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Lot 223
1959 Jaguar XK150 3.8-Litre Drophead CoupéRegistration no. XAB 264Chassis no. S827329•One of 662 right-hand drive drophead coupés made•Five registered owners from new•Restored and well maintained•Large history fileFootnotes:This Jaguar XK150 drophead coupé was originally supplied by Horton's Garage, Redditch to the owners of Astwood Bank Farm, Redditch, and remained in the same family ownership until bought by one David De Saxe in December 1986. The original engine was 3.4-Litre but this was replaced early on by Jaguar, this change is recorded in the buff log book. Correspondence shows that Mrs Shirley-Priest had put the car away when her only son died, and when aged 87 decided to sell it 'to remove the sad reminder of better days'. On 22nd December 1998, Mr de Saxe sold 'XAB 264' to one A P Spender of Lockeridge, Wiltshire, who in turn sold it to Twyford Moors, the well-known Jaguar dealership. Previous owner Mr Harry Richardson purchased the car in August 2000. A great deal of money had been spent by David De Saxe on works including replacement of the hood shortly after he bought the car, while invoices show that in 1993 some £22,000 was spent on a major 'body off' restoration by Rees Bros of Aldershot, carried out at approximately 60,500 miles. There is also a photographic record of the restoration on file. During the body rebuild the underside was completely under-sealed, while winter servicing included Waxoyling and steam-cleaning. Noteworthy features include later-type rear lights (fitted for safety reasons); a restored period radio, converted to FM reception; and a tailored hood bag.In 1996 the engine was overhauled by well-known Jaguar specialist R G Bates of Birkenhead at a cost of £3,845, which included conversion for the use of unleaded petrol. This was carried out at approximately 63,000 miles. There is a substantial quantity of paperwork on file dating back to the beginning of David de Saxe's period of ownership. Nearly all invoices have been retained, and the fastidious service records make interesting reading. Also included is an owner's manual and workshop manual together with a set of tools and the original jack. In the 16 years that Mr Richardson owned the Jaguar it was fully maintained by his brother at his motor engineering business in Barnes, West London. All necessary works were carried out, as evidenced by numerous invoices in the substantial history file. In May 2016, new chromed wire wheels and Avon Turbo Steel tyres from MWS were fitted, while in August 2016 a new mohair hood and lining were installed, and the interior leather replaced/refurbished at the Trimming Centre in Lewes, East Sussex. The car was always kept in a modern, dry garage in ideal conditions. All expired tax discs and MoT certificates have been retained, supporting the current recorded mileage of 85,157. The current vendor (its fifth registered owner) purchased the XK150 at Bonhams' Olympia sale in December 2016 (Lot 315). At that time it was stated that: 'it runs extremely well and is a joy to drive. Considering the car's age, its performance is remarkable and motorway speeds are maintained with ease. Directional stability is said to be excellent, oil pressure good, and the cooling system has always, in the owner's experience, been entirely effective. Virtually no oil is consumed, though there is a small oil leak from the rear of the engine - an original design fault. The brakes are very efficient, having been up-rated at some time in the past, while the twin stainless steel exhausts emit a healthy throb.'Due to a number of factors not connected with the car, the owner has been unable to enjoy it in the way he had intended and in consequence it has been SORN'd for the entire period of ownership. Since purchase the XK has been carefully started on a regular basis and dry-stored in a Carcoon. In 2018 the fuel pump and windscreen washer unit were replaced and minor works carried out to the under-sealing. At the same time the vehicle was carefully inspected, checked and an MoT certificate issued. In short: this is a very attractive Jaguar XK150 supported by an extensive collection of invoices, letters, JDHT Certificate and other documentation, constituting an exceptionally detailed provenance. For further information on this lot please visit Bonhams.com
Lot 228
1935 Rolls-Royce Phantom II Continental Sports SaloonCoachwork by KellnerRegistration no. HXM 341Chassis no. 5UK*One of only 281 built*Delivered new to France*Fascinating wartime history*Fully restored by Ristes in the 1990s*Eligible for the most important Concours d'Élégance eventsFootnotes:The Phantom II Continental was the last Rolls-Royce to be designed under the personal supervision of Henry Royce, before his death in 1933. As its name suggests, this new Rolls-Royce was intended for fast continental touring; indeed, there were few roads in Britain where its outstanding performance - the top speed was around 95mph - could safely be exploited to the full.The Phantom II had been introduced in 1929 as a successor to the New Phantom (retrospectively Phantom I). The Phantom II employed an entirely new chassis laid out along the lines of that of the smaller 20hp Rolls-Royce. Built in two wheelbase lengths - 144' and 150' - this new low-slung frame, with its radiator set well back, enabled coachbuilders to body the car in the modern idiom, creating sleeker designs than the upright ones of the past.The engine too had come in for extensive revision. The PI's cylinder dimensions and basic layout were retained, but the combustion chambers had been redesigned and the 'head was now of the cross-flow type, with inlet and exhaust manifolds on opposite sides. The result of these engine changes was greatly enhanced performance, particularly of the Continental model, and the ability to accommodate weightier coachwork.Designed around the short (144') Phantom II chassis and introduced in 1930, the Continental was claimed to be 'ideal for the enthusiastic owner-driver' and featured revised rear suspension, a higher axle ratio, and lowered steering column. Produced for a relatively short period, during which time only 281 examples were completed, the Phantom II Continental typically sold for around £2,500 (more in some cases), a quite staggering amount to ask for a motor car and equivalent to the cost of no fewer than six or seven average-priced houses in the UK at that time! The Continental's - necessarily wealthy - owners included such famous names as the racing drivers Sir Malcolm Campbell and Woolf Barnato; Prince Ali Khan; the Prince of Nepal; various members of the British nobility; the Rothschilds; the Maharajas of Bahawalpur and Jodhpur; N S Gulbenkian; and Noel Coward.Highly favoured by prominent coachbuilders, the Phantom II chassis would provide the platform for some of the truly outstanding designs of its day, and this example boasts typically elegant sports saloon coachwork by Kellner. A carriage making business established as far back as 1861, Kellner built its first motor body in 1903 and on founder Georges Kellner's retirement his sons Paul and Georges Jr took over its management. The man credited with creating the 'torpedo' body style, Georges Jr later assumed sole charge of Kellner, having bought out his brother's share of the business in 1919.Operating out of showrooms on the Champs-Elysées, Kellner specialised in coachwork for the most expensive chassis, most notably Hispano-Suiza. Faced with economically difficult times, the firm had abandoned coachbuilding by the end of the 1930s. Kellner left behind a legacy of some quite outstanding designs, including that seen here on chassis number '5UK', which is pictured on page 141 of Coachwork on Rolls-Royce by Lawrence Dalton (1975 edition) when it was owned by one J Leake, Esq.The Phantom had been imported into France by Franco-Britannic Automobiles (FBA) whose manager, Walter Sleator, was a former Kellner employee. Following the German Blitzkrieg that commenced in May 1940, '5UK', which had been bought back from its owner, Eric Boucherit, was one of two cars used by FBA's staff to flee Paris. In their book The Kellner Affair: Matters of Life and Death, Messrs Larsen and Erickson state: 'The Rolls-Royce didn't get far. It was abandoned at the Sleator family estate in the village of Oysonville, a scant 79 kilometres from the centre of Paris, and garaged with Walter's parents, Alexander and Mary Sleator. In 1943, the car was reclaimed by Jean Goemaere who was keeping the shell of FBA afloat in Paris.'So many 40/50hp Rolls-Royces of this period were intended to be chauffeur driven, with almost no room in the front for the chauffeur and all the legroom in the rear. In '5UK' - an owner-driver Continental - all the legroom is in the front and hardly any in the rear: effectively a '2+2' arrangement. The owner has driven this car on relatively long trips and advises us that he finds it spacious and very comfortable. Other notable features of this well equipped Continental include twin scuttle vents; cut glass bottles and small goblets; twin horns; and beautiful Marchal headlights and auxiliary driving lamps to the front. There is also a full tool kit in its fitted tray on the upper boot lid, and large tools in the engine bay.In the mid-1990s '5UK' was treated to a 'chassis-up' restoration by marque specialists Ristes of Nottingham at a cost in excess of £165,000. Now delightfully patinated, the Phantom still presents and drives well, the chrome in particular being very good, its only detraction being some moth damage to the roof lining. The car has been very well maintained and benefits from a recent service by West Hoathly Garage.Retaining matching chassis, engine and body numbers, this highly original and beautifully presented Phantom II Contiental is eligible for the most important Concours d'Élégance events and is ready to be enjoyed by its next proud owner.For further information on this lot please visit Bonhams.com
Lot 97
Donald Healey's personal cased set of 'Go/No Go' gauges,mahogany case, with lid opening to full set of precision tolerance inspection tools, majority marked 'Triumph', the front edge of case with stamped initials 'DMH', the case 43cm wide with some workshop wear. Originally obtained for Donald during his apprenticeship at Triumph Motor Company. For further information on this lot please visit Bonhams.com
Lot 290
Julia Chance Citrus + Navy Sketch, 2021 Mixed Media on Gessoed Card Signed on verso 15 x 10cm (5¾ x 3¾ in.) Landscapes and cityscapes inspire me to paint. Once I'm in the studio and start working on a painting, I apply paint to the prepared boards in an intuitive way, exploring the interplay of colours, textures, gestures and mark-making with different tools. My techniques involve building up layers, scraping back, rubbing, blending, scratching and splattering the paint onto the surface. I work on a number of paintings at the same time, moving between them to stay fresh. After some time, and as the layers build up, the beginnings of a composition or a particular quality of colour combination and mark-making emerges. I try to stay alert and to notice when this happens. When it does, I follow and build upon it. The process is one of controlling the work as it develops whilst remaining open to taking risks and responding to chance occurrences along the way. Sometimes it's a process that flows, but more often it's an all-engaging wrestle; gaining, losing and then re-gaining control of the painting over a period of time. I spent many years working in the field of architecture and my architectural background of course informs my painting. My process balances intuition with control and I also like to create a sense of space within the surface of the painting. I moved to painting full-time in my purpose-built studio in Altrincham, UK after participating in courses run by the artist, Nicholas Wilton. Education Creative Visionary Programme with artist Nicholas Wilton. MSc Architectural History (Distinction), University College London. ARB Register of UK Architects examination Diploma in Architecture. First Class Degree in Architecture (Polytechnic of Central London). Royal Academy Winter Exhibition 2020Saul Hay Fine Art, Manchester The curated online gallery: riseart.com About the Postcards In these works I have explored a new palette of earth colours in response to my delight that visits to landscapes are once again possible as Covid restrictions ease. To create these works I followed a process that I've been developing over the past years. I work on a number of paintings at once and move back and forth between working with a sense of freedom and intuitive play with the paint and a range of tools, to periods of reflection upon what I see, referring to painting principles and making subsequent adjustments to the pieces. The freedom : control dichotomy is carried through further in these paintings with the introduction of collaged elements from architectural drawings. The high level of control that went into the production of these fragments originally, contrasts with the free and more intuitive way that I use the acrylic paint.
Lot 291
Julia Chance Bridge, Meadows and Low Evening Sun, 2021 Mixed Media on Gessoed Card Signed on verso 10 x 15cm (3¾ x 5¾ in.) Landscapes and cityscapes inspire me to paint. Once I'm in the studio and start working on a painting, I apply paint to the prepared boards in an intuitive way, exploring the interplay of colours, textures, gestures and mark-making with different tools. My techniques involve building up layers, scraping back, rubbing, blending, scratching and splattering the paint onto the surface. I work on a number of paintings at the same time, moving between them to stay fresh. After some time, and as the layers build up, the beginnings of a composition or a particular quality of colour combination and mark-making emerges. I try to stay alert and to notice when this happens. When it does, I follow and build upon it. The process is one of controlling the work as it develops whilst remaining open to taking risks and responding to chance occurrences along the way. Sometimes it's a process that flows, but more often it's an all-engaging wrestle; gaining, losing and then re-gaining control of the painting over a period of time. I spent many years working in the field of architecture and my architectural background of course informs my painting. My process balances intuition with control and I also like to create a sense of space within the surface of the painting. I moved to painting full-time in my purpose-built studio in Altrincham, UK after participating in courses run by the artist, Nicholas Wilton. Education Creative Visionary Programme with artist Nicholas Wilton. MSc Architectural History (Distinction), University College London. ARB Register of UK Architects examination Diploma in Architecture. First Class Degree in Architecture (Polytechnic of Central London). Royal Academy Winter Exhibition 2020Saul Hay Fine Art, Manchester The curated online gallery: riseart.com About the Postcards In these works I have explored a new palette of earth colours in response to my delight that visits to landscapes are once again possible as Covid restrictions ease. To create these works I followed a process that I've been developing over the past years. I work on a number of paintings at once and move back and forth between working with a sense of freedom and intuitive play with the paint and a range of tools, to periods of reflection upon what I see, referring to painting principles and making subsequent adjustments to the pieces. The freedom : control dichotomy is carried through further in these paintings with the introduction of collaged elements from architectural drawings. The high level of control that went into the production of these fragments originally, contrasts with the free and more intuitive way that I use the acrylic paint.
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