1995 BMW M3 Coupé Transmission: manualMileage:74000The E36 was BMW’s third generation of the popular executive car range. This variant was created to replace the, already successful, E30 chassis platform and benefited from a multilink rear suspension set-up that improved handling characteristics dramatically.This particular car was the flagship M3 variant offered in a bright Hellrot paint with the sought after Alcantara and cloth 'Vader' interior. The M3 was designed to give the driver a more focused and performance orientated driving experience. Powered by a high revving 3.0 litre engine producing an impressive 286bhp, the M3 had heaps of performance within a car that could be used every day. The M3 also benefited from improved brakes and a limited slip differential to separate it from the rest of the BMW range. The M3’s potential, affordable price tag and usability, propelled the car to automotive superstardom making it the benchmark coupé that other manufactures aim to compete with. The skyrocketing residual values of the earlier generation M3’s has had a halo effect on the rest of the BMW range over the last few years, meaning well maintained examples of the E36 are at an all-time high, making them highly desirable to any budding driver and collector looking for a fun vehicle to invest in.Specified from new with a five-speed manual gearbox, limited slip differential, E36 M3 'Vader' seats, electric sunroof, mirrors and windows and 'EVO' boot spoiler. Impressive provenance and history (with many stamps in the book), including the original driver’s manual, stamped maintenance book and black BMW wallet are found in the comprehensive history file accompanying this car. This is a stunning example of a truly eye-catching car which is certainly a future benchmark classic; certainly, one of the best we have had for sale for a long time and it even comes with its original toolkit!Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
We found 23846 price guide item(s) matching your search
There are 23846 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
23846 item(s)/page
A RCAF pilot's flying log book with a metal trunk containing an extensive collection of related ephemera, photographs and memorabilia comprising items collected during the pilot's training course in the USA including training manuals, pay book and a large amount of personally collected 1940's paper ephemera, examples of which are railroad and bus company timetables and place mats, city guides, programmes and a sketch book.
English illustrator, cartoonist, graphic novelist and author. Achieving critical and popular success among adults and children, he is best known in Britain for his story The Snowman, a book without words whose cartoon adaptation is televised and whose musical adaptation is staged every Christmas. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
1950'S AUTOGRAPH BOOK / MANCHESTER UNITED / MANCHESTER CITY / LEEDS UNITED Autograph album including a page of Leeds United Reserves with 10 autographs including Corfield, Mitchell, Wilson, Wood, O'Brien, Simmonds, Armstrong, Dunn and Peyton. Three pages of Manchester City with over 40 autographs including Trautmann, Barnes, Hayes, Barlow, Leivers, MacDonald, Shawcross, Sambrook, Greenall, Hill, Johnstone, Oakes, Hart, Stevenson, Warhurst, Marsden, Lister, Horridge, Fagan, Cheetham, Hannah, Phoenix, Branagan, McTavish, Pennington, Fidler, Fleet and 4 members of the coaching staff including Manager McDowall and Trainer Barnett. Three pages of Manchester United with 26 autographs including Manager Busby and Trainer Compton, Gregg, Bradley, Greaves, Crowther, McGuinness, Foulkes, Cope, Charlton, Scanlon, Violett, Harrop, Goodwin, Lawton, Brennan, Giles, Heron, Morgans, Haydock, Smith, Hunter, English and Bratt. Good
MEDICAL JOURNAL, NEWCASTLE, 1920-1923. Diary of a young doctor as student, locum & with an account of his first year in practice in Newcastle with period of Glasgow when he was aged 20-23. 151 pages in hardbound, small quarto exercise book. The diary covers his student & post-student life in Jesmond (including Mitchell Avenue), his trials & doubts (his entries are dotted with "must do/must not do" resolutions), his relations with women, his sports activities & the sports scene in the North East (he was an Old Novo) & social events in an upper middle-class network of friends & family, with specified addresses & locations (holidays in Rothbury, Allendale, Gilsland, etc.). It includes descriptions of medical study curricula & hurdles that had to be passed including a short period as a student doctor in Glasgow. Unique account of medical training in the early life of the University & of provincial lifestyles in the early 1920's. This diary was salvaged in the 1980's from a house clearance in Jesmond.
Trollope (Anthony) Can You Forgive Her?, 2 vol., frontispieces and 38 plates by Hablot K. Browne and Miss Taylor, occasional light foxing, neatly and sympathetically rebacked, retaining original backstrips, spine ends and corners a little bumped, light sunning to spines, vol. 1 with some staining to covers, rubbed, 1865; Phineas Redux, 2 vol., frontispieces and 22 wood-engraved plates by Frank Holl, occasional light soiling, neatly and sympathetically rebacked, retaining original backstrips, spines slightly darkened, rubbed, endpapers renewed, 1874; The Duke's Children, 3 vol., occasional creasing and light soiling, vol.1 & 2 lower hinges broken, remaining hinges weak, gatherings pulling, slight shelf-lean, spine ends and corners bumped, a few short splits to joints, rubbed and discoloured, 1880, first editions in book form, half-titles, original cloth, [Sadleir 19, 41 & 57], Chapman and Hall, 8vo (7)⁂ A good group of titles from the Palliser series.
Medieval Manuscript.- Laurent d'Orleans (Frere) La Somme le Roi, ou Livre des Vices et des Virtus, illuminated manuscript on vellum, in French, 134 ff., complete, collation: i6, ii-xvii8, catchwords, ruled in red, at the end of all but the first gathering, first f (list of contents) detached and mounted, last f blank, also with one vellum fly-leaf at beginning and two at end, double column, 32 lines, written in black ink in an angular gothic hand, large initial cut out of second f (the beginning of the text) with loss (presumably) of a miniature or large initial and of text on verso, but leaving most of a three-quarter bar border, decorated with flowers or leaves and a small tree in colours and gilt bezants, and with pen-and-ink figures of a rabbit being pursued by a hound added at the foot, several hundred 2 or 3-line initials in red or blue, many decorated in the contrasting colour, the decoration extending up or down the margins, chapter headings in red, rubrics in red or blue, line fillers in red, several original flaws in the vellum, one or two repaired, lower corner of first half-dozen ff frayed, first few ff. rubbed with loss of text, wrinkled throughout and with marking and staining, nineteenth-century dark red morocco, spine gilt-lettered, covers ruled in blind, gilt inner dentelles, little rubbed & scuffed, marbled endpapers, 4to, 225 x 165 mm., [France], [late 13th or early 14th century].⁂ Laurent d'Orléans, Dominican confessor to Philip III 'the Bold', of France, was commissioned by his master to write this manual of religious and moral behaviour for the king's children in 1279, though dates given in early manuscripts differ, and this one has 1297. The work, also known as Le Miroir du Monde, was popular in France through the Middle Ages and translated into several European languages, including English, being printed by Caxton as The Book Ryal in c. 1486. This manuscript is an early one, written within a couple of decades of the work's composition. Contents: f1v list of contents. f2r Le Somme le Roi, ending f123r, f124r unidentified prayers or devotional work beginning 'Ha dit il qui donrat (?) amo[r] chief confort...', ending f133v, f134 blank. The unidentified scribe has added wry leonine verses at the end of both parts: (f123v) 'Finito libro laus [et] gl[ori]a [christo] Detur pro pena scriptori pulcra puella' [= The book is finished. Praise and glory to Christ. The scribe deserves a pretty girl for his trouble]; (f 133v) 'Explicit iste liber scriptor sit crimine liber' [= The book is finished; may the scribe be free from blame].
Weather Bird Press.- Strehl (Dan, editor) The Spanish Cook: A Selection of Recipes from Encarncacion Pinedo's El Cocinero Español, one of 125 copies, illustrations, 1992 § Martin (Diane S.) Herbs, one of 50 copies, illustrations printed in green, 2004 § Quayles (Bunston) Hearty Fare: A Gentleman's Cookery Book, one of 150 copies, wood-engraved illustrations, 1990, original cloth-backed boards, uncut, dust-jackets, Pasadena, Weather Bird Press; and 16 others on food & drink from the press and 9 others, mostly on wine, 8vo & 4to (28)
2 x framed lithographic prints Running for "A Ring" Lithograph, hand coloured, c. 1860. publisher : Published by Henry Lea & Co., 125 Fleet street, London.Drawn Expressly for the "Book of Field Sports." Lithographed by R. S. Groom, Wilkinson & Co. Depicts a rabbit on the run and Fallow deer Buck & Doe Lithograph, hand coloured, c. 1860. publisher : Published by Henry Lea & Co., 125 Fleet street, London.Drawn Expressly for the "Book of Field Sports." Lithographed by R. S. Groom, Wilkinson & Co 41 x 34cm
Paul Stephens (20th/21st century) - 'Early Morning-Chew Valley Lake', signed also extensively inscribed verso and numbered 313 ** The artist exhibited with Sir Peter Scott (Wild Beauty) Bristol and redesigned the type setting lettering 'Lord Of The Rings' Book, he also designed Radio 1's Roadshow posters in 1980s for Tony Blackburn, etc. and designed the figurine 'Moulin Rouge' for Kevin Francis Ceramics.
Paul Stephens (20th/21st century) - 'Misty Early Morning, Glastonbury Tor and The Somerset Levels', signed also extensively inscribed verso and numbered 282, oil on board ** The artist exhibited with Sir Peter Scott (Wild Beauty) Bristol and redesigned the type setting lettering 'Lord Of The Rings' Book, he also designed Radio 1's Roadshow posters in 1980s for Tony Blackburn, etc. and designed the figurine 'Moulin Rouge' for Kevin Francis Ceramics.
King George VI and Queen Elizabeth signed 1891 1971 Visitors Book. From Howard & Bullough, Textile Manufacturers of Accrington, Lancashire. A large original visitors book used at their works in Accrington, starting in 1891 (the first entry being members of the Bullough family), the last in 1971. In all, well over 10, 000 signatures contained on the 300 pages which have entries. Just over half of the book has been used, the remainder being blank. Among the more famous signatures are King George VI and Queen Elizabeth [later styled the Queen Mother] during a visit to the factory on March 8th 1945. There are also signatures of their party including Cynthia Spencer [Lady Diana Spencer's grandmother] and Peter Townsend. The factory was used during the second world war for armament and aircraft production, and there are a number of signatures from a visit by the Ministry of Aircraft Production on August 4th 1944 including Sir Safford Cripps, Sir John Buchanan and A. M. R. Topham. During the wartime period there are various signatures of army, navy and R. A. F. personnel scattered throughout, one notable signature being that of Bruce Grimston D. F. C. on May 16th 1941 he would later be killed in action in July 1944. Throughout the book there are numerous visits by foreign delegations and organisations two Russian members of these include Capt. Levkovitch from the Russian Inspector of Artillery in Petrograd (during 1915) and later, Nikolai Patolichev. Other signatures include William Burdett Coutts M. P., one of the first in the book. What strikes you looking through is the variety of countries the visitors came from particularly so from Russia, India, Brazil, Far East and Scandinavia. The book has been heavily water stained, with some pages loose, torn or bearing old repairs. The photographs should hopefully show the varying degrees of this. Bound in the original black Morocco, though the hinges are broken and some joints split. Overall size approx. 270x430x77mm. Due to the weight, only available for sale in the United Kingdom. Howard & Bullough were a firm of textile machine manufacturers in Accrington, Lancashire, and in the 1860's led the world in supplying power looms. The firm was founded by John Bullough in 1851, after he had perfected a self-acting temple on his handloom. They originally concentrated on looms, but eventually expanded to manufacture the complete range of machinery used in cotton mills. At its peak, the Glebe works dominated the town, employing almost 6000 workers and covered an area of 52 acres. Seventy five per cent of the company's production was exported. Book was taken apart, repaired and rebound in Nov 2015 by John Richardson of Leamington Spa for £200. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
HMS Tiptoe visitors book with 846 autographs inc four Donald Cameron VC and two Bell Davies VC. Incredibly rare signatures of Lt Cdr (later Commander) Donald Cameron VC and Lt (later Vice Admiral) Lancelot Richard Bell Davies VC, CB, DSO, AFC. As far as we know, no copies of these signatures have appeared on the market. They are significantly rarer than, say, Guy Gibson. has over 100 pages of text, signature list etc. A rare opportunity to acquire an important Visitors' Book that was kept in HMS Tiptoe between Nov 1947 and May 1952. Its 846 signatures, most of which have been identified, are a Who's Who of the Royal Navy. Cameron has signed the book four times; Bell Davies has signed it twice. There is some bleeding on some pages, but priced just for the rare VC autographs. Comes with list of the signatures. Includes many Killed in Action during the war with huge array of Admirals and important medal winners. Full list of signatures included, following hundreds of hours of research. Sure to have some valuable and scarce autographs. Includes Commander Donald Cameron VC, David Riley Johnston OBE, DSC Lawrence Hugh Oliphant CBE, DSC Robert Thomas Smith MID x 2Cedric William Crocker Green DSM Lt Michael Timothy Hickie DSC Lt [later Vice Adm] Lancelot Richard Bell Davies VC, CB, DSO, AFC Commander Donald Cameron VC Lt Cdr (E) [later Cdr] David John Lisle Foster DSC Capt Hugh Christopher Lee Browne CBE, DSO Lt Cdr Edward Talbot Stanley DSO, DSC, MID Vice Admiral (E) Sir Denys Chester Ford KCB, CBE Lt John Arthur Davis DSC Lt (E) Alfred Lewis Giordan DSC Surgeon Lt Eric Arthur Penn DSC, MRCS, LRCP Lt Cdr John Dennis Martin DSC Lt [later Lt Cdr] John Norman Devlin DSC, MBE Lt [later Lt Cdr] Andrew Thomas Chalmers DSC, MID Wilfred Allan Plummer DSC Lt Cdr Arthur John Wright Pitt DSO Cdr Edward Talbot Stanley DSO, DSC Commissioned Engineer Albert Ewart John Hodge MID Lt Phillip Rutter Wood DSC, MID Capt [later Admiral Sir] Gerald Vaughan Gladstone GBE, KCB Lt Ian Macfarlane Stoop DSC Possibly Lt Cdr Robert Stuart Scott Ingham OBE, DSC Lt Cdr Herbert Anthony John Hollings MBE, DSC, MiD Skipper Lt Harry Leonard Lang DSC, RD, RNR Lt Cdr [later Cdr] Cecil Gordon DSO Lt Cdr Robert George Pierson Bulkeley DSC Instructor Lt Clifford John Jones MID Lt [later Capt] Donald Roy Saxon DSC, MID, RCN Lt [later Cdr] Charles Brian Mills DSC Lt Cdr (E) [later Cdr] Gerald Slingsby Mellor DSC Lt John Hateley Blacklock OBE, MIDL (E) [later Rear Admiral] Derek Garland Spickernell CB, CEng, FIMechE, FIET, FIMar Cdr (E) Richard Frederick Hermann Schlesinger Tolson DSC Lt Cdr (E) [later Cdr] Gerald Slingsby Mellor DSC Lt Cdr (E) Robert George Lane DSC, MIMarE Lawrence Hugh Oliphant CBE, DSC Lt Donald Cameron Douglas MID Cdr [later Commodore] Sir Thomas Erasmus Barlow, 3rd Baronet, DSC, DL Lt Cdr (S) Gerald Huthwaite Moore CBE, MID Lt Cdr Peter Edward Newstead DSC Capt Casper Silas Balfour Swinley DSO, DSC, ADC Lt [later Cdr] Charles Brian Mills DSC Cdr [later Capt] Stewart Armstrong Porter DSC, MID Temp Lt Cdr Herbert Frank Metson DSC Cdr [later Capt] George Edward Hunt DSO, DSC, MID x 2 Lt Michael Timothy Hickie DSC Lt Donald Cameron Douglas MID Lt Reginald Patrick Fitzgerald DSC, MID Lt Cdr Peter Edward Newstead DSC Lt Reginald Patrick Fitzgerald DSC, MID Lt Donald Cameron Douglas MID Lt Cdr (E) [later Cdr] Richard John Sutton DSC Lt Cdr Jack Whitton DSC Lt Cdr Guy Stewart Chetwode Clarabut DSO, DSC, MID Lt Cdr [later Rear Admiral Sir] Michael Francis de Halpert DSC Lt Cdr Jack Whitton DSC Lt Cdr (E) [later Cdr] Richard John Sutton DSC Cdr (E) Edward Hort Player DSC Lt Cdr Henry Carty Gowan OBE, MID Lt Cdr [later Capt] Michael Lindsay Coulton Crawford DSC, MIDL (E) [later Vice Admiral Sir)] John Stuart Crosbie Lea F/O Gerhard Hegland DSC (500909)Senior Commissioned Engineer Joel Clifford Edgecombe Blamey DSC, DSM Lt [later Major] Michael Mancell Aldworth VRD, MID Lt Cdr [later Vice Admiral] Iwan Geoffrey Raikes KCB, CBE, DSC Cdr [later Capt] George Edward Hunt DSO, DSC MID x 2 Lt Cdr James Stuart Launders ADC, DSO, DSC Cdr Edward Talbot Stanley DSO, DSC, MID Lt Cdr James Anthony Lawrence Wilkinson DSC Lt Cdr John Dennis Martin DSC Lt Cdr [later Rear Adm] David Hepworth CB Cdr (S) [later Rear Admiral] Morrice Alexander McMullen CB, OBE Cdr (S) [later Rear Admiral] Morrice Alexander McMullen CB, OBE Lt [later Admiral Sir] Derek Roy Reffell KCB Cdr John Douglas Hayes DSO, MID x 2Air Commodore Henry Edward Forrow CB, OBE, OAR4 (04007) Lt Col George Burnett Stevenson MID (52699)Capt Archibald George Forman CBE, DSC, MID x 2 Lt Cdr Robert Francis Gerard Elsworth DSC Ian Edward Fraser VC, DSC, LoM, RD, JP Lt William Albert Perren MID Lt Cdr Henry Carty Gowan OBE, MID Lt Cdr Douglas Lambert DSC Capt Casper Silas Balfour Swinley DSO, DSC, ADC Capt Douglas Henry Reid Bromley DSC, MID x 2 Lt Cdr (E) Ronald Henry Bull DSC Cdr (L) Thomas Joseph Roger Kirkby MID Vice Admiral Albert Lawrence Poland KBE, CB, DSO, DSC, MID x 2Capt Basil Jones DSO, DSC, MID Rear Admiral (E) Ronald Gordon Murray CB, CBE Lt Cdr [later Cdr] Donald Hay MID Lt Cdr David Swanston DSO, DSC Lt [later Admiral Sir] Peter Geoffrey Marshall Herbert KCB, OBE Lt [later Cdr] John Hateley Blacklock OBE, MID Lt Cdr [later Rear Adm] David Hepworth CB Cdr Edward Talbot Stanley DSO, DSC, MID Cdr Donald Cameron VCL (E) John Watkins Northwood MBE, DSC, MID, MIMarE Lt Cdr James Stuart Launders ADC, DSO, DSC Lt Cdr Brian Cochrane Longbottom MID Cdr Donald Cameron VC Lt Cdr [later Capt (Hon)] Richard Femister Tibbatts DSC Lt Cdr [later Vice Admiral Sir] Ian Stewart McIntosh CB, MBE, DSO, DSC Lt Cdr [later Capt] Stanley William Clayden DSC Lt Cdr Sybold van Ravesteijn ON4, BK x 2, OHK5, OV1, XX, DSC Lt [later Rear Admiral] John Bethell Hervey CB, OBEL (E) [later Lt Cdr] Ernest Redver Head OBE, MID Lt Cdr (E) [later Cdr] Gerald Slingsby Mellor DSC Squadron Leader Sidney Frank Tolman MID (73914) Cdr Alec Murray McKillop DSC, MID x 2 Lt [later Admiral Sir] Allan Gordon Tait KCB, DSC, MID Capt Ian Agnew Patterson Macintyre CBE, CB, DSO, LegH Charles Learmonth Bedale DSC, RN Captain Francis Howard DSC, RN Cdr John Bertram de Betham Kershaw DSO Cdr (E) [later Reverend] Oliver John Frank Lockwood St John DSC Capt Hugh Christopher Browne CBE, DSO Capt [later Rear Admiral] Bertram Wilfrid Taylor CB, DSC, MID Lt Cdr [later Cdr] John Raymond Henry Bull MBE, DSC Lt Cdr Bruce Collins MBE, MID Capt [later Vice Admiral Sir] Maxwell Richmond KBE, CB OBE, DSO, RB, CdeG, MID x 2 Cdr Ralph Grosvenor Jenkins OBE, DSC, MIDG/C [later Acting Air Vice Marshal] Fergus Alexander Pearce CBE, MID x 2 (26187)Capt [later Admiral of the Fleet Sir] Michael Le Fanu GCB, DSC, LoM, MID Lt Cdr Edmund Roger Stone MIDF/L [later G/C] Basil William Parsons CBE, DFC, AFC, MID (133754) Lt [later Vice Adm] Lancelot Richard Bell Davies VC, CB, DSO, AFC. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Countryside/ Les derniers rayons du soleil inscrit avec dédicace 'For Peter en souvenir of Edipsos with all my love Nico./ Barbaras Birthday Feb.22.1960.' (au verso) ink et gouache sur papier46 x 66cm (18 1/8 x 26in).Peint en 1958.inscribed with dedication (on the reverse) ink and gouache on paperFootnotes:ProvenanceThe artist's collection. A gift from the artist to Lady Nöel Evelyn 'Peter' Norton, London.Thence by descent to the present owner. ExposéNew York, Alexander Iolas Gallery (as per label on the reverse). LittératureGhika, Paintings, Drawings, Sculpture, C. Zervos, S. Spender, P. Leigh Fermor ed., Lund Humphries editions, London 1964, no. 12 (listed and illustrated).Drawing from indigenous sources, ranging from icon painting to folk art and Karaghiozi shadow-puppet theatre, Ghika formulated a distinctive artistic premise related to post-cubist explorations. Moreover, the tender convolutions and fragile gestures so evident here allude to the mystical world of oriental calligraphy and its constant flow of brush and pen. In 1958, the year he painted Countryside, the artist visited the USA at the invitation of the State Department and returned to Greece by way of the Far East. As noted by art critic S. Spender, the drawings of India and Japan Ghika did in 1958 are of particular importance because they established a connection between far-eastern art and Ghika's sensibility which was partly Oriental.'1 1 S. Spender, 'Ghika' in Ghika, Paintings, Drawings, Sculpture, Boston Book and Art Shop, Boston 1965, p. 23.Puisant dans des sources indigènes, qui vont de la peinture d'icônes jusqu'à l'art naïf et au théâtre d'ombres de Karaghiozi, Ghika a formulé un postulat artistique distinctif, relié à des explorations post-cubistes. En outre, les convolutions tendres et la gestuelle fragile, si évidents ici, font allusion au monde mystique de la calligraphie orientale et à son mouvement constant du pinceau et de la plume. En 1958, année où il a peint Countryside l'artiste s'est rendu aux États-Unis à l'invitation du Département d'État, et est rentré en Grèce en passant par l'Extrême-Orient. Comme le note le critique d'art S. Spender, les dessins que Ghika a réalisés sur l'Inde et le Japon en 1958 revêtent une importance particulière car ils créent un lien entre l'art extrême-oriental et la sensibilité de Ghika, qui était en partie orientale. »This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Scholiastes d'un texte futur / Composition a la lampe signé en grec (en bas à droite)huile sur toile92 x 73cm (36 1/4 x 28 3/4in).Peint en 1958.signed in Greek (lower right)oil on canvasFootnotes:ProvenanceThe artist's collection, Athens and thence by descent to the present owner.ExposéAthens, Zappeion Hall, VII Panhellenic Exhibition, April 21 - June 1, 1963, no. 156 (listed in the exhibition catalogue).Athens, Nees Morfes Gallery, Art Transformations, December 1979 (illustrated in the exhibition catalogue, p. 15).Athens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos retrospective, April 3-15, 1983, no. 37 (listed in the exhibition catalogue, p. 42).Thessaloniki, Municipal Gallery, Nikos Engonopoulos, As Handsome as a Greek, 1997, no. B3.Athens, Astrolavos Gallery, Nikos Engonopoulos, Surrealist Whispers, October 24 - November 29, 2002, no. 7. LittératureThe Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 262 (mentioned), p. 284 (illustrated).B. Spiliadi, Visual Remouldings, exhibition catalogue, Nees Morfes Gallery, December 1979, p. 15 (illustrated).Athens News newspaper, November 4, 1985 (illustrated).Athinorama magazine, November 7, 1985, p. 67 (illustrated).Eleftherotypia newspaper, November 1, 1985 (illustrated).Tachydromos magazine, no. 1644, November 14, 1985, p. 145 (illustrated).Nikos Engonopoulos, Drawings and Colours, Ypsilon Books editions, Athens 1996, p. 138 (illustrated).Politis magazine, December 15, 2002, p. 8 (illustrated). D. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, fig. 80 (illustrated).E. Benisi, Nikos Engonopoulos and Cityscapes, doctoral dissertation, University of Athens, 2006, pp. 138, 140, 161, 163 (mentioned), p. 140a, fig. 98 (illustrated).D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets, Gutenberg editions, Athens 2007, p. 118 (mentioned). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 600, p. 92 (illustrated), p. 459 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, p. 436 (discussed), p. 437, fig. 168 (illustrated).K magazine, no. 13-14, June 2007 (cover illustration).Bathed in an atmosphere of clarity and glow, this exquisite painting is recognised by Melissa editions The Greek Painters as one of the finest examples of the artist's mastery of colour.1 The glittery yellow, green and orange tunics worn by the three figures and the enamel-like blues and reds of the background, applied side by side on the canvas without tonal gradations, invite the viewer to a festive ritual. 'Engonopoulos is a dedicated coloriste, adhering to a long and rich Greek tradition that goes way back to the Homeric epics.'2 Errieti Engonopoulou, the artist's daughter, holds that 'for him each colour has its own value, its own voice'3, much the same way as in Byzantine art, which Engonopoulos always considered an art form Greeks closely relate to. The three phantom-like mannequin figures holding a lamp, a book and a statuette, introduce us to an enigmatic world of poetic metaphor, apparently glorifying an unknown heroic or epic event that echoes the didactic description of Byzantine icon painting and the high rhetoric of the artist's beloved teacher C. Parthenis.4 Elegant, athletic and full of youthful virility, the three scholiasts chant the glory and beauty of the human figure. As noted by Athens National Gallery Director M. Lambraki-Plaka, 'Engonopoulos's figures may draw their origin from Giorgio de Chirico but they are unmistakably Greek, reminiscent of the Minoans immortalised on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'5 Likewise, Professor D. Papastamos notes that 'Engonopoulos's heroes are not 'disquieted'; on the contrary they fully experience an everyday reality still bound with tradition and eastern myths.'6 The visual act takes place in shallow, stage-like indoor space, accentuating the sense of theatricality which is a key element of Engonopoulos's work. As noted by art historian P. Rigopoulou, the artist never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting.7 'The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale is a typically Greek element. Standing in front of a fastened curtain and illuminated by a circular glow reminiscent of a theatrical spotlight, the three protagonists of this 1958 scene recall a text by Engonopoulos written a few years later: 'The curtain is drawn, and under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'8 1 S. Boulanikian, 'Nikos Engonopoulos' [in Greek] in The Greek Painters, vol. 2, 20th Century, Melissa editions, Athens 1975, p. 262.2 Nikos Engonopoulos, Drawing or Colour [in Greek], Ikaros editions, 2007, p. 126. 3 E. Engonopoulou, 'Freedom and Discipline' [in Greek] in Nikos Engonopoulos, The Painter and the Poet, Kathimerini newspaper (Epta Imeres), 25.5.1997, p. 23.4 A reference to future text annotations was made by Engonopoulos in his poem 'In the Lyrical Chimneys', The Clavichords of Silence, 1939. See D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets [in Greek], Gutenberg editions, Athens 2007, p. 118. 5 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.6 D. Papastamos, preface to the exhibition catalogue of Nikos Engonopoulos retrospective [in Greek], National Gallery-A. Soutzos Museum, Athens 1983, p. 8.7 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou - A. Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.8 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.Baignée dans une atmosphère de clarté et de lueurs éclatantes, cette exquise peinture est reconnue dans l'ouvrage The Greek Painters (publié par les éditions Melissa) comme l'un des plus beaux exemples attestant de la parfaite maîtrise de la couleur qui caractérise l'artiste. Les tuniques jaunes, vertes et orange scintillantes des trois personnages et les bleus et rouges de l'arrière-plan, comme laqués, peints touche par touche sur la toile sans gradations tonales, invitent le spectateur à un rituel festif. Engonopoulos est un coloriste passionné, qui adhère à une longue et riche tradition grecque remontant à l'épopée homérique. Errieti Engonopoulou, fille de l'artiste, confie que pour lui chaque couleur a sa propre valeur, sa propre voix, ce qui rejoint l'art byzantin qu'Engonopoulos a toujours considéré comme une forme d'art indissociable des Grecs. Les trois personnages fantomatiques, tenant une lampe, un livre et une statuette, nous introduisent dans un monde énigmatique de métaphore poétique, glorifiant apparemment un événement héroïque ou épique faisant écho à la description didactique de la peinture des icônes byzantines et à la rhétorique exigeante du maître bien-aimé de l'artiste, C. Parthenis. Élégants, athlétiques et pleins de virilité juvénile, les... For further information on this lot please visit Bonhams.com
AMERICAN FIREARMSWILSON (R.L.): Colt An American Legend, d.w., 1985; The Book Of Colt Firearms Third Edition, d.w., 2008 - HAVEN (CHARLES T.) AND BELDEAN (FRANK A.): A History of The Colt Revolver..., d.w., 1978 reprint - ROES (K.T.) ed.: Colt and Its Collectors, exhibition catalogue, d.w., 2003 - TOBIAS (ARTHUR): Engraved By W.L. Ormsby, Colt Cylinder scenes 1847-1851..., 2001 - KEOGH (S. GERALD): Saml Colts New Model Pocket Pistols..., 1964 - SCHMITT (GÜNTER): Samuel Colt's Revolver 1835-1885, Band I, d.w., 1973; Colt's Revolver und Derringer ab 1871, Band II, d.w., 1973; Der Peacemaker Colt's 1873 er Single-Action, d.w., 1974; Der Perkussions-Revolver, d.w., 1973 - JINKS (ROY G.): Smith & Wesson, d.w., 1979 German edition - BUTLER (DAVID F.): United States Firearms The First Century 1776-1875, d.w., 1971 - WOODHEAD (HENRY) ed.: Echoes of Glory, Arms And Equipment of The Confederacy; Arms And Equipment of The Union; Illustrated Atlas of The Civil War, 3 vols., 1991 - EDWARDS (WILLIAM B.): Civil War Guns, d.w., 1982 - FLAYDERMAN (NORM): Flayderman's Guide To Antique Firearms..., 7th edition, 1998 - LAW (CLIVE): Canadian Military Handguns 1855-1985, d.w., 1994 - CHAMBERLAIN (W.H.J.) & TAYLERSON (A.W.F.): Adams' Revolvers, d.w., 1976 - BLAIR (CLAUDE) ed.: Pollards History Of Firearms, d.w., 1983 - and sixteen other publications relating to European and American firearms (36)For further information on this lot please visit Bonhams.com
Thatcher (Margaret, 1925-2013). The Downing Street Years, 3 copies, 1st editions, London: HarperCollinsPublishers, 1993. 8vo, original blue boards, dust jackets, each copy signed by Margaret Thatcher on the title-page in blue ink, one copy with sunned jacket, together with: Bernard Ingham, Kill the Messenger, 1st edition, 1991, signed and dated by Ingham on title-page; Sir Winston S. Churchill, Honorary Citizen of the United States of America by Act of Congress, April 9, 1963, one of 1000 copies, Worcester, MA: Achille J. St. Onge, 1963 (miniature book, original red morocco, in miniature black leather briefcase); Abraham Lincoln, Selections from his Writings, one of 1500 copies, Worcester, MA: Achille J. St. Onge, 1950 (miniature book, original blue morocco by Sangorski and Sutcliffe, front cover sunned); and John F. Kennedy, Inaugural Address, 1961 (miniature book, original blue leatherette) (qty: 7)
Greenaway (Kate). Collection of works, including:1) The Quiver of Love, 1st edition, London: Marcus Ward & Co., 1876. 4to, original brown cloth gilt, variant dark blue endpapers, 8 mounted chromolithographic plates by Walter Crane or Kate Greenaway, Schuster & Engen 167 (1b),2) Puck and Blossom, 2 copies, 1st editions, London: Marcus Ward & Co., [1874]. 4to, one copy in original blue cloth (publisher's presentation blind stamp to title-page), one in variant original green cloth with white endpapers (contemporary school prize-plate to front free endpaper), each with 6 mounted chromolithographic plates by Greenaway, Schuster & Engen 161 (1a & 1b),3) Under the Window, 1st edition, London: George Routledge & Sons, [1878]. 4to, original green glazed pictorial boards, Schuster & Engen 201 (1a), together with another copy, evidently later (pictorial boards unglazed, possibly S & E 200 (3c)),4) Kate Greenaway's Book of Games, 1st edition, London: George Routledge & Sons, [1889]. 4to, original mustard-yellow cloth, Schuster & Engen 43 (1c), together with another copy, original blind-stamped green cloth, apparently not in S & E, gift inscription dated 1937,5) The Queen of the Pirate Isle, 1st edition, London: Chatto & Windus, [1886]. 8vo, original beige cloth, gilt edges, blue endpapers, Schuster & Engen 165 (1e),6) A Day in a Child's Life, 1st edition, 1st issue, London: George Routledge & Sons, [1881]. 4to, original green glazed pictorial boards, front inner hinge superficially cracked, Schuster & Engen 66 (1a),7) Little Ann and Other Poems, 1st edition, London: George Routledge & Sons, [1882]. 8vo, original green half cloth, cream glazed pictorial paper sides (scuffed and discoloured), variable spotting to contents, Schuster & Engen 109 (1a),8) Kate Greenaway's Carols, London: George Routledge & Sons, [1883], comprising 4 chromolithographic cards, original envelope (front and rear panels separated and chipped), housed in custom cloth chemise) Schuster & Engen 329 (scarce),and 12 others including Kate Greenaway's Alphabet (4 copies), Kate Greenaway's Birthday Book for Children (2 copies), Melcomb Manor, and similar, and a small group of Greenaway ephemera (approx. 15 chromolithographic greetings cards, bookplates and bookmarks, in an album, and approx. 35 Kate Greenaway chromolithographs and wood-engravings from the Illustrated London News and The Graphic) (qty: -)
Booth (Edward Thomas). Rough Notes on the Birds Observed during Twenty-Five Years' Shooting and Collecting in the British Islands, 1st edition, London: R. H. Porter, 1881-7. 3 volumes, large folio, original red cloth, 114 lithographic plates after E. Neale (uncoloured), 2 lithographic maps, fraying to spine-ends and tips, mottling to cloth of volume 3, volume 1 gutta percha perished before Barn Owl plate (the binding compromised but reparable), occasional light spotting to volume 3, Thorburn (Archibald). British Mammals, 1st edition, London: Longmans, Green and Co., 1920-1. 2 volumes, 4to, original red cloth (slightly dust-soiled, spines sunned), 50 colour plates,ibid. A Naturalist's Sketch Book, 1st edition, London: Longmans, Green and Co., 1919. 4to, original red cloth, 60 plates,and a set of Thorburn, British Birds, 4 volumes, 2nd and 3rd editions, 1917-18 (not collated), all works in lot with bookplate(s) of Eric Hosking (qty: 10)THE LIBRARY, PICTURES & CAMERA COLLECTION OF ERIC HOSKING OBE HON. FRPS FBIPP (1909-1991)Footnote: Booth: Freeman 399; Mullens & Swann p. 84; Zimmer pp. 79-81 ('A series of well-written field notes accompanied by good plates').
Nine sewing items relating to the Co-operative Wholesale Society, comprising a carved wool bowl 'CWS Each for all and all for each', 5.7cms, a tin pin pyramid 'Pin Your Faith To CWS Goals - Labor and Wait', 4.5cms, a wooden mushroom darner 'Buy CWS Goods', 10cms, a needle match book, a safety pin wheel, a thimble compendium 'E and S C.W.S. Teas', 6cms, and three CWS advertising thimbles. (9) From the collectionof Susan Franklin Part 1
Five WWI war medals including: 2nd Lieutenant Alexander Emslie of the 6th Battalion Gordon Highlanders KIA 16.5.1918 aged 28 [2 LIEUT A EMSLIE]; S21941 Private William Pyper of the 6th Battalion Gordon Highlanders KIA 23.7.1918 aged 19 [S-21941 PTE W PYPER GORDONS]; 1550 Corporal Edward Fraser of the 4th Battalion Gordon Highlanders KIA 25.9.1915 aged 25 [1550 CPL E FRASER GORD HIGHRS]; 3/7306 Private Donald Turner of the 1st Battalion Argyll and Sutherland Highlanders KIA 9.05.15 aged 28 [3-7306 PTE D TURNER A & S HIGHRS]; and 3401 Private John Palmer Young of the 1st/7th Battalion Argyll and Sutherland Highlanders DOW 12.9.1916 aged 22 [3401 PTE J P YOUNG A & S HIGHRS], also 7th Battalion Argyll and Sutherland Highlanders The Great War 1914-1919 book, each medal with research paperwork, (5).
A late 13th/early 14th century gold and garnet posy ring, centred with an oval small cabochon almandine garnet, within a cone-shaped bezel, the D-shaped band plain to the inside, the exterior decorated with notches to create a leaf or laurel wreath design to one side, the opposing side decorated with a zig-zag triangular-shaped line with punched dots between, to the right shoulder the incised letters ‘I O S U’, the ‘S’ positioned to the side, followed by ‘I’ and a further indistinct letter, the posy possibly from the French ‘Je suis ici’ (’I am here’), bezel height 3.9mm, ring size approximately 0. £4,000-£6,000 --- Provenance: This ring was found in August 2019 in the South Kesteven district of Lincolnshire using a Equinox metal detector and was uncovered at a depth of 5cm. The find spot is close to a Norman manor house recorded in the Domesday book which was occupied by the Boothby family and in the 14th century, the Paynells. The ring is recorded on the Portable Antiquities Scheme database Ref: CAM-0582C9.
MOTOWN - LPs. A comprehensive collection of around 115 soul LPs on the Motown label. Artists/ titles include Martha Reeves & The Vandellas - Dancing In The Street (TML 11099), Edwin Starr & Blinky - Just We Two (STML 11131), Grover Washington Jr - Mister Magic, Gladys Knight & The Pips inc Help Me Make It Through The Night, Nitty Gritty. Smokey Robinson inc Greatest Hits, Pure Smokey, Smoke Signals. Mandre inc S/T & Two. Marvin Gaye, Stevie Wonder inc Music On My Mind, Songs In The Key Of Life, Original Musiquarium, The Secret Life Of Plants, Talk Of The Town, Innervisions, My Cherie Amour, Talking Book. Motown Chartbusters inc Vols 1, 2, 3, 4, 5, 7, 9. Diana Ross, Temptations, Four Tops, Jackson 5, Michael Jackson, Jr Walker & The All Stars. Condition is generally VG to Ex.
FOLK/ FOLK ROCK - LPs. A super selection of 41 LPs. Artists/ titles include Martin Carthy inc S/T (TL5269), Second Album (STL 5362). Kevin Coyne - Marjory Razor Blade (VD2501), Horslips - The Book Of Invasions. Robert Palmer - Maybe It's Live, Nilsson inc Schmilsson, A Little Touch Of. Joni Mitchell - The Hissing Of Summer Lawns. Julia Fordham Porcelain. Steely Dan inc Aja, Gaucho, Pretzel Logic. Strawbs - Deep Cuts. Steeleye Span inc All Around My Hat, Below The Salt, Parcel Of Rogues, Storm Force Ten, Commoners Crown. Judy Collins inc Judith, Whales & Nightingales. Mike Harding, Simon & Garfunkel, Janis Ian, Elton John, Jaco Pastorius, Joan Baez, Dave Swarbrick. Condition is generally VG to Ex.
Collection of children's books, includes The Yellow Submarine Gift Book publ. World Distributors 1968 (stained and water damage to bottom corner throughout) together with a Corgi toys The Beatles Yellow Submarine, several Cherry Ames by Helen Wells, several books by Enid Blyton including Naughty Amelia Jane!, Brer Rabbit's A Rascal, The Enchanted Wood, Bedtime Stories, The Seaside Family, Bimbo and Topsy, The Happy House Children, Laurel and Hardy annual, The Splendid Book for Tinies, The Book for Boys, Walt Disney's Snow White translation of the film by Crooks Ripley, The Boys' Book of Cricket, Stanley Matthews' Football Album, Twink and Tweezy The Rocky Mountain Twins by Ella R. Bruce, amongst others.
The Story of a Fierce Bad Rabbit by Beatrix Potter, first edition, published Warne 1906, second issue, in wallet form with fold out panoramic concertina of 14 pages of pictures and 14 pages of text on linen. Frederick Warne and Co New York and London on the rear cover. This format was soon discontinued as booksellers found customers were opening them and refolding them badly. They were quite delicate for children to play with and surviving copies are quite scarce. The book is missing its clasp and shows signs of wear; a complete good example.
A Chad Valley 1930s jointed Golly, made of velvet with mohair wig and painted smile --13½in. (34.5cm.) high (missing jacket); a Dean's Rag Book Hetty the Help Yourself doll with Government Evacuation Scheme tag; a printed Dean's doll; a Planes of the RAF sticky-back brass recognition stickers with leaflet; a Lakehurst Dirigible dexterity game; and other 2nd WW items in suitcase. These items are listed on the basis they are illustrative of by a gone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.
Roland-Garros: French Open Poster 2021 signed by the artist Jean Claracq with 2 beautifully illustrated books Au centre le court Philippe Chatrier & Trophies Your chance to bid for a unique item of tennis memorabilia, donated by La Fédération française de tennis (FFT) and signed by the artist, capturing one of the most important new features at this year’s tournament, the introduction of night sessions. The view from the Fond des Princes, an area located on the outer edge of the stadium, served as inspiration for Jean Claracq. Instead of choosing one of the show courts, he decided to shine the spotlight on one of the lower profile courts. He was touched by the multiple challenges at stake on the smaller courts, where the players’ ambitions and hopes are displayed in such a raw way, far away from the media spotlight. This multi-faceted piece also seems to evoke the players’ solitude. The stunning poster is accompanied by 2 beautifully illustrated books from Les Carnets de Roland-Garros collection, reflecting the spirit of the stadium, whilst inviting you to discover the unique stories that make the Parisian Grand Slam so special Au centre le court Philippe Chatrier 106 pages with illustrations: Every year, the Porte d'Auteuil becomes a hive of activity for three weeks. Roland-Garros stadium throws open its gates and the second Grand Slam of the year gets everyone's adrenaline pumping. At the epicentre of the action is the beating heart of the stadium, Philippe-Chatrier Court. This book invites readers to dive into the history of this legendary court, which stands the test of time thanks to its players, its spectators, its groundsmen and everyone whose passion brings it to life every year. Trophies 106 pages with illustrations: Celebrating the 40th anniversary of the Coupe des Mousquetaires, when sport and the art of silversmiths come together, giving rise to magnificent pieces of silverware that have become iconic emblems of the tournament. Every year, the trophies are infused with the winner's emotion, and no victory would be complete without lifting this Holy Grail. Full of laughter and tears, the prizegiving ceremony is an extraordinary tournament highlight. Poster: 80 cm h x 53 cm w Carnets: 22 cm h x 16.5 w – 106 pages Donated by: La Fédération française de tennis, FFT https://www.fft.fr T&C’s Apply Shipping can be arranged at cost to the final bidder
Roland-Garros: French Open Poster 2020 signed by the artist Pierre Seinturier with 2 beautifully illustrated books Au centre le court Philippe Chatrier & Trophies Your chance to bid for a unique item of tennis memorabilia, donated by La Fédération française de tennis (FFT) and signed by the artist, shining the spotlight on the people who work in the shadows of the tournament; the craftsmen of the red clay, in a poster bursting with intensity. Pierre Seinturier’s original piece is a poignant depiction of the courts being prepared at Roland-Garros, portraying the moment before the players step out on court as a dramatic and artistic event in its own right. The poster features vegetation in the foreground, which frames the actions of the grounds-men who work every day to prepare the red clay. The clay symbolises Roland-Garros. It is the only Grand Slam tournament to be held on this surface, so I had to include it in my piece. The court grounds-men also take centre stage. The president of the FFT calls them terriens. It’s a great nickname, very poetic. This poster evokes the preparation of the courts, just before the start of the matches, which are often amazing to watch. It was quite natural for me because I have always created paintings or drawings that depict the moments just before the action. These ‘terriens’, who we only see for a few seconds on television, play a vital role in the tournament,” explains the artist Pierre Seinturier. This stunning poster is accompanied by 2 beautifully illustrated books from Les Carnets de Roland-Garros collection, reflecting the spirit of the stadium, whilst inviting you to discover the unique stories that make the Parisian Grand Slam so special Au centre le court Philippe Chatrier 106 pages with illustrations: Every year, the Porte d'Auteuil becomes a hive of activity for three weeks. Roland-Garros stadium throws open its gates and the second Grand Slam of the year gets everyone's adrenaline pumping. At the epicentre of the action is the beating heart of the stadium, Philippe-Chatrier Court. This book invites readers to dive into the history of this legendary court, which stands the test of time thanks to its players, its spectators, its groundsmen and everyone whose passion brings it to life every year. Trophies 106 pages with illustrations: Celebrating the 40th anniversary of the Coupe des Mousquetaires, when sport and the art of silversmiths come together, giving rise to magnificent pieces of silverware that have become iconic emblems of the tournament. Every year, the trophies are infused with the winner's emotion, and no victory would be complete without lifting this Holy Grail. Full of laughter and tears, the prizegiving ceremony is an extraordinary tournament highlight. Poster: 80 cm h x 53 cm w Carnets: 22 cm h x 16.5 w – 106 pages Donated by: La Fédération française de tennis, FFT https://www.fft.fr T&C’s Apply Shipping can be arranged at cost to the final bidder
Ca. 332 B.C, Ptolemaic Period. Egyptian. An ancient Egyptian blue glazed faience shroud wrapped mummiform ushabti wearing a plain tripartite wig and plaited divine beard. The wig is worn low on the forehead and the ears, which are fairly well modelled, protrude over the side lappets of the wig. The arms are crossed on the chest, and te hands protrude from the shroud to hold a pick and hoe in the right. The eyes are quite large and the nose is broad. The mouth sports a gentle smile, typical of the Late Period ushabtis. The figure stands against a dorsal pillal and upon a trapezoidal base.The Egyptians assumed even after getting to the afterlife that life would not be easy, so they took magical figures with them called shabtis to ask a servant to make their afterlife as easy and trouble-free as possible.The idea of shabtis first appeared as wax figures in the First Intermediate Period. These gradually moved onto figures formed of stone and wood in mummiform shape. By the time of the New Kingdom during the Reign of Thutmose IV these became more stylised and would carry agricultural tools to assist them plough the fields, bring in the harvest and fill in the water channels.These figures were an important object in the tombs of the deceased and by the time of the Third Intermediate Period, tombs would carry them in chests in large supplies. These shabtis would come alive on the command of the dead and were called upon with magic from the Book of the Dead.The Amasis Collection. Glenn Janes. Page 177. Pl. S-80051.The Amasis Collection no. S-80051. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s; previously in 1970s UK collection. Size: L:135mm / W:40mm ; 90g
Hardcover book of Harp, or adapted for harp music, circa 1820 ? 1830, Size 9.75? to 14 inches. Condition and Binding refer to photos. This is harp history and a look into how entertainment took place nearly 200 years ago. Harp is in gold on the spinePencil markings evidence that most of the 1st section was written from Boscha to his pupils.6 pieces by N.C.Boscha 1 by Chatterton with 1 piece referring to a singing by Madame Stockhausen.1 piece of Swiss Airs is noted as performed before His Majesty; 2nd sectionCAMBRIAN HARMONYIntroductory page followed by 2 pages containing lists of subscribers.Collection of Welsh Airs which, at that time, had never been published before. The pieces are adapted for harp and piano by Richard Roberts. They were arranged as they were originally performed by the Ancient Britons. They were published for the author and to be had at his residence in Carnarvon.Three samples of the airs :Dyfyrwch y Brenyn or King?s JoyDafydd Carregwen White stone a beautiful airBeth Gelart or Gelert?s Grave. And many more
Nine boxes of general literature, including:1) Dickson (R. W.). An Improved System of Management of Live Stock and Cattle, London: Thomas Kelly, [1822-4] (2 volumes in 1, 4to, contemporary reversed calf, front board detached, engraved plates, spotting),2) Edmonds (J. M., editor). Some Greek Love-Poems, gathered and translated with a Brief Account of Greek Love-Poetry, 1st edition, one of 450 copies on hand-made paper, London: Peter Davies, 1929 (4to, original cloth, marked and slightly worn),3) Chiswick Press. A Book of English Sonnets, one of 535 copies on hand-made paper, London: S. Wellwood, 1906 (4to, original vellum gilt),and numerous others including late 19th/early 20th-century popular editions of the classics of English literature in publisher's or contemporary decorative bindings
VICTORIAN PHOTOGRAPH ALBUM & BALLET PHOTOGRAPH ALBUM, & SCRAP BOOKS including a Victorian leather photograph album with decorative cover, with a variety of carte de visite photographs of various adults and children, and pet dogs (Alophe Paris, E Fixon Paris, T Hayward Devizes, Stone & Wilkinson Devizes, Sellman & Co Huddersfield, W Honey Devizes, J Brook Paris etc). Also with a large leather bound photograph album with a variety of images of a dancer in various poses and costume (Betty on the cover, relating to Betty Beach nee McCallum), a leather bound 19thc scrap album with various political cartoons etc, and a 20thc scrap book. (4) *Betty McCallum was born in Russia and left during the revolution, she married Kenneth Anthony Beach and trained at Ballet Rambert. The photographs were probably taken in the 1920's.
Collection of military ephemera including, letter dated 19/12/1912 from the Department of Militia and Defence, Ottawa regarding the methods of obtaining a commission in the Canadian Permanent Force open to the son of the addressee with attached booklets, one re obtaining a commission, Regulations for the Royal Military College, Canada, and Report on the Examination for Admissions to the RMC, Canada held in May 1912, and letter to Mrs (Lady) Shippard on Marlborough College headed notepaper, also included is a 1920's greetings card from the 5th Royal Gurkha Rifles at Abbottabad showing a Havildar in tropical dress, a letter dated May 1917 regarding ration allowance at the Godstone Bombing School in the name of the Commandant Major J.S. Egerton ( the Eastern Command Bombing School was established in 1915 with Major Egerton of the Coldstream Guards as Commanding Officer), a WW1 leaflet 'Instructions for Officer's and Men Proceeding on Leave', two hand coloured WW1 postcards, one with crossed Union Flag and White Ensign and chorus of 'Rule Britannia', the other with crossed Australian and New Zealand flags and legend 'Anzac 1914-15', booklet 'First List of Old Uppinghams Serving in H.M. Forces', dated January 1915 gives names, ranks, units and casualties, Special Form of Service in Commemoration of His Late Majesty King Edward VII 1910', booklet dated September 1914 'Is the Kaiser "The Beast" (referred to in the Book of Revelations), and 'The Association of Descendents of the Knights of the Garter and the Friends of St. George's, Windsor, Yearbook 1933', (qty)
![Fête Book.- Sacre et couronnement de Louis XVI, Roi de France et de Navarre, à Rheims, le 11 juin 1775 [&] Le Sacre de Lo](https://cdn.globalauctionplatform.com/01460cc6-ddcb-4592-8f0c-addb00bdad7f/d93fcef0-8626-4f8a-b661-addb00c07575/468x382.jpg)
Fête Book.- Sacre et couronnement de Louis XVI, Roi de France et de Navarre, à Rheims, le 11 juin 1775 [&] Le Sacre de Louis XVI, Roi de France et de Navarre dans l'église de Rheim[s], 2 parts in 1, half-titles, engraved title within ornamental border, pictorial title to part 2, double-page armorial plate, folding plan of Reims, 9 double-page views of the ceremony, 39 costume plates, and 14 vignette head-pieces, 19 letterpress ff. describing costume plates, without the portrait of Louis by Duplessis found in some copies (a further portrait by Saint-Aubin is sometimes also found), some spotting and light staining, lightly browned, contemporary armorial mottled calf, gilt, rebacked, preserving original backstrip in compartments, with fleurs-de-lis decoration and later leather label, covers with central royal arms within a triple filet border with internal fleur-de-lis corner-pieces, rubbed, [Cohen-de Ricci 785; Watanabe-O'Kelly 2208], 4to, Paris, [Charles-Emmanuel] Patas, 1775.⁂ Handsomely produced record of the coronation of Louis XVI. Provenance: Jacques Lacour Gayet (small leather bookplate).
Potter (Beatrix) The Tailor Of Gloucester, first edition, first printing, with single endpaper repeated 4 times, book-label to pastedown, ink ownership inscription to front free endpaper dated Xmas 1903, spine faded, ends chipped, lower joint splitting at base, 1903; The Tale of Timmy Tiptoes, first edition, first or second printing, marginal tear to p.45, not affecting text, adhesive remains to free endpaper, loss to foot of spine, affecting title, 1911, frontispieces, 26 colour illustrations, occasional finger-smudging and light soiling, gutters cracked, contents a little shaken, original boards with mounted colour illustrations, upper cover surface abrasions with partial loss to titles; and 4 Peter Rabbit activity books for children, including a novelty moveable and hanky book, v.s. (6)
English, c.1743, unsigned but by Cuff, the square solid mahogany plate with a rotating centre mounted to the front with a brass flange into which screws the main body of the microscope constructed of brass with leather covering, a drawer tube has a mount at the front onto which fits the Wilson-type screw barrel microscope, at the rear of the microscope is a single condenser lens in a brass frame and the adjustable mirror in a brass-bound frame, with a sharkskin covered case lined with green silk velvet with 6 objectives, handle for the Wilson microscope, talk box, tweezers, mahogany plate 20cm x 20cm.FootnotesAccording to Clay & Court, in their book, ‘The History of the microscope’ an identical instrument belonged to George the III[i] and formed part of the Frank Crisp Collection, which after Crisp's death, was sold at Stevens Auctions in 1925. The microscope was bought at the sale by the Science Museum and is now in their collections [ii].The Cuff microscope, now in the science museum collection, is described in great depth by Clay & Court on pages 215-217, of their book, and includes an image of an identical instrument that they refer to as ‘Cuff Solar, First Form’, Clay and Court go on to state “The Solar Microscope.-Cuff appears to have been the originator of this form of solar microscope in which the tube was fixed, and the motion of the sun in the Heavens was allowed for by adjusting the mirror. One of the original forms of solar microscopes of Cuff’s make is illustrated in fig 1.48. It is mounted on a mahogany plate which I about eight inches square….”.Clay and Court also allude to an original document held in the British Museum, dated 1743, in which Cuff claims “ I added a mirror to an ingenious suggestion of a friend who had introduced me to Dr. Leiberkuhn, and with the assistance of several Gentlemen of the greatest understanding and ability, I had been able to alter and improve it from time to time”.John Cuff (c. 1708 – c. 1772) was an important English scientific instrument maker during the 18th Century. Although he made all types of instruments today he is best known for his contribution to microscope design. In particular with his Solar or Camera Obscura microscope and his double microscope that became known as the ‘Cuff-type’.Unfortunately, Cuff was apparently not much of a businessman. Despite his ability, expertise, and patronage of the naturalist Henry Baker in 1750 he had to declare himself bankrupt [iii], just a year after, the main competitor of his, Benjamin Martin, opened a shop next door.[i] from Clay & Court s book ‘The History of the Microscope’, from the Preface.[ii] Science Museum South Kensington, London collection, inv.no. A203100[iii] https://www.whipplemuseum.cam.ac.uk/explore-whipple-collections/microscopes/three-microscope-makers/john-cuff-and-new-constructed
An Important 18th Century Cumming's Pattern Cutting Engine or Microtome,Possibly French, c.1770, unsigned, the body of the instrument is made of brass tube finished on the oustside with a black and mottled red fired enamel to simulate tortoiseshell, at the bottom is a lacquered brass end with a wheel engraved with a scale on a fine steel thread, as the wheel is turned the specimen is raised in front of the blade at the other end, the scale is marked against the brass stop next to the wheel, at the other end is the rotating elliptical blade, this is rotated by turning the polished lignum handle, two knurled wheel at the side are used to hold the blade in place and stop rotation, the other is used to hod the specimen push rod securely in the body of the instrument, the cutting engine comes in its original Fine red Moroccan leather-covered case lined to the inside with red chamois leather, in the case, there is the original shaped stone for sharpening the elliptical blade, a glass slide, a cut-glass bottle with a stopper and another similar but taller with a silver cap, the case 17.4cm wide Footnotes: The Cumming's Cutting Engine - The instrument that changed microscopy. In 1770 a book was published by John Hill (b.1714 – d.1755) on the structure of wood as examined under the microscope. In this book ‘The Construction of Timber from its Early Growth, Explained by the Microscope’, Hill illustrated finely cut sections of wood which were only made possible due to the recent invention of cutting engine or microtome designed and built by Alexander Cumming (ca.1743 – d.1814). This instrument allowed thin sections to be cut so that light could pass through enabling, for the first time, microscopists to see the cell structure of plants. This simple step revolutionised the use of the microscope into a serious scientific instrument. It was George Adams,, then, maker of scientific instruments to King George III, who before this pivotal moment had lamented that the interest in the microscope had waned, famously stating of microscopy “either satisfied with the discoveries already made … or tired by its own exertionsâ€, after Hill's book was published Adams went on to say “So important a subject soon revived the ardor for microscopic pursuits, which seems to have been increasing ever sinceâ€. From Hill’s book, it was stated that Mr. Cummings had made two or three of his cutting engines, the design was then passed to Ramsden who made them commercially, one of which resides today in the collection of the Oxford Science Museum. The Cumming's Pattern Cutting Engine proved difficult to use as keeping the curved blade sharp was a problem. It doesn't appear to have been a great commercial success with only a few instruments surviving today. However, the value of these sections that could be produced for microscopy was now realised and new microtomes were designed and produced by a number of scientific instrument makers. These instruments were easier to use and produced better results consigning the Cumming's Pattern Cutting Engine to history. The design of the instrument offered here is particularly interesting and worth considering. Unlike the existing English instrument by Ramsden this instrument appears to be French in construction: the box is very typically continental with the inside lined with red chamois leather; the instrument has some typically French features with the double knurling of the brass adjusting wheels; the way the lignum handle is turned suggests there may well be Dutch influence. As far as we are aware this is the first time a Cummings Cutting engine has ever been offered for sale at auction. For a similar instrument see: https://www.ssplprints.com/image/81932/microtome-1770 https://www.mhs.ox.ac.uk/collections/imu-search-page/record-details/?thumbnails=on&irn=1733&TitInventoryNo=65389
A PHOTOGRAPH ALBUM DOCUMENTS AND SIMILAR ITEMS RELATING TO FREDERICK HOARE. Frederick George Hoare was born in London to Elizabeth Hoare, he enlisted in Sydney, New South Wales with the army number 15286, as a sapper with 1 Field Squadron Engineers. An archive of material to include a photograph 'From your affectionate son Fred 28.5.16' with Australia shoulder badge, ENGRS badge and Australia Forces badge attached. An Australian Military pocket book stamped to the front 'F Hoare 15286 1 F S ENGRS'. A marriage certificate for Frederick George Hoare to Kathleen May Kyle, 10th December 1921 at which time Hoare is recorded as an 'Agent', with two British Red Cross certificates for his wife suggesting she trained in first aid and home nursing during the First World War. A death certificate for F G Hoare dated November 1970 at which time he lived in Purley. An album of photographs, many military scenes including Machine Gun practice, armored cars, views in S.Syria, the River Jordan from the sky, 'Lorry overturned by airial bomb', Captured Transport 'Afulah' and many more, approximately 303 images (some postcards). An album 'A.M.G. on active service 1915-16-17' to the inside cover 'Agnus M.Gough on active service, sailed Oct 1915 and arrived Lemnos Nov 1915 32nd Brit Gen Hospital Amarah, Mesopotamia. approximately 71 small scale photographs, the majority annotated. Two pages from an earlier album 'Eton Volunteer Review 1899' 8 images. With an 18Pdr Shell case dated 1915.
Autographs - Large collection including Ross Kemp, S Club, Steps, Julio Iglesias, Sade, Jimmy Webb, Joe Satriani, Diana King, Ricky Martin, Mary J Blige, Patra, Tom Jones, Ralph Fiennes and a Hardback book 'Baby you can Drive my Car' by Keith Badgery. The owner worked as a private chauffeur from 1990 to 2010. He regularly looked after artists and executives of Warner Films, Warner Music and Sony Music, working on film and music publicity schedules, concert tours and film productions. He worked for many other companies involved in the music, TV and film industry, such as 19 Entertainment and Ripple Music, and on numerous BBC productions. Having become liked and trusted in the industry he built long standing relationships with a number of high profile celebrities and also worked for them directly as required. Just a few examples of clients and film and TV work are - all of the Rolling Stones, Bill Wyman, Michael Jackson, Mariah Carey, Gloria Estefan, Elton John, David Bowie, The Black Crows, Guns & Roses, Deep Purple, Jay Kay, Michael Bolton, Shirley Bassey, The Spice Girls, Clint Eastwood, Tom Cruise, Kenneth Branagh; Evita, All Harry Potter films, Charlie and the Chocolate Factory; Spooks, The Lavender Papers. This item has been consigned to auction by his family.
JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – AN EARLY FILM TREATMENT BY RONALD HARDYAnearly mimeographed typescript of Ronald Hardy’s treatment for the screenplay,entitled The Spy Who Loved Me, Ronald Hardy, undated [but pre 5 Nov.1975], 126 pp. [p.121missing] in blue card covers fastened by two circularmetal clips, the cover with white paper typescript label annotated in black inkwith a small arrowhead symbol, 13 pages with annotations in both pencil andballpoint pen, mostly underlining, probably in Gilbert’s hand, giving emphasisto key elements in Hardy’s story; the plot centred on a Soviet threat whichtook the form of a sophisticated electronic tracking device which enabled thevillains to pinpoint and capture enemy nuclear submarines from any distance. Ronald Hardy came approximately second in line in the order of twelve different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me until he got the script he wanted.Hardy’s plot involved a Soviet threat of unprecedented danger to the Western World. The threat took the form of a device called ‘Neptune’ fitted to three small submarines and linked to a reconnaissance satellite which could then lock and hold onto enemies’ nuclear submarines at any distance. M sent 007 and two other 00s, 006 and 008 [the latter who set himself as an intense rival to Bond] to find and neutralise Neptune in the USSR without being detected. The West had been tipped off about Neptune by a Russian double agent - beautiful prima ballerina Helen Andreyevna who danced for the Kirov State Ballet Company of Leningrad. Helen and Bond’s stories become intertwined with dramatic sequences involving skis and sleds in Kitzbuhel, Troikas in Leningrad, chases and amusing interludes with Bond’s discus-thrower KGB minder, Olga Gunk in Leningrad; undercover episodes on the Island of Kotlin in the Gulf of Finland, and numerous fights, most notably in an airship above the sea with the main KGB foe Colonel Sukov, when the microfilm of Neptune’s plans obtained by the two Spy Lovers, and housed by Helen in a famous Faberge egg made for the Tsar, falls into the water, and the finale, a savage fight in Helsinki in a sauna room in the Hotel Finlandia-Royal, when 008, who’s been despatched by M to kill 007’s lover double-agent Andreyevna, tries to kill 007 telling Bond: ‘You said I had to kill you first’ 007 prevails over 008 - the mission is over. The story ends with the two Spy Lovers going their separate ways, Helen as a famous ballerina, could not go into hiding, and Bond admits he couldn’t protect her. Helen tells 007 “I love you my James... but I have to dance…So we must go our separate paths...One night I’ll look up from the stage and you’ll be there. You can throw me a rose. A red rose” . She leaves alone on the Stockholm ferry.Thus here, in Hardy’s treatment, the foundations were laid for a few key plot elements that were continued and developed throughout the later re-writes of the screenplay for The Spy Who Loved Me.ConditionReport: Overall good. Blue card cover with small area of paper loss on left hand margin and creased at corners.. A number of inside pages rubbed at corners, some corners folded Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007 series, initiated a number of records for the James Bond franchise. It was Cubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, and he was determined that it should become the biggest and best Bond yet. From the outset, the film’s path to success was beset with numerous difficulties and the screenplay itself went through more adaptations and revisions than any production during the 40-year history of 007 on screen. Problems began with Ian Fleming’s source material for the film’s title. Like the movie, it was Fleming’s tenth Bond novel in order, however it represented a departure from Fleming’s usual 007 format in that it is told from the viewpoint of a young Englishwoman who only meets the famous spy in the last few chapters of the book. For this reason, Fleming never wanted this book to be sold as a film project. His estate, however, gave Broccoli permission to use the novel’s title only. The book and film do also share one significant common element – Jaws, who is loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth. Nevertheless, the screenplay for The Spy Who Loved Me is considered to be the first Bond film whose story is completely original. After a visit to Russia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautiful Russian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…”Literature: RUBIN, Steven Jay Spy Who Loved Me ScriptWars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp.Chicago, 2021GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay SomeKind Of Hero, The Remarkable Story of The James Bond Films, CheltenhamGlouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.comBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Registration No: B10 DGHChassis No: SCBZS00A3LCH32688MOT: July 202256,000 recorded miles and just 3 former keepersOffered with book pack, handbooks and service bookFinished in Royal Blue with Parchment hide leather interior This lovely looking example is finished in Royal Blue with Parchment hide complemented by blue piping with a sheepskin over rugs and has covered just c.56,000 miles in the hands of three former keepers. In the previous ownership for some twenty years, B10 DGH has clearly been well maintained, with 18 stamps (mostly main dealers) shown in the service record up to 53,000 miles. Offered with its book pack, handbooks and service book and a current MoT to 22nd July 2022, this comfortable and capable Mulsanne S rides on correct specification Avon Turbospeed tyres and is said to be “a superb example of this model”.Styled in-house by Austrian born Fritz Feller, the Bentley Mulsanne had somewhat less fussy lines than its T2 predecessor. Introduced in 1980, its greater road presence masked a larger glass area. While it looked suitably imposing from the outside, internally it proved pleasantly airy. Although, based on the Shadow/T2 floor plan, the Mulsanne offered considerable improvements in both ride and handling thanks to its new Girling automatic ride-height control and gas shock absorbers. Copious amounts of sound deadening combined with the finest quality upholstery kept intrusion from the 6.75-litre V8 engine and three-speed automatic transmission to a muted hush unless the model's full 120mph potential was explored. Driver inputs were minimised with power-assisted steering and disc brakes. Launched in October 1987, the Mulsanne 'S' benefited from firmer, more sporting suspension and a new centre console design (the latter feature donated by the Turbo R). Fitted with alloy wheels as standard, the new model gained quad headlamps in September 1988. Only in production for five years, a mere 909 standard wheelbase cars are thought to have been made. Footnote: For more information, please contact:John Markeyjohn.markey@handh.co.uk01428 607899
Registration No: Y957 CDS Chassis No: ZFFYT53C00125022 MOT: June 20221 of just 478 UK RHD cars to be fitted with the rarer six-speed manual gearboxFinished in stunning Argento Nurburgring with a navy blue leather interiorOnly 35,000 miles from newComprehensive service history and last cambelt change within 3000 miles‘The 360 is a devastating road car. It does everything you’d hope a Ferrari would but with such polish, precision and ease that you don’t have to think twice about unleashing all its performance. There is perhaps no other car yet made that combines so much raw emotion with so much technical finesse (Evo magazine, June 1999)’Introduced in 1999 as a replacement for the F355, the 360 was an entirely new design featuring an aluminium spaceframe chassis which was 40% stiffer and 28% lighter than the tubular steel arrangement of its predecessor. The revised bodywork resulted in downforce improving by a factor of four over the F355. Powered by a 3.6-litre V8 coupled to either a six-speed manual or F1 electrohydraulic manual transmission, the 360's lighter weight improved the 0-60 mph dash to just 4.2 seconds with a nominal top speed of over 180mph. In 2001, the spider version was introduced, the stiffness of the spaceframe being ideally suited to handle an open top. This was followed in 2003 by the ultimate incarnation - the 360 racing series inspired Challenge Stradale - featuring a number of weight saving and tuning modifications by the factory.First registered in July 2001, this manual ‘Spider’ was acquired by the vendor from his father-in-law earlier this year; a prolific figure in the classic car world and no stranger to the Ferrari marque. With significant documented service history, ‘Y957CDS’ is offered with the original Ferrari Certificate of Conformity and numerous receipts and bills for maintenance. Details show that the front suspension was overhauled in 2013 and that the cambelts and tensioners were most recently changed at 32,346 miles. There is a near continuous MOT history with thirteen old certificates within the documents file.The paint presents in very good condition with no significant blemishes or scuffs reported by the vendor - the wings are also embellished with the optional ‘Scuderia Ferrari’ shields. Weather protection is provided in the form of a black fabric convertible hood, which is in great shape, with no rips or tears, and the mechanism worked perfectly during our recent photography session. It rides on a set of factory-option OZ ‘Challenge Stradale’ alloy wheels, which were fitted recently and present in superb order with no damage or marks.The interior is finished in dark blue leather with contrasting stitching. The condition of the cabin reflects the low mileage, with minimal wear. There is slight rubbing to the steering wheel, but otherwise the buttons and controls all present very well and work as they should. The original Ferrari-branded stereo head unit has been replaced with a far more user-friendly contemporary Pioneer system.The most recent service work was carried out in July of this year at 35,700 miles and included air, oil and pollen filters, spark plugs and an oil change (using the recommended Shell Helix Ultra 5W-40). Accompanying the car is the original book pack, including the H.R. Owen stamped ‘Servizi Ferrari Direct Line’ booklet, and even the Ferrari Maglite torch. The leather-bound tool kit is also present and the vendor notes that numerous invoices detailing servicing and maintenance prior to his ownership are included in the comprehensive history file.This Ferrari 360 Spider is a thrilling open-top supercar, which benefits from a timeless factory specification. Even more aurally exciting than the Modena coupe thanks to being able to drop the roof to listen to the glorious V8 behind you; this is a well-maintained car that presents in superb condition throughout. It is now ready to be cherished and enjoyed on the road by a new owner, and would make a fine addition to any collection of Maranello’s finest.Footnote: For more information, please contact: Adam Sykes adam.sykes@handh.co.uk 07429600332
Loading...-
23846 item(s)/page