 2004 via Loe Bank Motors, Bury at a cost of c. £4,000. The Porsche has since undergone a further period of hibernation (2006-2015) and thus its indicated mileage still only sits at a highly credible but unwarranted 10,921. Recent work has seen the Turbo Targa treated to a fully overhauled fuel metering unit, new injector (x6) and fresh tyres all round. A real 1980s throwback and wonderful period piece, this unique Porsche is offered for sale with V5C Registration Document, copy magazine article, tool kit, bespoke stereo system and MOT certificate valid until November 2016.

- 1 of just 2,895 348 TB's built and 28,800 kilometres (18,000 miles) - Recent cambelt replacement and other maintenance by marque specialist - MOT certificate into October 2016 The apparently immaculate left-hand drive 348 TB now offered has had just two registered Italian owners from new and has covered a warranted total of 28,800 kilometres (18,000 miles). It was delivered new by Rome Ferrari dealer Samocar SpA to an Oscar Calzati on January 30th 1990. It passed to the second Italian keeper in September 2007, with whom it remained until purchased by the vendor who brought it to the UK. It has subsequently been entrusted to marque specialists Rardley Motors Ltd, who performed an engine-out cambelt replacement service, MOT test and other maintenance at a total cost of £3,842.10. The Ferrari is one of just 2,895 348 TBs built between 1989 and 1993 and is presented in the traditional combination of Rosso Corsa bodywork, Tan leather interior and Red carpets. The only departures from standard specification are colour-coded sills and valences as per the GTB, and a pair of Scuderia wing shields. The vendor currently classes the Ferrari's bodywork, paintwork and V8 engine as 'excellent' and is selling the car complete with original service book, handbook, leather wallet, selection of past invoices, MOT certificate into October 2016 and even the factory stencil for security etching the glass.

PLEASE NOTE: This lot has suffered a small electrical fire due to the battery terminals contacting the seat frame. There is damage to the seat and the battery has now been disconected.   - Imported & UK registered in 1983 - Steering, Suspension and Engine overhauled in the 1990s - Re-painted in 2010 Microcars were born of the need for cheap short-distance transportation in the post-war years. The most successful was the Isetta, whose origins lay with the Italian firm of Iso SpA (Isetta is Italian for 'little Iso'), who went on to build some 1,000 or so. Many more were manufactured under licence in France, Belgium, Brazil, Britain and Germany, where they were manufactured by BMW, who made the model their own. Indeed, they re-engineered so much that none of the parts between a BMW Isetta and Iso Isetta are interchangeable. The 300 model was introduced in 1956, the obvious difference being the increase in capacity from 250cc to 298cc, raising output from 12bhp to 13bhp. While the torque improved, the top speed remained the same at 53mph. The sale car is a left-hand drive three-wheeled example manufactured in 1961 and imported to the UK in 1983. It was originally Red but these days sports eye-catching Yellow and Blue paintwork and is trimmed in Grey vinyl. The engine was apparently overhauled in 1996, while the suspension and steering were reconditioned in 1997, and the body repainted in 2010. A charming addition to any collection that currently displays an unwarranted 34,600 miles.

- 1 of just 69 RHD examples made and supplied new via Ritchies of Glasgow - Original upholstery and recent marque specialist engine overhaul - A 'matching numbers' car purchased by the vendor from JD Classics The 1950s saw Jaguar win the world's greatest endurance race - the Le Mans 24-hours - more times (five) than any other manufacturer. A blend of existing and new technology, the XK150 was the Coventry firm's last model to feature a separate chassis but its first to be available with four-wheel disc brakes. Unveiled in 1959, the range-topping 3.8 litre 'S' could be had in Roadster, Fixed Head Coupe or Drophead Coupe guises (the latter being the most expensive). With a quoted 265bhp and 260lbft of torque on tap thanks to its straight-port cylinder head and triple SU carburettors, Jaguar's flagship sportscar could only be had with four-speed manual plus overdrive transmission. Reputedly capable of 0-60mph in 7.6 seconds and 141mph, its performance was on a par with rival Aston Martin, Maserati and Ferrari offerings. Decidedly rare, total right-hand drive XK150 'S' 3.8 litre Drophead Coupe production amounted to just 69 cars. Completed on 5th July 1960, chassis T827610 was supplied new via Ritchies of Glasgow. Initially road registered as '400 BGD', the identity of its first keeper is not recorded. Belonging to David Sydney Gordon Esq. of Ludlow (a doctor who also served as Surgeon Lieutenant Commander to the Royal Naval Reserve) by the 1970s, the Jaguar is known to have passed through the hands of Richard de la Rue Esq, John Henry Wright Esq, Kurt Kauk Esq, Philip Scott Esq and renowned dealer JD Classics before entering the current ownership. The earliest MOT certificate on file suggests that the XK150 'S' 3.8 litre had covered some 59,000 miles by November 1979. Some thirty-six years later, its odometer shows an unwarranted (1)06,565 miles. Pleasingly retaining its original Suede Green leather upholstery, the Drophead Coupe had its factory-applied British Racing Green livery renewed during Mr Kauk's custodianship (1984-2010). Entrusted to marque specialist Marina Garage of Bournemouth for a new clutch (2011) and thorough engine overhaul (2012) whilst in Mr Scott's care, chassis T827610 was advertised by JD Classics as a 'matching numbers example' and 'a presentable and very sound, original car which would be ideal for touring or rallying'. The vendor has certainly enjoyed several memorable jaunts aboard the Jaguar and is only offering it for sale due to the acquisition of a very rare prewar MG. Further enhanced during his tenure, recent fettling has seen the XK150 S 3.8 litre treated to a new sump gasket, re-plated ash tray and replacement servo / master cylinder for its uprated braking system etc. Starting readily upon inspection, this decidedly rare and undeniably handsome Drophead Coupe is accompanied by a UK V5C Registration Document and history file (including a list of previous keepers and numerous bills / invoices).

Niccolò da Poggibonsi, - a Pisan merchant, writing to Ottaviano de’ Medici a Pisan merchant, writing to Ottaviano de Medici, about a Baroque painter Tiberio Titi (1573-1627) and his painting, manuscript letter in Italian on paper, with red wax seal [Pisa, dated 20 April 1611] Bifolium, with approximately 28 lines in a scrolling Italian Baroque hand, 2 and a half pages of writing, address and wax seal (beneath a paper cover) on verso of last leaf, evidently written by a scribe and with Poggibonsi s scrawling signature in different ink at foot, small amount of discolouration and some folds, but overall in excellent condition, each leaf 287 by 210mm. Records of the commission and production of art have their own fascination, and this letter discusses in detail a portrait with a complex history. Poggobonsi had commissioned it from Tiberio Titi, an artist who otherwise worked for the Medici family (see I.M. Paulussen, Tiberio Titi, rittrattista dei Medici , 1980). He praises the artist s skill and efficient speed, and describes the actual sitting, noting the setting up of the brushes and equipment and the fact that the artist spent about an hour pressing the subject s face and turning their head to different angles. The painting was begun, but then set aside and allegedly abandoned as the artist spent several months in bed due to an illness. Poggobonsi then had it completed by another painter, and Titi became upset, leading to the situation in which Poggiobonsi now found himself in, necessitating his appeal to Ottaviano de Medici. Tiberio Titi was originally from Florence, and was a son and pupil of the late-Mannerist painter, Santi di Tito. He worked mostly as a portrait painter, and chiefly for the Medici family, notably Cardinal Leopoldo de Medici, whose Venetian collections passed to the Uffizi. He is remembered as having died early from pleuritic fever (Gould, Biographical Dictionary , 1837, II: 545-6), and the serious illness alluded to here may have been its first appearance.

Fragment of a Sefer Torah - , in Hebrew, manuscript scroll on parchment [Sephard (Genesis 28:7-47:3), in Hebrew, manuscript scroll on parchment [Sephard (most probably Spain, perhaps Toledo), late thirteenth or fourteenth century (perhaps c.1300)] 6 membranes from a scroll, with 23 columns (last membrane complete but with 3, not 4 columns as others) of 50 lines of a fine Sephardic Hebrew square script, text complete from Genesis/Bereshit 28:7-43, not written according to vavei ha amudim, with 63% of the standard number of canonical unusual letters and Tagim (special characters) and a large number of non-Canonical unusual letters and Tagim (here agreeing with the late thirteenth-century scroll sold in Sotheby s New York, 24 November 2009), C14 tested by University of Arizona, Tucson (95% probability in range 1280-1390), some brittleness to edges of leaves, small scuffs in places, a small section cut from the foot of the last membrane and a tiny number of modern repairs, else in excellent and clean condition, 630 by 3348mm. Despite being a fragment of Genesis only, this scroll stands among the earliest witnesses to the original form of the Old Testament. The Torah (or Pentateuch) is the bedrock of the written culture of the Jews and Christians alike. It is, most probably, the oldest section of the Hebrew Bible, and is a text quite apart from all others to survive in manuscript, because of the extreme care and attention of countless generations of scribes to keep it in as close a form as possible as that known in the ancient world. While accepting that the earliest copies of their holiest texts would eventually moulder away, early Jewish populations attempted to replicate those scrolls in as close a format as possible in subsequent copies. They are written on scrolls, the oldest surviving format for written (rather than inscribed) texts, and on material prescribed by Talmudic law: gevil (that which Moses reportedly used for the scroll which he placed inside the Ark of the Covenant, and that which the majority of the Dead Sea Scrolls are written on). The text s 304,805 letters and the spaces between them must be copied in accordance with strict laws from a correct exemplar and by a professional scribe. In our modern world, with digital images and facsimiles at our fingertips, the monumental effort of such a task can easily be overlooked. What is produced is a monument to countless generations of exacting toil, as well as a text stripped bare of any illustration or illumination in which the raw beauty of the script stands alone. The strict laws regarding the production of Torah scrolls have ensured that few early examples survive, as those with any damage to their text or wear are almost always placed with great ceremony in a Genizah (a hiding- or storage-place ) in the synagogue and left to decay naturally. The oldest substantial manuscripts of the Old Testament in Hebrew are late ninth and tenth century in date. The Aleppo Codex (tenth century) is, perhaps rightly, regarded as the most accurate early witness to the Masoretic tradition of the text (the sections of that book relevant for this scroll were destroyed during the riots in Aleppo in 1947, but have been reconstructed by Professor Jordan Penkower). Only a handful of scrolls and fragments survive for each following century throughout the Middle Ages. Thus, all medieval Torah scrolls are exceedingly rare, and this scroll is among the oldest known to survive from southern Europe. Only two definitively older than this have come to the open market: (i) the scroll dated to the late twelfth or early thirteenth century, sold in Sotheby s London, 4 December 2007, lot 38, for £276,500; (ii) another dated to the early thirteenth century (c.1222-41), in Sotheby s London, 6 July 2010, lot 32; and to these should be added that dated to the late thirteenth century, sold in Sotheby s New York, 24 November 2009, which may be the contemporary of this fragment. In addition, the present fragment is most probably a witness to a crucial time in the history of the Hebrew Bible: Spain in the thirteenth century. Just as Christian scholars drew together in fourth-century Constantinople to debate the form of the Christian Bible, so Jewish theologians did in Spain in the late twelfth and thirteenth centuries, most importantly in Toledo. Christian Spain in the Early Middle Ages was a remarkably tolerant society, and under King Alfonso VI (1040-1109) and his heirs, wealthy Jews there held equal rights to Christians. Large communities grew, and by 1300 there were half a million Jews living in Christian Spain. Academic studies flourished, and the careers of some of the greatest commentators on the Hebrew Bible blossomed, such as R. Moses Maimonides, 1137/8-1204, who grew up and was educated in Cordoba; and R. Meir ben Todros HaLevi Abulafia, c .1170-1244, who was born in Burgos, lived in Toledo and was the head of a yeshiva there.

Two leaves with full-page miniatures - cut from an Eastern Christian illuminated manuscript cut from an Eastern Christian illuminated manuscript, on paper [probably Coptic, perhaps sixteenth century] Two leaves with: (a) large miniature composed as an architectural columned building, enclosing two dark-skinned bearded figures, who point at each other (the one on the left also dipping his fingers into a container), both supported by human heads, and the columns supported by white oxen and other heads (one human, and 3 gold maned lions), four birds atop the structure along with lappetted architectural pieces (2 with crosses at their apex), all arranged around a central roundel with a quadruped composite animal inside (a cat-like head but long arching neck, a camel-like hump, a large lappet rising above its shoulder and a tail ending in a long beaked bird s head), some flaking and trimmed to edges of miniature with slight losses, overall good, 213 by 130mm; (b) large miniature with a figure of an Apostle seated cross legged in pink robes and with a large halo between two yellow pillars with human heads at their tops, 2 birds at his feet, and 8 others above him, many of which dip their beaks into pots or peck at human heads, another Apostle figure at the top of the structure, paint flaked from much of faces and some of birds, but with full borders, 235 by 155mm; accompanied by handwritten nineteenth- or early twentieth-century labels in Norwegian and typed labels with Nr 15 and Nr 12 adhered to blank reverses

Don Manuel de Quiròs y Campo Sagrado, - Triunfo de la religion , an anti-Napoleonic tract in defence of Spain Triunfo de la religion , an anti-Napoleonic tract in defence of Spain, partly in verse, in Spanish, illustrated manuscript on paper [Mexico, 1809] 40 leaves (including 2 blank endleaves at front and back), first few leaves unnumbered, otherwise paginated 1-67 (followed here), complete, single column, 18 lines in a round calligraphic hand in alternate black and red, initials in same colours and usually accompanied by drawings (an angel, people including a man in a plumed hat with a banner reading Viva la religion , semi-nudes, a monk and the Pope, snakes, birds and a cockerel, a dog, a lion poking out his tongue, a large dome-topped building, trees and a basket of fruit, the sun with a human face, a crown, an ornamental fountain), 2 full-page drawings touched in coloured wash (unnumbered first leaves: the angel of justice on a large marble plinth; the Eye of Providence within a pyramid in the heavens within an oval frame with trees and reeds), colour wash architectural frontispiece and a full-page painting (p. 68, a 3-masted ship at sail in a bay with a castle gateway in the background), some small contemporary corrections made with pasted on sections of paper, a few small smudges and bumped edges, else excellent condition, contemporary pasteboards painted to form coloured frames on front and back boards, containing what is meant to be marble, and endleaves coloured with swashes of blue wash to resemble marbling, book and binding same size: 200 by 150mm. From the library of a Michigan family, and in their possession for several decades. Manuscripts from the New World are rare to the international market. Spain continued its calligraphic tradition down to modern times, and the colony of Nueva España (the region north of the isthmus of Panama, which was under Spain s control from the sixteenth century onwards) followed this, continuing to produce finely handmade books centuries after the introduction of printing there. The author here, Manuel de Quiròs y Campo Sagrado, was a Mexican author, who is recorded as also producing a collection of poems in honour of Carlos III of Spain. No other copy of the present work is known to us. It opens Señor Dios de los Exercitos … (p.1), and ends … Aaèsta ygnorante ydea daràèl (p. 67).

Bible, - with prologues and Interpretations of Hebrew Names with prologues and Interpretations of Hebrew Names, decorated manuscript in Latin on parchment [England (probably Oxford), mid-thirteenth century] 437 leaves (plus 2 modern endleaves at each end), wanting a few single leaves (including a leaf from Job, which ends imperfectly in 41:21, and two from the Psalms which start imperfectly in 8:6 and are wanting Psalm 49:8-57:5, a leaf or two after Deuteronomy, with 12:15-18:22, and the same from I Kings, with 5:1-7:15, and a single leaf with the end of St Paul s epistle to the Hebrews and the opening of the Acts of the Apostles ), bound too tightly to collate, double column, 50 lines in a tiny early gothic bookhand, capitals touched in red, one-line initials in red or blue, running titles alternate in same, larger initials in same with penwork tracery, over 70 large initials in variegated blue and red (the colours separated by sweeping strokes or crenelated lines, and the 2 opening initials full-page in height with small clover shapes and dots picked out in blank parchment within their coloured panels), with offshoots of mirrored coloured leaf-shapes or elaborate penwork tracery in contrasting colours filling the borders, some terminating in small animal heads, the interpretations of Hebrew Names in 3 columns of 50 lines, numerous additions of thirteenth to sixteenth century in pen or drypoint in apparently English hands, tiny contemporary repair to a leaf at the end of Zachariah now with patch fallen away removing a small square 3 lines deep, and another leaf in the Minor Prophets with small patch covering the edge of a few lines of text, some spots and discolouration to endleaves and areas of ink loss to leaves in centre of volume due to poor ink (notably in Ezekiel), slightly trimmed at edges with small losses to edges of penwork and running titles, but overall in good and solid condition with wide and clean margins, 175 x 120mm., bound in nineteenth-century English morocco, profusely gilt in frames of arabesque designs (both inside and outside of boards), watered silk doublures, edges gilt and gauffered Provenance: (1) Most probably written and decorated for an Oxford student in the mid-thirteenth century, who seems to have added for his own reference the near-contemporary 5 page concordance of the Gospels at the end of the volume, listing subjects and chapter numbers in a series of long tables. Thereafter passing to a number of later English owners, with sixteenth-century and post-medieval names Wollocu[m]b in the upper border of a leaf from Colossians, John Templer, Thomas Pyme and William Cuttler amongst others below the beginning of Daniel (partially erased), and John By[ ] at the foot of the opening of Micah. (2) Samuel Whyle: his seventeenth- or eighteenth-century ex libris at foot of the Prologue to Genesis and the opening of Genesis. (3) Henry Yates Thompson (1838-1928), newspaper owner and grand bibliophile, whose personal collections were either sold by Sotheby s in the early 1920s or given to the British Library in two batches (one on his death and another on the death of his wife in 1941, with other gifts going to the Fitzwilliam Museum, Cambridge and the Bibliothéque Nationale de France. (4) The present volume was a gift to his descendant, Allan Heywood Bright (1862-1941), Liberal politician: an inscription and inserted letter from Yates Thompson recording his gift of the book at New Year 1894, as one sometimes sees more beautiful examples of these Bibles, but they are very rare, & every collection of M.S.S. should have one of these ; by descent to Christies, 16 July 2014, lot 1. Text: The evolution of the thirteenth-century Bible marked the initial jump from the medieval production of books to the earliest form of cottage industry, with scribes working on copying quires at the same time as each other, all under the direction of a single libraire (see Shailor, The Medieval Book , 1988, p. 98 and Sotheby s, The History of Western Script: 60 Important Leaves from the Schoyen Collection , 10 July 2012, lot 60, and references there). They were produced in vast numbers primarily to supply the growing university market, and their survival beyond the lives of their original owners appears to have substantially inhibited the copying of the text for the next century or so. They are most probably the form in which the majority of medieval people knew the Bible. However, in the last century they have become fewer and fewer to the market, with examples now regularly making record prices. This is an English manuscript of the text, which was not copied from the more common Parisian exemplar. It has Tobias, Judith and Esther in an invented order, is substantially different in its use of the prologues, and includes a version of the Interpretations of Hebrew Names in the uncommon version beginning Aad testificans … . It has elements that suggest it was a highly individual commission (English Bibles often omit the Psalms, but here strangely, the text is abbreviated after Psalm 77:31 to only what will fit on a single line from each Psalm). The Acts of the Apostles appears, unconventionally, after St Paul s Letter to the Hebrews. An early corrector has worked through the text renumbering chapters which have been erroneously numbered, with larger numbers in red ink and has been adapted by its earliest owner (with the concordance added at the end [see above], and 5 conventional editorial symbols and notes on their uses added to the endleaf at the front: Obelus est virgule iacens, apponitur in verbis vel sentenciis, superflue iteratis , Obelus desuper punctatus; limniscus; antigraphus; and asteriscus ). A marginal note in a near-contemporary hand at the opening of John, inserts part of Bede s commentary on the Catholic Epistles.

Hugh of Saint-Cher, - Speculum Ecclesiae , manuscript in Latin on paper [northern Europe Speculum Ecclesiae , manuscript in Latin on paper [northern Europe (probably Brunswick, Troyes or Holland), late fourteenth century (probably c. 1380)] 12 leaves (single quire), main text complete (but with a number of leaves wanting from the second text which begins here on the verso of the last leaf), double column, 30 lines in a small secretarial hand with title in larger script written with a thick nib (combination of scripts similar to that of contemporary texts from the Low Countries: cf. the gathering written near Aachen and dated 1371 which was sold in Sotheby s, 2 December 2014, lot 43), paragraph marks and initials in iridescent red, one large initial I opening Incipit on first leaf, eighteenth-century No 174 at head of first leaf and foliation at foot of leaves, spots, stains, and damage to initial of frontispiece, binding now coming apart, with first and last leaves loose in volume and others becoming so, overall fair, 216 by 142mm., modern card binding with parchment spine, separated from text at front and back Provenance: (1) Most probably written in either Brunswick, Troyes or Holland, c . 1380: the watermark is a letter P surmounted by a cross, which while recorded in general form by Briquet from the last decades of the fourteenth century through the first decades of the fifteenth, the size and simplicity of the cross here is a near match to Briquet 8462 (Brunswick, 1379), 8465 (Troyes, 1385) and 8470 (Holland, 1388). If this is correct, then this is an important witness to the earliest production of paper in northern Europe. By 1276, there were paper mills in Fabriano and Treviso, most probably introduced to the former by Arab prisoners who settled there. By 1340, paper production had proliferated in northern Italian towns, and the process then spread north of the Alps with an early mill functioning at Mainz, and others at Troyes in 1348, Holland in the 1340s or 1350s, and Nuremberg in 1390. No paper mill would be recorded in England until 1490. By the early decades of the fifteenth century, paper became a relatively common material for small collections of sermons and tracts, but remained the poor cousin to parchment until the invention of printing. Thus, these leaves here are witness to a period in which paper was in its first few decades of production outside of Italy, and was still far from common. (2) Harold Marshall of Harlesden: his early twentieth-century printed bookplate pasted inside front board, above a contemporary cutting from a catalogue with this as item 33 . Text The main text here is that of the Speculum Ecclesiae or Tractatus supra missam by Hugh of Saint-Cher ( c . 1200-63), a French Dominican friar who became a cardinal and was the author of numerous Biblical commentaries and related works, including his Correctorium , a collection of variant readings of the Bible, the first concordance of the Bible, and a commentary on the Book of Sentences.

Bernard of Botone, - Glossa ordinaria on the Decretals of Gregory IX Glossa ordinaria on the Decretals of Gregory IX, large decorated manuscript in Latin on parchment [Italy, late thirteenth century or c. 1300] 133 leaves (plus 1 original endleaf at front, and another 2 at back), wanting a gathering after 4th quire and a few leaves at end of codex (but in this state since the fourteenth or early fifteenth century), else complete, collation: i-vii12, viii8, ix9 (last a blank cancel), x-xi12, xii8 (wanting viii and ix), double column, 53 lines in a small and fine university bookhand, paragraph marks and running titles in red and blue, small initials in same with contrasting penwork, one large variegated initial R on frontispiece with elaborate penwork infill and text border of red and blue leaf-shapes in French style, one or 2 leaves with sections of blank borders cut away, some cockling and discolouration to edges of leaves (notably top and bottom of volume), with losses to blank edges of some leaves and parchment brittle in places, else good condition with wide and clean margins, 320 by 225mm., fourteenth- or just perhaps early fifteenth-century binding of blind-tooled pigskin with panels formed of triple fillets enclosing small flower heads, with horn nameplate nailed to upper board (discoloured through age, but with …sus Bernardi …decretales in apparent fourteenth-century script visible on parchment slip underneath), binding fragments of a bifolium and a long strip cut from German manuscripts of the twelfth and thirteenth centuries, and one medieval metal boss on front board, the 4 on back board wanting and their mounting places now marked by small holes, remains of 2 clasps, back board much lighter than front due to centuries of storage in medieval style (see below), some slight cracking along spine and small scuffs to boards, but solid in binding Provenance: (1) Most probably written and decorated in a university centre in Italy or southern France (perhaps Bologna or Montpellier) by scribes and artists familiar with both Italian script and French methods of decoration, in the thirteenth century or perhaps the first few years of the fourteenth century. (2) Within a century the book appears to have been in a German monastic or Cathedral chapter library, and had lost a gathering and a few leaves from its end. It was given an index on its last endleaves and bound up into its current binding. It presumably entered private hands during the secularisation of the early years of the nineteenth century. Text: This is a handsome and clean medieval codex in almost the same state as it was in fourteenth century. Its front board preserves a rare survival of medieval bindings, a horn covered nameplate, and the slight discolouration of that board in comparison to the lower shows that the book was stored in the medieval monastic fashion for many centuries (lying flat on its back on a shallow shelf leaving just its top and nameplate visible, and kept away from the potentially damp shelf surface by the bosses on its back). It contains the Glossa ordinaria on the Decretals of Gregory IX of Bernard of Botone (also of Parma, his birthplace), who studied law and subsequently taught in Bologna University. He stands in a line of great medieval legal authorities, having studied under Tancred of Germany (d.1230/36) and had William Durand (d. 1296) as his pupil. In later life, he served as chancellor of the university and as chaplain to Pope Innocent IV. This work was his magnum opus , completed just before his death in 1263/66.

Pietro Paolo Vergerio the elder, - De diruta statua Virgilii epistola, and Poggio Bracciolini De diruta statua Virgilii epistola, and Poggio Bracciolini, Oratio in funere Iuliani de Caesarinis, in Latin, manuscript on paper [central Italy (probably Milan or vicinity), third quarter of fifteenth century] 30 leaves (plus modern paper endleaf at each end), wanting approximately 2 leaves of text from the centre of the volume, which had the end of the first text and the opening words of the second (approximately 20 lines of each), else complete, collation: i-iii10 (last 4 leaves blank), single column, 17 lines in a fine humanist hand (but written at different times with different pens) with a low descending fish-hook-like tail to the g and frequent use of et-ligature within words, 3 lines of faded red capitals at opening of first text, some capitals set in margin and occasional marginal corrections, small spots and tiny hole in fol.10 (with no affect to text), eighteenth-century sums on one endleaf at back and modern pencil 29 and 523 , overall in good condition, 192 by 142mm., bound within contemporary blind-stamped leather boards with s shapes and fleur-de-lys within chevrons, these panels now laid over modern brown leather over pasteboards during modern restoration Provenance: (1) Most probably written in Milan or its vicinity in the third quarter of the fifteenth century: the watermarks of an 8-petalled flower are notably close to Briquet nos. 6597 (Chiavenna, 1465 and Milan, 1472) and 6599 (Milan, 1475 and Pavia, 1481). (2) Hieronymus Maria Giacin[tus]: his seventeenth-century ex libris inside front endleaf, naming him as a prior. Text: This volume contains works by two of the founders of Italian Renaissance humanism. Pietro Paolo Vergerio was born c . 1369 in Capodistria, Istri (now Koper, Slovenia), and alongside Guarinus, was the first modern author to write about the studia humanitatis . He studied at Padua, Florence and Bologna, and lectured as a professor of logic at Padua before serving Pope Innocent VII and Gregory XII as papal secretary, thereafter entering the service of Emperor Sigismund, for whom he translated Arrian s biography of Alexander the Great into Latin. He remained in the imperial court, and in 1420, was the chief Catholic orator there arguing against the Hussite disputation. He died at Prague still in imperial service in 1444. This text is an invective against Carlo Malatesta, who in 1397 had ordered a statue of Virgil in Mantua to be destroyed. Poggio Braccolini (1380-1459) was a Tuscan by birth and studied Latin in Florence under Giovanni Malpaghino, the friend and student of Petrarch. He himself befriended and worked for the grand humanists Coluccio Salutati and Niccolo de Niccoli, and became the most well-known and celebrated scholar of early humanism, principally through his rediscovery of significant parts of our Ancient Latin heritage mouldering in German, Swiss and French monastic libraries. He wrote this Oratio to honour the memory of Cardinal Giuliano Cesarini (1398-1445), and the efforts he made ad liberandum Europam ab oppresione barbarorum nefaria crudelique . Leonardo Bruni dedicated his edition of the Gothic War to Cesarini. The two tracts also appear together in other humanist manuscripts: Florence, Biblioteca Laurenziana, Ashburnham 272; Padova, Biblioteca Civica, B.P. 1223 and 1287; and Ravenna, Biblioteca Comunale Classense 117.

The Astronomical Compendium of San Cristoforo, - Turin, including Regiomontanus, Calendarium Turin, including Regiomontanus,  Calendarium  , as well as other related texts, in Latin, decorated manuscript on paper and parchment [northern Italy (probably Turin), last decades of the fifteenth century (perhaps c. 1474)] 61 leaves (including 3 endleaves at front and 2 at back, plus last 4 leaves of text blank), complete, collation: i6, ii6, iii6, iv10 (first leaf a parchment insert, that pasted to a singleton which forms last leaf of bifolium), v3 (last leaf a parchment singleton), vi10, vii14, catchwords present, single column, c. 35 lines in a small but fine and legible hand which shows the influence of humanist script, rubrics in red, astronomical symbols in faded purple, 2-line initials in simple blue or red and blue with contrasting penwork, spaces left for other initials, 10 pages of diagrams illustrating the phase  of lunar and solar eclipses for the years 1475-1530 (3 pages left in trick), 2 parchment leaves with 4 full-page diagrams, one a volvelle (middle ring wanting), others an  Instrumentum horar[i]um inequalium  with a list of planetary bodies, a  Quadrans horologii horizontalis  and a  Quadratum horarium generale   with designations for latitude and longitude, 2 pages of calculatory diagrams with text in red and purple ink and 2 further volvelle diagrams on either side of a paper leaf, a series of near-contemporary calculation numbers added down side of one diagram, some small stains and smudges, splits to edges of a few endleaves, small amount of wormholes, overall good condition, 206 by 147mm., in contemporary light coloured leather over pasteboards, circular marks scored into boards showing places of lost metal bosses, some scuffs, worm and losses at corners, spine skilfully rebacked Provenance:  (1) Most probably written and illustrated for Brother Antonius  de lanteo  (doubtless a member of the medieval Turin  de Lanceo  family), an inmate of the Augustinian monastery of San Cristoforo, Turin: his inscription at head of recto of first leaf of Calendar  S[an]c[t]i Cristofori Taurini Ad usu[m] fr[atr]is Anto[ni]i de lanteo . The Calendar of Regiomontanus  work has been adapted during copying to include Augustinian saints and exclude the German and Bohemian ones usually found there. (2) Joseff Greg[o]ri[o] da Bologna: his seventeenth-century inscription on back cover. (3) Guglielmo Libri (1803-69), Italian polymath and grand bibliophile, who held offices as professor of Mathematical Physics at Pisa and of Calculus at the Sorbonne, and then Chief Inspector of French Libraries from 1841. This last role eventually brought him notoriety as a book thief, and he fled to England. Before and after this he had acted as a legitimate dealer in books and manuscripts, and doubtless he acquired the present volume in Italy. It was lot 92 in his sale at Sotheby s, 28 March 1859. (4) Sir Thomas Phillipps (1792-1872), the greatest book collector to have ever lived, who assembled a vast collection numbering several tens of thousands of items, accumulating in a single lifetime more manuscripts than Oxford and Cambridge together; his MS. 16242 (his pencil  Ph  number and pen  Phillipps Ms 16242  inside front board; his sale at Sotheby s, 5 June 1899 ( Bibliotheca Phillippica   XI), lot 75 (sale catalogue cutting glued to front endleaf). (5) Samuel Verplank Hoffman (1866-1942), who studied astronomy and taught it at John Hopkins University before taking over his family s business empire, and was a member of the New York Historical Society from 1901 until his death, serving as its president from 1903 (they have a portrait of him from 1907) and a member of the Grolier Club: his armorial bookplate inside front board. It was probably sold soon after his death, on  July 28, 1944  (pencil date inside front board). The Smithsonian acquired his collection of astrolabes in 1959. Text: This is an important witness to the study of astronomy in Turin in the fifteenth century, which is contemporary or near-contemporary with the life of the celebrated astronomer Regiomontanus. It is among a tiny handful of early copies of his crucial  Calendarium   (here fols.1v-32v, and giving information on lunar and solar eclipses for 1475-1530, as well as the length of days and signs of the zodiac and planets), and is the earliest known Italian manuscript of the text. It is now the only recorded copy left in private hands. Regiomontanus  virtuoso career straddled the transition from manuscript to early print, and thus his works are of the greatest rarity in handwritten copies. He was born Johannes Müller in 1436 in the Franconian market town of Königsberg (the name Regiomontanus was first coined by Philipp Melanchthon in 1534). His first known accomplishment, as  a 13-year-old student in Leipzig, was the production of a set of planetary tables vastly more accurate and impressive than Gutenberg s own  Astronomical Calendar of 1448 . He became a pupil of Georg von Peuerbach (1423-61) in Vienna, and continued that scholar s work in astronomy, mathematics and instrument making. On Peuerbach s insistence, Regiomontanus followed his mentor into the service of the  humanist papal legate and book collector Basilios Bessarion and spent much of the 1460s splitting his time between Bessarion s household there and the courts of Archbishop Janos Vitez and King Matthius Corvinus in Hungary. It was in these years that he honed his notion that what astrology lacked was precision, and began his prolific writing career, moving in 1471 to Nuremberg, an imperial cultural centre, and founding his own printing press, the first dedicated to astronomy and mathematics. He died soon after, while on a trip to Rome in 1475-76. It is most probably his foundation of a printing press that ensured so few of his works were transmitted in manuscript, as his work moved in many cases seamlessly from his own rough copy to incunable. The only two manuscript copies to come to the market in living memory are this one and that sold by Kraus to Irene and Peter Ludwig, and thence to the Getty, later sold to the late Laurence Schoenberg, and now in Princeton University ( Transformations of Knowledge  , 2006, LJS. 300, p. 74, deposited in Princeton since 2011). The Schoenberg manuscript has been dated variously from  c  .1470 to  c  .1500, and was most probably in the library of Lambach Abbey, Austria. Both it and  the present copy are prestigious  de luxe   copies, rather than hastily copied scholar s working copies. Neither can be definitively dated to either before or after the emergence of the printed edition of 1474, and both agree closely with that witness (the present manuscript differs only in the alterations to the Calendar and in the placement of the diagram of the  Quadrans Horologii horizontalis   and the  Quadratum horarium generale   later in the sequence). Both might be copies of Regiomontanus  lost exemplar (which as it was produced for direct printing is likely to have been near-identical in layout to the incunable). That may have been circulated among associates and fellow astronomers immediately before the printing, and Antonio de Lanteo was plausibly a friend of the author perhaps met during his long travels in northern Italy. Or they could be copies made for monastic libraries soon after 1474,  but then we must believe that these libraries could afford to source a copy of the incunable and produce  de luxe   copies of it, but apparently could not afford to purchase a printed copy. The study on the relationship of these early manuscript witnesses to the printed text has yet to be written, but it is clear that no such study can afford to ignore the present manuscript. The other short texts at the end here are no less interesting or intriguing, and include a large number not apparently recorded elsewhere.

The Hours of Gabrielle d’Estrées, - Use of Paris, illuminated manuscript in Latin and French on... Use of Paris, illuminated manuscript in Latin and French on parchment [northern France (Paris), c. 1480] 150 leaves (plus 2 original endleaves at front), complete, collation: i-xi8, xii6, xiii-xvii8, xviii6, xix10 (the last quire including last endleaf and pastedown), catchwords, single column, 20 lines in an angular letter batârde, capitals touched in red, red rubrics, small initials in liquid gold on burgundy, pale blue or brown grounds, line-fillers in same, larger initials accompanying three-quarter miniatures in white scrolls on burgundy grounds enclosing foliage sprays on brightly burnished gold ground, Obsecro te on fol.17v with three-quarter border of coloured acanthus leaf and other foliage, undersides of leaves heightened in dull-gold, 8 quarter-page miniatures (for Hours of the Virgin after Matins: fols.37v, Lauds; 47r, Prime; 51r, Terce; 54v, Sext; 58r, Nones; 61v, Vespers; and 68r, Compline) with three-quarter borders as before, 6 three-quarter page arch-topped miniatures with figures and draperies heightened with liquid gold strokes, and with borders of foliage on dull-gold and blank parchment shapes, some thumbing to a small number of borders with only significant smudge in border of fol.107r, slightly trimmed at edges with damage to catchwords and loss of outer vertical borders up to edges of decoration on some miniature pages, later coloured printed faces within architectural frames pasted to front endleaves, 152 by 105mm., late seventeenth-century French binding of dark leather over pasteboards, profusely gilt-tooled with floral sprays and s shapes within 2 rows of double fillet, cracking at spine edges, but solid in binding, fitted cloth covered slipcase Provenance: (1) Written and illuminated for a Parisian patron in the late fifteenth century, perhaps the young woman who is shown being struck down by a skeletal death on fol.107r. (2) Evidently later in the library of Gabrielle d Estrées, King Henry IV of France s mistress, devoted companion and intended second wife, who died in childbirth before their marriage in 1599. She is the presumed subject of the painting Gabrielle d Estrées et une de ses soeurs of 1594, now in the Louvre, in which she and her sister sit half-naked in a bath as she holds Henry s coronation ring in her fingertips. An inscription in French of the seventeenth-century on the inside of the front pastedown here, describing this book as manuscrit a[ve]c armes de Gabrielle d Estrees (the arms presumably once on the previous binding), and recording its provenance as from the chateau de Prince de Conde . Text: The volume comprises: a Calendar (fol.1r); the Gospel readings (fol.13r); the Obsecro te (fol.17v); the Hours of the Virgin, with Matins (fol.21r), Lauds (fol.37v), Prime (fol.47r), Terce (fol.51r), Sext (fol.54v), Nones (fol.58r), Vespers (fol.61v) and Compline (fol.68r); the Seven Penitential Psalms (fol.77r) followed by a Litany and prayers; the Hours of the Cross (fol.101r); the Hours of the Holy Spirit (fol.104r); the Office of the Dead (fol.107r); Suffrages to SS. Christopher, John the Baptist, Genevieve, and Mary Magdalene, followed by prayers to the Virgin. The endleaves at the back are filled with near-contemporary prayers. Illumination: This artist was a follower of Maître Francois ( fl . c.1460-80), and employs this artist s stylistic facial types with pale skin tones and rosy cheeks, angular interior architectural details and gold highlighting of the draperies. His work was the foremost influence on the Parisian book arts in the early decades of the second half of the fifteenth century. The scene of Death here as a skeletal corpse, striking down a young woman before an open charnel house, with skulls staring on, is a rare and grisly one, and was perhaps meant to frighten the young woman depicted away from potential sin. The large miniatures comprise: (1) fol.13r, St. John seated in a grassy landscape, writing on a scroll, as his attribute the eagle appears to him; (2) fol.21r, the Annunciation to the Virgin in a richly decorated gothic room, with a small bird in the margin; (3) fol.77r, David kneeling at the foot of a hill as God appears to him in the sky above; (4) fol.101r, the Crucifixion, with a small yellow bird in the border; (5) fol.104r, the Pentecost in a detailed gothic interior; (6) fol.107r, Death as a tall corpse wrapped in a white shroud, lifting a spear aloft to strike a young woman in blue dress, as she staggers back in horror, the whole scene set in a grassy space before a half-timbered charnel house, with the skulls of the dead stacked up inside the rafters of the building.

Grant of Arms for Jean Belmain, - French tutor to King Edward VI and Queen Elizabeth I French tutor to King Edward VI and Queen Elizabeth I, illuminated manuscript charter, in Latin, on parchment [England (doubtless London), 20 November 1552] Single sheet charter, with a large miniature of Sir Gilbert Dethick, Garter Principal King of Arms (90 by 80mm.), wearing the coronet and tabard of his office, pointing to the arms in the margin and to the opening line of the text, full border on 2 sides of painted foliage including a Tudor rose surmounted by a detailed crown and a gold fleur-de-lys, large arms in lefthand border surmounted by a helm (azure, engrailed chevron of ermine argent, between 3 bezants or, each with a demi-lion rampant gules, the helm with a torse of argent and gules, a griffon s head between 2 wings, azure with bezants or a mantle gules lined with argent, both 175mm. high), 26 lines of fine Tudor English italic hand, opening words in scrolling thin gold capitals, remains of 2 parchment ties which once supported seals (probably Great Seal of England and Dethick s seal of office, now wanting), eighteenth-century antiquarian notes on reverse, some small spots and folds, with slight damage to bottom of miniature, else good and presentable, 303+45 by 500mm., set in card mount Jean Belmain (also Bellemain and Belmanior, fl . 1546-59), was a humanist and zealous Huguenot friend of Calvin, who served in the court of King Henry VIII as private French tutor to the monarch s sickly son Edward and then daughter Elizabeth. He grew to be an intimate member of the royal household, and attended the funeral of Edward in Westminster Abbey after his untimely death on 6 July 1553, becoming in turn a close friend to Elizabeth. He completed a French language translation of the devotional Lamentacions of a Sinner written by Catherine Parr, and in 1553 wrote an autograph translation of the Second Prayer Book of Edward VI with a dedicatory epistle to the king, which is now British Library, Royal 20 A xiv. The present manuscript was written and illuminated during the final year of his service of Edward, and is doubtless a prestige copy made for him, and kept among his effects while in attendance of the court. Sir Gilbert Dethick (c.1500-84) became Garter King of Arms in 1550 and was knighted in the following year. He was also close to Edward (for whom he was involved in 3 separate marriage negotiations) and Elizabeth (with whom he regularly exchanged New Year presents). He is remembered as having a high opinion of his place in court, and has been described as unmanageable when a herald, very unsociable, insolent and tempestuous . He appears on other contemporary presentation copies of charters (including one made for Sir Nicholas Bacon in 1569: British Library, Additional 39249, and another for George Toke dated 1547: College of Arms), and there is a portrait of him in College of Arms, but the present manuscript is still of exceptional value as an original portrait from life of a Tudor statesman by an artist who knew his subject personally.

Armorial Roll for the Palmer family, - issued by Robert Cooke, Clarenceaulx King of Arms issued by Robert Cooke, Clarenceaulx King of Arms, illuminated manuscript scroll on parchment with Latin inscriptions [England (London), 1567-84] Scroll on 4 membranes, with 29 armorial shields and 68 green roundels enclosing the names and familial links of the members of the family (but not their dates), all joined by thin red lines, 3 grand coats-of-arms of the family with helms topped by a coronet and plumes, a white horse s head and a griffon at base, above inscription of the compiler of the document: Rob Cooke Alias Clarenceulx Roy Darmes in scrolling calligraphic script, the silver of the arms in places oxidised, some small spots, smudges and slight discolouration to end membranes, else in crisp and fresh condition with bright colours and clean parchment of highest quality, 2600 by 410mm. Following the use of genealogical scrolls by late medieval English kings to advertise their dynasty s longer or more legitimate claims to rule (see S. Anglo, The British History in Early Tudor Propaganda , Bulletin of the John Rylands Library 44, 1961-62, and the scroll in Middle English sold in Sotheby s, 4 December 2007, lot 49), such items became popular among noble families, and were either hung up in the home or used in public displays of their genealogical heritage and influential marital links. This manuscript was issued by Robert Cooke ( c . 1535-92/93), who held office as Clarenceaulx King of Arms from 21 April 1567. In 1584 he was appointed Acting Garter King of Arms on the death of Sir Gilbert Dethick (see previous item). However, late in life he came under suspicion of skulduggery, with Ralph Brooke, York Herald, noting that he had granted a staggering 500 new coats-of-arms during his tenure, and William Segar, Norroy King of Arms, criticising him for making such grants to base and unworthy persons for his private gaine onely . The family here were not noble, but clearly were wealthy, and the absence of dates from their ancestors is a strange feature which renders the document uncheckable. This may well have been part of the Tudor equivalent of a cash for honours scandal. That said, such scrolls have a measured and elegant beauty, with tiny details such as the pale green spread-eagled bird, muzzled bear s and leopard s heads and doleful looking ravens which delight the eye.

Two small cuttings from a lectionary in Latin, - reused in sixteenth century as friskets, from decorated... reused in sixteenth century as friskets, from decorated manuscripts on parchment [France, second half of the twelfth century] Two strips, with remains of two large variegated initials in blue and red with scrolling red penwork and remains of double column, 14 or 16 lines of a professional rounded gothic bookhand, small initials and rubrics in red, reverse of largest fragment with remains of 24 lines of red ink offset from reuse as a frisket in early printing process (see below), edge of front of smaller fragment with traces of same, small stains and folds from reuse in later binding, 138 by 39mm. and 120 by 44mm. Friskets are sheets of material used in early printing, frequently reused parchment leaves, which are placed between the paper to be printed and the print block to mask off all but the red rubrics. As they were frequently discarded after the process they are of extreme rarity, and survive only as small fragments recovered once the reused sheet had dried and been put to a tertiary use in bindings. They were first discussed in print by Margaret Smith ( Fragments used for Servile Purposes: The St Bride Library Frisket for Early Red Printing , in Interpreting and Collecting Fragments of Medieval Books , 2000), and more recently comprehensively studied and surveyed by Elizabeth Upper ( Red Frisket Sheets, c . 1490-1630 , Papers of the Bibliographical Society of America , 108:4, 2014, who lists 21 in total). Our sale of 8 July 2015, lot 27 included the only recorded example on the open market. The present frisket fragments are, like that one, hitherto unrecorded.

A Roman council, most probably the Senate, - large miniature from an illuminated manuscript of Cicero’s works... large miniature from an illuminated manuscript of Cicero s works in the French translation of Laurent de Premierfait, on parchment [central France (perhaps Nantes or Tours), third quarter of the fifteenth century] Large cutting from a leaf, with a miniature showing a richly decorated bench within a gothic interior with detailed carved figures set in the walls, the contours of these highlighted with liquid gold brushstrokes, the bench filled with old men, most with long and bedraggled beards, as two young men approach, border on 2 sides of coloured acanthus leaves and other foliage with red flowerbuds and pale blue flowers, the border enclosing another bearded man in a russet robe with large buttons up the front, who stands and gazes at the scene with a single finger raised perhaps denoting that he is speaking and thus the narrator of the text, some small scuffs and losses to paint, firmly laid down on wooden board, nineteenth-century no. 475 on reverse, 215mm. by 153mm., carved gilt frame This cutting is one of a series of miniatures from an aristocratic copy of the French translation of Cicero s De Senectute and De Amicitia of Laurent de Premierfait ( c . 1380-1418), the early French humanist of the court of King Charles VI and his bibliophilic relatives Louis de Bourbon, bishop of Liège and Jean, duke de Berry. The present miniature perhaps illustrates De Senectute , ch. 11, in which the narrator take the form of an old man who declares that research and reading are my intellectual gymnastics; these the race-courses of my mind; and while I sweat and toil with them I do not greatly feel the loss of bodily strength. I act as counsel for my friends; I frequently attend the senate, where, on my own motion, I propose subjects for discussion after having pondered over them seriously and long; and there I maintain my views in debate, not with strength of body, but with force of mind . The artist was a follower of Jean Fouquet (1420-81), the preeminent French painter of the fifteenth century and court painter to King Louis XI at Tours. The parent manuscript of this cutting with its large number of entirely secular miniatures may well have been commissioned by a member of the royal family or household.

Five cuttings from Romanesque manuscripts, - all in Latin on parchment [twelfth century] 5 cuttings all in Latin on parchment [twelfth century] 5 cuttings: (a) vertical strip from a single leaf from a liturgical volume, perhaps a Missal or a Lectionary, preserving dimensions of 3 outer borders, 3-line initial S formed of a long necked bird in red ink on pale blue grounds, other simple red initials with baubles set within their bodies, red rubrics, 32 lines of text in delicate early got hic script (some with music in neumes), late medieval folio no. CI , France, mid-twelfth century, 297 by 100mm.; (b) another cutting from same manuscript as before, but from along the top of the bifolium, remains of single column with 9 lines of text, later medieval folio no. XCIIII , 324 by 87mm. (original page width 215mm.); (c) 2 small cuttings which join together to make a fragment from a copy of Leo the Great, Sermons, with parts of double column, 9 lines from sermon LVIII, France, mid-twelfth century, 220 by 100mm.; (d) cutting from a Missal, with readings from the Feast of St. Sigismund of Burgundy (d.524), king of the early medieval nation of Burgundy, who was expelled from power by the sons of Clovis, executed and thrown into a well, from where his remains where later recovered and transferred to a monastery he founded at Agaune in Valois (south western Switzerland), remains of single column, 16 lines in a large rounded bookhand with simple red initials and rubrics, second half of twelfth century, probably Switzerland, 140 by 104mm.; (e) large cutting from a Martyrology, with remains of a single column, 32 lines in a professional rounded bookhand, red rubrics, capitals and chapter numbers, 1 initial in red with scrolling foliate penwork infill and remains of another, probably northern France, last decades of twelfth century, 310 by 95mm.; all recovered from bindings and hence with spots, scuffs and small splits

FIVE JEFF MARSHALL LIMITED EDITION SIGNED PRINTS DR. NO,1962, US, Artist: Jeff Marshall, Printed on artboard, Signed by Jeff Marshall, 35th anniversary limited edition 30/1500, Re-released 1997, 20 x 16 in (51 x 41 cm); FROM RUSSIA WITH LOVE,1963, US, Artist: Jeff Marshall, Signed by Jeff Marshall, Desmond Llewellyn aka Q, Printed on artboard, Limited edition 88/1500, Re-released 1998, 30 x 20 in (76 x 51 cm); GOLDFINGER, 1964, US, Artist: Jeff Marshall, Signed by Jeff Marshall, Shirley Eaton (Golden Girl), Printed on artboard, Limited edition 26/1500, Re-released 1997, 30 x 20 in (76 x 51 cm); THE MAN WITH THE GOLDEN GUN, 1974, US, Artist: Jeff Marshall, Signed by Jeff Marshall, Christopher Lee, Printed on artboard, Limited edition 395/1500, Re-released 2001, 30 x 20 in (76 x 51 cm); THE SPY WHO LOVED ME, 1977, US, Artist: Jeff Marshall, Signed by Jeff Marshall, Roger Moore, Printed on artboard, Limited edition 454/1500, Re-released 2001, 30 x 20 in (76 x 51 cm) (5) Condition All A

THE SPY WHO LOVED ME 1977, British, Artist: Bob Peak (1927-1992), Conservation linen backed 30 x 40 in (76 x 102 cm) Condition A-

A Corgi James Bond 007 BMW28 The World is Not Enough diorama set, certificate, boxed; a Dr Who Tardis and figure, David Tenant; Dr Who figure; model cars, Lledo, Maistro, etc

Austria postcard of Col Gen. Baron Carl Von Pflanzer-Baltin who commanded the Austrian 7th army that spearheaded Hindenburgs 1915 offensive against the Russians plus a letter card with his signature. On the reverse of the pc is a Austrian coat of arms label with ‘God Preserve Austria’ and on the back of the letter and the same slogan in the shape of a shell. Reserve: £18

Football, Wolverhampton Wanderers FC bundle of letters dated 1950s correspondence between the club ,on headed notepaper , and Mr F.D.Johnson who became a representative and coach for the club. One letter 1955 signed by Stan Cullis. 12 items incl FA coaching certificate Reserve: £40

Leeches, the application of leeches an 1826 letter from a daughter to her father about ‘ my poor little Ellen’ who was very ill and had ‘three blisters and leeches’ applied to her head. 3pp letter, some clean cuts made with the original opening of the letter. Reserve: £20

‡ Alberto Morrocco O.B.E., R.S.A. (Scottish 1917-1998) Still life with five pink cakes Signed and dated 90 Oil on canvas 71 x 76cm Exhibited: Cyril Gerber Exhibition, Glasgow, 266 Compass Gallery, Glasgow, Compass Contribution, May & June 1990 Alberto was accepted to Gray’s School of Art in 1932 at the unusually young age of 14. He studied there for six years under the tutelage of, in particula,r James Cowie and Robert Sivell, the latter having a dramatic influence on Alberto’s career. It was Sivell who sparked his interest in the Italian Renaissance and this was to have a lasting impression on Alberto. For many years he was the best-known and admired portrait painter in Scotland, his sitters included the Late Queen Mother. He is equally known for his still lifes, landscapes and interior scenes which all represent his love of colour and simplicity of composition. During his career, he gave over 30 one man exhibitions both in London and all over Scotland. In recognition of his many achievements as an artist he was awarded an OBE in 1993. ++Good condition

ë John Smart (1741-1811) Portrait miniature of James Whatman, head and shoulders, wearing a sky blue coat Signed with initials and dated 1777 Oval, in a converted bracelet frame 32 x 21mm James Whatman (1741-1798) was one of the foremost paper makers in Europe and was instrumental in the development of fine quality wove paper in Turkey Mill in Kent. Whatman was the son of James Whatman senior and Ann Harris, who between them turned Turkey Mill into the largest paper mill in the country. Whatman senior pioneered a method of producing fine quality wove paper on a mesh base which resulted in a much smoother paper, ideal for fine art and high quality printing. War in Europe between 1739 and 1748 cut off the supply of fine paper from the continent and so the English paper makers were able to regain the market and Turkey Mill became the largest paper mill in the country. James Whatman Junior took over in 1762, the firm having been run by his mother Ann since James senior’s death in 1759. James Junior continued to innovate in paper making and introduced many new techniques including the use of blue smalts which enhanced the whiteness of paper. He was also well known for creating the largest sheets of paper ever made at 53 x 51 inches for the Society of Antiquaries. Thomas Gainsborough is well documented in the 1760s trying to obtain Whatman paper saying ‘There is so little impression of the wires, and those so very fine, that the surface is like vellum.’ It was used by many of the most famous painters of the late 18th and early 19th century, including Turner, John Robert Cozens and William Blake for some of his illuminated books. James Whatman (1741-1798) married twice, his first wife dying in 1755. This miniature was painted just after his second marriage to Susannah Bosanquet in 1776. In Whatman’s account book there are three entries concerning Smart: 1776, Oct 5, Smart the Miniature Painter on Acct £18.18.0; 1778 May, Smart the Miniature Painter in full £21.0.0; 1779, May Mr Smart for a Miniature Picture and glass £13.2.6 ++Good condition

Follower of François Clouet Portrait of a gentleman, head and shoulders, wearing a gold coloured coat, in a wooded landscape Inscribed Bene qui latiut bene vixit, Oil on panel 47 x 38cm; 18½ x 15in The latin translates as One who lives well, lives unnoticed (Ovid) ++Repaired split to panel, marked flaking and lifting in several areas with some to the face with a little paint loss, retouched, varnish patchy

‡ Christopher Richard Wynne Nevinson A.R.A. (1889-1946) Portrait of a wounded soldier Signed Oil on canvas 50.5 x 40.5cm Painted c.1916 This painting was executed almost 100 years ago by Nevinson who had been at the heart of the action on the Western Front. Nevinson’s early works in the Futurist mould took a diversion with the onset of the First World War but he was determined to continue with the ‘Futurist technique’ to express the reality of War. However by 1916 his mètier was in retreat to a form of moderate modernism which won him much critical acclaim. His works at the time of the War are bleak, outspoken and often angry but his paintings of 1915-16 count among the masterpieces of his career. The unknown sitter is depicted gazing calmly at the artist but with a wealth of emotion in the eyes. He was to turn more to portrait painting after the War and this painting is a rare glimpse of Nevinson succeeding as a portrait artist at a watershed moment of his career ++Relined, good restored condition

Special Air Service Officer’s SAS cap badge. Die-cast silvered dagger, the wings and “Who Dares Wins” scroll in gilt. Designed by Cpl. Tait, MM. Approved by David Stirling and General Auchinleck. VGC Long loops

Royal Scots Greys Officer’s silvered and gilt cap badge. A fine die-cast example. The eagle is borne by the Regiment to commemorate Sgt Charles Ewart of the Royal Scots Greys who captured the French standard of the 45th Veteran Regiment of the Line at Waterloo. VGC Loops

Non military personnel scarce WW2 cap badge. Green padded cloth disc embroidered with chain border. Worn by civilians such as engineers and scientists attached to the invasion forces on D Day and thereafter who wore military uniform to prevent being shot as spies if captured. VGC

An interesting oil on canvas from the early Regency period, depicting an Ancient Egyptian Royal Scene of Akhenatum, who was the Pharaoh of the 18th Dynasty in Ancient Egypt

Scratch built steam engine 'Minnie' in presentation case, with instruction book and photographs 44cm long 20cm wide 30cm high,Provenance: built in 1960's/70's by the vendors uncle who was an engineer at Marconi.

One bottle of Graacher-Himmelreich Riesling Eiswein 1971, Joh Jos Prum, high fill, label with small tear and crumpling on bottom right corner, otherwise lightly soiled; American import slip label. Anyone who has had the privilege to taste an eiswein from one of the very best growers will know what an unforgettable experience it is: it somehow manages to defy the laws of physics being nimble on the palate but incredibly concentrated in flavour. 1971 was one of the greatest post-war German vintages, much sought-after by connoisseurs of these wonderful and almost immortal wines. The estate is still going strong and remains today one of the benchmark growers of the region. Superlative stuff.

A pair of Wrenn Railways W5101 ICI Bulk Salt Wagons, in light grey, in original boxes, E-M, box VG-E (2) Formerly the property of a London-born engineer who was also a keen model railway enthusiast, his family believe that he purchased this Wrenn material at the time of the Basildon factory closure in 1992

Omega full hunter yellow metal cased pocket watch with engine turned case marked 14k, yellow metal inlay and vacant cartouche. Inside the front cover engraved 'Challenge 1934', 'Min Nar Obrany'' and with the signature 'Bradac' for Vladimir Bradac, who was the Czech Minister of Defence from 1932-1935. Most probably presented to one of the Czechoslovakian entrants in the 1934 Air Race

A polychrome stitched Picture of a First World War type bi-plane against clouds. In cartouche 'G.W. Beatty Hendon 1913'. Beatty was a famous American aviator who trained English pilots in the 1914-1918 war, Framed and glazed. 12 1/4 x 8 1/4

A folio of 30 Original drawings by R. Jennings, who was an illustrator for Laura Ashley in London during the 1970's. 30 cm x 21 cm

A folio of 30 Original drawings by R. Jennings, who was an illustrator for Laura Ashley in London during the 1970's. 30 cm x 21 cm

A folio of 30 Original drawings by R. Jennings, who was an illustrator for Laura Ashley in London during the 1970's. 30 cm x 21 cm