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A rare, emerging modern-classic Alpina D3 with manual transmission and low ownership, in lovely, original condition with less than 4,000 miles from new.Essentially, Alpina took the already superb E90 platform from BMW and added some special Alpina touches resulting in more focused, diesel sports saloon with a unique appearance and exclusivity for owners. Styling features included larger Alpina multi-spoke alloy wheels, a front air-dam and rear spoiler, revised cloth seat inserts, Alpina dials, floor mats and a plaque with the car's build number reminding passengers they are onboard something rather special. Performance upgrades included tuned suspension, re-mapped ECU, larger Turbo and intercooler and improved fuel injection resulting in just under 200bhp and just over 300lb/ft of torque, rather impressive from a 2.0-litre oil burner.Offered here is a beautiful 2008 Alpina D3 with just 3,555 miles from new and only one previous keeper. It was supplied new to the UK in right-hand drive and first registered in February 2008 specified in Graphite Metallic with manual transmission. The condition of this Alpina can only be described as remarkable and our vendor informs us that, to the very best of his knowledge (he purchased the car in 2020) all panels are original with factory paintwork. The interior also shows no indication of wear with nicely preserved Alpina trim and original Alpina mats. The D3 has only been used in fine weather conditions, dry stored correctly and, with such low mileage, must be one of the best remaining examples in existence.Although lightly used over the years, the car is accompanied by a comprehensive service record with its original book pack including service book stamped up-to-date by BMW workshops and independent specialists. MOT Certificates from every relevant year corroborate the mileage from new and the current MOT is valid until 28th September 2023.In summary, this is an excellent opportunity to take ownership of a real emerging classic from a point in time when performance diesel automobiles were beginning to dominate endurance racing including Le Mans. A delightful, collector-quality Alpina with unquestionable provenance, concours potential and guaranteed to attract the right attention at any car show.SpecificationMake: BMWModel: D3Year: 2008Chassis Number: WAPD320007XL10607Registration Number: FJ57 CVGTransmission: ManualDrive Side: Right-hand DriveOdometer Reading: 3555 MilesMake: RHDInterior Colour: Half Black Leather and Alpina ClothClick here for more details and images

One owner from new, 11,618 miles and as near perfect as you could ever hope to find.The legendary Honda NSX (standing for New Sportscar Experimental) was developed by the Honda Motor Corporation between 1984 and its eventual launch in 1990, with major chassis and suspension input from three-times F1 World Champion, Ayrton Senna. It featured an all-aluminium monocoque body, encompassing a revolutionary extruded aluminium-alloy frame and suspension making the car extremely light and very strong. Power was provided by a state-of-the-art, 3.0-litre, 24-valve, V6 'VTEC' engine (variable valve timing) which, despite being developed during F1's turbo-era, was normally aspirated. The free-revving, all-alloy unit produced 270bhp initially, which was good enough for a top speed of 168mph and a 0-60 time of less than 6.0 seconds. Those performance figures put the NSX on a par with Ferrari's 348 GTB, but in terms of comfort, ergonomics, driving dynamics and build quality, the NSX was in a different league entirely. Other game-changing features included 4-channel ABS brakes, Titanium connecting rods and, later in the model's life, an electric power steering system as well as an upgrade to 3.2-litres. The car was the first real Japanese 'supercar', proving itself and quickly establishing respect from its key competitors. However, this superiority was not translated into sales and, by the time production ceased in 2005, fewer than 20,000 had been sold making them relatively rare and much sought-after today.Silverstone Auctions are proud to offer this stunning Honda NSX finished in Formula Red with a manual gearbox and non-assisted steering, exactly the same specification as Ayrton Senna's own road car, so familiar from the well known image of him washing it outside his Portuguese villa in 1992. J15 NSX was collected new by its one and only owner from Honda Dealer, Windmill Hill in Swindon on 31st January 1992 and since then has travelled a very cossetted 11,618 miles.The car is accompanied by an impeccable history file listing every MOT and detailing every service at the correct intervals, the most recent of which included a cambelt change. The overall condition of this beautiful NSX can only be described as straight from the 1992 International Motor Show Stand with the exception of its original Bridgestone tyres which naturally have been replaced but which do come with the car for those seeking 100% originality. Testament to the quality of the exotic metals used in the building of these masterpieces is that the underneath still looks factory, fresh today. It's supplied with both keys, all service books, the original purchase invoice and, as new, dealer mats.This 1992 Honda NSX is as correct and as perfect as you will ever find and to drive one still makes you question where some supercar manufacturers have been for the last 30 years, a truly exceptional example. SpecificationMake: HONDAModel: NSXYear: 1992Chassis Number: JHMNA11500T000990Registration Number: J15 NSXTransmission: ManualEngine Number: C30A3-1000795 Drive Side: Right-hand DriveOdometer Reading: 11600 MilesMake: RHDInterior Colour: BlackClick here for more details and images

The desirable 3.8-litre 'S' model with 355bhp, sports suspension, upgraded braking and a sports exhaust. Full Porsche service history plus top-bearing replacement. The 997 marked another new chapter for Porsche, although to look at, the new generation seemed to hark back to former glories, particular in profile and the design of its oval headlights. The 997 was initially available from July 2004 in two guises, Carrera and Carrera S, both rear-wheel drive only with identical bodywork. The base Carrera stuck with the well established 3.6-litre power unit producing 325bhp, however, the Carrera S had useful extra power – some 355bhp – thanks to a larger displacement engine (3 litres). Other general 997 enhancements included better suspension, reduced drag-coefficient, a more appealing interior and extra room for passengers.The Carrera S also benefited from a sports exhaust, Porsche Active Suspension Management (PASM), bigger brakes, 19” wheels as standard and Xenon headlights with red brake callipers the only external clue.The car presented here is a 2005 Porsche 911 (997) 3.8-litre Carrera S specified with the ‘drivers’ choice’ of the manual 6-speed (G97/01) gearbox (which was reinforced by Porsche for the ‘S’ model). It has a full Porsche service history, the most recent of which was only a few weeks ago, and included some remedial work to repair and ensure the longevity of the engine’s top bearing. This is sure to be peace-of-mind to any potential buyer of this era of 997, with marque specialists Zentrum Ltd. of Nottingham observing absolutely no piston scoring when this work was carried out. The car is accompanied by a large history file, showing its fastidious service history, and supporting its 76,000 miles (which equates to under 4,500 miles per annum).The car presents well in a very stylish colour combination and, having been first registered on 24th March 2005, its condition belies its 17 years, indicative of diligent ownership. There is nothing quite like the urgency and sound of a large-capacity normally-aspirated Porsche flat-6 accelerating, giving an instant response, with real torque and a potent sound, especially channelled through the more vocal Sports exhaust. Our vendor is a private Porsche enthusiast and having enjoyed this car for the last three years, a change in circumstances dictate that he has now decided to offer the car for sale. Currently, the 997-Series Porsche 911 seems tremendous value, particularly at this guide, offering real performance with everyday usability and an entry into the fascinating world of 911 ownership.SpecificationMake: PORSCHEModel: 911Year: 2005Chassis Number: WP0ZZZ99Z5S736053Registration Number: S2 XXNTransmission: ManualEngine Number: 68509110 Drive Side: Right-hand DriveOdometer Reading: 76000 MilesMake: RHDClick here for more details and images

A mini piece of Italian exotica, carbonfibre monocoque chassis, dual dry clutch gearbox and only 8,000 miles from new; this example also benefits from some incredible upgrades. A rear-wheel drive, mid-engined sportscar based around a lightweight carbonfibre chassis? That'll be a McLaren or a Lamborghini, right? Not in this case. Alfa Romeo has long been a brand of unfulfilled promise. With the 4C, it got itself right back on track and its construction really does put it among some very rarefied machinery indeed. Back in 2013, it had been 30 years since we'd seen a real Alfa Romeo sports car for real people, but then came the 4C. Immediately there was a lineage to the 4C’s bigger sibling, the 8C Competizione (2007-2010), with its carbonfibre bodyshell, this now modern-classic supercar regularly demands £250,000-plus; furthermore, the 8C was produced for Alfa Romeo by Maserati, the very people who lovingly took on the task of hand-assembling the 4C, its populist successor. That fact is significant and will continue to be, as history judges the Alfa Romeo 4C. Make no mistake, the 4C is a proper, bespoke, and gorgeous driving machine.For now, perhaps, it is content with being a lightweight, mid-engined, rear-wheel drive sportscar (that just happens to hand-built and composite bodied), which makes the most of a relatively small engine with its lack of mass and impeccable handling - in short, the type of Alfa Romeo they used to build and that almost anyone could aspire to own.The light rigid chassis, the wide track and a low centre of gravity aided by a McLaren-style electronic Q2 differential (that utilises the brakes to do the work of an LSD) all add up to impressive road-holding and cornering traction, however, it wasn't particularly happy on British roads. In retrospect, Alfa Romeo and indeed every other manufacturer who wants to offer their products in the UK, should have developed the car on the UK's finest lumpy lanes, on the grounds that if it worked here, it would have worked anywhere. In the end, the driving improvement duties were happily taken on by equally clever folk in the aftermarket. Chassis 'fixes' from a plethora of specialists quickly resolved any bumpy B-road misgivings and give the 4C the handling ammunition it needs to take on and likely beat all-comers on all roads.Enter the car presented here, a 4C developed by a real enthusiast with a truly impressive specification. Our vendor happily relinquished his 4C (already supplied with the Race Pack) to the best-in-the-business, Alfa Workshop of Royston, Hertfordshire who have lavished all their expertise, plus servicing dedication (regularly serviced, with cambelts on due-dates) on this car. Along with a full geometry set-up, Alfa Workshop also fitted an upgraded front anti-roll bar, plus an additional rear anti-roll bar and electric power-assisted steering – a real gamechanger for the driving experience - according to Alfa Workshop, who solely supply and fit this £6,000 EPAS upgrade, this is one of only three UK 4Cs to have benefitted from this improvement. It's also enhanced by the addition of a full KW coil-over kit, a mild ECU remap (280bhp), Helmholtz exhaust resonator, tailpipe, and carbon fibre tip, multiple KOSHI carbon-fibre parts (costing £8,000, includes interior, engine bay, rear diffuser), Tillett B5 carbon-fibre race seats (costing £2,000), plus lightweight magnesium Titan alloy wheels (costing £5,000, specially imported from the US, fitted with performance tyres that have covered less than 1,000 miles; the four original upgraded style of wheel accompany the car with tyres that have covered just 7,000 miles). The car also benefits from the application of PPF and is accompanied by a branded, fitted indoor car cover.Other upgrades include faux-suede headlining and sun visors, together with upgraded heater and ventilator controls, again, specially sourced from the US. All original components/parts will accompany the car, however, the cherished registration, 'S88 CCL' will not.The little Alfa has covered just 8,412 miles from new and, having benefitted from input from some very knowledgeable 4C people, it's almost certainly the best handling, most accomplished and totally 'sorted' example available.(Please not that the registration 'S88 CCL' will not come with the car, it will revert back to 'RX17 NUY'.)SpecificationMake: ALFA ROMEOModel: 4CYear: 2017Chassis Number: ZAR9600000M193033Registration Number: RX17 NUYTransmission: Manual Engine Number: 7661081 Drive Side: Right-hand DriveOdometer Reading: 8412 MilesMake: RHDInterior Colour: Carbon Click here for more details and images

For many of us the real star of Ron Howard's 2013 film 'Rush'  was the McLaren M23 and we are delighted to have one of the 2 M23 replicas built for the film on our own Red Carpet.For those who haven't seen it, the 2013 Film 'Rush' was the story of the dramatic ups and downs of the 1976 Formula One Championship. Peter Morgan, the film's writer comments; "Set against the sexy, glamorous golden age of Formula 1 racing in the 1970s, the film is based on the true story of a great sporting rivalry between handsome English playboy James Hunt (Chris Hemsworth) and his methodical, brilliant opponent, Austrian driver Niki Lauda (Daniel Bruhl). The story follows their distinctly-different personal styles on and off the track, their loves, and the astonishing 1976 season in which both drivers were willing to risk everything to become World Champion in a sport with no margin for error: "If you make a mistake, you die". Peter MorganWhen asked if anything was wrong with the film after its premier, Niki Lauda famously quoted, ‘’Yes, just one thing, I can't have a piss-up with James afterwards.’’ He also said that he knew Peter Morgan as a scriptwriter was the only person he trusted to deliver a ‘non Hollywood’ production. The result was a highly acclaimed, reasonably accurate and totally charged depiction of one of Formula One's most closely fought World Championship deciders. (Maybe 2021 is a contender.)Two 1976 McLaren M23s were built as replicas to ensure the production team had drivable availability of a McLaren M23 on set and pro-drivers on standby. These were very clever replicas produced down to the finest detail and indistinguishable from the real car in the film scenes. Offered here is one of the cars which was purchased soon after the film debuted by our vendor who has enjoyed the adventure of ownership ever since. It displays a very convincing patina in the metal which takes you back, at first glance, as the iconic livery is etched into any motorsport enthusiast's mind from 1976- a season that elevated James Hunt to global English hero and sportsman, the like of which we may never see again. The car has been on static display for a number of years and, we understand, remains as it was when it came off the film set so may well require very little to make it run as in the film.Obviously not suitable for racing but, with a myriad of possibilities for promotion or just a fascinating addition to any collection, we are most intrigued to see where the next chapter of the story takes this 1976 McLaren M23 re-creation.SpecificationMake: MCLARENModel: M23Year: 1976Chassis Number: FILM CAR 1Registration Number: F CAR 1Transmission: ManualClick here for more details and images

An original UK-supplied, right-hand drive, matching-numbers, manual gearbox, V12 carefully restored in the past.A decade after the original Jaguar E-type arrived, the design progressively matured through 1971 with the introduction of the Series 3. Designed to showcase the new smooth and torquey 5.3-litre engine, originally developed for Le Mans, the Series 3 cars were available as a 'Roadster' (convertible) or a 2+2 Coupe. The Series 3 is easily identifiable by its large cross-slatted front grille, flared wheel arches, wider tyres, a larger bonnet bulge, updated bumpers, four exhaust tips, and a badge on the rear that proclaims it to be a V12. It also featured uprated brakes, power steering as standard and a large horizontal scoop added to the underside of the bonnet to assist with cooling. The interior was entirely new in the V12, with more comfortable seating, stylish new door panels and a smaller dished and leather-rimmed steering wheel. Being slightly larger and altogether much softer in nature, the E-type in Series 3 form had lost the wildness of its youth but gained the long-legged touring profile, to which it was arguably better suited.Having been with its current owner for the last 32 years, this Primrose Yellow Series 3 E-Type Roadster with a black interior and mohair hood remains in excellent condition throughout having been restored in the 1980s with replacement panels as required and a partial retrim completed. With regular care and maintenance, this Jaguar has led a cossetted life and, after a recent mechanical recommission carried out after a period of little use, it's now ready for its next lucky owner. The current indicated mileage is just 39,446, believed to be the genuine mileage covered since first registration in December 1974, as supported by the accompanying history file which contains relevant paperwork and a quantity of invoices going back to day one. Presented in outstanding unmolested condition, this lovely Series 3 has a real air of originality and, although restored some years ago, the condition is such that is now ready to be used and enjoyed as intended.In E-Type terms, this lovely example seems to tick all the boxes; UK-supplied, right-hand drive, manual gearbox, matching numbers, Pale Primrose, chrome wires, long-term ownership, low mileage, an older restoration that's mellowing nicely and sensibly guided.  SpecificationMake: JAGUARModel: E-TYPEYear: 1974Chassis Number: IS2288Registration Number: GRR 600NTransmission: ManualEngine Number: 7S132445BDrive Side: Right-hand DriveOdometer Reading: 39466 MilesMake: RHDInterior Colour: BlackClick here for more details and images

A simply astonishing 'as new' Defender cherished by a real enthusiast; regularly serviced and stored in A1 condition.   The icon. As much a part of British car culture as the Mini, the Jaguar E-Type or the Ford Escort - perhaps even more so. Though officially only known as a Defender from 1990, as a rebadge of the previous 90 and 110 models it was instantly familiar given the evolutionary relationship with the Series Land Rovers that preceded them. To the layman, the different versions have almost become interchangeable, not least because each represents the utilitarian, unpretentious, rugged off-roader that made Land Rover famous.The Defender itself evolved gradually over its quarter-century on sale, gaining new Ford engines and the odd interior tweak. Perhaps the most significant change, however, was nothing that the Defender did it all - it was in trendy metropolitan elites adopting it as their carriage of choice, taking the Land Rover legend from the country into the city. As such it became popular with both cattle herders and yoga instructors and is now reflected in a replacement new-era Defender that’s as good up to its axles in clag as it is carving through SW1.The car presented here, a high specification 2012 XS TDCI, is perhaps a real sweet-spot in the evolution of the Land Rover; still with the endearing Land Rover feel and classic shape of old, but by now Defenders gained a cleaner Euro5 engine, a 2.2-litre Ford-sourced Duratorq diesel unit, fitted with a diesel particulate filter. Other updates - ventilated disc brakes, the option of more comfortable seats and upgraded stereo equipment - were more minor, but then the previous 2007 upgrade had already introduced a redesigned gearbox, extra sound insulation and a smarter, slightly more car-like interior.This particular car is one very special example, a real collector’s choice - with a discerning specification, including Corris Grey bodywork with a Santorini Black roof, four half-leather seats (heated in the front), black Alcantara headlining, a tow bar and side-steps - its real point-of-difference is the 16 miles only it has covered and the ‘better-than-new’ showroom condition it remains in.Owned and cherished by a dedicated marque enthusiast, it was the last Defender build slot ever issued to the Stratstone Cheltenham Land Rover dealership. It was collected by our vendor in an enclosed transporter from new, tucked away and meticulously stored (its underside having a regular WD40 wipe-off) in in a purpose-made ‘Carcoon’, in dark, heated, and dehumidified conditions. It has been similarly transported every year back to the Stratstone Cheltenham dealership for its annual service - the oil is as clean coming out as it goes in! It has never been driven on-road and it has never been wet.Is there a better, lower mileage example out there? Probably not. Needless to say, it comes with 2x keys, every piece of paperwork (all in plastic wallets), including all service receipts, MOTs, its original sales receipt from Stratstone, and two pages from the production line. Sold with the cherished registration ‘S22 HUE’ - reference to its 2.2-litre engine and bearing the famous Land Rover suffix letters of HUE – ‘S90 HUE’ was assigned to the 2,000,000th Defender produced, which famously sold at auction for £400,000.What an opportunity to acquire a collection-ready ‘real’ Land Rover Defender, the likes of which we won’t ever see again, and this is the sort of example of such you’re similarly unlikely to replicate.  SpecificationMake: LAND ROVERModel: DEFENDER 90 2.2 XS TDCIYear: 2016Chassis Number: SALLDWBP7GA488856Registration Number: S22 HUETransmission: Manual Engine Number: 151127012546DT224 Drive Side: Right-hand DriveOdometer Reading: 16 MilesMake: RHDClick here for more details and images

One caring owner from new, 12,948 careful miles and looking particularly svelte in Argento Auteuil, this is a very special GT4.Introduced at the 1973 Paris Motor Show, the Dino 308 GT4 was a significant departure for Ferrari in several ways. It was the first production car from Modena to feature a mid-engined V8, a layout that would become common to their core range for decades to come, along with the first production model to feature Bertone styling rather than Pininfarina bodywork. The chassis was based on the Dino 246 but was stretched to make space for a 2+2 configuration and the 3.0-litre V8 was integrally joined with the gearbox and featured an alloy block and heads with dual overhead camshafts fed through four Weber 40 DCNF carburettors.The styling was controversial at the time, with some journalists comparing it to the Bertone-designed Lancia Stratos and Lamborghini Urraco, and the proportions gave traditionalists an attack of the vapours but, as is often the way, Bertone's styling effort probably looks better now than it ever has. For all this, the car was a huge success being bigger and more usable than any other mid-engine car had managed or would manage for a while. More than 3,600 were sold, dwarfing sales of V12 models and showing Ferrari the way forward. Today, these '70s Ferraris have come of age with their classic looks and brilliant handling and are as fast as you are ever going to need in the real world, with a top speed of over 150mph and a 0-60mph acceleration time of 6.4 seconds.Delivered new in May 1978 by H.R.Owen, this exceptional Ferrari Dino 308/GT4 has covered only 12,947 miles in the hands of its only owner. Purchased new by his Mayfair-based PR company for his private use, it was subsequently transferred to him personally in June 1985 and has formed part of a small exclusive collection for the last 44 years. Complete with its original owner's handbooks and service book corroborating the very low mileage. It has a full service record and a belt change 120 miles ago in 2017 and is supplied with a spare rear light cluster and various front bumper parts. It's finished in Argento Anteuil, which makes a refreshing change from the normal red, yellow or blue and the interior is in grey leather. The whole car is in lovely condition and is ready for a new owner to enjoy this versatile and practical Ferrari which has been cherished by its one enthusiast owner.The 308 GT4 has been a bit of an underdog for many years but, as a drivers' car, it's superb in every way and has earned the right to call itself a 'Ferrari'. Recent results have witnessed a lift in prices as the collectors' car world wakes up to the potential of these great little Ferraris.SpecificationMake: FERRARIModel: 308Year: 1978Chassis Number: 13880Registration Number: VUC 761STransmission: ManualEngine Number: 13880Drive Side: Right-hand DriveOdometer Reading: 12000 MilesMake: RHDInterior Colour: GreyClick here for more details and images

Superbly prepared and totally user friendly, this is a right-hand drive, recreation of Porsche's circuit only, 964 RS N/GT.In 1992, Porsche introduced the Carrera RS, a lightweight, rear-wheel drive only version of the 964. The RS was fitted with individually selected engines of type M64/03 which had a minimum power output of 260hp and a lightweight flywheel coupled to the state-of-the-art G50/10 gearbox which featured closer ratios, an asymmetrical limited slip differential and steel synchromesh. The car’s interior was stripped out and was devoid of luxuries such as electric windows, rear seats and air conditioning. Leather Recaro bucket front seats and lightweight carpets were fitted and the sound deadening was much reduced. The bonnet was made of aluminium, the chassis was partly seam welded, thinner glass was used in the doors and rear window, and overall the RS was 155kg lighter than the standard car.The Carrera RS was further developed by Porsche in 1992 with the launch of the N/GT and a total of just 290 of these very special cars were put together, all in left-hand drive. These cars were further stripped-out with all the carpets removed and replaced with plywood foot-boards for the driver. A fully welded cage was fitted and the standard RS seats were replaced with lightweight, Nomex-covered, FIA specification racing buckets. The N/GT also featured a long-range fuel tank, dual internal fire extinguishers, internal dash mounted engine cut-off and the DME was relocated behind the driver to allow the use of six-point harnesses. Harder and more track focused, the result is a car which felt more direct and visceral than the standard RS whilst still being usable on road or track.With genuine RS N/GT being thin on the ground, expensive and only available in left-hand drive our vendor decided to create his own. This particular RS N/GT tribute has been created utilising a Porsche Championship-winning, right-hand drive, 964 race car known as ‘The Goose’, now exquisitely reimagined as it is presented today. With the initial intention being track day focused, this outstanding example was completely stripped to bare metal before having the body fully refurbished and refinished in Porsche Maritime Blue with the same care and attention lavished on the interior, engine bay and front compartment. The engine has just been totally rebuilt including new engine casings due to a hair line crack being detected, now refitted and fully detailed, so fresh in fact is the rebuild that a period of running in is highly recommended to get the very best from this potent 911.With the fitment of a lighter, more progressive clutch, this particular 964 is now far more user friendly and presents an ideal opportunity for possible track or fast road use depending upon what its new owner has in mind. We understand that the car is now lighter and faster than a standard 964 RS and is offered at a fraction of the cost of the real deal.An outstanding 911 that will surely provide much enjoyment be that out on the open road or circuit based.SpecificationMake: PORSCHEModel: 964Year: 1989Chassis Number: WPOZZZ96ZK5401353Registration Number: F435 DDYTransmission: ManualDrive Side: Right-hand DriveMake: RHDInterior Colour: Blue / BlackClick here for more details and images

Given to double 500cc World Champion Barry Sheene MBE by Suzuki GB in recognition of his time as a Works rider and used by him for five years.Ask any group of non-motor sport enthusiasts to name a famous motor cycle racer and there will be a few Valentino Rossis, a Mike Hailwood or two and undoubtedly the name Barry Sheene would be mentioned, despite the fact that his last motorcycle race was in 1984. His larger-than-life character, spectacular crashes and regular TV appearances for Brut aftershave alongside 'Splash it all over' Henry Cooper made him a household name.A dream for advertising executives and tabloid journalists alike, Barry Sheene (1950-2003) won more international 500cc and 750cc races between 1975 and 1982 than any rival. Although, Kreidler, Derbi and Yamaha also featured on his CV, it was whilst at Suzuki that he became a legend. Among the first LJ80Rs to arrive in the UK, HGO 747T was supplied by Suzuki GB to double world champion Barry Sheene for promotional duties and use as a pit vehicle. Dating from 1979 and originally painted Pastel Blue with black signwriting (including Sheene's famous number `7' decals) and a red stripe, the diminutive 800cc-engined four-wheel drive was later registered to the flamboyant rider's home address and remained with him until 1987 when he migrated to Australia.The Jeep's next owner was Ian Catford - Suzuki GB's contemporary marketing director - who lost little time in reinstating its full `Barry Sheene' livery. Bought by a Mr Royle thereafter, the LJ80R was pressed into everyday use before being sold to Suzuki main dealers, CMW Automobiles of Cuckfield, Sussex during the early 1990s. A showroom exhibit when not appearing at outside events or being loaned to Suzuki GB, HGO 747T was retained by CMW Automobiles' proprietor Richard Ferris upon his retirement in 2007, kept garaged and only used occasionally. In 2013, HGO was offered at auction and purchased by our vendor to join his impressive collection of road and race cars where it has remained ever since. The indicated mileage is 26,170, supported by old MOTs and invoices, and the car appears in very good overall condition and certainly starts and drives like a low-mileage Japanese car. The Suzuki is not only a fantastic piece of motorsport memorabilia but also an interesting vehicle in its own right as a rare survivor of the LJ80 range of lightweights 'Jeeps' which caused quite a stir when they arrived in the UK in the late 70s. It features a soft top hood and removable doors and, although only 800cc, this little four-wheel drive LJ has a real 'go anywhere' look.It's supplied with an owners manual, service manual, a number of older MOTs and maintenance invoices, a couple of older V5s and DVLA Licence Applications in Barry Sheene's name and address in Horley, a Suzuki GB Bulletin, the auction catalogue from 2013 and period photographs taken at Effingham Park Hotel during one of Suzuki GB's annual conferences.This is a lovely little thing and a true connection with one of motorcycle racing's truly great characters. Sensibly guided at a tiny percentage of the values achieved by Barry's race bikes, the LJ would be at home in a corner of any motor sport enthusiast's collection.SpecificationMake: SUZUKIModel: LJ80RYear: 1979Chassis Number: 500103Registration Number: HGO 747TTransmission: ManualEngine Number: 115386Drive Side: Right-hand DriveOdometer Reading: 26170 MilesMake: RHDInterior Colour: Black VinylClick here for more details and images

Three boxes containing a collection of mixed modern issue diecast, to include Matchbox Models of Yesteryear, Monopoly Real Estate trading game gift set, and various loose modern issue diecast

A quantity of brooches (approx. 16), plus 'real animal tail'.

A Small Regency Rosewood Pedestal Drum Table, early 19th century, with green leather surface above three sham and three real drawers, on a turned vasiform support with three cabriole legs, brass-capped feet and castors64cm by 71cmProvenance: With original invoice from Guy Dennler, 57 Egerton Gardens, London, 26 September 1989Old restoration/ polishing evident but reasonable cosmetic condition the leather top does have some watermarks some minor old splitting around the top has been polished and filled some variations in colour mainly around the legs

A George III Sheraton Period Mahogany Drum Table, circa 1780, of attractive proportions, with brown and gilt leather surface above four sham and four real oak-lined drawers with original brass drop handles, on a gun barrel turned support with reeded legs, block and brass-capped feet and castors91cm by 76cmProvenance: With copy invoice from Charles Lumb & Sons Ltd, Harrogate, 1 March 1973Table is in good cosmetic condition leather top some fading / marks as photographed drawers are oak lined with original locks and and keysmall splitting/faults around the top see images the top rotates freely legs generally good condition with the exception of one repair as photographed brass capped feet and casters laterThe table has three legswith key and working locksheight to underside of table 60cm

A Booths Real Old Willow pattern blue and white china tea set and a flow blue tureen

A selection of original Action Man clothing, to include Royal Canadian Mounted Police, Fireman's uniform, SAS Parachute Attack, together with a real hair 1970's Action Man with Guns and Field Telephone and other assorted clothes an accessories (a lot).

YorkTorr (James), The Antiquities of York City .... York: printed by G. White for F. Hildyard, 1719, [8],148, [4] pages, some hand-coloured arms, re-backed contemporary calf with gilt armorial device;Another copy, uncoloured arms, later half morocco;York Elections 1818, The Spirit of the Times! or The Contested Election for the City of York, in the Year of 1818 ...., York: no date, 84 pages [bound with]The Real or Constitutional House that Jack Built, J. Asperne, 1819, [24] pages [bound with]The Political House that Jack Built, William Hone, 1819, [24] pages, contemporary annotation, [bound with]The Queen's Budget Opened .., T. Dolby, 1820, 32 pages, recent sheep;with fifteen others including thirteen 19th century guide books for the City of York and its Cathedral (18)

Pulp Fiction (1994) Original Jackrabbit Slims Drink Specials Menu & Pink Napkin. original props as used during filming John Travolta and Uma Thurmans iconic scene in the 1950s themed restaurant, the double--sided Drink Specials menu with the (fictional) restaurant's colour logo top left, 14 x 10.8cm; the square, pink folded napkin with the restaurant logo printed in black to centre, 13 x 13cm. (2)Provenance - the vendor was a crew member and is credited in the film's end titles. In scenes where Mia Wallace (Uma Thurman) and Vincent Vago (John Travolta) eat dinner before their iconic dance-off in Jackrabbit Slims, the Drink Specials menus and napkins were visible at theirs and nearby tables. Fans visiting Los Angeles would seek out the diners location only to discover it wasnt a real place. There was so much interest in the pop-culture diner that Disney, who acquired Miramax in 1993 and therefore owned Pulp Fiction, wanted to recreate Jackrabbit Slims as an actual restaurant but the project never materialised as they felt it would not live up to what director, Quentin Tarantino, had captured in the film. Pulp Fiction, directed by Quentin Tarantino won the Palme d'Or at the 1994 Cannes Film Festival and Best Original Screenplay at the 67th Academy Awards, the film was was nominated for seven awards including nominations for John Travolta, Samuel L. Jackson and Uma Thurman. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century.Condition Report: Drink Special menu one side with light marks to l.h. edge and a black circular drinks watermark lower centre, the other side with similar black water mark stain lower centre and slight rubbing in the pink area beside Red Line Cocktail, strong colour to logo.The napkin some creasing and light marks to verso, otherwise clean, bright with strong colour and overall good condition.

Wing from a statue of Nike. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.8 cm. high with base.Wing from a statue of Nike delicately worked in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Cornucopia. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 8.2 cm; 12.7 cm with stand.Cornucopia with female bust, two elements assimilated to the symbolism of fertility. This piece is part of an archaeological collection made up of 670 fragments, considered the second most important after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left leg of an articulated doll. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 6.1 cm. high.Left leg of an articulated doll. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Grotesque head. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.2 cm. high with stand.Grotesque head in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Fragment of a theatrical mask. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 6.5 cm; 10 cm high with stand.Fragment of a theatre mask. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Male head. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 8.4 cm. high with pedestal.Male head characterised by its expressiveness. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after that of the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Head with deity. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.6 x 5 x 2.3 cm.Fragmentary head representing a deity. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Bird statuette. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 3.6 x 5.6 x 3 cm.Statuette of a bird in terracotta, worked in the round. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Fragment of a statuette showing Dionysus with a maenad. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 13.5 x 10.4 x 3.5 cm.Fragment of a statuette where we can recognise the god Dionysus next to a dancing maenad. This piece is part of an archaeological collection made up of 670 fragments, considered the second most important after that of the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Head of Dionysos. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4.3 x 4.6 x 3.7 cm.Head of Dionysus in terracotta, with wreath of ivy and branches. This piece is part of an archaeological collection made up of 670 fragments, considered the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Child's head. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.6 cm. high with stand.Terracotta head of a child. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Beautiful satyr's head. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 5 x 3.4 x 3.7 cm.Beautiful satyr's head worked in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that there was the most important Hellenistic and Greco-Roman workshop there from the 3rd century BC to the 2nd century AD, both in terms of the quality and originality of its production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Right leg of an articulated doll. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 6.5 cm. high.Right leg of an articulated doll. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left arm of a statuette. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 8 cm. high with pedestal.Left arm of a statuette in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left arm. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.8 cm. high with pedestal.Left arm of statuette in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left foot. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4.4 x 2.6 x 7 cm. with stand.Left leg of an articulated doll. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Head of a veiled woman. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.5 cm. high with pedestal.Head of a veiled woman in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left arm. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 9 cm. high with pedestal.Left arm of statuette in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left foot of a statuette of Artemis. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 5.7 cm. high with stand.Left foot of a statuette of Artemis, goddess of hunting, wearing a sandal. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after that of the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left foot. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 3.8 cm. high with pedestal.Left foot, fragment of terracotta sculpture. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Torso of a warrior with shield. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 8 cm. high with pedestal.Torso of a warrior with shield, cuirass and spear. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Back of a horse. Smyrna, 3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 11 cm. high; 16 cm. high with stand.Back of a horse statuette. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left hand of Hera with a mace. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 9 cm. high with pedestal.Left hand of the Olympian goddess Hera, wife of Zeus, holding a mace. This piece is part of an archaeological collection of 670 fragments, considered the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Female head. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 5.8 cm. high with pedestal.Female head in terracotta. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after that of the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Profile head in relief. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 6.1 cm. high with pedestal.Profile head in terracotta relief. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Medusa's head. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4 x 3,5 x 1 cm.Head of a jellyfish or gorgon worked in relief. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, the most important Hellenistic and Greco-Roman workshops were located there, both in terms of the quality and originality of their production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Left arm. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 7.9 cm. high with stand.Left arm delicately worked in terracotta. This piece is part of an archaeological collection of 670 fragments, considered the second most important after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that there was the most important Hellenistic and Greco-Roman workshop there from the 3rd century BC to the 2nd century AD, both in terms of the quality and originality of its production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Headless female figure holding a chiton. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 5.2 cm. high.Female statuette holding a chiton, headless. This piece is part of an archaeological collection of 670 fragments, considered to be the second most important after the Louvre (1094 fragments) and ahead of those of the Archaeological Museum of Istanbul (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Siren. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 4.1 cm. high.Mermaid worked in terracotta. This piece is part of an archaeological collection of 670 fragments, considered the second most important after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that there was the most important Hellenistic and Greco-Roman workshop there from the 3rd century BC to the 2nd century AD, both in terms of the quality and originality of its production and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesques - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Pendant amulet with a shell. Smyrna, 4th-3rd century BC.Terracotta.Provenance: Smyrna, 1895-1905. Collection Paul Gaudin (Paris 1858-1921 Versailles), archaeologist, engineer and great patron of the Louvre Museum; Acquired between 1894 and 1905 and by family descent. Public auction, France, 2022.Measurements: 8.8 cm. high with stand.Hanging amulet with a shell. This piece is part of an archaeological collection of 670 fragments, considered to be the second largest after the Louvre (1094 fragments) and ahead of those of the Istanbul Archaeological Museum (135) and the British Museum (108). According to Simone Besques (1972, p.155) "There are hardly any public or private collections that do not contain Smyrna figurines, most of which are unfortunately fragmentary. Nevertheless, they testify to the fact that from the 3rd century BC to the 2nd century AD, there was the most important Hellenistic and Greco-Roman workshop there, both in terms of the quality and originality of its production, and the fact that these figures remained intact until the Roman period".Smyrna was one of the original terracotta centres of Asia Minor. The city was refounded by Lysimachus around 288 BC, a short distance from its former location. Continued habitation until more recent times made systematic excavations impossible. Most of the Smyrna figurines on display in major museums in Europe and the United States are mostly fragments of heads. Smyrna figurines are easily recognised by the colour of their clay, which varies from brown to red. The clay is fine and homogeneous, and contains traces of gold and silver. Some samples still retain their colours. They are carefully modelled.In terms of subject matter, many popular types from the great terracotta art of the Classical or Hellenistic period prevail, such as those of Herakles, deities and athletes. Another favourite subject was clothed female figures of the "Tanagrian" type.There are also so-called "grotesque figures" with exaggerated anatomical deformities. They probably represented real people suffering from deforming diseases.The terracotta style of Smyrna shows great similarities with that of Myrina. It is likely that the same terracotta artists worked in both cities. It is more likely that there was a relevant relationship in Pergamon and Cyme. On the other hand, certain thematic types of the Smyrna workshop - the black figures and the grotesque ones - allude to the terracotta art of Alexandria, which ensures a close commercial and artistic relationship with that city. Figurines from Smyrna were highly prized in the ancient world. They were exported to Myrina, Priene, Pergamon, Troy, Tarsus, Delos, Athens, Cyprus and Black Sea cities.

Literatur - Illustrierte Bücher - - Real Life in London; or, The Bambles and Adventures of Bob Tallyho, Esq. and His Cousin, the Hon. Tom. Dashall, Through the Metropolis; Exhibiting a Living Picture of Fashionable Characters, Manners, and Amusements in High and Low Life. By an Amateur. Embellished and Illustrated with a Series of Coloured Prints, Designed and Engraved by Messrs. Heath, Alken, Dighton, Rowlandson, &c. (Second edition). 2 Bände. Mit 2 handkolorierten gestochenen Titeln, 2 handkolorierten Frontispizen und 24 handkolorierten gestochenen Tafeln. London, Jones, 1823. X, 656 S.; 1 Bl., IX, 668 S. 21,5 x 13,5 cm. Maroquinbände mit geprägtem Rückentitel und reicher Goldprägung, Kopfgoldschnitt (Gelenke berieben).Tooley 198 - Abbey 280. - Anonym erschienen. Nachahmung und Gegenstück des Buches von Pierce Egan "Life in London". - Signierte Einbände von Stikeman & Co. - Exlibris auf Innendeckel. - Stellenweise wenig fleckig.

Schmuck. (Anthologie). Herausgegeben von D. Mayor und F. Ehrenberg. Nummern 1-8 (alles Erschienene). Mit verschiedenfarbig mimeographierten Abbildungen und Texten, beigelegten und montierten Papierarbeiten, Collagen u.a. Cullompton u.a., Beau Geste Press, 1972-76. 29,5 x 20,5 cm. Illustrierte Original-Broschuren, Heft 1 mit 2 Foldback-Klammern geheftet (teils leicht berieben, Rücken von Heft 4 stärker und etwas fleckig).Komplette Reihe des seltenen Fluxus-Periodikums, mit den fast unauffindbaren Nummern 1 und 2. - Die Beau Geste Press war "one of the most significant transnational collaborative projects of the 1970s" (Erica Segre, 2016, 1). - Heft 1: Schmuck presents real Schmuck. Mit Beiträgen von: Yael und Felipe Ehrenberg, Chris Welch, David Mayor, Jim Parker, Marc Chaimowicz, Hammond Guthrie, Richard Kriesche, Michael Gibbs, Carolee Schneeman, Nilan Kunz u.a. - Umschlag leicht braunfleckig. - Heft 2: Iceland. Mit Beiträgen von Kristjan und Sigurdur Gudmundsson, Hrein Fridifnnsson und Hlif Svavarsdottir. - Heft 3: Schmuck Hungary: Mit Beiträgen von Gabor Attalai, Imre Bak, Istvan Balint, Laszlo Beke, Peter Donatgh, Miklos Erdely, Peter Eötvös, Tibor Gayor, Béla Hap,Agnes Hay, Tamas Hencze, G.Jovanovicz, Gyula Konkolty, Peter Legendy, Peter Lajtai, Janos Major, Dora Maurer, Gyula Pauer, Geza Perneczy, Tamas Szentjoby, Endre Tót, Peter Türk und Janos Urban. - Heft 4: Aktual Czechoslovakia Schmuck. Gestaltet von Milan Knizak. Mit Beiträgen von Sona Svecova, Helena Pospisilova, Robert Wittmann, J. Patocka, P. Tichy, Zdenko Zizkova, Jan Maria Mach, Milan Knizak, V. Korejs und M. Marik. - Heft 5: General Schmuck! Mit Beiträgen von Ken Friedman, Monte Cazazza, Ian Breakwell, Paul Burwell Carlyle Reedy, David Coxhead, Robin Crozier, Michael Gibbs, Tony Gnazzo, Dick Higgins, Richard Kostelanetz, Ruth Krauss, Takehisa Kosugi, Victor Musgrave, Takako Saito, Jirí Valoch, Eric Andersen, Bruce Andrews, Allan Cowell, Marten Hendriks u.a. - Heft 6: French Schmuck. Dos-à-dos-Bindung. Mit Beiträgen von Ben Vautier, R. Filliou, C. Dotremont, H. Chopin, M. Lemaitre, J. Le Gac, M. Broodthaers, C. Boltanski, M. Alocco u.a. - Heft 7: Teutonic Schmuck. Mit Beiträgen von Dietrich Albrecht, Hans Jürgen Bulkowski, Gabor Altorjay, Klaus Groh, Dorothy Iannone, Hans Werner Kalkmann, Milan Kunz, Bernd Lobach-Hinweiser, Steffen Missmahl, Janos Nadasdy, Thomas Niggl, Gunter Saree, Wolfgang Schmidt, Gerhard Trommer, Jan Voss, Wolf Vostell, Stefan Wewerka u.a. - Heft 8: Japanese Schmuck. Mit Beiträgen von Taii Ashizawa, Takehisa Kosugi, Takako Saito, Kazumichi Fujiwara, Myor Hayashi, Shoji Kaneko, Kiichi Kobayashi, Takehisa Kosugi, Rui Sekido, Yukiko Shimazaki u.a. - Innen sehr gut erhalten.

Set of 4 vintage German cherub ornaments, in real & gilt, by Rudolf Kammer

Structure of the Bee Shown in Model published by The Gresham Publishing Company, a scrap book album containing scraps and football cards, a postcard album containing real photographic cards to include horse and workers, Scotch Curlers arriving in Winnipeg, Ford Autos Roland Man, Dog Sleighs Winnipeg, etc. a book titled Winnipeg published by Russell Land and Co, also a collection of postcards to include real photographs of cars, military interest etc.

ISSAC ROBERT CRUIKSHANK. 'Drawing for Twelfth Cake at St Anne's Hill!!' Etched caricature with contemporary hand colouring, pasted onto card, T. Williamson, 1803, 19cm x 24cm; 'The Piccadilly Nuisance,' satrical hand coloured etching, pasted onto card, George Humphrey, London, 1818, 25cm x 36cm; Unknown. 'Sketches At Margate, Caught on the Jetty A Couple of Real Margateers,' hand coloured lithograph from 'Tregear's flights of Humour' series, pasted onto card, G. S. Tregear, Humorous Print Shop, Cheapside, 1833, 35.5cm x 27cm; With three other engraved caricatures. (6)

SHROPSHIRE POSTCARDS, A album of 90 Real Photograph postcards, all by W S Allcock of Ironbridge, of Ironbridge and surrounding towns and villages

HANDWRITTEN DIARIES of Major-General Bertram Reveley Mitford, CB, CMG, DSO, FSA, FRGS (1863-1936) of the Buffs and East Surrey Regiment. 8 volumes covering sixteen years: 1908-09, 1912-13, 1920-21, 1922-23, 1926-27, 1928-29, 1930-31 and 1932-33. Each volume covers two years and contains between 270-300 pages and about 50,000-70,000 words. The total number of words in the eight diaries is around half a million. There are entries for every day of the year with a report on the weather at the end of each entry. Interspersed between the leaves are newspaper cuttings (mainly obituaries), photographs, pictures, letters, lists of dinner guests and other ephemera.As the diary was written up each day many of the entries are necessarily mundane. The following are fairly typical:Aug 17 Wed. [1932] Spent a quiet morning. Soon after 1.30 we left via High Ercall for Shrewsbury, and reached the Quarry at 2.15: here the Show was taking place. We went round the five tents devoted to the Flower Show, watched the dancers and acrobats on the stage, listened to the three Guards Bands, admired the Dingle, and, best of all, sat in peace on the banks of the Severn. Saw Jocelyn, Offley and the two boys, Frances and Honor, Luke, Linnie Mather, and several others. Were home by 5.15, & glad to get back, the heat was trying. Very hot day. 85 degrees.Jan. 20 Fri. [1933] In the morning I went to the Library, returned home and proceeded to the Union Club to lunch with Ritchie; Ritchie and his wife are leaving tomorrow for Ceylon, taking their three eldest children with them as far as Toulon. I then went to the British Museum where I saw Ean Tinnachy, and asked hm to get me a lucid account of the Tiki, Maori God, sent me by Vernon Mitford. Then I saw Allen in the Coins department and presented him, for the Museum, with the die blocks of a one piastre that I got out of the Beit el Amana at Omdurman in Sept ’98; then home. Clearer day, but no sun; dry and cold; 38 degrees.Jan 21 Satur. [1933] I went to the Electric Light Co in the morning to pay their bill, and complain about the front door bell, which their employee failed to put in order. Then I went to a couple more shops down that way. I did not go out again. Eric Luke, recovering from a cold & indistinct of speech, came to tea. I have been very much better all this last week. A gloomy day, cold, east wind. 37 degrees.The diary for 1908-09 was written when he commanded the 9th Infantry Brigade at Portsmouth.Mitford served in Egypt and the Sudan in the Eighties and Nineties and later in South Africa. During the First World War he commanded the 72nd Infantry Brigade from 1914-1917, taking part in the battle of Loos and the Somme, and was then appointed commander of the 42nd Division and was present at Passchendaele. He was mentioned three times in despatches. He married in 1891 the Hon. Etheldreda Mary Manners, youngest daughter of the second Lord Manners, and had three daughters. One of his daughters married Sir Offley Wakeman, Bt., of the Grenadier Guards. In 1912 he was appointed to the King’s Body Guard, the Honourable Corps of Gentlemen-at-Arms, established in 1509. In his later years he joined the Society of Antiquaries, serving on its council, and devoted himself to the study of heraldry and tracing the family trees of the Mitford and Broughton families, the latter being his mother’s family. He was described as a devoted husband, son and brother, and it was said the happiest time of his life was when he was in the Egyptian army with his beloved IX Sudanese Battalion.General Mitford’s diaries for 1883-93 and 1900-1917 are at the National Army Museum. A book entitled ‘The Real General Mitford’ by Michael Lucas was published this summer, but the author did not have access to the diaries now offered for sale.8 vols bound in full brown morocco, with ‘BRM’ initials on the covers (8)

ROULLET & DECAMPS; a rare late 19th century walking peacock or clockwork automaton with real feather plumage and diecast legs, in original pine box, length approx 35cm.PROVENANCE: The Collection of Jack Tempest. Additional InformationThe feathers are in poor condition and several of the tail feather are lacking. No key and has not been wound to see if the mechanism works. The box lacking part of the side and much of the lid.

Manchester United 12x16 Multi signed Colourised squad photo, Autographed Editions, Limited Edition. Signatures from: Bill Foulkes, John Aston, Pat Crerand , Nobby Stiles, Alex Stepney and David Sadler. Photo shows the Man United team line up prior to their historic 3-3 draw with Real Madrid in the 1968 European Cup Semi-Final 2nd Leg. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

John Charles signed 16 x 23 black and white limited edition photo. Photo shows Charles leaving the pitch with the legendary Ferenc Puskas after Juventus European Cup Quarter Final replay 3-1 defeat against Real Madrid In Paris on 28th February 1962. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Manchester United Multi Signed 18 x 12 European Cup Edition Coloured Print. Signatures from Nobby Stiles, Pat Crerand, Bill Foulkes, Tony Dunne, John Ashton, Alex Stepney, David Sadler. Print shows the Man United line-up prior to their historic 3-3 draw with Real Madrid in the 1968 European Cup semi-final 2nd leg. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

INDIAN UPRISING[HICKS (C.F.)] A Narrative of Events Which Took Place in one of the Mutinous Regiments at A---d; as given by an Officer of the Corps to his Mother in England [titled on upper cover], 19pp., ownership inscription cut from title, a few corners torn away, publisher's printed blue wrappers, 2 small losses to upper cover, 8vo, [no place or publisher], 1858--together with an autograph letter from an unknown correspondent to Miss Le Maistre of Jersey, bemoaning that Calcutta has changed and reporting that '...horrid, terrible treacherous things have been done by the natives here...', 4 pages on a bifolium (the letter incomplete), cross-written in ink, on flimsy paper, some small tears, 8vo (150 x 95mm.), Calcutta, 6 August [18]57 (2)Footnotes:'... HORRID, TERRIBLE TREACHEROUS THINGS HAVE BEEN DONE BY THE NATIVES HERE...' - A rare, seemingly unrecorded, eye-witness account of the massacre at the Siege of Cawnpore, and an autograph letter written shortly after the event.The pamphlet, of which we can trace no copies, takes the form of two letters (15 October and 4 November 1857) written from an English soldier to his mother from Calcutta. Jersey is mentioned in the text, perhaps linking the author of the pamphlet to the writer of the autograph letter in this lot, which is addressed to a Miss Le Maistre of Jersey. The writer speaks of a fellow traveller, also from Jersey, who was at Allalabad '...when a horrid massacre took place, but I heard she was safe...' and discusses the events '...at a place called Cawnpore for real truth there were 600 & 78 Europeans killed in cold blood. These things will surprise the people at home a little I think...'. Although our correspondent wildly exaggerates the number of casualties, one hundred and twenty British women and children captured by Sepoy forces during the evacuation of Cawnpore were killed on 15 July in what became known as the Bibighar Massacre.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com