Kent, halfpennies:Brookland, Kentish horse, rev: IK cypher below fleece.Canterbury cathedral, rev: city arms, 1794, edge: John Matthews.Faversham - ship, rev: arms 1794, edge: John Crows, Copper Smith.Tenternden, Arms of Brewers Company, Rev: horse and dray, Edge: Cloakes Brewhouse. REF: DH142. (4)Lancashire halfpennies:Lancaster, Daniel Eccleston 1794, rev: plough before ship, edge: Lancaster etc.Liverpool, sailing ship, rev: arms.Manchester, Grocer's Arms, 1793, rev: East India Co. bale mark.Manchester, man with sack, 1793, rev: arms, edge: Fieldings, Manchester,Manchester, Duke of York, 1793, rev: arms, Edge: Angelsey, London or Liverpool.Rochdale, man in loom, rev: dove, edge: Hull and London. (6)Norfolk halfpennies: NorwichCastle rev: Lamb 1794Bullen and Martins- key in archway, rev shuttle and plough.Dinmore - bottle, rev: Hope stg.City Arms, rev: Man in loom, 1792.Dunham and Yallop, rev: dove and cornucopia, 1793, city arms.Castle above lion, rev: shield 1792, edge: Bolingbrokes.Yarmouth - two half pennies dated 1792, ship, rev: town arms, edge: W.Absolon. (8)Nottinghamshire halfpenny:Nottingham, Donald & Co, rev: beehive and bees, 1792.Yorkshire halfpennies (4)Hull, William III on horseback, rev: arms, 1791Leeds, Bishop Blaze, rev: cloth hall.Sheffield, male bust,rev: arms.York: York Cathedral, rev: Cliffords tower, date 1795, edge: plain.Somerset: halfpennies, Bath, bust of Bladud, rev: tea urn, F.Heath, 1794.Bridgewater, Holloway Post Office, 1794, rev: arms, edge : on demand.Bristol, Wine Street church spire, rev: Indi tea warehouse, 1793. (3).Part of a collection of of trade tokens of the 18th century formed by a Cheshire gentleman.
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A collection of six 19th century silver shillings comprising:Cheshire, Stockport, ferns and cartwright,Lancashire, Liverpool, Thos. Wilson & Co.Leicestershire, Leicester, H.Morgan.Nottinghamshire, Newark, Stansall, Moor etc.Warwickshire, Birmingham, workhouse.Wiltshire, Marlborough, old bank. (6)Devon and Dorset halfpennies, Exeter, two dated 1792, Bishop Blaze, Arms and supporters. Edge, Samuel Kingdon.Poole, James Draper, Poole, Bayley. Rev: Arms of Poole. (3)Essex halfpennies. Chelmsford, Shirehall, R.King and constitution, 1794, Edge: Clachar & Co's.Colchester, view of castle, loom. Edge: Charles, Heaths Bay maker, dated 1794. (2)Herefordshire, penny:Hereford, bull, date 1796, rev: apple tree and plough, ref:DH3, together withHereford, halfpenny, 1794, justice standing, rev: apple tree, edhe: milled. (2)Part of a collection of of trade tokens of the 18th century formed by a Cheshire gentleman.
Staffordshire, halfpennies. Leek - Caduceus in front of bales, rev: clasped hands and olive branch, 1793 x 2.Stafford - castle and 4 lions, rev: W.H cypher above knot, 1797.Suffolk: halfpennies. Bungay - hand holding scroll, rev: Justice standing, 1795, edge: Prentice - Dell - Abel.Bury - Abbey gateway, rev: open book, edge: Lancaster, London or Bristol.Haverhill - man in loom, rev: crest above IF cypher, dated 1794.Ipswich - market cross, 1794, rev: Conder's drapery warehouse. (4)Suffolk: halfpenny. Blything - mounted yeoman, rev: castle in crowned garter, dated 1794, edge: God Save the King and Constitution.Surrey: halfpennies. Croydon - D.G in cypher, rev: teapot (spout points to "R"), dated 1797.Guildford - lion below castle, rev: Bishop Blaze.Sussex - Halfpenny.Chichester - Queen Elizabeth, rev: Chichester cross 1794. (3)Westmorland. Kendal - halfpenny, lion above "RD" cypher, rev: ship, edge: Dublin or London, together with three Scottish halfpennies.Dundee - W.Crooms, arms and supporters.Kirkcudbrightshire - gatehouse, THOS. SCOTT, rev: Griffin, factory building, 1793.Edinburgh - St Andrew with cross, rev: arms of Edinburgh, dated 1790. (4)Wiltshire - halfpennies. Devizes - town arms, rev: I.Baster, stag standing, dated 1796.Salisbury - view of church, rev: grocer's arms, 1796, edge: Sharps, Salisbury.Middlesex (incorporating London) halfpennies.Geo. Prince of Wales, rev: royal arms, edge: Lancaster, London or Bristol.Isaac Newton rev: Caduceus, olive branch etc, date 1793.J.Lackington, rev: Fame blowing trumpet, 1794.Frederick, Duke of York, rev: ship, dated 1795.D.I Eaton, rev: cock and pigsty, dated 1795.Wales, halfpennies, Glamorgan, Jestyn ap Gwrgan, rev: Britannia seated, 1795, edge: Glamorgan half penny, with 4 leaves.Swansea, view of castle, 1796, rev: John V055, draper and key.Monmouthshire, Abergavenny, James Powell, cask, 1795, rev: wine & brandy merchant.Part of a collection of of trade tokens of the 18th century formed by a Cheshire gentleman.
1960 Velocette Viper, 350cc. Registration number 716 KVK. Frame number RS 14048. Engine number VR2221.Sold with the V5C, V5, VE60 and a large detailed history folder.Engine development pursued as part of the Velocette factory's scrambles programme bore fruit in 1956 in the shape of the high-performance Venom and its 350cc sibling, the Viper. The MSS frame and forks were retained for the newcomers, but full-width alloy hubs were adopted to boost braking power, and smart chromed mudguards fitted to enhance the models' sporting image. In 1960 'Clubman' versions of both were introduced, minus the enclosure panels of the standard models, which featured a raised compression ratio, Amal TT carburettor, 'racing' magneto, rear-set footrests and a close-ratio gearbox among many other improvements. Produced until the end of Velocette production in 1971, the Venom/Viper in its various guises represents the final glorious flowering of the traditional British sports single.KVK has a VE60 stating its engine to be a 500cc MSS in Durham in the early 1970's, with its owner being Leslie Witten and then Donald Green. Our vendor bought it from him in 1985 as a retirement project. This was started in 2006 and the correct Viper 350cc engine VR2221 was fitted, over his ownership he has kept a detailed record of all works undertaken, including overhauling the magneto in 2014 and wiring loom in 2016. Since the restoration he has covered some 7,954 miles.It should be noted that both the oil and fuel have been drained and that the frame and tinware are hand painted.
1960 Triumph GentryRegistration number YXP 844Chassis number G32024Engine number DH62095HEFrench blue with a black interiorBought as a retirement projectExtensive work carried out, details of which are availableDolomite 1300 engine rebuilt, with a higher torque camshaft, duplex timing chain, unleaded conversion, 4 branch exhaust manifold, and electronic ignitionGearbox and axle rebuiltSurrey hardtop fitted with wide rear window and flangeNew full four part loom with modern fuses and relaysWith V5C, HPI clearDolomite 1300 Engine: – Rebuilt, Higher Torque Camshaft, Duplex Timing Chain,– Unleaded Conversion, 4 Branch Exhaust Manifold,– Electronic IgnitionGearbox – RebuiltAxle – RebuiltCooling – Twin Core Alloy Radiator, Electric FanElectrics:New Full 4 Part Loom with Modern Fuses and Relays – High Torque Low Power Starter Motor– Alternator– LED LightsSuspension:-Upgraded Rear Swing Spring– Adjustable Gas Filled Shock Absorbers– Larger Front Anti Roll Bar– Minilite alloy wheelsFuel System:– Stainless Steel Baffled Fuel Tank– Electric Fuel Pump– Inertia safety cut out switch– Single 1 ¾” SU HIF44 Carb.Safety:-Double Roll Bar connected to rear body frame and positioned over to thechassis rails– New Designed Windscreen Frame– Tie Bar from the Roll Bar to the Windscreen Frame– Rear Rack linked to the bumper / Chassis / Rear Body FrameInterior:-New High Backed Thin Seats– New Alloy Dash with Digital Dial. Main Dials and Warning Lights visiblethrough the Steering Wheels– Lockable Boot behind seats– Small Water Based Lorry Cabin HeaterExterior – Strengthening Strips on the bonnets with Lockable Toggle Fastener– Luggage Rack (pivots to get Spare Wheel Out)– Motorcycle Mirrors attached to the Windscreen FrameWeather Protection:– Surrey Hardtop with wide rear window and flange to fit the Soft Top(Mould made from a full size model MDF Space Model)– Soft Top with Large Side Windows and Double Zips each Side. Allows theside panels to roll up and fix to the Tie Bar from the windscreen and Roll BarAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsThis lot must be collected by 12.30pm on Friday 28th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £100 + VAT, to include the first week of storage, unless otherwise noted. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
Doctor Who and Peppa Pig: A small collection of actor, David Graham’s personal memorabilia – Peppa Pig: British pre-school animated television series (2004-) Four Original draft Scripts for unreleased episodes, Karrotone Limited,unbound, 9-pages, stapled, titles include: 'Caring For Grandpa!' (2022) by Philip Hall, Draft two; Sticks, Bells and Ribbons (2022) by Jen Upton and Philip Hall, Draft three, 9-pages, with printed yellow highlights to Grandpa Pig's lines and yellow text for singing parts; Hospital Sleepover (2022) by Philip Hall, Draft two, 9-pages; Houseboat (2022), by Matilda Tristram and Philip Hall, Draft three, 9-pages, with line count of all characters to cover page, and yellow printed highlight for Grandpa Pig's lines; Magnets (2022) by Phil Hall and Seyi Odusanya, Draft five, 9-pages, with line count of all characters to cover page, and yellow printed highlight to Grandpa Pig's lines;Peppa Pig (2021) black Production crew T-shirt with Peppa Pig characters to front and Peppa pig character and text, ‘The Elf Factory’ on reverse, label reads, ‘Fruit of the Loom, size M’; David Graham signed photograph of Grandpa Pig, 10 x 8 inches; Peppa Pig, Afternoon Tea, Brigit’s Bakery thermal cup; Peppa Pig Thank You card, with a further Dalek drawing in pen, sent to David Graham to thank him for his work on Doctor Who: The Daleks in Colour (1963) ‘To Dear David, Just a quick note to say thank you for recording our Dalek voices last week. Very much appreciated!. All best wishes/ Mark & Ben’;Doctor Who: The Complete History: The Crusade, The Space Museum, The Chase and The Time Meddler, signed photograph by Maureen O'Brien and Paul Purves,10 x 8 inches; Doctor Who The Complete History: Farewell Great Macedon and The Son of Dr. Who, Peter Purves autographed photograph, signed in gold marker pen, 10 x 8 inches; Doctor Who: The Gunfighters (1966) Shane Rimmer signed photograph, dedicated in silver pen to David Graham, ‘Dear David, You're always getting in the picture/ love Shane R’, 8 x 10 inches; Doctor Who, The Daleks, 33 RPM mini album CD, 21st Century Records; Doctor Who: The Dalek and the Cyberman; a pair of collectors cards. (11)Provenance:The Collection of the late David Graham (1925-2024) who was an English actor and voice-artist best known for his portrayals of numerous classic Gerry Anderson supermarionation characters, Grandpa Pig in Peppa Pig, the Daleks in Doctor Who, and other early television series including, The Avengers, The Saint and Danger Man.Following service in the Royal Airforce as a radar mechanic, David Graham trained at the Neighbourhood Playhouse School of Theatre, New York and later, recommended by director, Michael Blakemore, he auditioned for Laurence Olivier’s theatre company, eventually appearing alongside him in Saturday Sunday Morning (1978) using an Italian accent.Graham’s long association with British producer, director and writer, Gerry Anderson began in 1958 and he went on to become the voice of many of Anderson’s characters throughout the 1960s including, his debut puppet roles, Grandpa Twink and Fernando, in Four Feather Falls, Dr. Beaker, Zarin and Mitch the Monkey in Supercar, Mat Matic and Lieutenant Ninety in Fireball XL5, various guest characters in Stingray, and Johnny in Crossroads to Crime.His most well-known role would come in Thunderbirds with his portrayal of Aloysious ‘Nosey’ Parker (whose voice he based on a waiter at the King’s Arms pub in Cookham), alongside his other regular roles as the voices of aquanaut Gordon Tracy, International Rescue engineer Brains, and the Tracy family’s faithful manservant Kyrano.
AN 18TH CENTURY WROUGHT IRON TRAMMEL LOOM ADJUSTABLE PENDANT RUSH NIP AND CANDLE HOLDER. English, having a slender hooked tapering stem, adjusting on a fifteen-position trammel topped by a leaf shaped finial, issuing at its end a nip and candle socket, 60cm length unextended. *CR Nicely patinated and in good order. A good example.
Sinclair C5 A 1985 Sinclair C5 Serial No: 100050600211, 250 watt, 12 volt, 3300rpm, manufactured by Hoover on behalf of Sinclair Vehicles.the C5 is untested, the wiring loom to the best of our knowledge is complete , one connection block is detatched at the back of the console some extra images showing the loom and motor are being added to the lot information
An homage to Herbie, superbly finished and offered from ten years ownership. Built in 1960 and supplied to Sweden, this fabulous car was later imported into the UK in 2001 and registered on 17th JanuaryIn 2007 the chassis was blasted and repainted. The body was taken back to metal and repainted in the original Herbie colour of VW L87 and a new wiring loom was fittedThe 1,500cc engine was stripped and rebuilt in 2007. In 2023, new barrels and pistons were fitted by John Gurney, the noted VW SpecialistThe interior was fitted with new carpets, seat covers, door cards, roof lining. Herbie has the very rare Factory fitted sunroof, as did the original Love BugHerbie, the Love Bug was a sentient 1963 Volkswagen Beetle racing car which had been featured in several Walt Disney motion pictures starting with The Love Bug in 1968Bought by our vendor in 2015, a successful restauranteur and proprietor of a wedding venue, to convey newly married couplesNaturally kept in superb order and currently has an odometer reading of some 9,000 miles and was last serviced some 100 miles agoSpecification Make: VOLKSWAGEN Model: BEETLE Year: 1960 Chassis Number: 3246470 Registration Number: YSJ 399 Transmission: Manual Engine Number: AD787441 Drive Side: Left-hand Drive Odometer Reading: 9000 Miles Make: LHD Interior Colour: WhiteClick here for more details and images
Postcard collection containing near 100 postcards of Egypt and Egyptian interest, card including removal of artefacts from temples, women and children in a stream, children working a loom, obelisks, temples, views of Assuam Niledam, Karnak, Philae, Luxor, Thebes, Temple of Horus, Temple of Ombo, Bisharin peoples, etc. (~100)
WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.
A collection of various toys and games including Britains tractor and loader (boxed), animal transporter (9580) (boxed), Fisher Price play family camper, lithograph decorated block puzzle, Victory jigsaw puzzle "The Circus", Spear's size 4 weaving loom, Wemyss style cherry decorated conserve pot, Rank Aldis slide projector, Harry Juniper of Bideford water jug "The Golden Hinde Appledore 1973" together with a similar larger jug, Victory jigsaw puzzle "Elizabethan England", Ainsley table bell for Charles and Diana Royal Wedding (boxed), box of vintage Spanish pottery and Japanese pottery figures, basket of Thermos and other picnic items and a bag of assorted Lego
Trade Tokens/Coins: 1791 Rochdale Halfpenny O A fleece R Man on Weaving Loom Rim payable At Warehouse Of John Kershaw: 1792 Rochdale Halfpenny O Arms and Crest R Man on Weaving Loom Rim Payable at Warehouse Of John Kershaw: 1791 Liverpool Halfpenny O Ship in Full Sail R Liverpool Arms and Crest Rim Payable at Warehouse Of Thomas Clarke: 1794 Hampshire Halfpenny O Earl Howe & The Glorious First Of June R Britannia Seated. R Payable at London Liverpool or Bristol: 1793 Manchester Halfpenny O Porter Carrying a Pack R Shield of Arms Success To Navigation. 5 in Total.
Norfolk 1794 Halfpenny Token Obverse A Bottle, MORE TRADE AND FEWER TAXES, Reverse, Standing Figure PROSPERITY TO OLD ENGLAND, E RICHARD DINMORE & SON NORWICH. F: 1798 NORFOLK (Norwich) Obverse The figure of Hope standing in flowing drapes her left hand supports an anchor. PROSPERITY TO OLD ENGLAND, Reverse Dove flying above cornucopia PEACE AND PLENTY VF. 1794 Norfolk (Norwich) Halfpenny Token, Obverse Figure Of Hope Standing, Reverse Ship Sailing VG: 1792 Norfolk (Norwich) Obverse Arms Of City Of Norwich, Reverse Man Working On Loom. VF. 1794 Norfolk (Norwich) Obverse View Of Norwich Castle, NORWICH CASTLE, Reverse Image of a sheep hanging by a ribbon around its belly, GOOD TIMES WILL COME. F. 1791 Hampshire (Portsmouth) Halfpenny token, Obverse Helmeted head of Sir Bevois, SR. BEVOIS SOUTHAMPTON, Reverse Shield of arms below date, PROMISSORY HALFPENNY VF. 6 tokens in total.
1794 Hampshire Portsmouth Halfpenny Token O: John Howard R: Arms Of The Borough: E: Payable At Sharps Portsmouth And Chichester. 1794 Essex Colchester Halfpenny Token O: A view Of Colchester Castle R: A Loom E: Payable At Charles Heaths Bay Maker Colchester. 1794 Hampshire Emsworth Peace And Plenty Halfpenny Token x 2 O: A Dove Flying R: Female Seated E: Current Everywhere. 1793 Hampshire Petersfield Halfpenny Token O: A Man On Horseback R: A Stork Standing Upon A Piece Of Ground E: Eames Holland & Andrew Petersfield. 5 in total.
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