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Lot 419
circular form, engraved "PHILIP IELL** ESQ HOPTON IN CONT DARBY" (script), unmarked c.1680; 0.5" (1.2cm) diameter * A Varval, are small tags with the owner's information engraved thereon, were attached to the jesses of a hawk/ falcon so that the bird could be identified. This example, with its push-in pin lock missing and gouges to that one side suggests it probably suffered damage from a metal tool, perhaps when it was excavated after spending time in the ground, as many did. ** Sir Philip Gell of Hopton Hall, 3rd Baronet, born in 1651, went on to become M.P for Derbyshire in 1680 and died in 1710. *CR Damaged as explained in the footnote and see images. Please contact Connor for further information connor.swanwick@lawrences.co.uk.
Lot 430
with five chains and floral scroll decoration, by Lawrence Emmanuel, Birmingham 1897, fitted with the following non-matching items:- a notepad, two pin cushions, a purse, a multi-tool, a pair of scissors, an extending pencil, a cross, a heart, a charm and various coins; 11ozt (gross weight). *CR All implements with wear & in mixed conditions Please contact Connor for further information connor.swanwick@lawrences.co.uk.
Lot 213
A group of objects of vertu, to include a crystal ball held in a frame on turned wood stand, the frame inscribed with Masonic words and names for God, inlaid with leather six point stars, approx. 22cm high; together with a rosewood case with watchmakers instruments, a cased set of microscope slides, specimens and instruments; a cast iron draftsman's tool, a small circular box with glass lenses, and various binocular/telescope lenses and mounts (lot)
Lot 394
1983 Honda CX650 TurboRegistration no. JBW 823YFrame no. RC16-2000218Engine no. RC16E-2001138• Imported from Italy• Amazing 'time-warp' condition• Only 6,177 kilometres recorded• New Bosch fuel pump'...the CX500T has all the good points of the 500T: the fairing and comfort, shaft drive and mega pose value for those who think biggest and flashiest is best. And whereas the 500 fell flat on its face when it came to performance, the 650 has little turbo lag, the ability to cruise all day at well over the ton, and most of all this amazing zappo when you hit the throttle hard.' – Bike magazine. Once Honda had bolted a turbocharger to one of the most unlikely models in its range - the CX500 v-twin - the rest of the Japanese 'Big Four' followed suit, their larger, four-cylinder offerings leaving the CX500 trailing far behind in the performance stakes. Honda's riposte was the 673cc CX650 Turbo, which arrived in 1983. Bike magazine found that, compared to the CX500, turbo lag had been almost eliminated, and clearly appreciated the bigger CX's ability to sustain an indicated 135mph while the rider sat in perfect ease behind the effective fairing. Fuel consumption varied from 25mpg (speed testing) to an impressive 45mpg if less use was made of the 18psi maximum boost available. One of the nicest example we have ever seen, this rare Honda CX650 Turbo was purchased in 2021 from The Bike Specialists, Sheffield for a considerable sum (the CX650 Turbo was the vendor's 'pin-up bike' when he was young). The Honda had been imported from Italy by the previous owner in 2017 (see documents on file relating to its purchase from Italy and the registration process together with a photocopied Italian title). Additional documentation includes a current V5C, DVLA MoT history, HPI check and (copy) previous V5C. The machine also comes with with two keys, tool kit, owner's manual and photocopied set-up instructions.Dissatisfied with how the machine ran, the vendor had the fuel pump replaced twice before settling on a new Bosch unit, which was fitted by Colwins Motorcycles of Sittingbourne. They employed a mechanic, trained in the 1980s on Hondas, who correctly installed the fuel pump at the same time as the current MoT certificate was issued in 2023 (receipts lost unfortunately). Recommissioned by the current owner, the Honda has seen little use since purchase; it starts and idles smoothly but may require further light recommissioning following a period of inactivity. The odometer reading of 6,177 kilometres is not warranted but appears to be genuine. Viewing of this incredible 'time-warp' CX650 Turbo is highly recommended.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 504
Formerly the property of Ted Frend2000 Triumph TT600Registration no. W842 XGHEngine no. *SMTTH800SXY105010*Triumph's first offering in the vitally important 600cc class, the TT600 arrived in 2000 to less than universal acclaim. Handling and braking were judged as good as any, but the fuel injection needed further work, a shortcoming addressed by a succession of improved fuelling 'maps' downloadable from Triumph dealers. By 2002 Triumph had eliminated most of the glitches. 'The TT's power curve is now a smooth, straight-ish line with no untoward dips and bumps to trap the unwary,' revealed Bike magazine. 'It's still a long way short of most of the other (Japanese 600cc) bikes on peak power, but in the low- to mid-range it's a very different story.' There, the Triumph's high torque and low gearing really scored, making it one of the most useable bikes in everyday traffic conditions. 'The TT has the best combination of handling and ride quality, for normal riders on normal roads – not just of any bike here, but of anything you can buy,' enthused Bike. And despite the lower gearing the TT was still good for 150mph!This TT600 was formerly owned by Ted Frend, the illustrious AJS works rider, from 2000 until his passing in 2004. It was then purchased by noted collector Ken Senior and showcased alongside his iconic Ted Frend AJS Porcupine (sold by Bonhams, July 2021). Offered with handbook and service book, showing Ted as purchasing the Triumph on 8th April 2000, there are no service stamps, however the book does document a side stand modification performed in July 2000. In addition there is the tool kit, original purchase order form, a collection of old MOT certificates reflecting the very limited use (only 868 miles in 2003 and 900 miles in 2006). The original V5 bears Ted Frend's name. It has remained untouched whilst on display and consequently will require recommissioning and safety checks prior to use.2 keys.Offered with keyFootnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 430
Ex-Paul Smart, 2,881 miles from new2006 Ducati Paul Smart 1000 Limited EditionRegistration no. KX06 OWMFrame no. *ZDMC100AA5B002475*Engine no. ZDM992A2-027070*•Previously owned by Paul Smart himself•Purchased directly from Paul by the vendor•2,881 miles from new•Full provenance 'Want it for Paul's achievement, want it for Ducati's heritage, want it for how it looks.' – Bike magazine. Paul Smart's famous victory in the 1972 Imola 200, riding what would become the 750SS, was instrumental in establishing Ducati as a high-performance brand for the modern era. So what better way to celebrate the Bologna marque's heritage than a limited edition model in the spirit of the iconic 750SS? And why not duplicate the rest of the original bevel-drive twins line-up while you're about it? That was Ducati's reasoning behind the launch of its new 'Sport Classic' range in 2005. However, none of the three models - Smart 1000 LE, Sport 1000 and GT1000 - is in any way a 'replica'; all are thoroughly modern motorcycles with only the styling and colour scheme acknowledging the past. The Paul Smart 1000 LE uses the air-cooled 1000DS v-twin engine, as found in a number of other Ducatis, which is housed in the Italian firm's trademark trellis frame, the latter complemented by some top-quality Öhlins suspension and Brembo brakes. 'After 20 miles I was totally sold on the bike, as I had been after five minutes of looking at it. Exclusivity, style, power, handling... what else could I want?' queried Bike magazine's tester at the 1000 LE's launch. A production run of only 2,000 units was planned and few motorcycles of modern times have become as instantly collectible. This Ducati Paul Smart 1000 Limited Edition was originally owned and registered by the late Paul Smart, from whom our vendor purchased it in 2009 (see handover photograph in folder). The Smarts were/are old friends of the vendor's elder brother and sister-in-law, and it was through this connection that the vendor came to purchase the Ducati from Paul. Paul owned three examples of this model but this is the only one he registered in his name. The others were gifted to Paul's family but it is understood they were never registered. When purchased, the Ducati lacked the lower fairing panels, but Paul was able to source a pair for our vendor from Ducati Italy (receipt on file). On 12th July 2023 the owner personally rode the Ducati from his home in Lincolnshire into Bonhams' Milton Keynes motorcycle facility and the ride was as exhilarating as always. Presented in outstandingly original condition, having covered only 2,881 miles from new, it has impeccable provenance and is offered with numerous interesting photographs and other items. 'KX06 OWM' was first registered to Scott Smart Racing and transferred to Paul three months later. The other two PS1000LEs that Paul kept in his garage were given to him by Ducati Italy as a 'thank you' for all the promotional work he undertook during the model's early days. Paul told the vendor that he undertook a number of personal appearances on this, his own machine, including the Goodwood Festival of Speed, the Sammy Miller Museum, the National Motor Museum, and Beaulieu (the Beaulieu museum visitor's tag is still in place on the handlebars). The photograph of Paul riding this bike, which features on the special Ducati Club tribute poster (included in the sale), was almost certainly taken on one of these occasions. Also included is an illustrated folder made up by our vendor for the Ducati Owners' Club tribute to Paul Smart at last year's Motor Cycle News Rally at Peterborough in May. There is also a copy of the special banner that can be seen on the display (Paul can be seen riding this machine in the bottom left-hand photograph on the banner. The motorcycle is offered with an owner's manual (signed by Paul on the inside page). There is no service manual but there are receipts on file for the following services: •2010 (615 miles) – cam belts•2015 (1,863 miles) – cam belts and service•2020 (2,364 miles) – cam belts and service•2023 (2,731 Miles) – voltage regulator The file also contains a V5C (with Paul's details as previous owner); MoT to 2nd May 2024; and a receipted invoice for the sale in Paul's handwriting. Additional items comprise: •2022 Memorial Tribute Banner (vinyl)•Original exhaust components which Paul had changed for Termignonis before selling the bike •A fitted cover•Limited Edition T-shirt size XL, unworn, with tags•Side panel extensions for semi-naked configuration (see above – Paul sourced the '16' side panels for the vendor) •Small tool kit (under saddle)•Keys Paul Smart Ducatis are exceedingly rare. This example, previously owned by the legend himself, and with fewer than 3,000 miles recorded, represents a once-in-a-lifetime opportunity to own this piece of Ducati history.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com
Lot 417
Property of a deceased's estate2015 MV Agusta F4 1000 RRegistration no. PF64 HPO (see text)Frame no. *ZCGF610AAAV000681*Engine no. F61 AA 00883• Single family ownership from new• 1,759 miles from new• Well documentedArguably the only surprising thing about the original MV F4 of 1998 was that it was launched as a 750 at a time when the class was fast becoming moribund. The Japanese factories' main focus of attention had already switched to 1,000cc sports bikes but it took all of six years for MV to follow suit, launching the limited-edition F4 Ago in 2005 together with mass-produced F4 1000 S. Wisely, MV chose not to change the F4's overall appearance, the Massimo Tamburini-designed 750 being widely acknowledged as one of the most beautiful motorcycles ever made. As usual, there were various limited edition versions available offering even higher equipment levels and extra helpings of carbon fibre. The second mainstream model, the F4 1000 R, arrived in 2006 and came with a 174bhp engine, Brembo Monobloc radial brakes, forged Brembo wheels, a carbon-nitride coated Marzocchi USD fork and an upgraded Sachs shock absorber. In August 2006 an F4 1000 R set a record for the fastest 1,000cc production motorcycle of 185.882mph (299.148km/h) at Bonneville Salt Flats in the USA. This pristine F4 1000 R belonged to the current vendor's late brother, who purchased it in January 2015 from KJM Superbike Ltd (purchase paperwork on file). First registered in the UK January 2015, the MV was exported to Guernsey in December 2014 and comes with a Guernsey Registration Certificate for '4998'. Well serviced and pampered, the machine has been dry stored and ridden regularly by the late owner. Currently displaying a total of only 1,759 miles on the odometer at the time of cataloguing/photography. The machine was last running in September 2023, and there is a walk-around video of the machine running which can be found on the Bonhams website. As one would expect of a pampered, effectively one-owner example, this MV comes complete with paddock stand, tool kit, bike cover, various bills from Moto Corsa and others, and its full original book pack. The machine also comes with a copy of its old V5C registration document for 'PF64 HPO'. It should be noted that Vehicle Registration Number 'PF64 HPO' features a 2014 'Export' marker to the HPI/DVLA database. Accordingly, prospective purchasers should satisfy themselves with regard to the validity of the motorcycle's registration status prior to bidding and will need to apply to the DVLA to retrieve the Vehicle Registration Number. Two keys present.Footnotes:Please note that this vehicle is from outside the UK. Our customs agents, CARS UK, will manage all post sale customs administration. A fee of £350+VAT will be charged on the buyer's invoice to administer both import or export customs movements. If this vehicle is to stay in the UK, it will be subject to Import VAT at the standard rate of 20% on the hammer price. This vehicle will not be available for immediate collection after the sale and will only be released on completion of customs clearance. If you have any questions regarding customs clearance, please contact the Motorcycle Sale Coordinator Annika.morrill@bonhams.com +44 (0) 20 8963 2817.All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.This lot is subject to the following lot symbols: Ω NΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com
Lot 416
Property of a deceased's estate1988 Kawasaki KLR 250Registration no. E251 MYR (see text)Frame no. KLR250D - 021300Engine no. KLR250DE021378This KLR250 belonged to the current vendor's late brother, who is believed to have acquired it new in 1988. First registered in UK and then exported to Guernsey in 1988, it comes with a Guernsey Registration Certificate for '6115'. Well serviced and pampered, the machine has been dry stored and ridden regularly by the late owner. Currently displaying a total of only 13,114 miles on the odometer at the time of cataloguing/photography. The machine was last running in August 2023. It should be noted that registration 'E251 MYR' is not recorded on the HPI/DVLA database. Accordingly, prospective purchasers must satisfy themselves with regard to the validity of the motorcycle's registration status prior to bidding and will need to apply to the DVLA to retrieve the Vehicle Registration Number. Accompanying documentation includes the original Guernsey old style log-book (issued 1988); original order and personal export paperwork; various invoices/bills; KLR250 owner's manual and service manual supplement; and some KLR250 advertising/promotion literature. The machine also comes with tool kit, bike cover, UK registration plate, indicators and sundry other spares. One key present.Footnotes:Please note that this vehicle is from outside the UK. Our customs agents, CARS UK, will manage all post sale customs administration. A fee of £350+VAT will be charged on the buyer's invoice to administer both import or export customs movements. If this vehicle is to remain in the UK, it will be subject to Import VAT at the reduced rate of 5% on the hammer price. This vehicle will not be available for immediate collection after the sale and will only be released on completion of customs clearance formalities. If you have any questions regarding customs clearance, please contact the Motorcycle Sale Coordinator Annika.morrill@bonhams.com +44 (0) 20 8963 2817All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com
Lot 418
Property of a deceased's estate2008 Ducati 990cc Desmosedici RR 'Team Version'Registration no. RR08 DUC (see text)Frame no. *ZDMD100AA8B000431*Engine no. ZDM990FW4*000557*• Limited edition Grand Prix replica• Number '431' of only 1,500 made• Circa 5,000 miles from new'As a road bike, the Desmosedici has the potential to genuinely validate the term race replica.' – Bike magazine.It is surely ever true enthusiast's dream to own a genuine Grand Prix motorcycle, though in reality one achievable by only a tiny handful of the most wealthy and well connected cognoscenti. Until the arrival of the Ducati Desmosedici RR, that is. OK, it did cost around £40,000, but all you needed to do was re-mortgage the house... It helped if you already owned a Ducati 999R superbike, their owners being given priority by the factory when ordering. It could be argued that, being road legal, the Desmosedici RR was not quite the real deal, but that did not stop the 1,500 machines planned selling like the proverbial 'hot cakes'. At the Misano circuit in 2004, Ducati had astonished the motorcycling world by announcing that it intended to offer for public sale a low-volume, road-legal replica of its MotoGP racer. Two years later, in June 2006, Ducati unveiled the production version at the Mugello Grand Prix weekend. The Desmosedici RR was based on the 2006 Ducati GP6, raced that season by works riders Loris Capirossi, Sete Gibernau and, in a season-concluding one-off, Troy Bayliss, who secured his one and only Grand Prix victory in the last race of the 990cc era at Valencia.Ducati cut remarkably few corners in creating its racer-on-the-road Grand Prix replica, which used basically the same 90-degree V4 engine as the GP6. As delivered, the Desmosedici RR came with a catalytic converter, was Euro 3 compliant, and had a maximum of 188bhp on tap, though when the supplied race pipe was fitted this climbed to 200bhp. The RR's engine was carried in a truncated trellis frame, just like the GP6's, with the aluminium swingarm pivoting directly in the crankcase and the seat formed by a structural carbon-fibre sub-frame – a 'first' for a road bike. There was Öhlins suspension at both ends, offering a mind-boggling range of adjustability, with brakes supplied by Brembo, at the front featuring radial monoblock callipers. The wheels were lightweight magnesium Marchesinis, manufactured by the forging process – another road bike 'first'. Carbon fibre was used for the bodywork while the fuel tank was aluminium, the result of all this weight saving enabling the Desmosedici RR to tip the scales at only 171kg (376lb). In 2006, at Mugello, the motorcycling press at last got its hands on the production Desmosedici. Bike's Mike Armitage was suitably overwhelmed: 'Driving urgently and cleanly from low revs to the 14,200rpm limit, the snarling V4 is a masterpiece of internal combustion, delivering warp-drive, vision-blurring pace through gear ratios closer than any other road bike I can think of. It shoots the digital tacho round the clocks in a quick-fire frenzy, building revs with unrivalled velocity, picking up the front wheel in third gear, and blurring the edges of your vision. It's dominating, intoxicating, beautiful.'With the tacho showing 13,900 revs in top gear, Mr Armitage saw 301km/h registered on the speedometer, which equates to a real-world 182mph. Had maximum revs been reached, the Desmosedici would have been doing 193mph. Track time for each of the assembled hacks was limited to five laps - 15 miles - which is more than many of the Desmosedici production run have managed to this day. Number '431' of the 1,500 made, as recorded on the top-yoke plaque, this example formerly belonged to the current vendor's late brother, who purchased it in August 2014 from Craigs Honda of Shipley, West Yorkshire. The previous (first) owner had purchased the Desmosedici from Ducati Manchester in 2008. Sales invoices for both of these transactions are on file.Well serviced and pampered, the machine has been dry stored and ridden regularly by the late owner. Currently displaying a total of only 5,397 miles on the odometer at the time of cataloguing/photography. The Ducati was last running in September 2023, and there is a walk-around video of the machine running which can be found on the Bonhams website. This Desmosedici was first registered in UK and then exported to Guernsey in 2014. It comes with a Guernsey Registration Certificate for '16711' and its old V5C registration document for 'RR08 DUC'. It should be noted that Vehicle Registration Number 'RR08 DUC' features a 2014 'Export' marker to the HPI/DVLA database. Accordingly, prospective purchasers should satisfy themselves with regard to the validity of the motorcycle's registration status prior to bidding and will need to apply to the DVLA to retrieve the Vehicle Registration Number. As one would expect of a pampered example, this Desmosedici comes complete with the original manufacturer's authentication certificate 'plate' numbered '0431' and all its original books including the owner's manual and its warranty/service book. Other accompanying paperwork includes a 2014 MoT certificate; various Ducati and Moto Rapido invoices/bills; an invoice for repair/paint of panels; and photographs. Items with the machine include front and rear paddock stands, a bike cover, tool kit, saddle, original exhaust system (used), battery charger and other sundry spares (close inspection advised). Two keys present.Footnotes:Please note that this vehicle is from outside the UK. Our customs agents, CARS UK, will manage all post sale customs administration. A fee of £350+VAT will be charged on the buyer's invoice to administer both import or export customs movements. If this vehicle is to stay in the UK, it will be subject to Import VAT at the standard rate of 20% on the hammer price. This vehicle will not be available for immediate collection after the sale and will only be released on completion of customs clearance. If you have any questions regarding customs clearance, please contact the Motorcycle Sale Coordinator Annika.morrill@bonhams.com +44 (0) 20 8963 2817.All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.This lot is subject to the following lot symbols: Ω NΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com
Lot 355
The Anthony R. East Classic Motorcycle Collection1953 BSA 123cc Bantam D1Registration no. NEL 906Frame no. BD2 10269Engine no. BD2L 2862• Unrestored 'time warp' example• Single family ownership from new until 2002• Only 1,573 miles from new• Outstandingly originalDeveloped from the pre-war DKW RT125 and announced in 1948, the Bantam became a top seller for BSA, in excess of half a million leaving the Birmingham factory before production ceased in 1971. Originally of 123cc, the engine grew first to 148cc and then to 172cc. Plunger rear suspension became available as an option in 1950, as did battery electrics powered by a 6-volt Lucas alternator, direct lighting having been relied upon hitherto. Many a mature motorcyclist will have learned to ride on a Bantam and the model remains a firm favourite to this day. This Bantam's original buff logbook records the date of first registration as 9th June 1953 and shows taxation from then until 1956. The BSA was supplied by The Homestead Garages (The Motor Cycle People) in Parkstone, Dorset and in 1954 was in the ownership of William Curtis of Hull. Unbeknown to Mr Curtis, the Bantam had left the factory minus its electrical condenser; it would never have run properly without one, which almost certainly explains why its disgruntled owner consigned it to the oblivion of his shed for some 30 years, having recorded only 77 miles. Eventually, circa 1984, the BSA was inherited by William's nephew, Colin Curtis, who entrusted its rebirth to the VMCC's Ken Blake. Ken discovered the missing condenser and with this trifling fault rectified, Colin Curtis rode the 'time warp' Bantam to the Sammy Miller Museum to take part in the British Two-Stroke Club's Blue Haze Run, where it won the award for the most original machine. In 1993 this exceptionally original Bantam was featured in The Classic MotorCycle magazine (April edition, framed copy available).Tony East purchased the Bantam in September 2007 from a Mr Clague of Sutton, Surrey, who had acquired it in 2002 from Colin Curtis. The machine remains unrestored, having covered only 1,573 miles from new, and was last taxed until 31st July 2003. This unique Bantam is offered with its original tool kit and instruction book, while accompanying documentation consists of an old-style V5C; some old tax discs; a quantity of old MoTs dating back to 1984; a BSA Bantam instruction manual; some other instruction manuals; and copies of BSA service sheets.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
Lot 456
Ben Shahn (1898-1969) was an American artist, photographer, and social activist. He is best known for his work as a painter, muralist, and graphic artist. Shahn was born in Lithuania and immigrated to the United States with his family in 1906, settling in New York City. Shahn's art career began in the 1930s during the Great Depression when he worked as a muralist for the Works Progress Administration (WPA), a federal government program aimed at providing employment for artists during that time. He created numerous public murals depicting scenes of everyday life and social issues. Shahn's style was characterized by a blend of realism and modernism, often incorporating symbolic elements and social commentary. In addition to his murals, Shahn also worked as a painter and printmaker, producing works that explored themes of social justice, political activism, and human rights. He created powerful images that captured the struggles and injustices faced by marginalized groups, such as workers, immigrants, and African Americans. Shahn's art often aimed to raise awareness and provoke social change. Apart from his artistic pursuits, Ben Shahn was also involved in political activism and social causes. He was a vocal advocate for civil rights, labor rights, and the rights of the working class. His art and activism were closely intertwined, with his artwork serving as a means to communicate his political and social messages.Ben Shahn's legacy extends beyond his artistic contributions. His work influenced and inspired subsequent generations of artists, particularly in the realm of socially engaged art. His commitment to using art as a tool for social change left a lasting impact on the art world, and his powerful imagery continues to resonate with audiences today. Measures 9.25 x 12 Printed circa 1970sVerso is blank.Mounted to archival quality paper.
Lot 156
Ben Shahn (1898-1969) was an American artist, photographer, and social activist. He is best known for his work as a painter, muralist, and graphic artist. Shahn was born in Lithuania and immigrated to the United States with his family in 1906, settling in New York City. Shahn's art career began in the 1930s during the Great Depression when he worked as a muralist for the Works Progress Administration (WPA), a federal government program aimed at providing employment for artists during that time. He created numerous public murals depicting scenes of everyday life and social issues. Shahn's style was characterized by a blend of realism and modernism, often incorporating symbolic elements and social commentary. In addition to his murals, Shahn also worked as a painter and printmaker, producing works that explored themes of social justice, political activism, and human rights. He created powerful images that captured the struggles and injustices faced by marginalized groups, such as workers, immigrants, and African Americans. Shahn's art often aimed to raise awareness and provoke social change. Apart from his artistic pursuits, Ben Shahn was also involved in political activism and social causes. He was a vocal advocate for civil rights, labor rights, and the rights of the working class. His art and activism were closely intertwined, with his artwork serving as a means to communicate his political and social messages.Ben Shahn's legacy extends beyond his artistic contributions. His work influenced and inspired subsequent generations of artists, particularly in the realm of socially engaged art. His commitment to using art as a tool for social change left a lasting impact on the art world, and his powerful imagery continues to resonate with audiences today. Measures 9.25 x 12 Printed circa 1970sVerso is blank.Mounted to archival quality paper.
Lot 306
Ben Shahn (1898-1969) was an American artist, photographer, and social activist. He is best known for his work as a painter, muralist, and graphic artist. Shahn was born in Lithuania and immigrated to the United States with his family in 1906, settling in New York City. Shahn's art career began in the 1930s during the Great Depression when he worked as a muralist for the Works Progress Administration (WPA), a federal government program aimed at providing employment for artists during that time. He created numerous public murals depicting scenes of everyday life and social issues. Shahn's style was characterized by a blend of realism and modernism, often incorporating symbolic elements and social commentary. In addition to his murals, Shahn also worked as a painter and printmaker, producing works that explored themes of social justice, political activism, and human rights. He created powerful images that captured the struggles and injustices faced by marginalized groups, such as workers, immigrants, and African Americans. Shahn's art often aimed to raise awareness and provoke social change. Apart from his artistic pursuits, Ben Shahn was also involved in political activism and social causes. He was a vocal advocate for civil rights, labor rights, and the rights of the working class. His art and activism were closely intertwined, with his artwork serving as a means to communicate his political and social messages.Ben Shahn's legacy extends beyond his artistic contributions. His work influenced and inspired subsequent generations of artists, particularly in the realm of socially engaged art. His commitment to using art as a tool for social change left a lasting impact on the art world, and his powerful imagery continues to resonate with audiences today. Measures 9.25 x 12 Printed circa 1970sVerso is blank.Mounted to archival quality paper.
Lot 56
Ben Shahn (1898-1969) was an American artist, photographer, and social activist. He is best known for his work as a painter, muralist, and graphic artist. Shahn was born in Lithuania and immigrated to the United States with his family in 1906, settling in New York City. Shahn's art career began in the 1930s during the Great Depression when he worked as a muralist for the Works Progress Administration (WPA), a federal government program aimed at providing employment for artists during that time. He created numerous public murals depicting scenes of everyday life and social issues. Shahn's style was characterized by a blend of realism and modernism, often incorporating symbolic elements and social commentary. In addition to his murals, Shahn also worked as a painter and printmaker, producing works that explored themes of social justice, political activism, and human rights. He created powerful images that captured the struggles and injustices faced by marginalized groups, such as workers, immigrants, and African Americans. Shahn's art often aimed to raise awareness and provoke social change. Apart from his artistic pursuits, Ben Shahn was also involved in political activism and social causes. He was a vocal advocate for civil rights, labor rights, and the rights of the working class. His art and activism were closely intertwined, with his artwork serving as a means to communicate his political and social messages.Ben Shahn's legacy extends beyond his artistic contributions. His work influenced and inspired subsequent generations of artists, particularly in the realm of socially engaged art. His commitment to using art as a tool for social change left a lasting impact on the art world, and his powerful imagery continues to resonate with audiences today. Measures 9.25 x 12 Printed circa 1970sVerso is blank.Mounted to archival quality paper.
Lot 356
Ben Shahn (1898-1969) was an American artist, photographer, and social activist. He is best known for his work as a painter, muralist, and graphic artist. Shahn was born in Lithuania and immigrated to the United States with his family in 1906, settling in New York City. Shahn's art career began in the 1930s during the Great Depression when he worked as a muralist for the Works Progress Administration (WPA), a federal government program aimed at providing employment for artists during that time. He created numerous public murals depicting scenes of everyday life and social issues. Shahn's style was characterized by a blend of realism and modernism, often incorporating symbolic elements and social commentary. In addition to his murals, Shahn also worked as a painter and printmaker, producing works that explored themes of social justice, political activism, and human rights. He created powerful images that captured the struggles and injustices faced by marginalized groups, such as workers, immigrants, and African Americans. Shahn's art often aimed to raise awareness and provoke social change. Apart from his artistic pursuits, Ben Shahn was also involved in political activism and social causes. He was a vocal advocate for civil rights, labor rights, and the rights of the working class. His art and activism were closely intertwined, with his artwork serving as a means to communicate his political and social messages.Ben Shahn's legacy extends beyond his artistic contributions. His work influenced and inspired subsequent generations of artists, particularly in the realm of socially engaged art. His commitment to using art as a tool for social change left a lasting impact on the art world, and his powerful imagery continues to resonate with audiences today. Measures 9.25 x 12 Printed circa 1970sVerso is blank.Mounted to archival quality paper.
Lot 61
A James projectcomprising of a frame (numbered CL20-1285); two engines (numbered V20TS 8429 & 20T 4184); forks; petrol tank; mudguard; wheels; headlamp shell; tool boxes and other sundry items, close inspection advised. (Qty)Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.Lot to be sold without reserve.This lot is subject to the following lot symbols: â—Šâ—Šâ—Šâ—Š £60 + VAT uplift and storage at £12 + VAT per lot per dayFor further information on this lot please visit Bonhams.com
Lot 121
Ibrahim El-Salahi (Sudan, born 1930)Untitled c.1964 signed 'Salahi' (lower right)ink on paper 24.5 x 21.7cm (9 5/8 x 8 9/16in).(framed)Footnotes:Provenance Collection of Mr and Mrs Oscar Edwards, Australia;A private collection.Ibrahim El-Salahi is perhaps Sudan's most celebrated living artist. A career spanning five decades, his work was brought to international attention when a major retrospective of his work was held at London's Tate Modern in 2013. The exhibition showcased the breadth of Salahi's oeuvre and explored his key themes: the legacy of colonialism, the creative influence of faith, and his own hybrid identity.Created at a time when El-Salahi was pronouncing himself as an artist, a concurrent stylistic theme can be seen in this work that emerged in the late 1950s and 60s. The inspiration of these figurative depictions can be concluded as stemming from different aspects of the artist's life. Intuitive in his artistic approach, El-Salahi's process in depicting these faces is a response to his inner self, isolated from the outside world. In his art human existence is linked to a world of dreams and mediations which bore a heavy and ever-present presence within his work. The dense imagery threatens to burst out from the confines of the page, the dynamic lines pulse with energy and life. As an older man, El-Salahi reflected on these early drawings:'It was almost like I had a fever and I had so many ideas coming through me and I had to put them through. So the picture plane was covered, with objects, with figures, with shapes, near and far, big and small, it was packed...there was no space - you cannot travel through it easily...' (El-Salahi, interview with Sarah Adams in April, 2002)Towards the top of the work emerges from the black ink, the word 'Lights' in Arabic. Mobilising text as an aesthetic tool, this word assists the nature of the present work given its black background for the fine illustrations to appear, creating a sense of light and dark. As calligraphy bore a strong position in many of the artist's most successful works, the present work can act as a striking example of El-Salahi's incorporation of his Sudanese heritage with his Western artistic training. The Oscar Edwards collection was significantly unusual given its location in Australia. Indeed Mr and Mrs Edwards typically collected non-Australian Art in the 1950s and 60s after selling their predominantly Australian art collection in the 1930s and 40s. This rejection of a parochialistic approach to collecting enabled the couple to enrich their collection, focussing their attention more towards smaller works by great artist's, finding them more aesthetically significant and appealing than a major work by a smaller artist. It was towards the end of the 1950s and early 60s that Ibrahim El-Salahi began to define his original style, a style that would harness his success. In 1962, El-Salahi received a UNESCO Fine Arts Fellowship to study abroad in the USA. In 1964 he would return to travel throughout the Americas and was exposed to influential members of the art world such as Alfred Baar Jr, director of the MOMA. By 1969, El-Salahi had acted as the chief Sudanese representative for the first World Festival of Black Arts in Dakar, was a member of the Committee at the UNESCO Paris headquarters for the study of Arab culture, participated in the Contemporary African Art exhibition at the Camden Arts Centre in London, and was a member of the Sudan Cultural delegation. Despite these monumental achievements, interestingly, the artist and activist noted of the Camden Arts Centre exhibition 'it was exciting, but also frustrating, because there was little response from the rest of the world, or even Africa itself.' (Ibrahim El-Salahi in Mark Hudson, 'Ibrahim El-Salahi: from Sudanese prison to Tate Modern show', The Guardian, (3 July 2013)). Therefore, given the provenance of the present work and indeed his far reach to international collectors, the present work is a colossal demonstration El-Salahi's global reception. BibliographyLena Fritsch, Ibrahim El-Salahi: A Sudanese Artist in Oxford (Oxford: Ashmolean Museum, 2018)For further information on this lot please visit Bonhams.com
Lot 137
Amoako Boafo (Ghanaian, born 1984)Self-Portrait 2019 signed, dated and titled 'AMOAKO M/ BOAFO 2019/ KING' (lower right) oil on card 69.5 x 49.5cm (27 3/8 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist, 2019;A private collection. In 2014, after studying at the Ghanatta College of Art and Design in Accra, Amoako Boafo won a scholarship to study at the Vienna Art Academy in Art and Design in Austria. With a body of work that is centred around figurative portraiture, Boafo's first recognition was in 2017 when he receive the Jury Prize and Walter Koschatzky Art Prize. In 2019 he would also win the STRABAG Artaward International. With a career stimulated by passion and self-motivation, given that as a child he was told he would never be able to attain and retain a career as an artist, Boafo has defied his humble beginnings. He has beaten the odds to become one of the most successful and exciting contemporary artists today.Painted in 2019, the present work may have acted as a precursor to his major exhibition I STAND BY ME at Chicago's Mariane Ibrahim Gallery in 2021. The title of the exhibition reflects the artists observation of individuality and one's role in society, to define how one sees themselves. Speaking on his self-portraiture:'Before I actually painted myself a lot, because I had to be okay with myself and how I portrayed myself for others to kind of understand my work. And so what I will look at is facial expressions, how celebratory they are, the self-confidence right? Then I will look at ... I mean, that's also another angle: that whatever the person is doing in society, how they are creating spaces.' ('Amoako Boafo gets online with Idris Elba', Christian Dior, (extract from a YouTube interview, 17 July 2020) 4:38-5:10).The present work possesses the artist's iconic finger painting technique, a motif he associates with freedom and an embrace of the natural state of lack of control. By eliminating a tool between himself and the art he creates, Boafo defines himself as a sculptor, rendering his subjects directly from his hand. Famous also for his lively and bold palette, the colour yellow is also significant in the colour's association with optimism and celebration.The intimate crop of the work characterises this self-portrait as unusual in the artist's oeuvre. Given he commonly works with oversized canvases and compositions that allow us to see more of the figure's body, it could be said, that the smaller and closer scale position the artist places us in in relation to the subject, enables an intimate view of the artist.In some instances, Boafo has been compared to Egon Schiele, a label which the artist welcomes:'I enjoy bringing Black portraiture to Europe. I am interested in creating work that incorporates multicultural elements rooted in my experiences in both Europe and Africa, including Egon Schiele. (Amoako Boafo in conversation with Dean Kissick, 'Figurative painter Amoako Boafo on his stratospheric rise', GQ Magazine, (29 January 2021, online).As he exclusively portrays people from the Diaspora and beyond, Boafo celebrates his community whilst also reflecting on the complexities of subjectivity. Challenging the historic representation of people from the Diaspora, Boafo aims to create a fresh narrative on the reality of his community's identity.For further information on this lot please visit Bonhams.com
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