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Chinese carved hardwood and pierced screen, wall-mounting, square and centred by carved dragon, flaming pearl and ho-ho bird, having fretwork surround with pine and bamboo carved corner panels, 1m square 

Early 20th century four-fold dressing screen, the arched studded leatherette panels painted with scenes of birds, insects, butterflies and foliage, each panel 207cm high x 55.5cm wide

19th century rosewood pole screen, the adjustable rectangular screen having a foliate scroll moulded frame and needlework panel depicting a lady, child and dog, on a turned and carved fluted column and platform base with three scrolling feet, 150cm high x 52cm wide  Condition Report Surface scratches, scuffs and knocks. Some areas of fading/discolouration. Appears to be a repair or split to top left corner of screen. Small areas of loss and small repair to veneer on base. Joints are sound. General wear and tear. No damage to needlework, possibly some fading/discolouration. Screen dimensions - 45cm x 40cmPole diameter - 2cm

19th century French giltwood three-fold dressing screen, of rococo style shaped outline with foliate scroll carving, each section with bevelled glass panels over a fabric panel, largest panel 160cm high x 52cm wideCondition ReportSurface scratches and scuffs. Frame with losses/chips to gilding. Fabric with some marks/stains and two small holes with fraying. General wear and tear.

† EMILIO KRUITHOF; a signed artist's proof screen print, 'The Lover She Used To Be', signed and dated 2006 lower right and numbered 3/25 lower left, 124 x 88cm, framed and glazed.

Pair of antique Chinese carved and gilt wood screen mounts, each pierced and carved with architectural and foliate lattice, in gilt and red, 77cm wide

Sheraton period rosewood and satinwood line inlaid work table, with rising rear silk screen and frieze drawer fitted with hinged baize working slide and concealed stationery compartment with work in progress basket below, on square tapered legs and castors, 55cm wide x 46cm deep x 78cm high

Chinese jade and pierced wood table screen decorated with fish and calligraphyThe jade table screen is in good condition with no chips or cracks to the frame, their are no signs of repair/damage to the jade frame or jade however their is a small crack that has been repaired to the stand as seen in photographs. The Jade in the frame measures approximately 23.5cm x 13.5cm, we believe the jade to be late 19th century/early 20th century but please decide for yourself, we believe it is not glass but a soft stone

After Bruno Zach (1891 - 1935) a bronzed resin sculpture 'dream phallus', together with a double-sided page of an illuminated manuscript of erotic interest and a 20th century lacquered screen

A four-fold scrap screen 19th century, each panel decoupaged with Victorian scraps, to a dark ground, 56cm wide160.5cm high

A pair of 19th century walnut circular footstools - with embroidered seats (28cm diameter); and a mid-19th century mahogany fireside pole screen (152cm high).

VIRGINIA TANDY (CONTEMPORARY) Corn cobsigned in full lower left, no. 1/10, colour screen print, 42cm x 39cm

*LIN JAMMET (1958-2017) 'Horse of Gold' 1995, signed in pencil bottom right, edition 28/50, coloured screen print, 112cm x 91cmNote: The son of Elisabeth Frink and architect Michel Jammet, Lin Jammet started printmaking in the 1970s under Julian Trevelyan who was close friends with his mother.In the 1980s Jammet worked in freelance and editorial illustration. In 1993, he returned to printmaking, producing a series of Lithographs with Curwen Chilford Prints and later a body of screen prints and etchings with Gresham Studio near Cambridge. Inspirations include both Napoleonic wars as well as landscape around Corbès, in the foothills of the Cévennes in the south of France where he grew up. 

Sections of triple stained glass and leaded folding screen decorated with steam trains and industrial scenes

A Chinese hardwood table screen, inset with a circular black-lacquered panel onlaid with boys playing with a Buddhist lion in mother-of-pearl, soapstone and lapis lazuli, the reverse inscribed and dated to the seventh month of the fifth year of the Yongzheng period, the stand pierced and carved with dragons and lingzhi, 45cm wide21.5cm deep60.5cm highCondition ReportLacquer panel with cracks, chips and losses. Wood with chips, cracks and surface scratches, a small hole to the apron to the back. Provenance: purchased from Woolley & Wallis, 21-23 May 2024, lot 814.

A Japanese four-fold byōbu screen, 20th century, depicting a blossoming tree against a gilt-coloured ground, each fold 38 x 78 cmCondition ReportSmall holes and tears in various locations. Surface scratches to frames.

A Japanese four-fold byōbu screen, 20th century, with mandarin ducks under a tree in the snow, against a silver-coloured ground, framed,overall 67 x 154cm Condition ReportFrame with splits and chips to corners and edges.Paper with surface scratches and smudges, signs of tears and restoration.

A pair of Chinese silver miniature table screens, 19th/20th century, each decorated with blossoming prunus, stamp marked 'LW',5.5cm high, and a brass box,20th century, decorated with a shou roundel surrounded by four bats,8.5cm high (3)Condition ReportAll with surface scratches and dents. One table screen a bit wobbly.

A pair of gilt brass andirons with an Art Deco fire screen, copper coal scuttle etc.

Wooden fire screen with glazed central panel wool/silk work of a sphinx superscribed Egypt inside a wreath. possibly Gloucestershire Regiment, H89 x W72cm

Four-shutter screen in wood and paper 20th centurydecorated with oriental patternsanta 183x45 cm. cad.

Three doors screen Italy, 20th centuryentirely covered in fabric, decorated with floral motifs150x45. cm. cad.

Lacquered wood screen Italy, 19th-20th centurydecorated to simulate marble, central band with griffins and amphorae170x180 cm.

Five-fold leather screen Italy, 19th-20th centurygilded decorations with plant and scroll motifs, defects190x265 cm. (aperto)

CARTIER: A RARE AND COLLECTIBLE LAPIS LAZULI, TURQUOISE AND DIAMOND NOVELTY CLIP BROOCH, CIRCA 1945The stylised scarab, with carved lapis lazuli body, a turquoise cabochon head, highlighted with single-cut diamond eyes and rose-cut feet at the front, mounted in 18K gold and platinum, signed Cartier Paris, with maker's mark, French assay marks, with maker's case, length 2.7cmAn identical brooch is illustrated, page 164, in the catalogue of the Cartier exhibition, L'Art de Cartier at the Musée du Petit Palais between October 1989-January 1990, by Hans Nadelhoffer.The discovery of Tutankhamun’s tomb in 1922 sparked a cultural phenomenon that extended far beyond archaeology. Throughout the 1920s and 1930s, the Egyptian Revival style swept across the decorative arts, leaving its mark on everything from ceramics and prints to furniture and, most strikingly, jewellery. Museums in Cairo and touring exhibitions in London and Paris further solidified the global fascination, showcasing the dynamic dialogue between age-old myths and contemporary design. The era’s fascination with ancient Egypt found a perfect partner in the materials and aesthetics of Art Deco: platinum, diamonds, onyx, and vibrant enamel brought ancient motifs into the modern age. Designers reimagined scarabs, sphinxes, lotuses, and hieroglyphs through the lens of contemporary luxury, resulting in pieces that were at once reverent and boldly forward-looking. Among the jewellers of the time, Cartier distinguished itself not merely by mimicking Egyptian symbols but by engaging directly with history. Louis Cartier developed a personal passion for Egyptian antiquity, travelling and acquiring genuine archaeological objects from dealers who handled finds from ongoing excavations. Rather than replicate ancient designs, Cartier incorporated these authentic artifacts such as scarabs, faience fragments, and deity heads into his own creations, elevating them with platinum and diamonds to craft sophisticated Art Deco jewels that were both historically rooted and stylistically avant-garde. This approach set Cartier apart, offering clients pieces that were not just inspired by the past but built from it. Egyptian-inspired jewellery is defined by its rich symbolism and vibrant palette. Gold, regarded as the skin of the gods, and silver, seen as divine bone, were used alongside vivid lapis lazuli, symbolising the intense, sky-like blue hair of the deities. Turquoise and green hues evoked the protective qualities of water and the Mediterranean. Jewellers embraced these colours and symbols, often incorporating amulets like the scarab, which in ancient mythology was observed pushing its ball in the desert, as a metaphor for the sun’s journey at dawn and a symbol of rebirth, cosmic order, good luck, and fortune. With the advent of global conflict, significant material shortages and restrictions rapidly transformed the landscape of jewellery production. The scarcity of platinum and diamonds forced designers to adopt innovative solutions without sacrificing the aesthetic values of their style. In response, jewellers began experimenting with advanced alloys and a wider array of semi-precious stones, reinterpreting traditional motifs with alternative materials that mimicked the allure of their predecessors. These necessary adaptations led to creative breakthroughs, ensuring that the symbolic richness and visual impact of their creations endured even in times of adversity. Even after the height of its popularity at the beginning of the 19th century, Egyptomania continued to resonate through popular culture. The mid-to-late 20th century saw waves of renewed interest thanks to cinema, particularly Hollywood films of the 1960s through the 1980s featuring mummies, curses, and pharaohs. These narratives reignited public fascination with Egypt’s mystique, sustaining its influence in both fashion and fine jewellery. From screen to studio, the mythos of ancient Egypt remained a rich source of inspiration and proving that, even decades later, its magic still had the power to captivate and create.  Condition Report: Normal wear, overall in good conditionMaker's mark located on the reverse of the scarab and one of the two pin (horizontal lozenge with what I think is 'P(symbol)M'Double pin clip system - signature located on the reverse of the broochFrench assay marks for platinum and 18K gold located on the reverse of one feet and another eagle's head located on the pinCloses securelyTotal gross weight approx. 16.7g

A group of four lacquered and ivory inlaid screen panels, late 19th century, Japanese, each depicting birds and insects among foliage, the largest, 44 x 60cm (4) IMPORTANT NOTE: This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA, now prohibit the importation of ivory items unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this item prior to bidding.This item has been registered as exempt from the UK Ivory Act 2018. Condition Reportsmall areas of loss and damages to the panels, small splits to the surface of the timber, one signature lacking and one large piece lacking. all dirty, the ivory stained and scratched.

▲ Chinks Vere Grylls (b.1949) Four-fold smoke glass screen, 1979framed in ebonised mahogany with interlocking fixed hingingeach panel 155cm x 51cmBased in Somerset, Chinks Vere Grylls is a designer and maker of architectural stained and painted glass. In 1989, she was commissioned to make the glass window for The Wilson Art Gallery & Museum in Cheltenham.Condition Reportsmall cracks and areas of damage, the leading loose in places, overall fair order

An ebonised three-fold screen, late 19th/early 20th century, later mounted with double-sided tapa cloth panels, with a gilt moulded edging and gilt-brass handles, each panel 60cm deep145.5cm high180cm wide149cm highCondition Reportknocks dents and chips overall, the panels wrinkled but overall free from major damages, the frame dented and worn, overall fair

A three-fold fire screen, 20th century, the faux bamboo-framed panels, set with painted reserves, each decorated with blue and white vases, 120cm wide109cm highCondition Reportlight knocks and scratches consistent with age and use, overall fair order, faux bamboo loose in places

A carved wood and inset marble eight-fold table screen, late 19th/early 20th century, Chinese, the central panels depicting figures in a landscape amongst clouds, between further panels of calligraphy, figures and precious objects,each panel 65 x 12cm (8)Condition ReportThe marble panels lacking areas of pigment -one with a repair to the central panel, some slightly loose in their frames. One of the end panels with a few chips to the central panel.

Four-fold vanity screen, Victorian farmhouse style rocking chair and pair bedroom chairs (4).

Continental style three-fold vanity screen, 7 drop lamp standard and colourful figure of a North American Indian(3).

Decorative copper fire plate or fireplace screen in hammered and patinated metal, richly decorated with a strikingly stylized sturgeon in high relief, typical of the early Art Deco era, marked with stamp Auberge des Écrins, France circa 1920-1935Decoratieve koperen vuurplaat of haardscherm in gehamerd en gepatineerd metaal, rijkelijk versierd met een opvallend gestileerde steur in hoogreliëf, typerend voor het vroege Art Deco-tijdperk, gemerkt met stempel Auberge des Écrins, Frankrijk circa 1920-193565.5 x 55 cm

Beautiful metal ornament in the form of a winch with screen in tortoiseshell decorated with cranes, circa 1880Mooi metalen sierstuk in de vorm van een lier met scherm in schildpad versierd met kraanvogels, circa 1880H 33.5 cm

A Victorian mahogany adjustable fireside pole screen with cabriole legs and a needlework tapestry depicting a bird with ornate surround, H 144cm

A small Chinese Hongmu and porcelain table screen, Qing Dynasty style, 20th century; and a Chinese watercolour scroll  of silk production,  decorated with a central ceramic panel decorated with assorted vases, 28cm high, 22cm wide; also a small Chinese decorative scroll, painted with a single panel in manner of Jiao Bingzhen (act. 1689-1726), depicting figures sorting silkworm cocoons, 22.5cm high,. 22.5cm wide (panel) (2)

A 19th century mahogany three fold screen, inset with embroidered panels depicting 17th century figures in landscapes,  each panel with a moulded frame and a glazed panel holding an embroidered section, possibly cut down from earlier decorative textile hanging, the figures picked out with some gold and silver thread, 160cm high, 174cm wide (open)

Nikon F-801 camera body serial no. 2010504, together with Nikon accessories, including wireless transmitter WT-1, focusing screen and speedlight

Retro Gaming - Boxed Nintendo Game & Watch Multi Screen Green House GH-54 handheld game, with instructions, box shows creasing

Retro Gaming - Boxed Nintendo Game & Watch Multi Screen Donkey Kong DK-52 handheld game, with instructions, box shows creasing

An Indian carved hardwood four-fold screen20th centuryEach panel with an arched top, carved and pierced with flowers and scrolling foliage around reticulated panels.204cm wide x 184cm high (each panel 51cm wide)

Early 20th century mahogany framed tapestry fire screen with silk panels of flowers and foliage. (B.P. 21% + VAT)

A fine quality Japanese Shibayama Meji period four fold screen or room divider, the individual panels depicting birds amongst flowering tree branches in carved bone, mother of pearl and ivory, set within gilded borders with carved dragon cresting rails, each panel 182cm high x 57cm, overall width 227cm. Ivory Submission Reference: SSUFR4TG

A Victorian copper helmet coal bucket, pair of Victorian brass and cast iron andirons, brass poker, brush and shovel, and a cast iron and mesh fire screen.

A Victorian rosewood fire screen, with a shell and scroll carved frieze flanked by finials, the sliding pleated adjustable banner on plain supports with rectangular moulding, on scroll carved cabriole legs with turned stretcher, 102cm high, 54cm wide.

A Victorian brass fire screen, with a rectangular mirrored plate, engraved and etched with a floral geometric pattern, raised on four cabriole legs, 83cm high, 44cm wide.

JARDINIERE STAND & POLE SCREEN

Cigarette cards, Gallaher, 3 sets, Aesops Fables (series of 25 and 50 versions), Stars of Screen & Stage Brown back (gen gd/vg)

This signed and numbered limited edition print, Tidy HF (2017), by renowned contemporary artist POSE (Jordan Nickel), exemplifies his signature fusion of pop art and street art aesthetics. Created using spray paint and screen print techniques, this piece presents a bold and layered composition featuring dynamic shapes, expressive figures, and vibrant urban iconography. Numbered 19/25, it is hand-signed by POSE, adding to its rarity and collectible appeal. Framed in a sleek white frame with glass. Hand Finished, Hand signed and numbered by the artist. 12 color screen print on Mohawk Superfine Ultrawhite, 160lb cove with deckled edges. Custom Framed Floated on white Acid Free Matting with a Flat White Frame. Tidy is a continuation of the technical exploration and advancements pursued in previous editions, pushing to reference Pose's original paintings through the hand-pulled screen printing processes. These advancements include: Transparent overlays to reference the torn paper that's collaged on paintings, Multiple hand painted films to mimic painted textures, An increase in the number of semi transparent shadows that reference the spray shadows paintings, An increase in the number of semi transparent overlay layers intentionally offset to mimic textures in paintings and Upping the optical colors in the print through transparent colors printed over other colors. Printed by POP!NK Editions in POSE's studio, in direct collaboration to ensure a one of a kind edition.Artist: Jordan Nickel (American, b. 1980)Issued: 2017Dimensions: 21.75"L x 28"HCountry of Origin: United StatesCondition: Excellent.

Reality Killed The Fairytale Star? 8 Color Screen Print on 300gsm Fine Art Paper is a striking screenprint by German street artist Kunstrasen who presents a bold juxtaposition of innocence and militancy. The artwork features a reclining Snow White, rendered in vibrant colors, alongside a monochromatic armed figure, evoking themes of societal contrasts and subverted narratives. Kunstrasen's signature stencil technique and pop culture appropriation reflect the influence of urban street art movements. The print is an artist proof (AP) and bears the embossed stamp of Graffiti Prints, a well-known publisher of contemporary urban artworks. Hand-signed and dated by the artist in pencil in the lower right corner. Framed in Black to Fit.Artist: Kunstrasen (German b. 1979)Issued: 2015Dimensions: 31"L x 23.25"HCountry of Origin: UKCondition: Very Good.

Birdcage by Ruben Carrasco is a limited edition 23 Color Screen Print on 330 gsm Somerset Paper with 24ct Gold Leaf Hand Painted by the Artist, numbered 7 of 20, showcasing the artist’s fusion of surrealism and street art. The piece features intricate detailing with a striking composition that conveys depth and symbolism. Ruben Carrasco is a Mexican-Canadian contemporary artist and muralist based in Montreal, renowned for his international impact and multifaceted approach to art. Born and raised in Mexico, he began his artistic journey at 19 as a self-taught artist, later enhancing his skills at institutions such as the Anáhuac University in Cancun, Mexico, and McGill and Dawson College in Montreal, Canada. Throughout his career, Carrasco has created over 200 murals across the globe, including countries like Mexico, France, Canada, the United States, South Africa, England, China, Italy, Germany, Spain, Belize, Cuba, and Israel. His work has been featured in solo and group exhibitions, mural festivals, biennials, and live painting events, earning recognition from cultural organizations, embassies, governments, the press, and the artistic community. Based in Montreal, Carrasco actively engages in urban art projects with the support of local authorities. He has collaborated with the General Consulate of Mexico as a jury member for the Art Exhibitions Evaluation Committee for "Espacio Mexico." Additionally, he co-founded the international artists' collective "5 Wolves No Pigs" and played a pivotal role in establishing the FIAP and IPAF art festivals. Stamped with the Graffiti Prints Co. mark and signed with the artist’s name, this artwork is a standout in contemporary urban art. Measures 22"L x 29.25"H.Artist: Ruben CarrascoIssued: 2019Dimensions: See DescriptionCountry of Origin: UKCondition: Excellent.

Registration – EY24 WLDChassis No. – SCATU2200RU223243M.O.T. – N/AOdometer – 1877‘EY24WLD’ is a few weeks over one year old and represents the latest and eighth iteration of the Rolls-Royce Phantom. When bought at the end of February 2024 for a mighty £496,090, ‘EY24WLD’ represented, and still does, the pinnacle of the exalted Rolls-Royce range. Just the specified extras alone amount to well over what many people would only dream about spending on a car – around £62,000. With ‘EY24WLD’ having had just one owner from new, this superlative luxury conveyance was bought from Rolls-Royce dealers P&A Wood. Although similar looking to the previous Phantom, since 2017 these series VIII cars have been built on a Rolls-Royce only, all new aluminium space frame platform. Known as the ‘Architecture of Luxury’ this is not only a 30% stiffer platform but also now separates Rolls-Royce from any semblance of BMW underpinnings -Rolls-Royce’s owner since 1998. Today this ultimate expression of automotive luxury, all 5.8 meters and 2.8 tonnes of it, is offered in order to secure just its second discerning keeper.‘EY24WLD’ is one of those very few cars which, firstly, almost everyone will recognise and, secondly, the majority of people will stop in their tracks and literally gawp at. Even latterly under BMW stewardship, Rolls-Royce has always excelled at maintaining their historic styling DNA, however modern and advanced their cars become. ‘EY24WLD’ is a case in point, looking every inch a Rolls-Royce in its optional Gunmetal livery (£8,300). This combines exquisitely with the iconic “Pantheon” grill which is now better integrated with the nose of the car lending it a distinctly modern flavour. Other eye-catching and valuable exterior options are the 22-inch, fully polished disc wheels (£8,900) and the chrome plated visible exhaust (£3,275). As you might expect, ‘EY24WLD’s’ cabin is like few other cars you are likely to encounter. It is finished in Pheonix Red hides with copious accents of “black” burr walnut veneer. The contrasting piping and coloured stitching featured comes in at another £4,750. Once again Rolls-Royce manage to endow the Phantom with a distinctly modern, yet entirely traditional special occasion ambiance that is beyond compare and reproach. Examples are the so called “gallery” dashboard and full digital instrument screen garnished with chrome dials contrasting with the optional veneered picnic tables (£2,725). The rear cabin is a shameless celebration of sublime luxury, featuring “immersive seats” (£8,300) which even angle together slightly to aid conversation. Other key options here include a central cool chamber (£2,225), extended veneer accents (£2,725), bespoke audio system (£7,800) and an Indulge bespoke clock (£4,925). It’s quite the package!Despite the Phantom’s size and weight, it packs more than enough power and punch to equal many a more sports orientated car. The 6.75-litre V12 powerplant boasts twin turbos and a most un Rolls-Royce like 563 bhp and a whopping 664 Ib-ft of torque at just 1,700 rpm. That translated to a 5.5 second 0-60mph time with 100mph coming up in under 12 seconds. Refinement is, of course, king here, however and Autocar described the latest car thus: “The Phantom’s mechanical refinement is genuinely incredible and totally exceptional,” and it’s hard to argue with that!

Registration – S300 DBYChassis No. – GDB-034210M.O.T. – May 2025Odometer – 167,408KM (104,022M)Representing the second facelifted model of the second generation Impreza, or “Hawkeye” version, ‘S300DBY’ is a Japanese domestic market supplied and specified Impreza WRX STi from 2005. ‘S300DBY’ was imported to the UK in 2019 and is in the ownership of its fourth UK keeper to date. ‘S300DBY’ is currently recording 167,408 kilometres (104,022 miles) covered and is reported to be mechanically standard throughout. ‘S300DBY’ is a well-cared for example having benefitted from two cambelt replacements (the last around 4,000 miles ago) and a ceramic coating with a 5 year guarantee. Today ‘S300DBY’ is offered with a valid, advisory free MOT until May 2025, and its marque specific registration number.‘S300DBY’ is powered by the legendary 2.0-litre twinscroll turbocharged version of the legendary EJ20 boxer engine. This is mated to a six speed close ratio gearbox which in original form endowed the WRX with a mid-five second 0-60 mph time and a 150 mph plus top speed. ‘S300DBY’ is also equipped with the sought after DCCD 2.0 system which stands for Driver Controlled Centre Differential. This allows the driver to manually adjust the torque split between the front and back wheels. ‘S300DBY’ is notable for having remained in factory JDM specification with no mapping or other modifications undertaken. The owner rates this Impreza’s mechanical systems as “excellent.”‘S300DBY’ presents in the perennially popular WR Blue livery and showcases what, to many eyes, are the improved looks of the “Hawkeye” version of WRX. All the WRX and STi signatures cues are present, including the oversized rear wing, bonnet scoop and impressively flared arches. A set of 17-inch, ten spoke Enkei alloys sit beneath the flared wings and are finished in the familiar anodised gold hue. The underside of ‘S300DBY’ has been treated to a clear wax oil underseal. The practical yet sporting cabin is finished in black and blue fabric with plenty of STi reminders around, including on the seat backs, steering wheel boss and centre console. A later full screen head unit has been fitted. That aside, this Impreza retains a high level of desirable originality. The vendor rates the bodywork, paintwork and interior as “good.”In summary:A JDM specification car imported to the UK in 2019Presenting in a highly original condition with unmodified mechanicalsComplete with an appealing marque specific registration number

Registration – SE18 ZRKChassis No. – SCA665C03JUH25694M.O.T. – June 2025Odometer – 13,180Those that know their ancient Greek will remember that “adamas” means indestructible or unconquerable and is related to the etymology of the word diamond. There’s a reason for that. Apart from ‘SE18 ZRK’ being as rare as diamonds – only 40 Adamas Collection Wraiths were produced – it also features 88 laboratory grown diamonds in the cabin’s clock. In short, a very special example of an already incredibly exclusive Rolls-Royce. ‘SE18 ZRK’ is still in the ownership of the original buyer making this a single keeper car and one which could have well cost close to £350,000 in 2018. Just when you thought this sublime Wraith Black Badge couldn’t get any more desirable, we can report it has covered just 13,500 miles to date. ‘SE18 ZRK’ comes with a full service history with six services to date (plus the PDI) despite the miniscule mileage and is offered here with an advisory free MOT until June 2025 and the full, original book pack.Other notable attributes of ‘SE18 ZRK’s’ Adamas status is the very special spirit of ecstasy mascot. In this model it is crafted from 294 layers of aerospace-grade carbon with a weave angle of precisely 25 degrees. The iconic figure takes 68 hours to produce and sits on a special, titanium base. Inside the unimaginably luxurious cabin, the roof lining is studded with 1,340 fibre optic lights in the form of the “molecular structure of carbon as it becomes a diamond” instead of the “usual” Wraith starry sky arrangement. Mechanically, ‘SE18 ZRK’ is the usual, incredible Wraith Black Badge specification. This means a twin-turbocharged 6. 6-litre V12 engine, delivering an eye-widening 624 bhp and 643 lb-ft of torque. This is not a light car, but this is sufficient for a 0-60 mph time of just 4. 3 seconds. A seven speed, imperceptibly changing seven speed automatic transmission takes care of translating this physics defying power into forward momentum.Externally ‘SE18 ZRK’ is finished in pristine and stealthy looking, two tone Black and Morpheus Blue. Even the iconic Rolls-Royce radiator shell and vanes are finished in gloss black. That exclusive spirit of ecstasy proudly sits atop this feature reminding the lucky driver of the exclusivity of their steed. The rear hinged doors just add to the theatre and drama of this Wraith as do the 21-inch, black finished, carbon fibre composite wheels complete with 'R-R' gravity spinners. The lavish cabin is finished in black leather with distinctive accents of Cobalt Blue leather and matching stitching. Aside from the dramatic headlining treatment and that amazing diamond encrusted clock, there is a raft of exclusive and desirable attributes to relish in here. These include a multi-function steering wheel, folding infotainment screen, satellite navigation, parking sensors and cameras, and heated and ventilated electrically adjustable front seats with memory function plus much more than we can do justice to here. An incredible opportunity to acquire one of the rarest and most desirable Rolls-Royce, V12 coupes it is possible to imagine.Summary:One of just 40 Wraiths ever produced in ultra-exclusive Adamas guiseBoasting just one owner and a mere 13,500 miles to dateCompete with a full Rolls-Royce service history despite the miniscule mileage

Registration – 185 XUKChassis No. – DB4-1122RM.O.T. – April 2025Odometer – 81,000‘185 XUK’ is truly an astounding car. One of just 136 Aston Martin DB4 coupes made with the uprated Vantage specification and the subject of a no-expense-spared restoration. ‘185 XUK’s’ chassis number of 1122 reveals it to be a MK V model and the 121st of that series to roll out of Newport Pagnell. This matching numbers car is a UK specified and supplied example being delivered new to its first Perthshire based owner by dealers Aberfoyle Motors in November 1962. The DB4 was specified with overdrive, a 3.77 ratio rear axle, Bray Block heater, heated rear screen and chrome wire wheels. The first lucky owner retained ‘185 XUK’ for a full 23 years until 1985 when it was sold at a warranted mileage of 35,000. At that point the Aston Martin travelled south and was enjoyed by four owners in the London area over the next 26-years. In the mid-1990’s ‘185 XUK’ underwent its first comprehensive restoration at around 47,000 miles. The work extended to the mechanicals, an engine rebuild as well as the paint and bodywork. Despite being acquired in a sound and useable condition a previous owner initiated a show standard restoration in 2017. At this stage the body was stripped back to the metal and all components were removed and replaced or restored. The triple carburettor Vantage engine was sent to world renowned specialists RS Williams for a £40,000 full engine rebuild. The bodywork was completely restored and the paintwork painstakingly reapplied. A number of thoughtful and subtle upgrades were also made at this stage – more of which shortly. The restoration was complete in 2018 at a total cost of around £190,000. The odometer reading roughly 80,000 miles at this stage and was zeroed on completion of the restoration. Today the odometer reads a little over 1,000 miles. ‘185 XUK’ is being sold with the most comprehensive paperwork files imaginable. This includes diligently kept notebooks from the first owner, logging the mileage covered and all work undertaken between 1962 and 1985. Work from both subsequent restorations has also been painstakingly documented and recorded. Despite its MOT exemption as an Historic Vehicle, ‘185 XUK’ is complete with an advisory free test valid until April 2025.The Aston Martin DB4 was a watershed car for the historic British marque. Much more than a mere revision of its predecessor, it boasted a svelte lightweight, superleggera body designed by Carrozzeria Touring in Milan. Out went the Lagonda 2.9-litre engine of the DB2/4 MK III in favour of a new 3.7-litre Tadek Marek straight six unit. Upon its introduction in 1958, the DB4 became the first model to be built at the famous Newport Pagnell factory. This example’s latest restoration is a triumph and as thorough as its six figure cost would suggest. The attention to detail exhibited is truly outstanding. The underside presents probably better than a brand new DB4 did. The braking system, suspension, rear axle and floor pans all look like new. The whole underside appearance is remarkable. The engine bay is pristine, and its original factory Vantage engine looks as good as it performs. The interior is every bit the equal of the rest of the car and has been completely re-trimmed and re-upholstered in sublime red leather.During the restoration a raft of expertly chosen upgrades were made to further enhance the usability and utility of ‘185 XUK’ for the modern world. These include a high power ignition system, high power alternator, a custom aluminium radiator, aluminium fuel tank, Kenlowe fan, uprated HBE handling kit, stainless steel exhaust system, fully upgraded sound deadening, modern central locking system, RSW hose set and stainless steel oil cooler and pipework. Such is the calibre of ‘185 XUK’ that it was featured in a Prestige and Performance Car multipage feature in 2023. The tester concluded the feature by reporting that “the last time I enjoyed this kind of visceral excitement was when I drove a majestic Lamborghini 350 GT 20 years ago.” This, then, is clearly an Aston Martin DB4 Vantage with vanishingly few equals.

A Nintendo Game Boy and magnifying screen together with games MARIO GOLF, TETRIS and SUPER MARIO ADVANCE for Game Boy Advance and some loose boxes and game manuals (Qty)

A shooting script for the 18th JAMES BOND movie TOMORROW NEVER DIES (1997) starring Pierce Brosnan as 007, with an annotation to the front believed to be by Writer and Director Daniel Petrie Jr, reading "Brian - The writing life is never dull! Thank you for everything, and I look forward to seeing both our work on the silver screen. Love to Jane, Dan"

An oak fire screen with needlework panel together with a wool work picture, framed and glazed.

A 19th century rosewood occasional table/formerly a pole screen.

• Offered with mileage verification certificate• Comprehensive service history• ULEZ CompliantIn 2003, Jaguar introduced the re-engineered and newly designed third generation of the XJ. It featured an all-aluminium body and chassis and a new V8 engine. The V8 engine was offered in larger 3.5 and 4.2 litre as well as in a supercharged variation. A new six-speed automatic gearbox was fitted which was lighter and offered better economy. Air suspension was fitted at the front and rear, providing adaptive damping as well as rear self-levelling with computer-controlled ride height and suspension mode. Jaguar launched the X358 facelift to the X350 at the end of February 2007 with a revised lower grille, prominent faux side air vents, small boot lid spoiler, and revised seating. A Jaguar emblem within the grille replaced the previous bonnet-mounted mascot. This stunning low mileage example was first registered in 2007 and is presented in Liquid Silver Pearl with Barley piped leather trim. Sitting on 20-inch Callisto alloy wheels shod with Pirelli Tyres all round, this is a 2008 model year that were Ian Callum re-designed cars. A rare car being XJR powered (400bhp) with Sovereign levels of comfort and suspension settings, boasting a mere 36,782 miles from new with a mileage verification certificate supplied when the car was recently repatriated to the UK from Japan. The car is supplied with a new V5 registration document coupled to a new MoT test certificate valid until March 2026 with no advisories. We are informed the car boasts a service history from new as well as the mileage verification certificate, a full book pack, two keys and is ULEZ compliant. The car presents as new, unsurprisingly, but importantly has a full UK specification radio, speedo and satellite navigation so very much UK specification. Further treats on the car include Xenon headlamps, headlamp power wash, front and rear parking sensors, heated and cooled front seats with memory, electric recline and heated rear seats, rear electric screen blind and rear door blinds, electric steering, pedal and mirror adjust with memory, speed limit and cruise control, auto lights and wipers, picnic tables and double-glazed acoustic glass. Having recently sold a very similar car in excess of £28,000 with very similar mileage, this is sure to be a very popular example. Viewing is advised to appreciate the quality of a car which the vendor describes as a 10/10! Consigned by Mathew PriddyULEZ COMPLIENT 36,000 MILE SOVEREIGN SPEC XJRCOMPREHENSIVE HISTORY FILE & MILEAGE VERIFICATION CERTIFICATE