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New Testament [English]. The Newe Testament of our Lord Jesus Christ, translated out of Greeke by Theod. Beza. Whereunto are adioyned large expositions of the phrases and harde places by the authour and others: together with a table or concordance conteining the principall wordes and matters comprehended herein. Englished by L. Tomson, London: Christopher Barker, 1583, woodcut title, woodcut map of the Holy Land to verso of final preliminary leaf, both preliminary and final blanks present, woodcut initials, 19th-century ink marginalia to a few leaves, bound with The Whole Booke of Psalmes: Collected into english meeter by Thomas Sternhold, John Hopkins & others: conferred with the Hebrue, with apt notes to sing them withall, London: John Day, 1583, woodcut title, B3 with large repaired closed tear, occasional faint damp-staining to blank outer margin, final few leaves with small holes to blank outer margin, occasional spotting, ink ownership inscription 'Babington' to front pastedown, contemporary calf central panel laid over later board, gilt fleur-de-lis cornerpieces, gilt lozenge to centre, rebacked with gilt lettering to spine, 4toQTY: (1)NOTE:Darlow & Moule 137; Herbert 180; STC 2885 for the New Testament. STC 2466 for the Book of Psalms.

Hornby R794 Class 370 APT-P Advanced Passenger Train Pack - Tested RunnerTested Runner but needs oiling'City of Derby'Nos: Sc48101, Sc48102, Sc48601, Sc48602, Sc49003Pantograph detail sprung and loose in boxCellophane loose from box and splitIncludes instructions. Condition Report: - Train - FairBox - Fair/Poor

JOHN BONNAR OF CELTIC F.C., WILLIE MALEY TESTIMONIAL TROPHY, 1953 the twin-handled trophy inscribed WILLIE MALEY TESTIMONIAL CELTIC V BOHEMIANS 10TH AUGUST 1953 to one side, WON BY JOHN BONNAR to the other, in E.P.N.S., on ebonised plinth base 16cm high Note: Willie Maley, a figure who needs no introduction. The first manager of Celtic and one of the most successful in British sporting history.Despite over four decades of service, it wouldn't be until 1953 that a testimonial game was finally arranged. Indeed, the then 85-year old kicked off the game against Irish opposition Bohemians, a match Celtic were fated to win 10-1. An apt send off for a man so important to the club's history.This trophy was awarded to John Bonnar, goalkeeper and key player in another important victory that year - as discussed in the next lot.

Beckford (William).- Sheppard (John) Letters, descriptive of a Tour through some parts of France, Italy, Switzerland, and Germany, in 1816, first edition, half-title, William Beckford's copy with 4pp. extensive pencil notes in his hand bound in, contemporary dark red boards, uncut, rubbed, corners worn, rebacked to match preserving old morocco label, preserved in modern red board drop-back box with green morocco labels, 8vo, Edinburgh, 1817.*** Beckford's final note refers to p.276: "An apt quotation from the pagan Horace of a narrow escape from some more verses from the Christian Sheppard". The work continues until p.353 but there are no more notes; it is tempting to think that Beckford gave up reading.Hamilton Palace sale (1883) Part III lot 1967 (Bain 4s.).

Hornby (GB) group of Intercity Locomotives and Coaches to Include 2x Class 43s, 2x Mk3 Coaches and APT Set. Conditions are Fair to Good (some to APT overhead equipment and cleaning required on APT)

Clare Sheridan (1885-1970) - English sculptor, writer, and Sir Winston Churchill's cousin. A unique and important personal photograph album showing Sheridan's secret trip to Russia in the summer of 1920, along with a signed photograph by Winston Churchill. In the summer of 1920, the first Soviet Russian trade delegation visited London. Sheridan met Lev Kamenev, a Russian revolutionary and Soviet politician. The two struck up a relationship and she holidayed with him on the Isle of Wight. Whilst there, Kamenev promised to arrange for her to visit Moscow with him, to further her sculpture work and to create busts of notable Russian figures. With deep unease around the world, the British authorities refused to issue her a visa. Instead, she sailed with Kamenev to Stockholm, where he obtained an Estonian visa for her which allowed her entry to Russia. Once there, she stayed in the Kremlin for two months where her sculpting subjects included Vladimir Lenin, Leon Trotsky, Felix Dzerzhinsky and Kamenev himself. She is reputed to have had affairs with more than one of her sitters. Winston Churchill, as Secretary of State for War, was pressing for British and allied intervention in the Russian revolution and was furious to learn of Sheridan's activities. When she returned to London, Churchill refused to see her, and she found herself widely shunned in polite society. MI5 kept a watch on Sheridan for the rest of her life, and they believed that she had been recruited as a spy for the Soviets, although this was later dismissed and she was labelled a 'mischief-maker.' The period brown leather album contains eighty-three laid-in photographs, largely taken by Sheridan, and most annotated alongside in pencil, in her hand. Some - but not all - were published in her Russian Portraits (1921) and Mayfair To Moscow (1921) diaries. Our research indicates that approximately fifty percent of the images are previously unpublished and unseen. Some of the photographs are faded, whilst others are not. Throughout the album Lev Kamenev is referred to as 'Kameneff' (the alternative Anglicised spelling being well documented in Sheridan's diary). Other names and places are alternatively spelled; either Anglicised, or simply by error. Most of these alternate spellings also align with her diary. The album starts in August 1920 and two images show Sheridan & Kamenev at the residence of Sidney Russell-Cooke on the Isle Of Wight. 'Self & Kameneff in Russell-Cook's garden, Isle Of Wight'. One photograph shows Kamenev and Russell-Cooke, the other is a relaxed pose with Kamenev and Sheridan sitting close together, smiling for the camera. It was during this trip that Kamenev convinced Sheridan to make a trip to Moscow, and the conversation is well noted in Sheridan's diary (August 28th 1920). Within two weeks, the trip was planned and made. The next two pages of photographs depict the start of Sheridan's journey on SS Jupiter, with 'Sydney R.C. sees us off' (this too is well documented in her diary) and 'Kameneff & I start for Moscow'. En route to Moscow, they passed through Oslo and Sheridan has photographed a memorial 'enroute from Oslo - memorial to Scott at a railway station'. The next pages feature large format photographs taken by Sheridan in Oslo and show a meeting between Kamenev and Maxim Litvinov (Sheridan spells this 'Litvinoff') and Litvinov's son, Sacha (we believe this to be a mis-remembering by Sheridan as Litvinov's son's name was actually Mischa. This error was corrected in her published diaries). These particular images were published by Sheridan in 1921, however one particular photograph showing Kamenev, Litvinov and Misha is known to exist only in defaced form - with Kamenev removed. The photograph in this album is the full original image. The next pages are dated 'Sept 20' and two images depict a train journey, annotated 'En route for Moscow - Kameneff's son and I cross the frontier on the engine,' and 'Kameneff at the Russian frontier (his son on the engine)'. The next three images depict 'remnants of civil war' - damaged bridges, taken from the train. The larger of these images was published, the others are alternative unpublished views. From these photographs onwards, all the images taken show Sheridan's time in Moscow and include images variously annotated: 'In the Kremlin - entrance on right to Kameneff's apt,' 'Arrive at the Kremlin,' 'Anna the maid in the window of the Kameneff apt, Kremlin,' 'view from the window in the Kremlin,' 'Kremlin - our Rolls Royce!' 'Self in the Kremlin,' 'The red guard, Kremlin,' 'a corner of the Kremlin - the cathedral?' 'The great bell - Kremlin,' one larger annotated page reads 'I have nothing to do & I can't get outside the Kremlin, so I wander about with my Kodak - Sept 1920' followed by several views of the interior perimeter of the Kremlin, 'The courtyard outside my studio,' 'the great canon taken from Napoleon,' several photographs of the Sofiyskaya 'this is where I was finally housed,' a large format photograph of Leon Trotsky & Lev Kamenev's sons playing - annotated 'Serge Trotski (left) and Alexander Kameneff (right).' Two larger format photographs follow showing 'Imperial eagle flung down from the top of the museum - Moscow, 1920', followed by further views of the Kremlin. Five more laid-in images depict statues in Moscow 'statue of Dostoevski in a square in Moscow.' The next page shows Theodore Rothstein outside the Kremlin (mis-identified by Sheridan as 'Rosenberg (expelled from England)', a previously undocumented photograph of Mikhail Markovich Gruzenberg (Mikhail Borodin) taken by Sheridan annotated 'Michael Borodin' appears to have been taken in her studio / apartment in the Kremlin. This is followed by views of a Moscow market 'but nothing to buy,' Sheridan writes. To the penultimate page of the album are three photographs annotated 'photos of the revolution given me by the (illegible) and propaganda,' and 'Kameneff addressing a crowd.' These three images all feature signatures to the by an unknown hand, presumably the original photographer. The final photograph is annotated 'famous photo, published so often - showing the fighting in the streets of Petrograd' - this image too was likely given to Sheridan. The rest of the album is unfilled. Album size: 22cm x 16cm.Clare Consuelo Sheridan (1885-1970) was an English sculptor, and writer, known primarily for creating busts for famous sitters and keeping travel diaries. A cousin of Sir Winston Churchill, whom she embarrassed with her wild behaviour. She married in 1910 and had three children, one of whom died in 1914. She modelled an angel for the grave and discovered a talent for sculpture. After her husband's death during the First World War she exhibited her sculptures. She was an admirer of communism, and visited the Soviet Union in 1920 against the advice of Churchill and the British Government. There, she sculpted Lenin and Trotsky, later publishing her diaries. This infuriated Churchill who was very anti-Bolshevik and it caused the first of the ‘scandals’ that would keep her name buzzing on the world’s press wires for the next 30 years. She then went to America, where she settled, becoming friends with Charlie Chaplin. Now older, she took her children to live in Algeria and continued to sculpt and write. She died in 1970. NOTE: in respect to the eventual purchaser, and to safeguard the unseen nature of the images, only a handful have been illustrated here. Further images of the unpublished photographs will not be shown or sent for any reason. In-person viewing can be arranged on a strict one-to-one basis but no copying or photography of the album will be allowed.

[Caxton] Higden (Ranulphus) Polychronicon, a single incunabulum leaf from the Liber Ultimus showing the end of the 6th chapter and beginning of the seventh (capitulum septum) from the first edition, lettre batarde, 40 lines and headline, rubricated, one 2-line initial and several side-notes in red, some early ink annotations, small folio (17.3cm x 22.6cm), Westminster: William Caxton, 1482 within a red cloth chemise with gilt lettering to front board;together with an early printed Hebrew leaf and plate CCCXLI presumed from Fuchs (Leonhard) De historia stirpium commentarii insignes, Pfersichbaum [(sic) Pfirsichbaum - The Peach Tree] (3)incunabula Ranulf Higden (c.1280-1364) was a Benedictine monk and a chronicler. He lived, and is buried, at the monastery of St. Werburgh, now Chester Cathedral. Thought to have been completed around 1363, Higden’s great work, the Polychronicon, belongs to that most ambitious category of book – the universal history. Testament to its importance and popularity, the Polychronicon was copied out “hundreds, if not thousands of times during the later fourteenth and fifteenth centuries” (Given-Wilson, p. xxii). Often, in the process, the text was brought up to date with the addition of the history of the intervening period, making the title of this work – ‘chronicle of many times’ – particularly apt. He continued widespread use of Higden’s Polychronicon was further cemented in 1482 when William Caxton (c.1422-1491), England’s first printer, chose to stabilise in print the first English translation of Higden’s work, which was made by John of Trevisa in the 1380s. Trevisa’s translation included an extension taking the history of the final book of the Polychronicon up to 1360. 100 years later, Caxton made his own contribution to this well-established historiographical tradition, with a continuation covering the events of the intervening century up to 1460. Caxton named this appendix the Liber Ultimus. [*] Caxton: Slight chipping to margins, outer corners with small losses, a little scattered spotting, diagonal band of browning, one smudged word as picture. light dampstain to centrePlease enquire for condition report on other items in the lot

Hornby 00 gauge APT Inter City train with Inter City 125 livery coaches (17), comprising APT Inter City centre Power Car grey/red, Driving Trailers (2), Open coaches (2), in original boxes R433 Mark 3 1st class coach (4 one unboxed), R489 2nd class coach (5 two unboxed), R490 Buffet Car (2 one unboxed), Mark 4 Inter City coach, some boxes contain wrong coach, G-VG, boxes G-VG, (17)

Hornby 00 gauge Electric locomotives and coaches (13), comprising in wrong original boxes GNER Mark 4 coaches dark blue/red 1st Open (2), Restaurant car, 2nd open (2 one unboxed), unboxed Class 91 Motor car, unpowered driving trailer, APT class 370 Motor centre car, driving trailers (3), other coaches (2 one missing a bogie), G-VG, boxes G-VG, (13)

Hornby Railways; Comprising four Inter-City APT engines and six associated carriages, in one box.

Wappenscheibe "Diethelm Blarer, 1547"Caspar Stillhart, Konstanz, zugeschrieben. Datiert 1547, mit Ergänzungen (19.Jh.). Farbloses und farbiges Glas, rotes Überfangglas mit beidseitigem Ausschliff. Bemalung mit Schwarzlot und Silbergelb. In Bleifassung. Mittelbild mit von 2 aufrechten Löwen flankiertem Bischofstab. Davor Wappenpyramide (Wappen des Abtes (Hahn), Wappen der Abtei St. Gallen (Bär) und Wappen der Grafschaft Toggenburg (Dogge)). Über den Schilden blaue Mitra mit der Darstellung der Verkündigung. Unter der Krümme Jahreszahl "1547", daneben die Wiedergabe einer Ameise. Rahmenpfeiler mit je 2 schildhaltenden Standfiguren. Hll. Gallus und Johannes (links) bzw. Hll. Othmar und Beatus (rechts). In den oberen Ecken Papst und Kaiser mit Wappenschild. Am Fuss Kartusche mit Inschrift: "Diethelm vo gottes gna / den apt zv sannt gallen". 30x23 cm.- Altersspuren. Wenige Sprungbleie und geklebte Sprünge.

Julie Caves Malibu, 2025 Acrylic and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Caves is a painter of still lifes. Sometimes she approaches her subject directly and paints roomscapes and objects from observation, but often she focuses just on the colour and light separated from the subject, letting the painting develop intuitively, and those works are usually read as abstract paintings. She likes having these two ways of working, that she switches back and forth between. She says: I often make a body of work because I have a hunch about an idea, I don't know if it will work, but I want to see what it will look like. The materials and process of painting are very important to me. I love a good painting composition, just on the edge of imbalance. I adore a thin stain of colour barely washed on, next to a juicy slab of thick, pasty paint. Education 2017-2019 Alternative MA, Turps Studio Painting Programme 2012 Independent Curating course (certificate) at Central St Martins 2004 MA in Bookarts, University of the Arts London, Camberwell College of Art 2001 BFA (Hons) in Studio Art, University of Texas at Austin 2001 Studio Art, Universidad Politecnica de Valencia, Spain Solo Exhibitions 2024 Scrumptious, Convivium Gallery, London, UK Yummy Yummy Yummy, Cliffs, Margate, UK 2022 Shimmy, Lido Stores, Margate, UK 2021 Lost in the Woods, Stone Space Gallery, London, UK 2016 Painting Without Beginning or End, Heathcote Arms, London, UK 2015 Colourful Language at Hoe Street Central, Walthamstow, London, UK 2013 Curiosity: an art practice as a way of looking, The Crypt Gallery, London, UK 2012 They Do Things Differently Here, Artworks Project Space, London, UK Cloud 8, Arts and Crusts, Chapel End, London, UK 2007 Colour Matters, Oxford House, London, UK Group Exhibitions 2024 Beep Longlist exhibition, Swansea Hypha x Dispensary Open, Wrexham Creative Bloc, Fill the Gap, London GOLD!, Artworks Project Space, London It Rose and It Fell, Terrace Gallery, London Fight Flight or Freeze, Pictorem Gallery, London A Room of One's Own, Irving Gallery, Oxford Multitasking, Lido Stores, Margate This Year's Model, Studio 1.1 Gallery, London Cat Flap Blink, Terrace Gallery, London 2023 Sugar Cube, Lido Stores, Margate Goddesses on Sea, Lido Stores, Margate Windows and Thresholds: Breaking Glass, Bell House, Dulwich, London Tart Factory, Tart Gallery London Goddesses, Terrace Gallery, Leyton, London Mermaids Always Have Graceful Arms, Lido Stores, Margate There Are No Things Only Relationships, Terrace Gallery at Karya, Highams Park, London This Year's Model part 1, Studio1.1 Gallery, London 2022 Seeing, Feeling, Forgetting, APT Gallery, London Still Looking, The Lido Stores, Margate Colour, The Stone Space, London Starting the Line, travelling drawing project This Year's Model part 3, Studio1.1 Gallery, London Seedbomb, Terrace Gallery, London Sonic Spring, Filly Brook, London Old Parcels Office Open, Scarborough 2021-22 A Generous Space, Hastings Contemporary 2021 Lido Open, The Lido Stores, Margate Mirror Mirror on the Wall, The House of Smalls, Swindon A Break in the Clouds, Winns Gallery, London (3 person) Studio Confetti, Terrace Gallery, London A Space to Hold the Gaze, Liliya Gallery, Putney, London 2020 Waving in the Distance, Terrace Gallery, London 2019 Exceptional Award exhibition, Collyer Bristow, London A Hand Stuffed Mattress, Terrace Gallery, London Time Flies Like the Wind, Fruit Flies Like Bananas, Art Academy, London Society of Women Artists Annual Exhibition, London 40 Years, Pictorem Gallery, London Traces, Artworks Project Space, London Prufrock, Centre Gallery, Margate Delphian Open Call 2019 Winners Exhibition, Printspace, London 2018 Artist of the Day (Turps Painters), Flowers Gallery, London Frankenstein, Espacio Gallery, London 2017 Afternoon Tea: Works on Paper, Chiara Williams, Margate 2016 Palimpsest, Bad Oeynhausen, Germany Made in Margate, Viking Gallery, Margate Looking Up, Studio1.1 Gallery, London Seeing is Believing, St John's Church, London Leytonstone Arts Trail Gateposts Project (two site-specific installations), London Gallery Representation Lido Stores (Margate, UK) Public Collections Bodleian Library (Oxford, UK) Oxford Brooks University (Oxford, UK) Manchester Metropolitan University Library (Manchester, UK) University College Northampton (Northampton, UK) BookROOM Archives, Witte de With (Rotterdam, Netherlands) Tate Britain Special Collection has acquired three books (London, UK) Camberwell College of Arts Special Collection has acquired two books (London, UK) Two serigraphs in the permanent collection of the University of Texas at Austin (Austin, Texas, USA) Universidad Politecnica de Valencia (Valencia, Spain) Statement about AOAP Submitted Artwork Two abstract paintings looking at shapes, colour, brushstrokes, and scale. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Julie Caves Paradise Point, 2025 Acrylic and varnish on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Caves is a painter of still lifes. Sometimes she approaches her subject directly and paints roomscapes and objects from observation, but often she focuses just on the colour and light separated from the subject, letting the painting develop intuitively, and those works are usually read as abstract paintings. She likes having these two ways of working, that she switches back and forth between. She says: I often make a body of work because I have a hunch about an idea, I don't know if it will work, but I want to see what it will look like. The materials and process of painting are very important to me. I love a good painting composition, just on the edge of imbalance. I adore a thin stain of colour barely washed on, next to a juicy slab of thick, pasty paint. Education 2017-2019 Alternative MA, Turps Studio Painting Programme 2012 Independent Curating course (certificate) at Central St Martins 2004 MA in Bookarts, University of the Arts London, Camberwell College of Art 2001 BFA (Hons) in Studio Art, University of Texas at Austin 2001 Studio Art, Universidad Politecnica de Valencia, Spain Solo Exhibitions 2024 Scrumptious, Convivium Gallery, London, UK Yummy Yummy Yummy, Cliffs, Margate, UK 2022 Shimmy, Lido Stores, Margate, UK 2021 Lost in the Woods, Stone Space Gallery, London, UK 2016 Painting Without Beginning or End, Heathcote Arms, London, UK 2015 Colourful Language at Hoe Street Central, Walthamstow, London, UK 2013 Curiosity: an art practice as a way of looking, The Crypt Gallery, London, UK 2012 They Do Things Differently Here, Artworks Project Space, London, UK Cloud 8, Arts and Crusts, Chapel End, London, UK 2007 Colour Matters, Oxford House, London, UK Group Exhibitions 2024 Beep Longlist exhibition, Swansea Hypha x Dispensary Open, Wrexham Creative Bloc, Fill the Gap, London GOLD!, Artworks Project Space, London It Rose and It Fell, Terrace Gallery, London Fight Flight or Freeze, Pictorem Gallery, London A Room of One's Own, Irving Gallery, Oxford Multitasking, Lido Stores, Margate This Year's Model, Studio 1.1 Gallery, London Cat Flap Blink, Terrace Gallery, London 2023 Sugar Cube, Lido Stores, Margate Goddesses on Sea, Lido Stores, Margate Windows and Thresholds: Breaking Glass, Bell House, Dulwich, London Tart Factory, Tart Gallery London Goddesses, Terrace Gallery, Leyton, London Mermaids Always Have Graceful Arms, Lido Stores, Margate There Are No Things Only Relationships, Terrace Gallery at Karya, Highams Park, London This Year's Model part 1, Studio1.1 Gallery, London 2022 Seeing, Feeling, Forgetting, APT Gallery, London Still Looking, The Lido Stores, Margate Colour, The Stone Space, London Starting the Line, travelling drawing project This Year's Model part 3, Studio1.1 Gallery, London Seedbomb, Terrace Gallery, London Sonic Spring, Filly Brook, London Old Parcels Office Open, Scarborough 2021-22 A Generous Space, Hastings Contemporary 2021 Lido Open, The Lido Stores, Margate Mirror Mirror on the Wall, The House of Smalls, Swindon A Break in the Clouds, Winns Gallery, London (3 person) Studio Confetti, Terrace Gallery, London A Space to Hold the Gaze, Liliya Gallery, Putney, London 2020 Waving in the Distance, Terrace Gallery, London 2019 Exceptional Award exhibition, Collyer Bristow, London A Hand Stuffed Mattress, Terrace Gallery, London Time Flies Like the Wind, Fruit Flies Like Bananas, Art Academy, London Society of Women Artists Annual Exhibition, London 40 Years, Pictorem Gallery, London Traces, Artworks Project Space, London Prufrock, Centre Gallery, Margate Delphian Open Call 2019 Winners Exhibition, Printspace, London 2018 Artist of the Day (Turps Painters), Flowers Gallery, London Frankenstein, Espacio Gallery, London 2017 Afternoon Tea: Works on Paper, Chiara Williams, Margate 2016 Palimpsest, Bad Oeynhausen, Germany Made in Margate, Viking Gallery, Margate Looking Up, Studio1.1 Gallery, London Seeing is Believing, St John's Church, London Leytonstone Arts Trail Gateposts Project (two site-specific installations), London Gallery Representation Lido Stores (Margate, UK) Public Collections Bodleian Library (Oxford, UK) Oxford Brooks University (Oxford, UK) Manchester Metropolitan University Library (Manchester, UK) University College Northampton (Northampton, UK) BookROOM Archives, Witte de With (Rotterdam, Netherlands) Tate Britain Special Collection has acquired three books (London, UK) Camberwell College of Arts Special Collection has acquired two books (London, UK) Two serigraphs in the permanent collection of the University of Texas at Austin (Austin, Texas, USA) Universidad Politecnica de Valencia (Valencia, Spain) Statement about AOAP Submitted Artwork Two abstract paintings looking at shapes, colour, brushstrokes, and scale. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

MACDONALD JAMES RAMSAY: (1866-1937) British Prime Minister 1924, 1929-35. A good T.L.S., J. Ramsay MacDonald, three pages (separate leaves), 4to, Whitehall, 12th October 1931, to Ernest J. Titler , on the printed stationery of 10 Downing Street. MacDonald states, in part, ´This letter brings with it my heartfelt good wishes for your triumphant success on Tuesday the 27th October. To each and all of your constituents I would say this. When the national crisis arose there was a small group of Labour members, and outside Parliament a number of candidates and others, among whom you were one, who risked their careers and their capacity to be in public life of use to their fellows, because they felt that the course my colleagues and I were taking was right and that they must therefore support it. As Prime Minister I am concerned at this election to see that the nation gets the strong and stable Government which it needs; and I can honestly say that your return would add greatly to the strength and stability of the Government, for we shall have great need on the Government benches of men and women of different views and sympathies. It would not be desirable to give a Government such a mandate as we ask for unless it comprehended powerful groups of independent men of different outlook so that every decision may be the result of thorough examination. In addition, I am naturally anxious for the fate of you and the rest of the small band of candidates who are fighting with little organisation a battle of high principle. We cannot allow the movement to which I have given the great part of a lifetime to degenerate into a puppet controlled by a machine. I am appealing as head of the Government for a free hand to deal firmly and effectively with the many pressing questions which face the country.......We shall carry on together our old work for peace; we shall strive for international settlements which will put an end to impossible efforts to pay vast sums in War Debts and Reparations; we shal watch vigilantly the effect of the devalued currency on the standards of life of our people and shall not hesitate to take action regarding it.´. A letter of stirring political content. Together with a second T.L.S., J. Ramsay MacDonald, two pages, 4to, Whitehall, London, 13th November 1936, also to Ernest J. Titler, on the printed stationery of the Privy Council Office. MacDonald thanks his correspondent for having shown him their proposed resolutions on trade union policy and remarks ´You might look again at the first and the last. The first strikes me as being apt to be regarded by our Labour opponents as a bit of arm flinging and gesticulation. They would say, for instance, "Why ask your staff to join a Trade Union? Why not make trade union membership a condition of employment?" As you know, they are very anxious to make all their views compulsory! The last sentence advising employers to concede the right of any employee to join a union is rather weak.....The point about the fourth resolution is that compulsory arbitration has never emerged with added strength from any thorough investigation that has been made into its practical possibilities´. Also including a carbon typed copy of Titler´s trade union policy resolutions as referred to by MacDonald, two carbon typed copies of related letters, one to MacDonald in response to his letter of 13th November 1936 (´Resolution No.4 I have slightly altered but retained as I think it might lead to some useful discussion´), and a T.L.S. by C. E. Asquith, Secertary of the National Labour Committee, on the same subject, December 1936. A few very small file holes and paperclip rust stains to the upper left corners of some pages, generally about VG, 6

The notable Great War D.S.M. group of three awarded to Officer’s Steward R. H. Buckett, Mercantile Marine Reserve, for his part in the famous contest fought between the auxiliary cruiser Alcantara and the German raider Greif in February 1916: as a result of the point-blank nature of the engagement both ships were sunk with heavy loss of life Distinguished Service Medal, G.V.R. (R. H. Buckett, Off. Std. (M.M.), H.M.S. Alcantara, 29 Feb. 1916) partial correction to ship’s name; British War and Victory Medals (R. H. Buckett. Asst. Std. M.F.A.) nearly extremely fine (3) £1,800-£2,200 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: D.S.M. Dix Noonan Webb, September 2005, since reunited with British War and Victory Medals but note missing 1914-15 Star. D.S.M. London Gazette 22 June 1916. The original recommendation states: ‘Officer’s Steward Richard Henry Buckett behaved with great coolness and assisted wounded when the ship was sinking.’ Richard Henry Buckett was born in Shalfleet, Hampshire on 22 July 1866 and was serving in the the S.S. Alacantara on the outbreak of war in August 1914. Requisitioned by the Admiralty in the same month, she was converted for use as an auxiliary cruiser. She subsequently joined the 10th Cruiser Squadron and was placed under the command of Captain T. E. Wardle, her chief duty being patrol work between Scapa Flow and the coast of Norway. At about midday on 28 February 1916, in a position of 60 miles E. of the North of the Shetlands, the Alcantara was due to rendezvous with her relief ship, the Andes, when a wireless message instructed her to remain thereabouts and keep a sharp lookout for a suspicious steamship coming out of the Skagerrak. But it was not until about 8.45 a.m. on the following morning that Captain Wardle spotted smoke on the horizon on his port beam. During the course of making passage to this unidentified steamship, he received a wireless warning from the Andes that this was in all probability the vessel he was seeking, so Wardle signalled to the latter to stop, and fired two rounds of blank ammunition. By this stage the two ships had approached to within 1,000 yards of each other, the Alcantara coming up astern and lowering a boarding boat. At that moment, however, the “stranger” - which had Norwegian colours painted on her side and the name Rena-Tonsberg - dropped her bulwarks and ran out her guns. She was, in fact, the enemy raider Greif, and the intense nature of the ensuing 20 minute duel is best described in Deeds That Thrill The Empire: ‘From the very first the British gunners got home on the enemy. His bridge was carried away at the first broadside, and then, systematically, our guns searched yard by yard along the upper works of the enemy, seeking out the wireless room from which were emanating the meaningless jargons that “jammed” the Alcantara’s wireless. This had been set to work at once to call up assistance - a proper fighting precaution in any event, but doubly so in this case, seeing that it was quickly apparent the Greif carried considerably heavier ordnance than her own. Before long the enemy’s wireless was smashed, and our guns promptly turned themselves upon the hull and water-line of their opponent. In a few minutes the Greif had a great fire blazing aft; a few more, and she began to settle down by the stern; and as the Alcantara’s guns methodically and relentlessly searched her from stem to stern her return fire grew more and more feeble until, after about fifteen minutes’ fighting, it died away almost entirely. On paper, judging by the difference between the armaments, the Alcantara ought to have been blown out of the water by this time; but, although she was hit frequently, the actual damage she sustained was almost negligible. The Greif was already a beaten and doomed craft when other vessels came up in answer to Alcantara’s wireless. The first to arrive was the Andes, Captain George B. W. Young (another converted unit of the Royal Mail Steam Packet Line), and a few rounds from her apparently completed the enemy’s discomfort. Not long after, a “pukka” cruiser appeared on the scene; but it is reported that, seeing the Alcantara had already made a hopeless mess of her opponent, this cruiser clicked out the signal “Your Bird” and went about her other business! But the fight was not yet over. The Greif had again begun to blaze away with the one or two guns that remained intact when there happened one of those misfortunes that are apt to occur to the most efficiently handled ships. An unlucky shot carried away the Alcantara’s steering-gear, and her captain was immediately robbed of the weapon upon which he had chiefly depended for the destruction of his enemy - his seamanship. The Alcantara, though nearly all her guns were intact, became unmanageable, and for the first time in the action she was swung round by the seas into such a position that her full broadside was exposed to the enemy. There had, too, been no half-measures in fitting out the Greif for her work. She carried not only a powerful equipment of guns, but also torpedo tubes, and, although she was fast settling down in the water, she was able to bring them to bear now on a most favourable target - a big ship lying broadside on with disabled steering-gear. The first two torpedoes that were fired missed, in spite of the short range. The third caught the Alcantara squarely. Whereby it happened that after some twenty minutes of the most fierce and closely contested fighting the naval campaign had seen, the two principal combatants found themselves making headway towards the bottom in company. The Greif was the first to go. It is believed that, like the Moewe, she carried a big cargo of mines to be strewed where they would be most likely to entrap our warships. However that may be, she blew up with a tremendous explosion and went to the bottom, just a few minutes before the mortally injured Alcantara turned over on her side to find a resting place within a few hundred yards of her ... Of the 321 officers and men with which the Greif entered the fight, five officers and 115 men were rescued from the sea and made prisoners by the British destroyers that came upon the scene. The remaining 201 went to the bottom with their ship. The Alcantara’s loss amounted to five officers and 69 men, of whom nearly all were killed by the final torpedo.’ Buckett, who was among the survivors and awarded the D.S.M. for gallantly assisting the wounded, was subsequently lost in the armed boarding ship Stephen Furness, when that vessel was torpedoed in the Irish Channel on 21 December 1917 and went down with the loss of six officers and 95 ratings. A native of Ningwood on the Isle of Wight, he was 51 years of age and left a widow, Emily Jane Buckett. He is also entitled to the 1914-15 Star.

Hornby R794 Class 370 APT-P Advanced Passenger Train Pack - Tested Runner(1100g)'City of Derby'Nos: Sc48101, Sc48102, Sc48601, Sc48602, Sc49003Pantograph detail loose in boxCellophane loose from box Condition: Train - FairBox - Fair/Poor

Chadwick, Lynn Russell (British, 1914-2003); b. Barnes ENGLAND, Diamond, 1983, a bronze medal with polished highlights by L.R. Chadwick [Pobjoy Mint] for the British Art Medal Society, diamond head, rev. triangle-headed female torso, 76mm, 290.32g (Attwood 18; The Medal 5, p.57; Jones, CBM pp.24-5, 1; BM Acq. 1983-7, p.78, 31; cf. Baldwin 74, 1831). Extremely fine, as made; the pre-eminent classic modern British art medal £800-£1,000 --- Edition of 128. Geometric forms were one of Chadwick's themes from the 1970s; he was apt to refer to the pyramid or diamond shape as the feminine aspect, while masculinity was represented by the rectangular form

CALCUTTA - A CASED INDIAN TEA CHEST / TEA CADDY HAMILTON & CO, OF CALCUTTA, MID 20TH CENTURY Modelled as a tea chest, inscribed "Presented to Mr D R Morris on his retirement from India by his many friends in Assam 4th April 1959" also a map of India, "Pure India Tea" and many signatures with presentation case  17cm high Provenance: Thomson & Roddick, Edinburgh Oriental and Works of Art, lot 64, 28th Nov 2019  Hamilton & Co are among the most recognisable names in Indian Colonial silver and were making many of the finest examples still extant of this fascinating period. Their style very much follows that of the British forms they left behind and while they do integrate and meld with local craftsmen and decoration it is there classically George III simple silver that is most commonly encountered. It is quite apt therefore that a parting gift for an esteemed colleague would have been acquired at Hamilton & Co. The tea chest is accompanied by a note detailing all the subscribers whose facsimile signatures appear engraved on the chest and these were all members of various Assam gymkhana clubs in the Assam region; including Sonari Gymkhana Club, Nahahkutia Club, Jorhat Club, Nazira Club and Moran Club. The list is printed on Sonari Gymkhana letter headed paper dated, 4th April 1959.Gymkhana clubs emerged during the British Raj in India for British expats to socialise and enjoy sporting events mainly equestrian. As an exclusive club, memberships offered high social networking for both business and pleasure. The Sonari Gymkhana Club was built in 1945 by the tea planters, with Assam, the largest tea producing state in India. The chest is a wonderful culmination of the importance of tea to India and the importance of Mr. Morris to the Assam area and the British Raj.    

Hornby (GB) R794 Advanced Passenger Train pack containing 5-car APT Overhead Electric Set. Condition is Excellent to Near Mint in Fair to Good box. 

**Please note this vehicle is not single ownership as erroneously catalogued**One of just 25 UK-supplied, right-hand drive examples of Mercedes-Benz' much revered 507bhp 'super-coupé. Following on from the SLK55 AMG Black Series, Mercedes-Benz launched the CLK63 AMG Black Series - a limited edition coupé (only) model with just 700 examples produced worldwide between April 2007 and March 2008 - and a car that AMG says was largely inspired by the Porsche 911 GT3 RS. 'It 's pretty hardcore. We’ve got down to 7min 52sec on the Nürburgring….and that was in traffic. I don’t think we’ve ever done a more complete performance car' , says Tobias Moers, the man who oversees the engineering, development and testing of Mercedes-Benz’s AMG range.The CLK Black Series is based around the regular CLK63, but this is no ordinary AMG Mercedes as, although the two share the same driveline, the Black Series is a very different car. With a huge front spoiler designed to force cooling air into an enlarged radiator whilst also dialling out lift to make it more neutral at speed, the CLK Black Series instantly appears more menacing than the standard coupé. Bulging wheel arches incorporated into the body panels, air vents in the front wings, a deep rear valance and a carbon fibre rear spoiler complete the makeover. That and a set of 19" alloys weighing just 11kg each – 3kg lighter than those of the standard CLK63.Inside, the differences are also obvious, with carbon fibre-reinforced trim on the door inserts and centre console, a forged aluminium gear selector, a flat-bottomed wheel, expensive bucket seats and AMG also replaces the rear bench with two trimmed wells.The CLK Black Series utilises AMG's mighty (and largely hand-built) M156 V8, the brand's first entirely self-built engine launched in 2005 and undoubtedly one of the greatest production car V8s ever built. Power is up from the 478bhp of the standard CLK63 AMG to 507bhp at 6,800rpm, offering an impressive power-to-weight ratio of just over 300bhp per tonne whilst torque remains the same with 464lb/ft at 5,250rpm. Upgrades to the power unit include the adoption of a larger magnesium dual-intake manifold with two internal butterfly valves, a reworked, less restrictive exhaust system and remapped electronics resulting in a sound track that is rather addictive, described as a subdued rumble gradually building into a deep roar before erupting into an all-guns-blazing blare.Power is channelled through Mercedes’ SpeedShift 7G-Tronic gearbox (with Sport and Manual modes) but fettled by AMG for more efficient changes. It's considered a very versatile transmission, being able to swap-up smoothly under light loads but also extremely precise under hard acceleration through the wheel-mounted paddles. All the power is channelled through a suitably beefed-up drivetrain including a limited-slip differential with its own oil cooler and pump to keep temperatures in check. As those wheel arches suggest, there have been major revisions underneath, with the front track widened by 75mm and the rear by 66mm, bestowing the car with real race car agility – again, reinforced by the fitment of adjustable springs and shock absorbers that allow you to set your own compression and rebound rates. However, the CLK Black Series is also a compliant and usable road car (air-conditioning and cruise-control are still present) with AMG allowing enough suspension travel to ensure acceptable levels of comfort.The steering too is very well engineered, providing excellent feedback, whilst prodigious grip, helped no doubt by the huge 285/30 R19 Pirelli P Zero Corsa tyres, allows the car to carry big speeds into corners and then dispatch its power with real conviction. Meanwhile, the array of driver aids, including a specially calibrated ESP, are nowhere near as intrusive as in the standard CLK63 AMG, so lurid power slides are part of its repertoire, if that's on the agenda.Mercedes claims the 0-62mph time has dropped by 0.3 seconds to just 4.3 seconds, however the marque is notoriously conservative when it comes to quoting acceleration. Top speed is limited to 186mph - 'It is capable of more' says Moers.The car presented here is a 2007 Mercedes-Benz CLK63 AMG Black Series and is one of just 25 UK-market/right-hand drive cars produced. It looks particularly striking in Black Metallic, apt for such a purposeful Black Series car, has covered 24,600 miles from new and benefits from a comprehensive service history, the most recent carried out at Sytner Mercedes-Benz of Bath in November 2024.On offer from a private Collection of special cars, it has been used sparingly but always meticulously stored and serviced. This is an opportunity not to be missed, as trying to find such a rare and revered car in right-hand drive, with such low mileage and diligent single ownership, is close to impossible.Arguably, the CLK63 AMG Black Series offers better value for money than other comparable limited edition Mercedes supercars of this era. As we know, cars like these, produced in short runs with bespoke large capacity and naturally-aspirated engines are less likely to be offered by manufacturers in the future and are destined to become even more collectable.The last word should really come from Jeremy Clarkson, a former owner of a CLK63 Black Series - 'For sheer excitement, the CLK Black is a match for absolutely anything. Since my test car went back to Mercedes, I have been thinking about it a lot. Because I’m not sure that anyone’s life is quite complete unless they have one'.SpecificationMake: MERCEDES-BENZModel: CLK63 AMG BLACK SERIESYear: 2007Chassis Number: WDB2093772F243015Registration Number: FG57 XVVTransmission: Semi-auto Engine Number: 15698260020175 Drive Side: Right-hand DriveOdometer Reading: 24600 MilesMake: RHDInterior Colour: Black / AnthraciteClick here for more details and images

Hornby Railways OO Gauge Advanced Passenger Train Set to include Two Apt Driving Trailers, Two Apt Van Trailers, Apt Power Car (with dummy pantograph), track, Power Clip and Variable Mains Controller. Damage to box, but contents look excellent. Untested.

Inter-City APT Passenger Train Advertising Poster 1980s The Age of the Train 100 x 64cm

Boxed Hornby OO Gauge APT Five Car set, (damage to box), playworn untested.

Verheyen, JefItegem, Belgien, 1932 - Apt, Frankreich, 1984Mappenformat: 67 x 51,5 x 1,5 cm"10 Variationen zu Dia", 1981. Folge von 10 Lithografien auf Bütten, in Orig.-Mappe. Alle signiert und nummeriert 52/82 sowie im Impressum signiert, nummeriert und datiert. Herausgeber: Erker-Presse, St. Gallen.Sammlung, Nordrhein-Westfalen.

Verheyen, JefItegem, Belgien, 1932 - Apt, Frankreich, 1984Blattgröße: 41 x 36 cm, o. R.Ohne Titel. Papiercollage auf festem Papier. In Bleistift unten rechts signiert.Sammlung, Nordrhein-Westfalen.

A pair of American Art Deco gilded spelter 'Ballerina' bookends, marked APT-NY, H19cm

* ALISON MCKENZIE RSW (SCOTTISH 1907 - 1982), HONESTY gouache on paper, signed, titled and dated 1972 label versomounted, framed and under glass image size 45cm x 38cm, overall size 70cm x 62cm Label verso: Royal Scottish Society of Painters in Water-ColoursNote: Watercolourist, engraver, designer and teacher, sister of the artist Winifred McKenzie, born in Bombay, India. Studied at Glasgow School of Art, 1926-9, winning the Fra Newbery Medal. From 1930-42 she worked in London and studied under the noted engraver Iain Macnab at the Grosvenor School of Modern Art. In 1942 she moved to St Andrews, Fife, and in 1946 joined her sister as part-time lecturer at Dundee College of Art. She retired in 1957 to care for her elderly mother but continued to paint. By then the sisters had established the printmaking department there. Showed RSA, RSW and NS both of which she was a member and SSWA and had two-man shows with her sister at Cork Street Gallery (London) and English Speaking Union Gallery, Edinburgh. McKenzie, who was especially influenced by the work of Braque, did railway posters and other ephemera, all marked with exquisite sense of design and apt colour. Seven examples of her work are held in UK public collections.

Hornby (GB) OO InterCity APT Unboxed - Five Car set with Pantograph. Some damage to the overhead equipment on center car. Conditions: Generally Good Plus to Excellent.

Bible [English]. The Holy Bible, Containing the Old Testament, and the New: Newly translated out of the Originall Tongues: and with the former translations diligently compared and revised: By his Majesties special commandment. Appointed to be read in Churches, London: printed by the Company of Stationers, 1648, both titles present and within woodcut borders (general title with woodcut royal armorial to verso), Apocrypha inserted, titles and borders red-ruled throughout, Extra-Illustrated with 114 engraved plates (11 trimmed to platemark and mounted, one plate torn with image loss and repaired and another with repaired long closed tear), late 18th-century annotation to final blank (Zz8), bound with A Briefe Concordance, or Table to the Bible of the Last Translation..., carefully perused and enlarged by Mr. John Downame, B. in Divinitie..., London: N. Bourne and R. Young, 1642, woodcut royal armorial to verso of final leaf, bound with The Whole Book of Psalmes: Collected into English Meeter by Thomas Sternhold, John Hopkins, and others, conferred with the Hebrew, with apt notes to sing them all.., London: printed by A. M. for the Companie of Stationers, 1648, title within ornamental border, bound with at front The Genealogies Recorded in the Sacred Scriptures, according to every Family and Tribe. With the Line of our Saviour Jesus Christ, observed from Adam to the blessed Virgin Mary, by J[ohn]. S[peed]., 1634, woodcut genealogies, full-page woodcut of Adam and Eve in the Garden of Eden, double-page woodcut map of Canaan, also bound with an incomplete Book of Common Prayer (lacking all before D1), titles and borders throughout volume red-ruled, some toning, occasional light dust-soiling and few minor marks, lacking front free endpaper, 18th/early 19th-century ownership signature of Elizabeth Faber of Willington, Derbyshire to upper pastedown, contemporary blind panelled and decorated brown morocco, embossed royal armorial to centre of each board (armorial to upper board and some decoration with evidence of gilt), with initial I. M. to each board beside foot of armorial, light wear to extremities (mostly foot of spine), lacking clasps, 8vo (17 x 11.3 cm)QTY: (1)NOTE:Darlow and Moule 472; Herbert 608.Apocrypha not called for, but inserted as in Herbert, Darlow & Moule.

Hornby 00 Gauge R3874 BR Inter-City grey/beige livery Class 370 Advanced Passenger 7-Car Train Pack and Development Coach (2), believe with DCC lights and sound fitted, two packets of Hunt couplings, in original box with outer despatch box, together with R4970 APT Development Coach, in original box, E, unused, box E E, possibly test run only, boxes VG-E (2)

Rapido Trains UK book 00 Gauge 924002 APT-E silver and blue Single Carriage in original box, E, appears unused, box E

Rapido Trains for NRM Locomotion 00 Gauge 13001 BR blue and grey 4-Car APT-E Ltd Ed Train Pack and additional Coach (2), Set in original box with outer sleeve, E, appears unused, Ltd Ed 497/2000, box VG, one lid corner loose, together with Rapido for NRM Locomotion APT-E TC-1 Coach, in original box, E, box VG (2)

Various OO gauge locomotives and rolling stock, including a Hornby Intercity APT dummy car, power car, coaches, etc., various tank wagons, Royal Mail TPOs, etc. (1 box)

A Quantity of Hornby OO Gauge APT Stock including Two Motor Cars and Four Driving Cars, playworn, damages, untested.

A Hornby OO Gauge Six Car APT, playworn, untested, some damage noted.

Thirteen Hornby OO Gauge APT and Javelin Power Cars and Trailers, for spares/repair.

Rapido OO Gauge Ref 13501 BR 4-car APT-E Train Pack with DCC Sound Fitted, part of the National Railway Museum. Condition is Mint in Near Mint box and outer sleeve also includes original outer mailer.  

Two early Hornby sets, including an APT train set, comprising a 5-car APT unit, and a collection of track. One of the coaches has two deep scratches in the side, otherwise very good, outer box missing, insert only, together with an LMS express passenger set, comprising a Duchess class loco, in BR maroon "Duchess of Sutherland", four coaches, and a collection of track, all housed in the original set box. The contents are in very good condition, the outer box is poor, insert is good.

Horst Janssen 1929 Hamburg - 1995 Hamburg Die rote Nase, 13. Februar 1983. 1983. Aquarell und Gouache über Bleistift. Rechts mit dem Künstlersignet und der Datierung '13 2 83'. Unten signiert und bezeichnet 'Horst Janssen Sønderjyllands Kunstmuseum Tønder'. Auf Pergamin. 54,9 x 38,6 cm (21,6 x 15,1 in), Blattgröße. Das Werk dient als Vorlage für ein Plakat, erschienen im Verlag St. Gertrude, Galerie St. Gertrude, Hamburg. [CH]. • Horst Janssen zählt zu den großen deutschen Zeichnern und Grafikern der zweiten Hälfte des 20. Jahrhunderts. • Seine treffenden, oft ironischen Porträts gehören zu den wichtigsten Motiven seines gesamten Schaffens. • Internationaler Durchbruch: 1980 zeigen das Art Institute of Chicago und das Busch-Reisinger-Museum (Harvard Art Museums), Cambridge, Einzelausstellungen seines zeichnerischen und grafischen Schaffens (gefolgt von einer Wanderausstellung in mehreren amerikanischen Museen). • 1982 nimmt Janssen zum zweiten Mal an der Biennale von Venedig teil. PROVENIENZ: Sammlung Pia Zadora, Los Angeles. Sammlung Schweiz. LITERATUR: Dierk Lemcke (Hrsg.), Horst Janssen: Selbstbildnis 1945-1993. Neugier, Variation, Balance, Verwandlung, Angeber X, Paranoia, Manipulation, Groteske, Hamburg 1994, Kat.-Nr. 168 (m. ganzs. Farbabb.). 'Janssen [ist] ja nicht nur ein aufdringlich chargierender Geniedarsteller, sondern auch wirklich ein Zeichner und Radierer von unbestreitbarer Originalität.' Aus einem Artikel in 'Der Spiegel', anlässlich des Erscheinens der ersten Horst-Janssen-Biografie, 7.10.1984, Der Spiegel 41/1984. 'Er hinterlässt ein so gewaltiges und bizarres, auch wortgewaltiges Œuvre, dass zwei Leben zu je 65 Jahren dazu kaum ausgereicht hätten.' Rudolf Augstein, Journalist, Verleger und Gründer von 'Der Spiegel', nach Horst Janssens Tod 1995. Aufrufzeit: 07.12.2024 - ca. 16.54 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONHorst Janssen 1929 Hamburg - 1995 Hamburg Die rote Nase, 13. Februar 1983. 1983. Watercolor and gouache over pencil. With the artist's signature and the date “13 2 83” on the right. Signed and inscribed “Horst Janssen Sønderjyllands Kunstmuseum Tønder” at the bottom. On glassine. 54.9 x 38.6 cm (21.6 x 15.1 in), size of sheet. The work serves as a template for a poster, published by St. Gertrude, Galerie St. Gertrude, Hamburg. [CH]. • Horst Janssen is one of the great German graphic artists of the second half of the 20th century. • His apt, often ironic portraits are among the most important motifs of his entire oeuvre. • International breakthrough: In 1980, the Art Institute of Chicago and the Busch-Reisinger Museum (Harvard Art Museums), Cambridge, held solo exhibitions of his drawings and graphic works (followed by a traveling exhibition through several American museums). • In 1982 Janssen participated in the Venice Biennale for the second time . PROVENANCE: Pia Zadora Collection, Los Angeles. From a Swiss collection. LITERATURE: Dierk Lemcke (ed.), Horst Janssen: Selbstbildnis 1945-1993. Neugier, Variation, Balance, Verwandlung, Angeber X, Paranoia, Manipulation, Groteske, Hamburg 1994, cat. no. 168 (with a full-page illu. in color). 'Janssen [is] not only an overbearingly charismatic genius actor, but also a draughtsman and etcher of undeniable originality.' From an article in “Der Spiegel”, on the occasion of the publication of the first Horst Janssen biography, October 7, 1984, Der Spiegel 41/1984. 'He left behind such an enormous and bizarre, but also eloquent oeuvre that two lives of 65 years each would hardly have been enough.' Rudolf Augstein, journalist, publisher and founder of 'Der Spiegel' after Horst Janssen's death in 1995. Called up: December 7, 2024 - ca. 16.54 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.

Hornby R543 TrainPack Class 370 APT 'City Of Derby' - Split From Set - 5 cars, Tested Runner(1200g)Few scuffs, no box Condition Report - Fair

A 25 pounder projectile, the base marked "APT" (armour piercing tracer), and dated "12 40"; also a pair of solid armour piercing projectiles marked for "QF 3" 20 cwt" guns as fitted to submarines and destroyers. GC, painted black (the pair lacking driving bands). (3) £40-60 Buyer collects

PARANORMAL & SUPERNATURAL. A 239-year-old manuscript account of a "visitation" from a ghost at Seighford Hall, Staffordshire, in the early hours of Tuesday 29 March 1785, together with an accompanying witness statement, and correspondence concerning the apparition, addressed to Rev. Townson of Malpas, Cheshire. "Mr. [Francis] Eld junior of Seighford [Hall] having walked from Newport (in Shropshire) found himself fatigued, and in such a case is not apt to sleep. His wife being lately brought to bed, he lay in a room by himself, with a fire in it. Within this room was a Smaller [presumably a type of cot], in which lay a little daughter of his, whom in the night he heard crying. He called and spoke to her, and the child became pacified. Presently after he felt as it were a puff of air pass across his face, saw a sort of cloud or vapour, and heard a voice out of it, 'My child, be not grieved, I am dead, but happy.' This he knew to be the voice of his mother [Catherine Elde], and was a good deal terrified. While he was reflecting on the incident, he heard his little girl cry again, and supposed she might have been disturbed by the appearance which he had seen. He sat up in bed, and spoke to her again, but perceived that she had not seen or heard anything of the sort. While in this posture he once more saw the cloud in the form of a little woman with a resemblance of his mother, and heard the same words repeated to him." Being able to "bear it no longer", Mr. Eld visits his wife's apartment and relates the story to her, but she is "so terrified" that he stops and leaves the room. At this point, Mr. Eld is unaware that his mother has died [she is residing at Pit Place in Surrey with her husband John Elde of Dorking, a notable benefactor of Stafford General Infirmary whose portrait was painted by Thomas Gainsborough]. He spends the remainder of the night walking in the garden & pleasure grounds that his mother used to enjoy while living at Seighford, and spends time in her old bedchamber, but he sees no further apparitions. The following morning, fearing bad news, Mr. Eld orders his servant to accompany him to the Post Office in Stafford where he picks up a letter written by his father's housekeeper at Pit Place, dated Saturday 26 March, in which he learns that his mother is "tolerably well, & had eaten remarkably hearty of a Hare which had been sent to her from Seighford by her son". The letter briefly suppresses his anxiety until he realises that it was composed two days before the haunting. While returning to Seighford, he repeatedly tells his servant that he is "sure" he will "hear some bad news about his mother soon". The following Friday [1 April], Mr. Eld returns anxiously to Stafford and receives a letter informing him that his mother died on the preceding Monday night or Tuesday morning [i.e. 28/29 March], coinciding perfectly with the time of his vision. This realisation causes him to "faint away" in shock. "He [Mr. Eld] attended the Body day & night from the 7th to the 9th when her remains were deposited in their family vault at Seighford. Upon his relating this story to his father [John Elde of Dorking] who attended the funeral, 'His father seemed to be turned into jelly.'" The three manuscripts comprise: a letter from Thomas Whitby of Creswell to Rev. Townson of Malpas, 13 December 1785, seeking Townson's "sentiments on this very uncommon event"; a 2pp. handwritten account of Mr. Eld's experiences with questions in pencil from Rev. Townson in the margins; and a 4pp. handwritten account from Mr. Eld's servant, taken down by Thomas Whitby. In the first letter, Whitby assures Townson of the reliability of the servant, "the man is not a common menial servant but one who rents a small farm in the neighbourhood, & is employed by Mr. Eld to take care of his Woods & Game, & when he comes to Seighford for the Hunting Season this man attends him in his sports, the man is more sensible & intelligent than persons of his situation usually are, vis Bold & Resolute, & so that I think one may venture to depend upon the accuracy of his Relation." While recording his account, Whitby says the servant "had not either then or now any doubt of the truth of what his Master related". Together with an archive of Whitby family papers (in which we discovered the above), 1610-1830. The documents concern Thomas Whitby (junior & senior), John Whitby, and Edward Whitby, and include deeds, indentures, receipts, and invoices relating to Haywood, Shugborough, Colwich, Seighford, and Creswell. The archive includes a document from Granville Earl Gower appointing Thomas Whitby as Deputy Lieutenant of Stafford, signed & sealed by Gower, 1769; numerous receipts for Customary Payments from the Rectory of Creswell, most signed by Edward Whitby (Rector), 1760-1830; numerous canonical documents, including the Bishop of Lichfield ordaining Edward Whitby of Trinity College into the Holy Order of Priesthood, 1780, plus another for the Holy Order of Deacons, 1799; manuscript accounts for Thomas Whitby senior in 5pp., 1610-1613; numerous invoices & receipts for building work; several 17th-century vellum indentures relating to John Crompton and the Church of Creswell; an indenture between John Horne & Elizabeth Crompton, Burton-on-Trent, 1686; an indenture between members of the Nicolls family of Oxford, Liverpool, London and Stafford, 1772, bearing six signatures & wax seals; Translation of Grant in the Manor of Haywood & Shugborough, William Whitmore & Jonas Verdon, 1616; a 20pp. manuscript by Madame Dupré, "Hints given previous to a departure for Paris,1819", giving advice on dining, travelling by coach and sending mail

CAPABLANCA JOSE RAUL: (1888-1942) Cuban chess player, World Chess champion 1921-27. T.L.S., Capa, one page, 4to, Havana, Cuba, 30th June 1940, to his second wife Olga Chagodaev ('Ma chere Kikiriki'), in French and English, on the printed stationery of the Hotel Packard. Capablanca states that his wife's letter arrived yesterday evening and that he is pleased she is settled and with new furniture ('Because you know how well I like clean things and old furniture always has a dirty air about it'), adding that he has written a letter to the bank, who will take care of payments, and further discussing domestic plans in New York, 'The arrangement that you made is good: you will have the month of July to arrange the apartment, without paying for anything. For the rugs, I believe that one must buy them in New York also. I believe you should have a carpet for the bed room and a rug for the living room…..Take it easy about fixing up the apt., now that you have where to put the furniture you can take your time. Should you be invited to spend a week-end somewhere by some Lady friend of yours, go ahead and take a rest. Do not forget to have a clause in the contract that in case we go away some where (sic), we have the right to sublet the apt. I hope that it will not happen, but we should be prepared for any eventuality'. Accompanied by the original envelope. VG

Registration No: XJI 4115 Chassis No: SAJJFALG3BJ768888 MOT: November 2025Low mileage having covered just c.47,000 miles from newPresented in the desirable Carnival Red Metallic with Mushroom leather interiorAccompanied by the cherished registration number ‘XJI 4115’Offered with a history file including documented service historyThe first Jaguar XJ was launched in 1968 and the XJ designation has been used for successive Jaguar flagship models ever since. The original model was the last Jaguar saloon to have had the input of Sir William Lyons, the company's founder. The Jaguar XJ (X300) was manufactured between 1994 and 1997 and was the first XJ produced entirely under Ford ownership and can be considered an evolution of the outgoing XJ40 generation. Like all previous XJ generations, it features the Jaguar independent rear suspension arrangement with the design emphasis on improved build quality, improved reliability and a return to traditional Jaguar styling elements. The X300 was stylistically intended to evoke the image of the more curvaceous series XJ. The front of the car was redesigned significantly to return to four individual round headlamps that provided definition to the sculptured bonnet. Mechanically, it was similar to the XJ40 that it replaced. Six-cylinder X300s are powered by the AJ16 inline-six engine which is a further enhancement of the AJ6 engine that uses an electronic distributor-less ignition system.Registered new on the 1st of January 1996 and originally registered 'N461 WOE', the XJ6 offered has the 3.2-litre straight-six engine with automatic transmission. Finished in the attractive and desirable colour combination of Carnival Red Metallic paintwork with Mushroom leather interior upholstery, 16-inch wheels complete the exterior appearance. A low mileage example having covered just c.47,000 miles from new, the Jaguar has had seven former keepers and has recently benefitted from being fitted with two rear exhaust boxes, as well as brake discs and pads in 2020 and cooling system attention in 2018. Only on offer due to the purchase of a Sovereign, the Jaguar is offered with a history file that contains documented service history, previous MOT and MOT history, invoices for servicing and parts and a current V5C document. Rated by the vendor as being ‘very good’ throughout (bodywork, paintwork, engine, gearbox, electrical equipment, and interior trim), it is accompanied by the apt registration number ‘XJI 4115’. Supplied with a no advisory MOT certificate until November next year. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

WELLS (H.G.)Autograph letter signed with initials ('H.G.') to Elizabeth von Arnim ('Dear little e'), illustrated with three line drawings of three writers sitting at desks including a self portrait of Wells writing with a quill ('...I am here on this side writing & writing...') and one of a woman at a typewriter ('...there is a certain Madame Odette Keun trypewriting & trypewriting...'), having found that she is in the area and asking to meet for lunch ('...Shall I walk up & fetch you – or shall we make a tryst among the olive trees or what?... We are often here but not always as we are apt to Buzz off suddenly... I don't know a soul among the English here & we don't let them come with us... But you are different...'), commenting '...She [Odette] loves you but how it will be after you have met her & she has met you I don't know. She is very prim – more like a Scotch spinster than a human being...', two pages, dust-staining and creasing, some small tears along folds, 8vo (225 x 178mm.), Lou Bastidon, Grasse, 'Sunday' [c.1930]; with autograph letter signed ('H.G.') to Alexander Frere ('My dear Reeves'), enquiring as to a Garrick Club subscription although he is rarely in London, and inviting him to lunch one day, one page, dust-staining and marks, creased at folds, 4to (265 x 210mm.), Lou Pidou, Grasse, 6 December [19]51; and a photographic postcard to Frere depicting Keun at Lou Pidou, signed with initials ('H.G.') with brief message '...Right O Garrick Go ahead...', postcard 90 x 140mm., [Grasse, indistinct postmark] (3)Footnotes:'SHALL WE MAKE A TRYST AMONG THE OLIVE TREES?': AN ILLUSTRATED LETTER FROM H.G. WELLS TO HIS EX-LOVER ELIZABETH VON ARNIM.H.G. Wells and the novelist Elizabeth von Arnim (1866-1941) became lovers after the death of her husband Count Henning August von Arnim in 1910, their relationship lasting for three years. Affectionately nicknamed 'Little e', she was the dedicatee of Wells' The Passionate Friends, and they themselves remained lifelong friends, as evidenced by our letter. The letter can be dated from after her affair with Alexander Frere had ended (see lot 91) and she had to moved her new French home in 1930. At this time Wells was living nearby at Lou Bastidon and enjoying a famously tempestuous relationship with the Dutch socialite and travel writer, Odette Keun, twenty years his junior. The couple shortly afterwards moved to Lou Pidou, the house they built together, and which is depicted on our postcard. It must be assumed that Elizabeth gave the letter to Alexander Frere, who had married Patricia Wallace in 1933, and was H.G. Wells' publisher at Heinemann.This lot forms part of an archive of letters and papers from the personal collection of publisher Alexander Stuart Frere-Reeves (1892-1984), known as 'Frere' to his friends, which brings together many of the most important authors of the twentieth-century, and demonstrates a wide web of influence and relationships. As managing editor of William Heinemann, he built up an extraordinary list of talent represented here in correspondence from, amongst others, John Steinbeck, Thomas Wolfe, Rebecca West and her lover H.G. Wells, W. Somerset Maugham, Noël Coward, and J.B. Priestley, a lifelong friend with whom he edited Granta. Frere tended towards the younger, more 'modern' authors, several of whom became close friends, as is shown by these intimate letters, which blur the lines between personal and business relationships: '...He had a flair for detecting talent, and encouraging it, and the gift of establishing friendships with the people he liked and respected, among whom were most of his authors. He prided himself on publishing authors rather than books only...' (obituary, The Times, 6 October 1984). As a young man he had an intense relationship with the novelist Elizabeth von Arnim, nearly 30 years his senior, their hitherto unpublished correspondence also offered here (see lot 91). Many of our letters are addressed to his second wife Patricia Marion Caldecott Wallace (1907-1995), writer, theatre critic and daughter of the author Edgar Wallace, most notably some revealing correspondence from her close friend Daphne du Maurier (see lot 92).After leaving Christ's College, Cambridge, Frere's career began as a journalist on the London Evening News. He joined William Heinemann, a subsidiary of Doubleday, in 1923, rose rapidly within the firm and was made managing director in 1932 under the chairmanship of C.S. Evans when F.N. Doubleday sold his shares after the Wall Street crash. He resigned as president in 1961 and retired a year later to become advisor to The Bodley Head. His papers have remained in the family until now.Provenance: Alexander Stuart Frere (1892-1984); thence by descent to the present owner.For further information on this lot please visit Bonhams.com

INTER CITY APT advertising Model possibly for use in Travel Agents. Manufactured from wood with Driving Car SC48101 and Carriage SC48601 and SC49001. In excellent condition measures 50.5in long.

Book of Common Prayer. The Booke of Common Prayer and Administration of the Sacraments, and Other Rites and Ceremonies of the Church of England, London: Imprinted at London by Robert Barker, Printer to the Kings most Excellent Maiestie, 1604, a8,B10, A8 B10, C8-n8, O10, P8, Q6, title printed in red and black with elaborate woodcut border, rubrication to a number of motifs to the outer edges of the design, large woodcut initials, bound with The Psalter or Psalmes of David, after the translation of the great Bible: Pointed as it shall be sung or said in Churches, London: Imprinted at London by Robert Barker, Printer to the Kings most Excellent Maiestie, 1604, A-K8,title within elaborate woodcut border, black letter, large woodcut initials, bound with The Whole Booke of Psalmes, collected into English meeter by Thomas Sternhold, John Hopkins and others, conferred with the Hebrue and apt Notes to sing them with all. Set forth and allowed to be sung in all Churches, of all the people, together and after Morning and Evening prayer, as also before and after Sermons and moreover in private houses, for their godly solace and comfort laying apart all ungodly songs and ballades, which tend onely to the nourishing of vice and corrupting of youth, London: printed [by John Windet] for the Company of Stationers, 1604, A4, B-T6, U8, title within elaborate architectural woodcut border, black letter, numerous woodcut initials, a few leaves between P6 and Q2 with some print offsetting, one contemporary leaf of manuscript prayers in brown ink (relined) bound into the Book of Common Prayer between B8 and A1, three similar manuscript leaves bound in at end of volume (A praier for the Morninge, etc.), the first of which is torn with some loss, and a further manuscript prayer added at foot of U4 recto, occasional light soiling, contemporary full calf, boards triple-ruled in gilt and blind, central octofoil gilt tool with strapwork and floral infill between blind initials F and M, later reback with endpapers renewed, rubbed and some surface wear, folio QTY: (1)NOTE:ESTC S2776: Griffiths, Book of Common Prayer, p. 83: 1604 (1); STC 16327 for the Book of Common Prayer (although the collation is A12 rather than A10 as here) and The Psalter or Psalmes of David; STC 2512a (for Whole Booke of Psalmes).

Hornby 1970s onwards unboxed collection, generally good plus, with locomotives (7) including 5-piece Advanced Passenger Train (APT) No. R543, coaches (6), wagons (20), etc. Contents unchecked for completeness or correctness and untested. Viewing recommended. Qty approx. 40 (2B)

Wooden Slide Box filled with approx 100 Railway Slides. (950g)Featuring 'Sir Nigel Gresley', Y11F4 BR APT-P Prototype, Crash at Haywards Heath Dec. 1972, Hong Kong Railways...250mm x 200mm x 600mm - Condition - Good

Jack of Hearts. Robert Fitzmaurice (b.1960). 'Jack of Hearts (for peace)', mixed media on aluminum. Signed verso, unframed. 29.5cm x 21cm. Robert Fitzmaurice Biography - In Robert Fitzmaurices work abstracted figures emerge from grids of vibrant colour. His main discipline is painting but he regularly turns to other media, especially printmaking and sculpture to consider how art can be created and interpreted. He summarises his practice as working to conjure a presence. He grew up in Coventry, where contrasts between the old and new cathedrals, the history of the blitz and his father's accounts of being a prisoner of war influenced his young imagination. After studying Fine Art at Sunderland he took a studio with Sunderland Artists Group for a year before moving to Reading to take his MFA. Early encounters with the painters John Emanuel and Adrian Heath went on to become lasting friendships and their insights into materials, processes and approaches to abstraction have proved important touchpoints in his own studio practice. Selected group exhibitions include Whitworth Young Contemporaries, Manchester; International Print Center, New York; NN Contemporary, Northampton; and APT Gallery, London. Solo exhibitions include 'Artist of the Day,' Angela Flowers Gallery, London; 'No Eden' Greenham Control Tower, Newbury; and 'No Sudden Moves', West Berkshire Museum. He lives and works full-time on his art in Reading, Berkshire. Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.

Hornby (GB) R794 Advanced Passenger Train pack containing 5-car APT Overhead Electric Set. Condition is Excellent to Near Mint in Fair box. 

* ALISON MCKENZIE RSW (SCOTTISH 1907 - 1982), HONESTY gouache on paper, signed, titled and dated 1972 label versomounted, framed and under glass image size 45cm x 38cm, overall size 70cm x 62cm Label verso: Royal Scottish Society of Painters in Water-ColoursNote: Watercolourist, engraver, designer and teacher, sister of the artist Winifred McKenzie, born in Bombay, India. Studied at Glasgow School of Art, 1926-9, winning the Fra Newbery Medal. From 1930-42 she worked in London and studied under the noted engraver Iain Macnab at the Grosvenor School of Modern Art. In 1942 she moved to St Andrews, Fife, and in 1946 joined her sister as part-time lecturer at Dundee College of Art. She retired in 1957 to care for her elderly mother but continued to paint. By then the sisters had established the printmaking department there. Showed RSA, RSW and NS both of which she was a member and SSWA and had two-man shows with her sister at Cork Street Gallery (London) and English Speaking Union Gallery, Edinburgh. McKenzie, who was especially influenced by the work of Braque, did railway posters and other ephemera, all marked with exquisite sense of design and apt colour. Seven examples of her work are held in UK public collections.

Registration No: M5 OTD Chassis No: WBSDE92000BJ10581 MOT: May 20251 of just 2,595 E39 RHD European examples manufacturedModest mileage of under 92,000 miles from newOriginally a BMW dealer demonstrator car and in current ownership since 2009Offered with a history file including the stamped service bookEven by the superlative standards of the BMW M-cars that began with the M1 in 1978, the E39 M5 made from 1998 to 2003 is generally regarded as a standout model. Powered by a rev-hungry 4941cc S62 V8 engine (rated at 394bhp / 369lbft), the super Saloon was reputedly capable of 0-60mph in 4.8 seconds and 155mph (limited). Right-hand drive European-specification production amounted to just 2,595 cars.Chassis number ‘BJ10581’ was supplied new by the BMW GB Distribution Centre, being first registered on the 12th January to the BMW Demonstration Fleet as a dealer demonstrator. Finished from the factory in Anthracite paintwork with attractive Caramel Nappa Heritage leather interior upholstery and rare optional Bruyere Club wood trim, the M5 was very well specified from the factory, with the optional extras including electric rear windscreen blind; rear window blinds; park distance control; electric sunroof; auto-dim interior and exterior mirror; electric and heated front seats with lumbar support; xenon headlamps; and air conditioning, amongst numerous other options. Supplied to its first private owner in May 2000, the M5 has now had five private owners and has covered a modest under 92,000 miles from new.Residing in the custodianship of the vendor since 2009 and living in a carpeted garage during this time, the BMW has needed for very little, receiving wheel refurbishment and tyres, as well as a couple of oil and filter services across the mere 12,000 miles covered in fifteen years. Supplied with the apt cherished ‘M5’ registration number, the E39 is also accompanied by a history file that contains a collection of previous MOTs and invoices, a current MOT until May next year, V5C Registration Document, and the full book pack in the BMW wallet, including the owner’s handbook and stamped service book that documents eight services. Due to be driven to the sale, not much comes close in terms of real-world driving enjoyment as an E39 M5. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: B10 AXA Chassis No: WAPBA33L09FE45044 MOT: July 2025Build Number 44 of a reputed 112 B10 3.3 Saloon models worldwideRare and highly desirable manual gearbox exampleCurrent ownership for eleven years and just five former keepersSupplied with a history file including documented service historyThe Alpina B10 3.2, 3.3, V8 and V8S petrol-engined models were built in saloon and estate body styles based on the E39 from January 1997 to May 2004. The BMW Alpina B10 3.3 produced 276bhp @ 6,200bhp and 335Nm (247 lb ft) of torque @ 4,500rpm. Alpina only made 112 of the B10 3.3 saloon models worldwide, from a total E39 B10 production run of 472, split across six-cylinder and V8s, saloon and touring models. Alpina really threw everything at this model! Unlike the earlier 3.2 version (which used a 528i engine as a base), the 3.3 Alpina took the legendary S52B32 engine from the US-spec E36 M3 and then increased the stroke to up the capacity to 3.3 litres. It was then fitted with lightweight MAHLE pistons with a ported and polished cylinder head, with a new crankshaft with torsional vibration dampers and revised ECU software.Build number 44 of the 112 B10s produced, was manufactured in 1999 and was supplied new to the United Kingdom being first registered on the 1st March that year. Finished in Anthracite Grey paintwork with Montana Grey leather interior upholstery, the Alpina was specified with the rare and highly desirable manual gearbox, as well as electric rear windscreen blind and rear window privacy blinds, 19’ staggered alloys, Angel Eye, and LED lights, as well as having a tracking system. In current ownership since 2013, the Alpina has covered some 18,000 miles in this time and has just five former keepers. Offered with apt ‘B10’ registration number included, its original unused tool kit, glove box torch, medical kit, Schnitzer heated wing mirrors and a stainless steel exhaust, the B10 is rated by the vendor as ‘very good’ in regards to bodywork, paintwork, engine, gearbox, and electrical equipment, and as having ‘excellent’ interior trim. Offered with a history file that includes the original book pack including the stamped service book, as well as historic invoices and MOTs, a no advisory MOT until July next year, and a current V5C document. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: LHO 401 Chassis No: 401/1202 MOT: ExemptOne of just 618 Bristol 401s built and with the distinctive original Bristol registered plate "LHO 401"Previously in the ownership of Derek Cunningham, a flamboyant Hollywood writer, director and actorMatching chassis and engine numbers and a fantastic opportunity to own a BristolOffered from a deceased estate and just requiring its final finishing / debugging"This, indeed, is the car for the connoisseur. It can only be modesty on the part of the Bristol publicity boys which has prevented them from quoting as the 401's slogan 'The Best Car in Britain'" (Motor Sport magazine, January 1953).Introduced in Autumn 1949, the 401 was characterised by its super-smooth, aerodynamic bodywork. Honed in the Bristol Aeroplane Company's wind tunnel and built using Milanese coachbuilder Touring's ‘Superleggera’ technique, it boasted a commendably lithe kerb weight (c.2,700lbs). Equipped with transverse-leaf independent front suspension and hydraulic drum brakes, the newcomer proved a notably fine handler taking Touring Class wins on both the Cannes and Tulip Rallies during 1951. Powered by a 1971cc OHV straight-six engine allied to four-speed manual transmission, the elegant sports saloon promised nigh-on 100mph performance. Only in production for four years (by which time a mere 618 are thought to have been made), the model's exclusive £3,212 13s 4d price tag was a reflection of the aircraft quality materials used in its construction.First registered in Hampshire on the 14th May 1953 and previously featured in the December 1956 issue of Motor Sport magazine with its original and apt Bristol area mark 'LHO 401', this Bristol 401 has resided in and benefitted from its current ownership since 2019. When purchased by the vendor, 'LHO' was in a stripped-down state. The clincher for the vendor buying this particular car in a stripped-down condition - not normally recommended, was he identified from the logbook it was registered close to his birthday. A touch of serendipity in his mind. Stripped-down for previous restoration work in 1979, 'LHO 401' had occupied a space at TT Workshops Ltd for some 15 years, where work was carried out as-and-when. Decades now having passed 85% complete and unfinished, work was to begin in earnest to finally bring 'LHO' back to its former glory.All checked out as 'very good'. In particular, the chassis presented in excellent condition with no visible corrosion or signs of damage. Stripped once more, 'LHO' was presented to Superspray Ltd where it was taken to bare metal (images on file). 'LHO's' original colour had been identified as a Blue/Green hue ('Blue' on the buff logbook), however, it was decided that British Racing Green would be used. Meanwhile, the engine, was overhauled by Rob Walker Engines, Oxfordshire. A set of Cosworth pistons and rings, developed for better combustion in race engines were obtained from Roderick MacPherson, a Bristol Engine specialist, along with a 'fast road' profiled camshaft. The gearbox was taken to another Bristol specialist to be checked over and have an overdrive unit fitted.Previously in the ownership of a Derek Cunningham, a flamboyant writer, director and actor linked to satirical sketch comedy and work in Hollywood, 'LHO 401' is accompanied to the sale by its original logbook, instruction manual, a dossier of correspondence, invoices from the 1970s and 1980s, a copy of Motor Sport magazine featuring 'LHO' and other fascinating history. PLEASE NOTE: The restoration of this lot is essentially complete. The ‘finishing’ it requires is a matter of running-in, de-bugging and minor fettling. For example, the fuel filler flap could do with adjustment likewise the operation of the windscreen wiper motor. For more information, please contact: Baljit Atwal baljit.atwal@handh.co.uk 07943 584762

Over forty 1990s British quad and one sheet film posters to include Entrapment, Multiplicity, Othello, Hamlet, Matilda, 8mm, Antz, GI Jane, Liar Liar, Nine Months, Apt Pupil and Mighty Morphin Power Rangers The Movie, 76 x 101cm and 69 x 102cm, rolled.

Hornby 'OO' gauge Five car set 'INTERCITY APT' incl pantographs, Tested runner(1100g)'City of Derby'All five cars tested as RunnersMade in Great BritainPantograph needs attention, spring not connected - Good

A Hornby OO Scale APT / Class 43's / Class 91 Locomotives and Rolling Stock, all untested, occasionally boxed. Untested.

Six 'OO' Gauge/4mm Diesel Electric Locomotives for Spares or Repair, consisting of a Hornby 5 car unit Inter-City APT (playworn, missing pantograph, damage to two bogies); a Heljan Bo-Bo powered chassis; two LIMA Class 33 diesels with loose bodies; a Ibertren Electric Class 269 (missing unpowered bogie); and a Hornby Dublo two rail Class 28 with bogie issues; damage description is minimal, inspection recommended.

Hornby 00 gauge Advanced Passenger Train set in original boxes with extra loose coaches (3), comprising R543 with set 370 002 in two-tone grey with APT power car, two driving trailers, two APT van trailers, track and controller, loose extra centre coaches (2),G-VG, box P-F, (1)