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Wanna be a rock star, enjoy electric guitar lessons with Andy Gatford - Our resident rock teacher, Andy Gatford, is offering 2 electric guitar lessons to the winner of this lot. He has been teaching and performing for over 25 years. Andy can teach guitar and bass in any style at any level and is a regular peripatetic tutor at Repton school. Andy also has his own song writing and music production company and has written songs for Disney, as well as music for New Balance football. He has also toured with Soundgarden in the early 1990's (toured with Red Hot Chilli Peppers and played guitar music for several TV shows)

Registration – EM 1868Chassis No. – 3909M.O.T. – ExemptOdometer – 36,733Alvis were formed shortly after the Great War in Coventry. Their first car was the 10/30 built around an advanced engine with aluminium pistons and forced lubrication. The 12/50 model was launched for 1924 with it utilising an improved version of its predecessor’s engine. ‘EM 1868’ is a fine example of this model from just its second year of production and is a TE model with a stronger chassis with the enlarged 1645cc engine. ‘EM 1868’ has reportedly been the subject of an 11-year, no expense spared restoration. Presented here in an interesting three door, full convertible Sports Tourer trim, ‘EM 1868’ is a very rare car indeed in a superb overall condition. In its current ownership since September 2022, ‘EM 1868’ is guided at a level significantly less was spent during its diligent and extended restoration. A superb and fleeting ownership opportunity offered from the large collection of an individual enthusiast.The enlarged 1645cc four cylinder petrol engine was the key to the 12/50’s desirability. As all 12/50s were, ‘EM 1868’ is fitted with a four speed, non-synchromesh gearbox and is right hand drive. The restoration commenced in around 2011 under the stewardship of the owner before last. The chassis was taken back to the Alvis Phosphate coat and then given a further six coats of enamel, two coats of primer, undercoat and topcoats. The engine was rebuilt and converted to run on unleaded, before the timber frame was restored by Alwyn Lee. This schedule of works was reported to cost in the region of £15,000. The previous owner acquired ‘EM 1868’ at around this stage and went on to finish the restoration to include bodywork, interior trim and further recommissioning of the engine. This work was completed shortly before the current vendor acquired it in 2022.‘EM 1868’s’ remarkable Sports Touring body is finished in Dove Grey with a new full length hood and associated weatherproofing gear. The unusual three door configuration looks stunning with its long running boards and charmingly curved wings front and back. The interior is fully retrimmed in striking scarlet leather upholstery. The mechanical facets of ‘EM 1868’ are rated as “average” with the bodywork, paintwork and interior as “excellent.”In summary:A beautifully restored example of a rare and desirable AlvisRestored to its current condition regardless of cost over an 11 year periodComplete with a photographic record of the restoration

Registration – WNE 837LChassis No. – YB57689DLM.O.T. – ExemptOdometer – 19,305Despite being over 50 years old, ‘WNE837L’ has known only four keepers to date. The first two accounted for the first 46 years of this Triumph’s life. The current owner acquired ‘WNE837L’ just two years ago. Today ‘WNE837L’ records just 19,305 miles on its odometer. This can’t be warranted but the vendor reports it is feasibly original based on ‘WNE837L’s’ condition and presentation. A high level of originality is noted, and much remedial work has been undertaken in current ownership. This includes five new tyres and a new battery. ‘WNE837L’ is classified as an Historic Vehicle based on age and so is zero rated for VED and MOT exempt. ‘WNE837L’ is being offered here with NO RESERVE.‘WNE837L’ is thought to present in it's original factory paintwork of Mineral Blue. This combines well with the deeply chromed radiator grill, bumpers and overriders and panel edging strips. The originality, as with the rest of the car, is most striking and the vendor notes there is a “little patina” to the exterior of ‘WNE837L.’ The design of the Triumph 1500 was the work of the celebrated Giovanni Michelotti who did a number of designs for the firm during the ‘60’s and ‘70’s. The interior is another time warp experience looking much as it would have done from new. Triumph’s place in the BMC firmament was as an upmarket offering so there is plenty of wood veneer, chromed fittings and deep carpets in evidence. The predominant shades are variations of blue with some black vinyl noted in places. The paintwork, bodywork and interior are all rated as “good.”‘WNE837L’ is fitted with the 1493cc version of the Standard SC engine and is fitted with a single SU carburettor in this application. This endowed the original with around 65bhp which proved plenty for a sub-1000kg car. Much work has been undertaken during current ownership to include new brake cylinders all round, a new old stock exhaust system, a refurbished fuel tank and a replacement clutch slave cylinder. Modern electronic ignition has also been fitted.In summary:· A highly original example of the breed with just four owners to date.· Much remedial work done in the current ownership so ready to enjoy.· MOT exempt and zero rated for road tax based on Historic Vehicle status.

Registration – J449 KNVChassis No. – WDB2010292F909602M.O.T. – ExpiredOdometer – 177,000‘J449 KNV’ is an original looking example of Mercedes-Benz’s first compact car in W201 form and 190E 2.6-litre specification. Mercedes-Benz’s W201 was the product of 8 years of development and £600M of investment in order to take the fight to the BMW 3 Series. This example dates from 1992 and has been enjoyed by six previous keepers. ‘J449 KNV’ is described as a “good runner” and is the bigger, more powerful 2.6-litre example. ‘J449 KNV’ comes complete with plenty of supporting paperwork but doesn’t current hold an MOT with its last one expiring in February 2024. ‘J449 KNV’ is offered here with NO RESERVE and, so, represents an enticing ownership opportunity.‘J449 KNV’ presents in Solid Grey complete with lighter, contrasting “Sacco” panels along each flank. The Mercedes-Benz 'gullideckel' or manhole cover alloy wheels are fitted as is a prominent rear boot spoiler. The interior was surprisingly spacious given the W201’s reduced form factor compared with anything else in the range. ‘J449 KNV’ benefits from the desirable full leather interior adding an extra level of prestige and luxury. A couple of minor imperfections are noted, to include a damaged front arm rest, some loose door cards and intermittently working window switches. The vendor rates the bodywork, paintwork and interior as “average.”‘J449 KNV’ is fitted with the desirable 2.6 litre, inline six cylinder engine M103 engine fitted with Bosch K-Jetronic fuel injection. This was originally rated at around 160bhp and this power is fed to the rear wheels via the optional four speed automatic transmission. Originally this was good for a 130mph plus top speed combined with a smooth, refined delivery. ‘J449 KNV’ has recently been serviced which included a gearbox fluid replacement. The engine and electrics are rated as “average,” and the gearbox as “good.”In summary:A highly original example of the much admired W201 190E in 2.6 litre formCompete with plenty of supporting paperworkSpecified with the desirable full leather interior

A Hilger & Watts surveyor's level SL5, circa 1960, s no.101319, in wooden case, a Hilger & Watts theodolite in metal case ST150-4, and a Vickers CTS orange V22 theodolite in wooden case, circa 1960's, serial no. V222701 (3)

• Chauffeur driven car for Field Marshal Montgomery during WWII• HM King George VI, Winston Churchill and General Eisenhower were driven in this car• The Phantom III was the only pre-war Rolls-Royce powered by a V12 engine• Incredible history file and highly interesting provenance• Fitted with overdriveWe are pleased to present a truly remarkable automobile – the 1936 Rolls-Royce Phantom III Touring Limousine by Freestone & Webb, chassis number 3-AZ-186. A total of only 710 Phantom IIIs were built before production ceased due to the war, and today, fewer than 300 examples are thought to remain worldwide. This stunning car, famed for its smooth-running 7,338cc V12 engine and unparalleled luxury, is far more than a testament to the marque’s engineering prowess. It is an extraordinary piece of history, with direct connections to some of the most iconic figures of the Second World War, including Field Marshal Montgomery and Winston Churchill.The story of this Phantom III begins in 1936, when it was initially owned by Frederick Wilcock, the CEO of the Talbot Motor Company. At the outbreak of World War II, the car was requisitioned by the Ministry of War’s Transport Section for use by Field Marshal Montgomery, the commanding officer of the British Eighth Army. Montgomery, famously known as “Monty,” used the Rolls-Royce as his personal staff car during the war. The vehicle became known as the ‘Green Car’ due to its unique British Racing Green and black livery, a change from Montgomery’s usual black Rolls-Royces.Montgomery used the Phantom III extensively, travelling between his homes in Virginia Water, Surrey, and London, as well as during his time at Southwick House near Portsmouth in the crucial months leading up to the D-Day invasion of Europe. This car was part of the tight security and secrecy surrounding those meetings. In fact, Montgomery’s car carried not only him but also high-ranking military figures, including General and 34th President of the United States Dwight D. Eisenhower, Prime Minister Winston Churchill, and HM King George VI. A particularly fascinating detail is the custom electric cigar lighter fitted in the rear compartment for Churchill's personal use, still in place today.After the Allied victory in Europe, the Phantom III’s service continued. It was reassigned to the Chief of Staff of the United States Army Air Force, General Carl Spaatz. Unfortunately, while in American hands, it suffered some damage when an American fuel tanker backed into it, the damage that was subsequently repaired. In the 1950s, during the Suez Crisis, the car was purchased by a rubber-planter in Malaya and shipped to Penang. Given the closure of the Suez Canal, it was driven through Italy and shipped from Capetown to its new home in Malaya.By this time, the Phantom III had already earned a reputation as one of Rolls-Royce’s finest models, powered by the iconic V12 engine, unique to the Phantom III and the only Rolls-Royce to be powered by a V12 until the Silver Seraph arrived in 1998. Known for its smoothness, near-silent operation, and extraordinary torque, the Phantom III set a benchmark for luxury motoring in its day. Although the car had faced mechanical challenges in more remote regions, its engine was rebuilt several years ago and remains in superb condition. It now benefits from the fitment of overdrive, enhancing its refinement for modern road use. The car was serviced at Cheshire Classic Cars in 2017 at a cost of around £11,000 plus VAT, work consisted of a comprehensive engine service, a new exhaust system, and an alloy carburettor to replace the fragile Mazak original. In more recent years, the car has seen very little use, so some recommissioning would be recommended but the engine ran very smoothly during our photography, with some coughs from the exhaust, possibly due to either old fuel or an exhaust leak.In 2014, DGY 1 was driven back to Southwick House for a commemorative event marking the 70th anniversary of D-Day. Present at the event were prominent figures such as Patrick Churchill, Winston Churchill’s grandson, and Lady Arabella Stuart-Smith, Montgomery’s granddaughter. The car’s participation in this event, along with its mention in various media outlets, solidified its status as an important historical artifact.The extensive history file for this vehicle is a testament to its remarkable past, including its original wartime requisition letter. The file also contains numerous old logbooks, a huge amount of correspondence during the 1960’s when Mr Wilcock’s Son was trying to track down and purchase the car, writing to several owners trying to chase the car, but often just missing it after it had been sold, photographs, and further documentation detailing the car's fascinating ‘second life’ after the war. This 1936 Rolls-Royce Phantom III (DGY 1) is a rare and historically significant motorcar, offering a unique connection to the military and political leadership of World War II. It is a true collector’s piece, preserved in remarkable, possibly original, condition and benefitting from a well-documented provenance. A once-in-a-lifetime opportunity, this Phantom III is a must-see for any serious collector of automotive or wartime history. Supplied to auction with V5C registration document, highly detailed history folder and fitted toolkit in the boot, this Phantom III would be welcome at many top-level events and deserves to be shown around the world. Consigned by Fraser SmithCHAUFFEUR DRIVEN CAR FOR FIELD MARSHAL MONTGOMERY DURING WWIIHM KING GEORGE VI, WINSTON CHURCHILL AND GENERAL EISENHOWER WERE DRIVEN IN THIS CARTHE PHANTOM III WAS THE ONLY PRE-WAR ROLLS-ROYCE POWERED BY A V12 ENGINEINCREDIBLE HISTORY FILE AND HIGHLY INTERESTING PROVENANCE

Five 0 gauge finescale coaches, to include three 4 wheeled Stroudly coaches, in Southern green livery, to include a brake end, and two all thirds, all fitted with sprung three link couplings, solid buffers, a good level of brake detail, and are built to a very good standard, painted to a good standard, and are in very good condition, together with an S&DJR 6 wheeled composite coach, with luggage compartment, by Connoisseur models, or similar, fitted with a compensation unit, sprung buffers, sprung screw link couplings, and some brake detail. The coach has been built and painted to a very good standard, together with a Slaters Maunsell composite brake coach, in Bullied green livery, built to a very good standard, painted to a good standard, housed in the original box, in very good condition.

First World War family medal groups to the brothers of the Adcock family comprising First World War Military medal (M.M.) named to 24022 PTE. A. H. Adcock. 7/Suff. R. War and Victory medals named to 24022 PTE. A. H. Adcock. Suff. R., together with a trio comprising 1914 - 15 Star, War and Victory medals named to 538. S. D. E. J. Adcock D. H. R.N.R., and a pair named to 26713. PTE. J. H. Adcock. W. Rid. R. (All medals court mounted).N.B. Private Albert H. Adcock was awarded the military medal, The London Gazette, 16th of July 1918, the diary entry and the appendices one, 211 report the battalion activities during the period 2nd to 6th of April 1918. The report breaks its report down to company level D company commanded by Captain G.L. Crandon M.C. were in the trenches on the 4th, when an ugly incident took place. A post occupied by Sergeant W. Drew came under attack. Under the NCO's influence, the men with him had discarded their equipment during the bombardment, and Sergeant Drew put up his hands in token surrender, without making the slightest effort to defend his post. Captain Crandon shouted to them to defend a post. It was apparent the men heard, owing to considerable hesitation on the part of the three, however, all went towards the enemy. Captain Crandon at once, ordered his company to shoot at them and at least fire two of the five wounded. Conditions were extremely difficult with bad weather, rain in mud, the trenches were continually swept by hostile gun and machine-gun fire, snipers reactive the diary appendices records. Private Adcock of 'D' company, was one of 13 officers and men whose valuable work was recognised.Deckhand Edgar John Adcock was lost at sea on the 29th of February 1916, age 24 H.M.T. Tugela was sunk by mine off Lowestoft. The trawler was built in 1900 and was 33 tons and armed with one 3 pound of gun.Private J H. Adcock, the third of the brothers served with the West Riding Regiment.

A boxed Pedigree 1980's three level "Sindy" House.

This collection of four hardcover books provides an in-depth examination of World War II leadership, Nazi military strategy, and post-war justice. Hitler and His Generals: Military Conferences 1942-1945 offers a detailed record of high-level discussions shaping Germany’s war effort. Hitler: 1936-1945 Nemesis by Ian Kershaw provides a critical biography of the dictator’s final years. Tyranny on Trial by Whitney R. Harris chronicles the Nuremberg Trials and the pursuit of justice against Nazi leaders. The Biographical Dictionary of World War II by Mark M. Boatner presents key figures who shaped the conflict. A must-have set for military historians, scholars, and collectors. Largest book measures 9.25"H.Dimensions: See DescriptionCondition: Age related wear.

The rare 'H.M.Y. Helga, Irish Sea 1918' D.S.M. group of six awarded to Leading Deck Hand E. E. Duff, Royal Navy and Merchant Fleet Auxiliary, who was in charge of Helga's gun when she was credited with sinking a German submarineDespite her Irish heritage, Helga was commandeered by the Admiralty in March 1915 and later used by the Royal Navy to shell Liberty Hall in Dublin from the River Liffey with her pair of 12-pounder naval guns during the Easter Rising of 1916Distinguished Service Medal, G.V.R. (Ldg. Dk. Hd. E. E. Duff, (A.P.) H.M.Y. Helga. Irish Sea 4. Apl 1918); Naval General Service 1915-62, 1 clasp, Persian Gulf 1909-1914 (210674. E.E. Duff, Lg. Sea. H.M.S. Highflyer.); 1914-15 Star (E.E. Duff, A.B. M.F.A.); British War and Victory Medals (E.E. Duff. D.H. M.F.A.); Mercantile Marine War Medal (Ernest. E. Duff), good very fine (6)D.S.M. London Gazette 29 November 1918, the original citation states:'HMY Helga attack on enemy Irish Sea 4 April 1918. In charge of gun when HMY Helga sank an enemy submarine.'Ernest Edwin Duff was born at Deal, Kent on 12 April 1885. A telegraph boy, he enlisted in the Royal Navy as a Boy 2nd Class on 12 April 1903. A succession of shore and sea-based appointments followed and on 21 February 1911 he was drafted to Highflyer, serving aboard her until 29 May 1913. Later that same year he was invalided from the service with myopia on 9 October.Duff married Kathleen Power in Dublin in September 1916 and despite his disability enrolled in the Merchant Fleet Auxiliary, joining H.M.Y. Helga for service during the Great War.1916 Easter UprisingChris Shouldice takes up the story in his online article 'The Captain's Table':'HMY Helga is infamously known for its role in shelling Dublin during the 1916 Rising but before she was pressed into war service, she had a far more benign profession as a protection cruiser and research vessel for the Department of Agriculture and Technical Instruction. Built in the Liffey Dockyard in Dublin in 1908 and originally named the Helga II, her purpose was to engage in fishery patrols, monitoring the coast for any illegal fishing activity. She was also equipped with a laboratory for marine research and took part in research projects like the survey of Clare Island in 1909.As the British found themselves in an unexpectedly lengthening war in Europe, she was taken over by the Admiralty in 1915 for military purposes as an armed auxiliary patrol yacht. She was renamed the HMY Helga and served as an anti-submarine patrol vessel and an armed escort.It was however in Ireland during the 1916 Rising that the Helga's most notable acts occurred. The Helga was summoned by British forces to the capital to use artillery to root out Irish Volunteers. On the 26th of April 1916, positioned on the Liffey, she raised her 12-pound artillery guns over the Loop Line railway bridge and fired at her first target Liberty Hall, the headquarters of the Citizen Army. Her shots were less than accurate, and her shells destroyed much of the surrounding buildings and beyond. She also targeted the GPO and Bolland Mills which Eamon De Valera had occupied.1918 rescuing survivors from R.M.S. Leinster.In 1918, she successful sank a German U-Boat Submarine off the coast of the Isle of Man. This was the Helga's first and sole confirmed sinking during the war. However, the presence of U-boats continued to be a real threat to the merchant and passenger vessels in the Irish Sea.In 1917, the Germans began placing their U-boats in the Approaches, the name given to the region near the entrance and exit to the Irish Sea. This was an attempt to stifle the British attempts at Trans-Atlantic trade. The RMS Leinster was typical of their targets, a passenger ship which, along with three other sister ships, made daily crossings from Kingstown (now Dún Laoghaire) to Holyhead. Known for its exceptional speed, the RMS Leinster held a place of pride in Irish eyes, as it was seen to be their representative in the commercial competition over the Irish Sea. The Leinster along with its sister ships, had won the tender for the Royal Mail delivery from Ireland to the British mainland. While it provided valuable employment to the people of Kingstown and Holyhead in Wales, the requirements of this contract were strict. There was a stipulation that the post collected in Dublin had to be delivered to the mainland the following day. This meant that the RMS Leinster ran daily, and on-time no matter the circumstances.On the morning of the 9th of October (1918), the RMS Leinster set out from Dun Laoghaire, filled to capacity, for what was to be its final voyage. Despite the U-boat warnings, that morning was no different, the war had been in action for four years, and the crossings were routinely unprotected. Furthermore, the level of censorship which the British government exercised over the press meant that many civilians were largely unaware of the danger that awaited them. Lurking under the waters off Kish Island was U-boat 123, which had already sunk two boats since it left Germany days earlier. At 09:45, the first torpedo was fired, shooting past the brow of the Leinster. The second was a direct hit, and a third torpedo sunk the entire vessel.Coaling, or refuelling, that same morning in Dublin was HMY Helga, the same ship which had been shelling the city two and a half years earlier. That day however, the Helga succeeded in being first on the scene of the Leinster sinking, and managed reach it just in time to rescue approximately 90 passengers, though there is some confusion as to the exact number. These passengers were not returned to Kingstown but disembarked in Wales. Due the controls on wartime press, the British government were keen to keep any such disasters out of the public eye'.Duff died on 11 November 1935 at Dover, at the time he was employed on the Trinity House Pilot Cutter, S.S. Prudence. (The Dover Express of 22 November 1935 refers).Sold together with his silver wound badge, this numbered B158828, a copy photo of Helga, a postcard of Highflyer, copy of Helga's ships log from the National Maritime Museum for 4-5 April 1918 and a copy of Irish Naval service.…

'It is always good to know some of us survived the War, it is a long time now but looking back we were very fortunate to get into Oosterbeek at all! And then to live to tell the tale is remarkable, many of our fellow Glider Pilots didn't survive that 10 days of chaos. How you managed to get over the Rhine at the evacuation is a marvel.'So wrote Sergeant Thomas, 2nd Pilot, to Sergeant Cawthray.The well-documented Battle of Arnhem campaign group awarded to Sergeant Pilot G. Cawthray, 23 Flight, 'G' Squadron, Glider Pilot RegimentA pre-War professional cricketer who turned out for Yorkshire, Cawthray successfully went into action on Op Mallard - 6 June 1944, D-Day - and Op Market Garden, the Battle of Arnhem, sharing fully in the action over those famous days1939-45 Star; France and Germany Star; Defence and War Medals 1939-45, mounted as worn, good very fine (4)George Cawthray was born on 28 September 1913 at Selby, Yorkshire and from a young age excelled as a cricketer, in perhaps the most important county for that game in England. Such was his skill that Cawthray shone for Brayton School, Hull Cricket Club and eventually the Second & First XI for the 'White Rose' County.With the outbreak of the Second World War however, he joined the Glider Pilot Regiment (No. 4695914) and became a Sergeant Pilot, going through 21 EFTS during 1943 and having some 178hrs 25mins on his Flying Log Book by early May 1944 and having taken his 'Wings'.Op MallardSo it was that on 6 June 1944, flying with 23 Flight, 'G' Squadron, Glider Pilot Regiment he clocked up 2hrs of Night Flying in PW661, landing near Zetten, with Sergeant Thomas as 2nd Pilot, taking in a jeep & trailer and two motorcycles for the 1st Parachute Brigade, on D-Day itself. Little more need be said of the importance of the work of this embryonic unit on that fateful day. Cawthray was also called on as 2nd Pilot of Stirling 'B' on 26 August for an Op to France to assist the Special Operations Executive. He logged 6hrs 55mins and landed back at Harwell the next day.Op Market GardenThe unit were of course to be kept plenty busy in September 1944, Cawthray went in with Sergeant Thomas again, taking Horsa PW656 on 18 September for their fateful three hour flight by day. Cawthray got them down and then shared in the epic events that followed. His name features in the diary of Lieutenant Mike Dauncey:'18 September -S/Sgt. Cawthray of our Sqdn arrived in great form - he had landed south of the Rhine and got his party with jeep over by the ferry - a good show.Spent a shocking night hiding in our trenches on the banks of the Rhine waiting for an attack which did not materialise. Extremely cold. Had difficulty in keeping chaps awake as we were not to move about.'He gives a good flavour of what Cawthray would have shared in on 25 September:'Things started fairly early Monday morning, particularly on our left. The old tigers started coming down the road once more and I thought that if they did not have a little opposition they would go right through, so with one paratroop I took THE gammon bomb and set off through the gardens a little up the road andsettled down to wait for them at the side of a house by the road. We could hear them too clearly though they were moving very cautiously and obviously had plenty of ammunition. After a few minutes the chap with me belted off, so my local protection wasn’t too good. Eventually the tank crept into view and I waited until it was exactly level with me and ran forward and let fly with the bomb.The result was disappointing. The fuze was quite a long one so I wondered if it would work however eventually after a long pause, there was a loud explosion and lots of dust but when it had all settled down the tiger looked very much the same as before. As I only had a pistol there wasn't much future in staying put so I made my way back to my house which had been evacuated. A little further down the road there was a sort of barn complete with outhouses etc. where there were about 4 chaps rather wondering what to do We arranged a little ambush around here (after a little hand grenade duel) as of course they were quite close. I was told that they had broken through on the other side of the road and indeed this wasthe case and we had a slogging match across the street using the Bren and pistols.Just then someone shouted "Look out here they come" and two chaps darted off. However luckily it wasn’t true. However I was then shot through the thigh. The two other chaps with me one of them wounded in the face were very good. We all got down one man looking out for the jerries and the other helped me to dress my leg. We had just done that and were deciding on the next step when something came over the corner of the outhouse and landed about 3 feet away. I turned to see what it was and the grenade exploded immediately in my face. The two paraboys were excellent and put a shell dressing over my mouth. I could think clearly but felt very weak. The two chaps then helped me to the RAP which unfortunately wasso full that I couldn’t get inside. I was left outside by the side of a dead manwhere I stayed for some time until awakened by the rain when I managed to pull the dead man’s blanket partly over myself. I couldn’t get to that house though and stayed there until someone came outside and I managed to attract his attention.The MO had been hit and it was impossible for the orderly and Padre to do anything as there must have been at least 300 chaps there. The drill was get a blanket, find a spot to lie down and a cup of char (tea) but unfortunately this came out again through the hole in my chin which I have since heard from other people was a most amazing sight. The padre then did a very good thing - I don’t know the time but fighting was going on all around with the tigers knocking all the houses for six as usual and he went outside with the Red Cross flag and told the tank commander the situation with the result that we were left alone.'Cawthray was lucky not to go 'in the bag', as recalled in a letter by Sergeant Thomas:'...It is always good to know some of us survived the War, it is a long time now but looking back we were very fortunate to get into Oosterbeek at all! And then to live to tell the tale is remarkable, many of our fellow Glider Pilots didn't survive that 10 days of chaos. How you managed to get over the Rhine at the evacuation is a marvel.'The Log Book confirms his flight from Brussels to Northolt on 29 September as 2nd Pilot on Dakota DK866, no doubt glad to have a break from the controls. Cawthray then transferred out to India.25001 SALEROOM NOTICE:A newspaper report in the Sunday Mirror of 17 December 1944 gives moving details on how Cawthray swam the Rhine out of Arnhem, carrying a letter for his good friend, Sergeant Pilot Stanley Lewis, which he carried home to his wife and children to let them know he was thinking of them. Cawthray stated: "I am very lucky to be alive myself, having had my nose and both lips shot away, as well as bullet wounds in the head. Once again, please don't worry about Stanley - he's being well cared for."

A collection of surveying and other instrumentsIncluding: A mahogany cased theodolite by E.H.Robinson of London and Shrewsbury; a cased theodolite by Stanley of London; a brass drum sextant by W&S Jones of 30 Holborn, London, in leather carrying case; a cased brass surveyor's cross with compass; a mahogany cased surveyor's compass by Davis & Son of Derby; a brass level sight by Reynolds of Birmingham; a military issue Verner's Pattern VII compass dated 1917; a pocket combination barometer and compass by J.Casartelli of Manchester; a lignum vitae and brass spirit level by J.Rabone & Sons of Birmingham; and three cased sets of draughtsman's tools.

Ubisoft Assassins Creed Brotherhood Ezio Auditore Da Firenze Figurine & Assassins Creed II Black edition (no game). Condition Good to Excellent

David De Gea – Match Worn Boots: An Iconic Piece of Football History Game: Manchester United Vs Tottenham Hotspur David De Gea, the legendary Manchester United goalkeeper, is known for his remarkable performances and his ability to make spectacular saves. His match-worn boots from the game against Tottenham Hotspur on January 13, 2019, serve as a testament to his skill and dedication on the pitch. This match, held at the historic Wembley Stadium, was not just another ordinary game; it was a display of tactical football and individual brilliance, particularly from De Gea, whose performance is often remembered by fans and analysts alike. The significance of the match was heightened by the context surrounding it. At that time, Tottenham was one of Manchester United’s fiercest rivals, making the stakes even higher for both teams. Result: Manchester United 1, Tottenham Hotspur 0 During the match, De Gea’s performance was nothing short of extraordinary. His agility and reflexes allowed him to make a staggering 11 saves, with four of them executed using his feet, setting a record for that season. Fans recall the electrifying atmosphere as he single-handedly kept Tottenham at bay, showcasing his incredible shot-stopping ability. In addition to his impressive saves, the match was marked by a pivotal moment that would solidify De Gea’s place in Manchester United folklore. Commentator Martin Tyler’s remark about framing the boots due to De Gea’s outstanding performance resonated with fans and players alike, making the boots a cherished artefact of football history. After the match, De Gea skilfully analysed his performance, sharing insights into his mindset during the game. He mentioned the importance of focus and preparation, highlighting how each training session contributed to his readiness on match day. Moreover, De Gea’s relationship with his defenders played a crucial role in maintaining a solid back line. He often communicated effectively with his teammates, ensuring they were aware of threats and positioning themselves correctly to support his efforts. The match showcased a blend of tactical discipline and individual brilliance, further emphasising the importance of teamwork in achieving success at the highest level of football. Date: January 13, 2019 The story of these boots reflects the journey of David De Gea’s career at Manchester United, a path filled with challenges, triumphs, and unforgettable moments that have left an indelible mark on the club’s history. In a generous gesture, De Gea gifted these iconic boots to a fan, further solidifying his status as a player who appreciates his supporters. This act of kindness was in response to a heartfelt tweet from his father, showcasing the personal connections that football can foster between players and fans. These football boots, designed meticulously by adidas, were not just equipment; they were a symbol of excellence in goalkeeping, reflecting De Gea’s status as one of the best in the world. The match was memorable for a fine string of sales by De Gea to deny spurs, with 11 saves in the  game, 4 with his feet which was a record for that particular season. The Manchester United keeper famously framed the boots based upon comments made by commentator Martin Tyler, who suggested based on his performance he should have the boots framed.  https://www.dailymail.co.uk/sport/football/article-6620141/Man-Utd-keeper-David-Gea-frames-boots-wore-stunning-display-against-Tottenham.html. Manchester United manager Ole Gunnar Solksjaer: “You expect to win every single game at Manchester United. You won’t, but you must think that. That’s the mentality of this group. “In the first half we were excellent and in the second they put us under pressure. We could have scored a few as well but we had a good back four and David [de Gea] was unbelievable. “We created enough chances to put the game away by the break, but if you don’t score you will be under pressure. We defended fantastically.” The silver boots from adidas, part of the COPA range, featured exquisite craftsmanship, with De Gea’s name elegantly embroidered on the side in black, making them not only functional but also a collector’s item. The vendor was then gifted the boots by De Gea  in response to a tweet from his father. Further Details Club Manchester United Name David De Gea Season 2019/20 Match Manchester United vs Tottenham Hotspur Condition Good match worn condition commensurate with age. Provenance Gifted to vendor by de Gea Provenance Available Letter from de Gea and newspaper article outlining the story: https://www.thesun.co.uk/sport/football/8689895/man-utd-de-gea-boots-fan-present/ Status Match worn

Sir Tom Finney:  This is a print of the iconic image aqua-planing at Stamford bridge in 1956 playing for Preston North End. It was an acknowledged masterpiece – the 1956 sports photo of the year – which showed a spray-shrouded Tom Finney aquaplaning down the wing on a sodden afternoon at Chelsea.  Finney represented Preston in all five of the old forward positions. Although slight, he was a ferocious ball-winner. Although not tall, he could be deadly in the air. He was quick, an accurate passer and a frequent scorer, with 187 goals in 433 appearances for Preston. He even became England’s leading scorer upon getting his 30th goal against Northern Ireland in 1958, but two weeks later Nat Lofthouse drew level and both were to be eclipsed by Bobby Charlton in 1963.

BOB HILLER | ENGLAND | 1969 / 1970 / 1972Jersey match worn by Robert Hiller (b.1942), traditional all-white, embroidered three colour rose on stem with toned leaves, black felt number 15 to reverse, Umbro International label to the interior (size 42ins). To accompany:Programme Wales vs. England 12th April 1969, both JPR and Hiller’s names therein.Programme Wales vs. England at Twickenham, dated 1970.Hiller and JPR became good friends on the Lions tour of New Zealand in 1971 when Hiller was appointed captain for one of the mid-week matches. JPR commented that "…Bob was one of the great characters of the tour. He really kept us above water with his remarkable humour" it was said that Hilller was always able to raise the spirits of the tour party,Hiller scored a fabulous 102 points from ten games for the Lions in New Zealand and had scored 108 points in South Africa in 1968.JPR (family notes, 2023):“I had played against Bob a number of times before ‘71: either for London Welsh against Harlequins or for Wales v England. I respected him and liked him. I liked him even more in ‘71 when we finally arrived in NZ via many airport stops and two poor games in Australia. Early on, he took me aside and said to me he thought I would be the Test team Full back and that he would mostly be in the T’s and W ‘s and that we would support each other.. He was an experienced Lion and knew about the midweek games. He was a wonderful tourist and scored around 100 points for us in the three months. After team training, Bob and Barry (John) would stay behind to practise goal kicking. I stayed as well to gather the balls and punt them back to them. The rest of the team were surprised that I could drop a goal from near the halfway line…. but not Bob! I learned a lot from him. And also from Barry, but he had such flair, was such a natural that no-one could copy him... a magical player. In later years, I would meet up with Bob Hiller after Twickenham matches. He would instruct the doorman (to the Ex players room) to expect me and we would have great catch ups.”Hiller earned 19 caps for England between 1968 and 1972 as a fullback, known for his reliable goal-kicking and strong defensive skills. He captained England seven times and represented Harlequins at club level. Hiller was particularly known for his accurate kicking, both for goal and tactical play. Although he did not play in any British Lions test matches, he was part of two British Lions tours.In the Radio Times, 26th February 1970, John Hopkins interviewed both JPR and Hiller before their Five Nations match at Twickenham, with Hiller as captain."Hiller is the sort of kicker who will put one over from the touchline when his side is one point down with a couple of minutes to go".JPR in the same article said "On his day, Bob is one of the best kickers in the world. And he has an uncanny knack of intercepting. He’s a good bloke off the field too. I once saw him with his fiancée in a pub around the corner from here and we had a drink or two together".JPR and Hiller remained life-time friends.Additional playing days images courtesy of Colorsport (Copyright)

ALASTAIR HIGNELL | ENGLAND | 1975 / 1976 / 1977 / 1978 Jersey believed match-worn by Alastair James Hignell CBE (b.1955) in one of his several test matches against JPR. Traditional all-white, embroidered three-colour rose on stem with toned leaves, black felt number 15 to reverse, Umbro International label to the interior. Hignell faced JPR in each of the suggested seasons – he was never on the winning side!Hignell was a talented dual-sport athlete who represented England in rugby while also playing first-class cricket. He earned 14 rugby caps for England between 1975 and 1979, playing primarily as a full back, known for his strong kicking, tactical awareness, and composure under pressure. He made his debut against Australia in 1975 and played in multiple Five Nations Championships. Also played for Cambridge University and Bristol. In cricket, he represented Gloucestershire and Cambridge University as a batsman.In 2008, Hignell was diagnosed with Multiple Sclerosis and is now an active fundraiser using his profile and skills to help alleviate some of the fear surrounding the disease and help the MS community in whatever way he can.In an interview with the Sporting Memories Foundation, Alastair Hignell reflected on wearing the white for England:“... my rugby debut for England was the infamous battle of Brisbane in Australia in 1975. I was 19 years old and to be selected to go on the tour at all was one thing but then to get the chance of playing for my country. Nobody will ever replicate that moment when you are standing in front of the crowd listening to God Save the Queen knowing that you are about to play for England. It is the culmination of why you play rugby in the first place, of dreams for the people that coached you and the people who have helped you along the way. They get an awful lot out of it as well. Just the feeling that you were there as the anthem played - it still makes the hairs on the back of my neck tingle. It was just the most amazing experience.”JPR (family notes, 2023):‘’Alastair played for England against me for a number of years in the mid to late 70’s. He grew better every year and made the full back position his own. In fact, he was playing in March ‘79 when I retired”. I was impressed that he was also a county cricketer as it is such an advantage to play another sport to a high level. It’s much better than just being in a gym lifting weights as the challenges will be 3D unexpected. It’s not just the physical part, with enhanced co -ordination, balance and special awareness. But perhaps more importantly, the mental part. If you can stand up and be counted with tennis or cricket balls being rained down on you, it’s bound to help if you are on the rugby pitch ready for a high ball. There is no hiding place: only you.I supported Alastair at one of his early fundraising dinners for MS research as at the time it was such a shock that an all-round athlete and friend could be affected. His fund-raising has been legendary’’.

Remy Martin Louis XIII Grande Champagne Cognac Miniature Circa 1950/60's. (Please note fill level and significant damage to box)

Collection of various Port, Wine and Spirits to include 1985 Vintage Port (Please note sign of leak, neck fill level) 2 Bottles Campari, Takara Plum Wine 1970's  

Ardmore 15 Year Old - W M Teacher 1980's - 75cl - 45.7% Vol. Extremely Rare One of just 600 Bottles (Please note loose capsule which in varying degrees is typical of this bottling. Please note discolouration to label and slight loss to fill level) ​From a private collection built over a 40 year career working for United Rum Merchants (URM) and latterly Allied Domecq/William Teacher & Sons, who, at the time owned Glendronach and Ardmore, amongst others.

Dewar's White Label Whisky late 1950's Early 1960's Spring Cap - 70 Proof (Please note original plastic wrapping. Please note fill level)

Glenmorangie 10 Year Old 1980's - 75cl - Limited Edition Handcrafts of Scotland Tin (Please note low fill level, significant loss. Not visibly leaking currently but may have historically and may do again. Slightly oxidised/cloudy liquid) Whisky

Registration No: MOH 717P Chassis No: 30500 MOT: ExemptSupplied and originally maintained by Mists Garage of BirminghamOffered with the original owner's handbook and maintenance scheduleFormer Jensen Owners' Club Concours d'Elegance winner 2 years in a row, with trophies and certificates7-page magazine feature in Classic Cars, May 2001Benefits from an older restoration which involved a re-paint in what we believe to be Jaguar 'Solent Blue' Many people were dismayed at British Leyland's decision to axe the Austin-Healey 3000. Not least among them were Donald Healey - the man behind the name - and Kjell Qvale, who had done more than anybody to market British sports cars in the USA and who had enjoyed particular success with the 'Big Healey'. Adamant that the MGC was no substitute for the venerable Healey, Qvale - the son of a Norwegian sea captain - set about solving the problem himself. He discovered that the Healey family had been working on the prototype of an all new two-seater sports car and that Jensen (who had produced the bodies for the Healey 3000) was the obvious company to build it. Aston Martin DBS designer Bill Towns was commissioned to develop the styling and the Jensen-Healey was born. Power came from the 4-cylinder, 2-litre, twin-cam, Vauxhall-based Lotus 907 engine which drove through the four-speed Chrysler gearbox of the Sunbeam Rapier. The independent front suspension and live rear axle came courtesy of the Vauxhall Firenza, as did the rack-and-pinion steering and the disc/drum braking system. Bearing in mind Qvale's ambitions for the American market, the car was equipped with Federal style impact bumpers from the outset. The performance of the Jensen-Healey was brisk by the standards of the time, the 140bhp engine endowing the car with a 0-60mph time of some 7.5 seconds and a top speed of over 120mph. The open two-seater was produced from March 1972 to late 1975, during which time some 10,000 were manufactured. While home sales proved to be slow, the car justified Qvale's foresight by being quite popular in America. However, Jensen was by now in financial trouble. Sales of the V8 Interceptor had been hard hit by the fuel crisis and profits for the Jensen-Healey were not yet filling the void. Enter the Jensen GT, a 2+2 estate-like Coupe version of the Jensen-Healey - a model it was hoped would broaden sales and keep the company afloat. Sadly, the gamble failed. The GT was produced from September 1975 to May 1976, when the factory was finally forced to close its doors after just 509 examples were produced. First registered in 1976 and originally supplied by Mists Garage of Birmingham to Mr W. Brighton, this Jensen GT displays a mere c.33,967 miles. Featuring the Jensen GT's optional burr walnut fascia and the 5-speed Getrag gearbox fitted to all the later Jensen-Healeys, 'MOH 717P' was the subject of a large restoration in the early '90s and is understood to be finished in Jaguar's 'Solent Blue'. This led it to win first place in 1992 and 1993 and then second place in 1994 with the Jensen Owners’ Club Concours d'Elegance. It has award letters on file, trophies and a plaque in the interior to signify this. It went on to feature in May 2001's 'Classic Cars' magazine in a head-to-head test against the Lotus Elite in 'Estates of The Art'. Considering the Jensen has been stored for over 20 years, it still presents well overall. However, attention would be needed to the paintwork to bring it back to its previous, award-winning level. The interior's wood and leather is noted as being in ‘great condition’. At time of consignment, the engine started up easily and sounded well. Now offered for sale, there is a substantial leather binder supplied from Jensen - filled with old invoices, MOTs, concours awards, an owner's manual, service book, the build sheet and the latest V5C document. For more information, please contact: Oliver Fernyhough-Martin oliver.fernyhough-martin@handh.co.uk 07483 361000

A Second War ‘North Africa operations’ C.B.E. group of nine awarded to Brigadier L. F. Heard, Royal Engineers, who was Mentioned in Despatches and awarded the French Croix de Guerre for his services in North West Europe, and subsequently served as Aide-de-Camp to H.M. the Queen, 1954-57 The Most Excellent Order of the British Empire, C.B.E., (Military) Commander’s 2nd type neck badge, silver-gilt and enamel, with neck riband, in DS & S case of issue; India General Service 1908-35, 1 clasp, North West Frontier 1930-31 (Lieut. L. F. Heard. R.E.); 1939-45 Star; Africa Star, 1 clasp, 1st Army; France and Germany Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Coronation 1953, unnamed as issued; France, Third Republic, Croix de Guerre, bronze, reverse dated 1939, with bronze palm on riband, mounted court-style for display, light contact marks, good very fine and better (9) £600-£800 --- C.B.E. London Gazette 1 January 1943 M.I.D. London Gazette 22 March 1945: ‘In recognition of gallant and distinguished services in North West Europe.’ The original Recommendation for the French Croix de Guerre states: ‘This officer has been General Staff Officer First Class at 21 Army Group Headquarters since its formation. He is an extremely capable Staff Officer with a unique knowledge of staff duties and of the organisation of the Army. His services have been extremely valuable during the planning and execution of the operations for the liberation of France, and he has never failed to give off his best in spite of the pressure of work which has been acute during the period under a view.’ Leonard Ferguson Heard was born on 30 October 1903 and was educated at Shrewsbury School and the Royal Military Academy, Woolwich. He was commissioned Second Lieutenant in the Royal Engineers on 29 August 1923, and saw active service on the North West Frontier of India as a Staff Captain, R.E., attached Royal Bombay Sappers and Miners. Advanced Major on 29 August 1940, he saw further service during the Second World War, both in North Africa, for which services he was appointed a Commander of the Order of the British Empire, and subsequently in command of 23rd Assault Group, Royal Engineers, in North West Europe, for which services he was Mentioned in Despatches and awarded the French Croix de Guerre with palm. Promoted Colonel in 1947, and Brigadier in 1949, Heard was appointed Aide-de-Camp to H.M. Queen Elizabeth II on 30 December 1953, relinquishing the appointment on his retirement on 21 April 1957. He was lucky to survive a train crash in 1959 when his car was struck by the Belfast to Londonderry express train at 65 miles per hour, whilst he was driving across an unmanned level crossing; the force of impact somersaulted the diesel engine off the track and derailed several carriages, but remarkably both he and all the passengers on the train survived virtually unscathed. He was subsequently sued by the Ulster Transport Authority. Advanced Honorary Major-General on the Retired List, he was appointed High Sheriff of County Londonderry for the year 1964, and also served as a Justice of the Peace. He died on 8 April 1976. Sold with a photographic image of the recipient, and copied research.

Registration – V423 MKK Chassis No. – SAJAC13D7YKF03450 M.O.T. – February 2026 Odometer – 80,140 ‘V423MKK’ is a nice looking example of the spacious and luxurious XJ8 in X308 form. ‘V423MKK’ is a six owner car with the previous owner stewarding the Jaguar for over 10 years. For the last three years or so, ‘V423MKK’ has been off the road and stored in a garage. Within the last month ‘V423MKK’ has been recommissioned for the road to include a fuel system flush, new fuel and air filters and spark plugs. New MAF and coolant temperature sensors have also been fitted and a new MOT secured. ‘V423MKK’ has covered 80,140 miles with this seemingly verified by the MOT history. This XJ8 is complete with a great service history consisting of 13 main dealer stamps. ‘V423MKK’ is offered here with NO RESERVE and that new MOT is valid until February 2026. The X308 Jaguar XJ saloon was originally intended to feature a new engine from owner Ford’s stable. That unit wasn’t ready in time, however, and so the XJ was gifted the impressive Jaguar AJ-V8 unit in 3.2 and 4.0-litre flavours. ‘V423MKK’ features the 3.2-litre unit, which was originally rated at a useful 240 bhp and 233 Ib-ft of torque. This is mated to a five speed ZF automatic transmission with the 3.2L considered to deliver the best combination of lively dynamics and sensible running costs. The vendor considers the engine and transmission to be “good” and the electrics “average.” This X308 Jaguar is a handsome example which manages to retain a significant amount of design DNA from the XJ range dating right back to the late 1960’s. It is finished in the chameleon colour of Aqua Blue Green, presenting different hues depending on the light and angle of view. The quad headlamps and wide chrome grill give ‘V423MKK’ an impressive mix of sporting cues and a high level of sophistication. The interior of ‘V423MKK’ is spacious and impressively luxurious, trimmed in Cashmere hued leather which is accompanied by ample walnut veneer. Being the X308 model, ‘V423MKK’ features the much improved instruments and fascia from the XK8. The paint and bodywork are rated as “average” with the interior as “good.” In summary: · A recently recommissioned Jaguar with a sensible, seemingly original mileage. · Offering a long MOT until February 2026. · Complete with a 13 stamp, main dealer service record.

Registration – WNE 837L Chassis No. – YB57689DL M.O.T. – Exempt Odometer – 19,305 Despite being over 50 years old, ‘WNE837L’ has known only four keepers to date. The first two accounted for the first 46 years of this Triumph’s life. The current owner acquired ‘WNE837L’ just two years ago. Today ‘WNE837L’ records just 19,305 miles on its odometer. This can’t be warranted but the vendor reports it is feasibly original based on ‘WNE837L’s’ condition and presentation. A high level of originality is noted, and much remedial work has been undertaken in current ownership. This includes five new tyres and a new battery. ‘WNE837L’ is classified as an Historic Vehicle based on age and so is zero rated for VED and MOT exempt. ‘WNE837L’ is being offered here with NO RESERVE. ‘WNE837L’ is thought to present in it's original factory paintwork of Mineral Blue. This combines well with the deeply chromed radiator grill, bumpers and overriders and panel edging strips. The originality, as with the rest of the car, is most striking and the vendor notes there is a “little patina” to the exterior of ‘WNE837L.’ The design of the Triumph 1500 was the work of the celebrated Giovanni Michelotti who did a number of designs for the firm during the ‘60’s and ‘70’s. The interior is another time warp experience looking much as it would have done from new. Triumph’s place in the BMC firmament was as an upmarket offering so there is plenty of wood veneer, chromed fittings and deep carpets in evidence. The predominant shades are variations of blue with some black vinyl noted in places. The paintwork, bodywork and interior are all rated as “good.” ‘WNE837L’ is fitted with the 1493cc version of the Standard SC engine and is fitted with a single SU carburettor in this application. This endowed the original with around 65bhp which proved plenty for a sub-1000kg car. Much work has been undertaken during current ownership to include new brake cylinders all round, a new old stock exhaust system, a refurbished fuel tank and a replacement clutch slave cylinder. Modern electronic ignition has also been fitted. In summary: · A highly original example of the breed with just four owners to date. · Much remedial work done in the current ownership so ready to enjoy. · MOT exempt and zero rated for road tax based on Historic Vehicle status.

Make & Model:Ford , Capri S Date of Reg:A924UHY Colour:Black cc:1993 MoT:2025-04-01 Fuel Type:Petrol Mileage:40538 Transmission:manual Summary:The Ford Capri 2.0S comes with a full history from 2010, when it was restored (albeit with one previous MoT from 2002). During 2022, power steering was fitted along with twin Weber 40 DCOE carburettors and electronic ignition. The original carburettors and wheels are with the car. The Capri was registered in June 1984 and is now showing 40,538 miles on its odometer. Its MoT is valid until April 2025; however from April, the Capri should be eligible to be classed as an historic vehicle and will be tax-free and MoT-exempt. The vendor tells us that the car was serviced last year including engine oil, filter, gearbox oil and brake fluid changed. However he notes that end of the dipstick has broken off, so a new one will be required; however, the level as it is at the moment is correct. The timing belt was done in 2023. The car has been used regularly over the last year for shows and events including in Cumbria and Yorkshire. Paperwork includes the V5C, a comprehensive album of restoration photos, invoices, MoT certificates and event programmes. 

Triang Railways TT model railway collection, includes 3 boxed locomotives, 7 coaches (6 boxed) and 14 wagons/tankers (11 boxed), plus track and buildings (6200g) T91 Castle Class 4-6-0 Windsor Castle 4082 w/tender T97 S Britannia Class 4-6-2 Boadicea 70036 w/tender - no name plates T90 0-6-0 Tank loco 47607 Locomotives NOT Tested All items as shown, dust, Fair condition T28 Engine sheds (2) T27 Signal box T29 Level crossings (2) T105 Inclined Piers (2) Footbridge - damage as shown Quantity of two types of track, includes 10 points and converter straights (2). Condition Report: - Fair/Good

1 Bottle Rare 1848 Vintage Grande Champagne 1 Bottle Rare 1848 Vintage Grande Champagne (Cognac) de Gernon & Cie Bordeaux (Margaux) (Clear presentation - sound capsule – level good – cork intact but looks fragile – no evidence of seepage. This Rare Cognac bottled in early 20th Century (approx. 1920’s) by Bordeaux (Margaux) Negociant de Gernon of Irish descent.

Registration No: GGF 409 Frame No: 1155 MOT: ExemptRare Sunbeam 'high cam' restored to a good standardJust a handful known to have survived on the Sunbeam RegisterMatchless-style forks and brake with check springs, Burman gearbox, and high-level exhaust pipeRunning well and used sparingly by the current ownerV5C on file with a host of paperwork and a 1939 spares bookAll correct numbersAMC bought the Sunbeam business in 1937 as a well-established motorcycle manufacturer. Production moved from Wolverhampton to Plumstead. There was so much stock available that it was enough to sustain production in London for more than a year. At the end of 1938 a new line of OHV machines was launched, ranging from a 250cc to a 600cc. The new engine design was of the high camshaft type with the cylinder barrel sunk deep into the large crankcase. It has a large timing cover with a wonderful “Sunbeam” script which contains the chain that drives the magdyno and is tensioned by a Weller tensioner. The brakes were improved, notably to an 8" drum with improved stopping. The models were offered in standard guise and in Sports (S) and Competition (T) form. The B25S had Sports mudguards, upswept exhaust pipe, and a specially tuned engine with a high-compression piston and polished cylinder head and ports. The C24S was the last pre-war Sunbeam design. This wartime 1940 Sunbeam C24S was purchased by the vendor's father-in-law way back in the early 1970s. Due to commitments, the Sunbeam was left untouched until it was left to the son-in-law, as he was seen as a worthy candidate for the restoration of the C24S and saving it from the scrap man in 1999. The current vendor finally set about the restoration of this very rare model at the start of 2000, with only a handful known to the Sunbeam Register. Completely stripped down to the frame, components were thoroughly checked, cleaned and replaced where necessary. The restoration took several years and attention to the correctness was paramount for this machine, which included a trip to Scotland from the vendor's house of some 500 plus miles. Since the restoration of the Sunbeam, until recently, the vendor had taken it to many shows and events. The restoration has held up, it presents very well and is a good example of the model. It comes complete with a V5C, old photos of when it was found and restored, handbook and parts books, copies from Bruce Main Smith and many old tax discs dating back to 1947. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Y A VICTORIAN FIGURED MAHOGANY MERCURY STICK BAROMETERLANCASTER AND THORPE, DERBY, CIRCA 1880The arched case with glazed twin canted ivory Vernier scales each calibrated in barometric inches and with the usual observations, the one on the left labelled 10 A.M. YESTERDAY opposing 10 A.M. TODAY to the right, the upper margin signed twice LANCASTER & THORPE over OPTICIANS and DERBY respectively, over flame-figured trunk with two Vernier adjustment squares to throat over inset arch glazed ivory FAHRENHEIT and REAUMUR mercury thermometer, the rounded base with moulded circular cistern cover and level adjustment square to underside.94cm (37ins) high, 11cm (4.25ins) wide. The opticians Lancaster and Thorpe were established in Derwent Street, Derby by 1885 and had expanded to become a national network of Opticians by the 1990's. The business still trades today with branches at 100 St. Peter's Street, 14 Sadler's Gate and 495 Nottingham Road, Derby. Condition Report: IVORY LICENCE REF - NELFXTABCondition Report Disclaimer

AYA A 28-BORE 'NO.4 MODEL' BOXLOCK EJECTOR, serial no. 380151, dated 1970, 27in. nitro chopperlump barrels, 2 3/4in. chambers, bored approx. 1/2 and 3/4 choke, removable striker discs, automatic safety with gold-inlaid 'S' detail, border engraving, retaining much original colour-hardening and finish, 12 3/4in. stock including 1in. ventilated rubber recoil pad, weight 5lb. 3oz., together with original 2 1/2in. stock offcut S2Sold as a Section 2 Firearm under the 1968 Firearms ActCONDITION:Please note - No.3 Non-Ejector model, not No.4 Ejector as previously statedBarrels:externally with fading to blued finish, some losses to finish at muzzles and where fore-end meets, numerous light scuffs and scratches, external surface standard level of striking, much un-evenness and undulations, internally generally clean, ring true, no evident movement on actionAction:generally tidy overall, some minor scuffs and scratches, safety and extractors operate ok with snapcapsWoodwork:average light to medium knocks and bruising from use / handling

THE MACALLAN 10 Year Old, one 37.5cl bottle, 40% vol. fill level low shoulder, seal intact, late 1980's bottling, Easter Elchies box

Very early DeLuxe with unique 1959 production features and celebrity provenance. #485 built of the Morris model of the Mini Minor. Pre-Mini launch date - built between 9-17/07/1959, the Mini was launched on 26/07/1959It's a home-market DeLuxe finished in Clipper Blue with Grey Fleck trimTDL334 was the first Mini to arrive on the Isle of Wight, bought by Mrs Margaret Flux who was 55 years old and couldn’t drive at the time. After many lessons she passed her driving test and was able to enjoy the Mini at lastShe was the grandmother of the 1980s band Level 42’s lead singer and slap bass player, Mark King. She gave him the car and he also learned to drive in it Running in the Family was a 1987 hit for Level 42 who start their '40th' Anniversary Tour this year Correct parts unique to the 1959 cars include; glass washer bottle (very rare), correct spark plug caps, rubber boot liner, correct hexagonal headed master cylinders, brass top carb, straight gear stick etc.Original engine, Gold Seal gearbox in the late 1970s. Carpets been replaced but the original seat upholstery remainsIt has benefited from a recent front brake overall, new shoes, wheel cylinders and rubber hosesMagazine featured by Mini World Very sensibly guided considering it's rarity and celebrity provenanceSpecification Make: MORRIS Model: MINI MINOR Year: 1959 Chassis Number: MA2S4585 Registration Number: TDL 334 Transmission: Manual Drive Side: Right-hand Drive Odometer Reading: 59123 Miles Make: RHDClick here for more details and images

A collection of assorted 7" singles mainly 1960's-80's to include Status Quo - The Anniversary Waltz, Paul McCartney And The Frog Chorus - We All Stand Together, Level 42 - It's Over, Lulu - I Could Never Miss You More, Brother Beyond - Be My Twin, Soft Cell - Torch, Petula Clark - My Heart, Mike Oldfield - Portsmouth, The Doobie Brothers - Take Me I Your Arms, Gene Pitney - Blue Angel, Elvis Presley - Mama Like The Roses, Freddie And The Dreamers - Don't Make Me Cry, David Bowie - Sorrow, Sting - Russians and Yoko Ono - Yes I'm Your Angel etc. (approx. 120)

AN INCREDIBLY RARE TUDOR HENRY VII/HENRY VIII OAK ENCLOSED ARMCHAIR, ENGLISH, CIRCA 1500-1530. The partly enclosed armchair of tapering form having twin crocketed finials on gently tapered uprights with a silhouette and scroll carved, moulded top rail above a horizontal panel carved with recessed nulling, the twin panelled back extending to seat level flanked by plain panelled sides terminating in square uprights, heavily worn at the top, originally with similar crocketed finials, the multi plank seat above a further twin panelled partly enclosed base, with plain lower and rear stretchers, the rear with further moulded rails, having uprights being heavier at the base, up to seat level then stepping down in depth, 113cm high, 57cm wide and 46cm deep. Note - English Armchairs from the early Tudor period are very scarce items, rarely surviving in a complete form without extensive restorations. This unusual format chair remains in original form and retaining an untouched colour and surface patination. Provenance - Maurice Goldstone Private Collection, Goldstone Antiques, Bakewell Derbyshire. Purchased from Michael Goldstone in the mid 1980’s. Maurice Goldstone established his early furniture business in Bakewell in the 1950’s. In the 1960’s he purchased numbers of early pieces directly from Haddon Hall estate workers cottagers, it is thought this Armchair was one of such items: Credit, Michael Goldstone. *CR good early example.

The Complete Star Wars Encyclopedia sealed (Stephen J. Sansweet), DeAgostini Fact Files (incomplete, 1 damaged folder) with Hasbro Rebels 29" X-Wing Fighter. Condition varies, see images.  

Aoshima Aliens Dropship Diecast 1/72 scale Standard Edition 01 (2004). Condition Excellent to Excellent Plus

Lenovo Star Wars JEDI CHALLENGES lightsaber controller AR VR HEADSET. Untested. Condition Good to Excellent

Original painting by Barry Price of D1000 Western Enterprise and GWR Castle 5072 Hurricane at Wolverhampton Low Level in the early 1960's. Oil on canvas, nicely framed, measures 27.5in x 17.5in. Painted in 2024.

Ellen Starr Lyon Front Door Stripes, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellen Starr Lyon, b. 1974 in Columbus, Indiana. Lyon is a figurative painter focusing on modern portraiture that revolves around feminism, motherhood, and coming of age. Her naturalist painting style incorporates a colourful palette and multiple thin, luminous layers capturing her models in natural light. Lyon uses her own photography to catch unguarded moments that are translated into oil paintings showing glimpses of emotion on the faces of those around her. Lyon champions vulnerability as strength while showing it as our common language. Her Red Glove Series depicts her teenage daughter wearing bright red rubber gloves and a defiant expression to talk about the next generation's fight for reproductive rights. She has work in the permanent collection of the Evansville Museum, UC Irvine, and Indiana University. Lyon has been invited to the Pouch Cove Artist Residency in July of 2024. Education BFA Painting, Indiana University Bloomington Solo Exhibitions 2023 Flora and Fauna, online exhibition through 33 Contemporary Gallery, Chicago, IL Familiar Faces, Evansville Museum of Arts, History, and Science, Evansville, IN 2022 Five Year Study, I Fell Gallery, Bloomington, IN2019 Crowd Source, Krempp Gallery, Jasper, IN 2018 Sphere of Influence, Untitled Light Gallery, Bloomington, IN Group Exhibitions 2024 Being Human, The Painting Center, New York, NY 16th Annual Juried Exhibition, Prince Street Gallery, New York, NY 100th Hoosier Salon, Indiana State Museum, Indianapolis, IN FiKVA, MiniARTures Exhibition, WG Gallery, Dordrecht, The Netherlands Reflections of Us, Sergio Gomez juror, Visionary Art Collective, Warnes Contemporary, Brooklyn, NY CONVERGE, 9th Annual Benefit Exhibition, Bridgette Mayer Gallery, Philadelphia, PA Winter Juried Exhibition, Blue Mountain Gallery, New York, NY AWA Annual Online Exhibition 92nd Annual Juried Exhibition, Indiana Artists, Indianapolis Museum of Art at Newfields 2023 CONTEXT, Miami Art Fair, Miami, FL SELF, juried exhibition, Manifest Gallery, Cincinnati, OH Femme Rage, group exhibition and zine, Bloomington, IN Me, Myself, and I, HCAA, Noblesville, IN Sutphin Invitational, Harrison Art Center, Indianapolis, IN Indiana Artists Member Show, Fort Wayne Museum of Art, Fort Wayne, IN Allied Artists of America, 110th Juried Show Hoosier Salon 99th Annual Juried Exhibition, Indiana State Museum, Indianapolis, IN 91st Annual Juried Exhibition, Indiana Artists Club, Indianapolis Museum of Art at Newfields Ohio, Kentucky, Indiana, Regional Juried Exhibition, Manifest Gallery, Cincinnati, OH A Natural Selection, Five Woman Show, Rainbow Bakery, Bloomington Gallery Walk, Bloomington, IN Illuminate: Emerging Bloomington Artists, Grant Recipients, Waldron Arts Center, Bloomington, IN Awards 2024 AWA, Annual Online Exhibition, First Prize for Associate Level 92nd Annual Juried Exhibition, Merit Award, Indiana Artists, Indianapolis Museum of Art at Newfields Public Collections Indiana University, Bloomington, IN, US University of California, Irvine, CA, US Evansville of Art, Evansville, IN, US Igleheart Foundation, Evansville, IN, US Statement about AOAP Submitted Artwork Each portrait is a moment caught in time; the model arranging her hair, my daughter asleep, a friend's daughter caught in bright light, and a self-portrait of myself in the red light of a dance club.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Power Blue Study 1 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Power Blue Study 2, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee Shadows in the Sky, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Phoebe Boddy Cowgirl, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas.   Education 2017 Fine Arts BA (Hons), Loughborough University   2014 UAL Level 3 Diploma Art & Design Foundation Studies   Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK   Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK   2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK   2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK   Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee   2020 Directors Pick, SAATCHI ART   Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Christabel Forbes Gardening Afternoon, 2025 Mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Christabel Forbes is a colourist artist who draws from her reality and memory to discover otherworldly, imaginative places. Drawing directly from life is crucial to her practice, which is then explored through printmaking and painting. She uses various materials, including oil pastels, watercolours, paint pens, and inks, to bring her artworks to life in a playful manner.   Education 2022-24 City and Guilds of London Art School, MA Fine Art 2014-15 Royal Drawing School, The Drawing Year (MA level) 2013 Warsaw Academy of Fine Arts, Erasmus 2011-14 Falmouth University, (BA) Hon Fine Art Solo Exhibitions 2024 Time & Place, Caversham Picture Framer, Caversham, UK 2022 La Couleur du Voyage, Millenn'Art, Paris, France 2021 London's Green Spaces, Online 2020 Noirmoutier, Online 2019 Provence and Beyond, Blue Shop Cottage, Camberwell, London, UK   Group Exhibitions 2024 Chelsea Art Society, Group Show, London artEast, Suffolk, UK City and Guilds of Art School MA Final Show, London, UK Summer Group Show, The Violet Hour, Online Chelsea Art Society 75th Annual Exhibition, London, UK artEast, Suffolk, UK 2023 Royal Drawing School Summer Show, 21 June at Ralph Lauren Mayfair, London, UK Chelsea Art Society, London, UK artEast, Suffolk, UK Nohohouse, Barcelona, Spain   Awards 2018 Wedlake Bell Award for a Young Artist at the Chelsea Art Society Gallery Representation RiseArt, UK artEast, Suffolk, UK Caversham Picture Framers, Berkshire, UK   Statement about AOAP Submitted Artwork This artwork uses drawings from my sketchbook to revisit a comforting garden scene. It shows a person gardening, using vivid colours and expressive brush marks.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Elizabeth Power Pink Study, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Phoebe Boddy Just have another beer then, 2025 Oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Phoebe Boddy is a London-based emerging artist. Her abstract, figurative, expressionist paintings focus on the mundane, weaving exhilarating compositions that celebrate the everyday. Whether it is a painting of a fruit stand from the market or a bathtub scene, Boddy amplifies the beauty in everyday life through her energised brushstrokes, infused with bold outlines and vibrant colours while often adding a sprinkle of humour through witty text written on the canvas.   Education 2017 Fine Arts BA (Hons), Loughborough University   2014 UAL Level 3 Diploma Art & Design Foundation Studies   Solo Exhibitions 2024 Reverse Cowgirl, Nomad Salon, London, UK   Group Exhibitions 2024 A Living Room, Interrupted Art, The Fitzrovia Gallery, London, UK Art on a Postcard, International Women's Day Auction, London, UK   2023 Delphian Open Call 2023, Unit 1 Gallery Workshop, London, UK Papier, Delphian Gallery, France Art Collector's Home, The Nomad Salon, London, UK The Silo Collective, Group Show, Hampshire, UK Beyond Beck Road, Beck Road Open Studios, London, UK Women to Watch, Reem Gallery, London, UK May Collection, Amelia Maxwell, Online Show Kensington & Chelsea Art Week, London, UK   2022 The Auction Collective, 50 X £50, Online The Other Art Fair, The Truman Brewery, London, UK [RE]Configured, Mall Galleries, London, UK Fancy a Bite?, Studio West Gallery, Notting Hill, UK Kensington & Chelsea Art Week, London, UK Pie in the Sky, PALETTE, Protein Studios, London, UK Hive Open Studios, The Koppel Project, London, UK Aubaine Restaurant, London, UK Collection Two, Katherine Richards Art Gallery, Hove, UK   Awards 2021 Figurative Art Prize, Mall Galleries Kate Bryan Prize Nominee   2020 Directors Pick, SAATCHI ART   Statement about AOAP Submitted Artwork My current work delves into representations of women for the female gaze. 'Cowgirl' & 'Just Have Another Beer Then' features paintings of badass female figures empowered by embodying the traditional cowboy persona, exuding the tough, masculine energy long associated with Western Cowboy culture.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ellen Starr Lyon Innocence, 2024 Gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellen Starr Lyon, b. 1974 in Columbus, Indiana. Lyon is a figurative painter focusing on modern portraiture that revolves around feminism, motherhood, and coming of age. Her naturalist painting style incorporates a colourful palette and multiple thin, luminous layers capturing her models in natural light. Lyon uses her own photography to catch unguarded moments that are translated into oil paintings showing glimpses of emotion on the faces of those around her. Lyon champions vulnerability as strength while showing it as our common language. Her Red Glove Series depicts her teenage daughter wearing bright red rubber gloves and a defiant expression to talk about the next generation's fight for reproductive rights. She has work in the permanent collection of the Evansville Museum, UC Irvine, and Indiana University. Lyon has been invited to the Pouch Cove Artist Residency in July of 2024. Education BFA Painting, Indiana University Bloomington Solo Exhibitions 2023 Flora and Fauna, online exhibition through 33 Contemporary Gallery, Chicago, IL Familiar Faces, Evansville Museum of Arts, History, and Science, Evansville, IN 2022 Five Year Study, I Fell Gallery, Bloomington, IN2019 Crowd Source, Krempp Gallery, Jasper, IN 2018 Sphere of Influence, Untitled Light Gallery, Bloomington, IN Group Exhibitions 2024 Being Human, The Painting Center, New York, NY 16th Annual Juried Exhibition, Prince Street Gallery, New York, NY 100th Hoosier Salon, Indiana State Museum, Indianapolis, IN FiKVA, MiniARTures Exhibition, WG Gallery, Dordrecht, The Netherlands Reflections of Us, Sergio Gomez juror, Visionary Art Collective, Warnes Contemporary, Brooklyn, NY CONVERGE, 9th Annual Benefit Exhibition, Bridgette Mayer Gallery, Philadelphia, PA Winter Juried Exhibition, Blue Mountain Gallery, New York, NY AWA Annual Online Exhibition 92nd Annual Juried Exhibition, Indiana Artists, Indianapolis Museum of Art at Newfields 2023 CONTEXT, Miami Art Fair, Miami, FL SELF, juried exhibition, Manifest Gallery, Cincinnati, OH Femme Rage, group exhibition and zine, Bloomington, IN Me, Myself, and I, HCAA, Noblesville, IN Sutphin Invitational, Harrison Art Center, Indianapolis, IN Indiana Artists Member Show, Fort Wayne Museum of Art, Fort Wayne, IN Allied Artists of America, 110th Juried Show Hoosier Salon 99th Annual Juried Exhibition, Indiana State Museum, Indianapolis, IN 91st Annual Juried Exhibition, Indiana Artists Club, Indianapolis Museum of Art at Newfields Ohio, Kentucky, Indiana, Regional Juried Exhibition, Manifest Gallery, Cincinnati, OH A Natural Selection, Five Woman Show, Rainbow Bakery, Bloomington Gallery Walk, Bloomington, IN Illuminate: Emerging Bloomington Artists, Grant Recipients, Waldron Arts Center, Bloomington, IN Awards 2024 AWA, Annual Online Exhibition, First Prize for Associate Level 92nd Annual Juried Exhibition, Merit Award, Indiana Artists, Indianapolis Museum of Art at Newfields Public Collections Indiana University, Bloomington, IN, US University of California, Irvine, CA, US Evansville of Art, Evansville, IN, US Igleheart Foundation, Evansville, IN, US Statement about AOAP Submitted Artwork Each portrait is a moment caught in time; the model arranging her hair, my daughter asleep, a friend's daughter caught in bright light, and a self-portrait of myself in the red light of a dance club.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee The Dark Wives, 2025 Ink on paper Signed on VersoInk on paper 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee Castles in the Air, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Registration – JXZ 8834Chassis No. – ZAMHH45C000045093M.O.T. – September 2025Odometer – 42,440When the Maserati GranTurismo S launched in 2008, it immediately became the version to have thanks to its 4.7-litre V8 engine shared with the Alfa Romeo 8C Competizione. ‘JXZ 8834’ is the vaunted S version from its first year of production. With a mere 42,450 miles recorded to date and just four previous keepers, ‘JXZ 8834’ offers a very sound provenance. This GranTurismo has been very lightly used in recent years with only around 2,000 miles being covered since 2018. Despite this light use, ‘JXZ 8834’ has been diligently maintained with a full service in 2018 together with the replacement of the engine variators, new front springs and other work. Additionally, ‘JXZ 8834’ had its gearbox oil replaced in 2023, together with wheel bearings and both rear springs. ‘JXZ 8834’ is offered with no reserve and complete with an extensive paperwork file and an advisory free MOT until September 2025.The M145 Maserati GranTurismo was very well received at launch in 2007, despite holding the title for the fastest developed new car model in history. With a conception to production period of just nine months it was only a slight lack of power that detracted from the original models. This was rectified with the arrival of the GranTurismo S in 2008. With a larger and more impressive 4.7-litre V8, the S offered 434 bhp at 7,000 rpm and a 180mph plus top speed. 0-60 mph could be dispatched in less than five seconds. Power is delivered via a 6-speed automated manual made by Graziano Trasmissioni, a system shared with the Ferrari F430.Being the optimal S version, ‘JXZ 8834’ is thus equipped. Presenting in gleaming Nero Carboni paintwork the GranTurismo features a sophisticated GT design by none other than Pininfarina. A staggered set of R20 20-inch alloy wheels are fitted and finished in a Grigio Mercury hue. This combination lends ‘JXZ 8834’ a stealthy appearance with just the right level of brooding menace exhibited. The beautifully appointed and fitted cabin presents in a combination of Rosso Corallo hued leather with grey, perforated Alcantara accents and black carpets. It’s a thrilling combination. ‘JXZ 8834’s’ cabin also benefits from a professionally fitted, state of the art Apple CarPlay head unit which cost over £2,000 and is still under warranty. If complete originality is your thing, the original parts are also included. Two original keys and an unfitted carbon fibre rear spoiler are also included.In summary:· Fine provenance and a low mileage covered to date· Complete with a recently fitted, state of the art head unit for Apple CarPlay· Offered with an advisory free MOT and stacks of additional paperwork

Registration – ANK 456GChassis No. – 2168382M.O.T. – ExemptOdometer – 55,780km (M34,660)This delightful diminutive classic offers heaps of Mediterranean authenticity having spent most of its life in the environs of Rome. ‘ANK456G’ was imported to the UK in 2016 by its first and current UK owner. The owner’s Italian heritage made the restoration of ‘ANK456G’ a true passion project. Originality has been the watchword of this project with only electronic ignition being a nod to modernity. A new battery has been fitted and ‘ANK456G’ comes with plenty of paperwork from both its Italian and British lives. Since restoration the owner has only covered a few thousand miles with ‘ANK456G’ being dry stored when not in use. For those looking for a highly original 500L with genuine Italian provenance then ‘ANK456G’ is the one for you.The Fiat 500L, or Lusso, was released in 1968 as a more generously equipped version of this archetypal city car. ‘ANK456G’ exhibits the key external L differentiators of the chromed, tubular bumper guards. A charming, full length vinyl sunroof is also noted giving the 500L full summer motoring appeal. Given the 500L’s tiny footprint, much smaller than its contemporary cousin, the cabin is surprisingly commodious. ‘ANK456G’s’ cabin is finished in black, and although it may look spartan it is actually more generously trimmed and finished in this L specification. Bodywork and paintwork win an “excellent” rating, and the interior is judged as “good.”In terms of mechanical configuration, the 500L features the well proven twin cylinder 499cc 110F rear mounted engine. The power output is incredibly modest by today’s standards but the 500L never feels anything other than sprightly and nippy. That’s most likely due to the car’s 500 kg or so dry weight. A four speed manual gearbox transfers power to the rear wheels and tiny 12 inch wheels and drum brakes complete the package. This specification is emblematic of the 500’s ethos – minimalistic but more than adequate. All ‘ANK456G’s’ mechanical systems are rated as “good.”In summary:· Imported and restored as a passion project by the current owner· Offering a high level of 1969 authenticity and originality· A fine looking example awash with character and charm

Registration – RF04 WCTChassis No. – WBSBL92090JR08922M.O.T. – November 2025Odometer – 140,200‘RF04WCT’ is an example of the third generation of BMW M3 in E46 guise. As if that’s not already tempting enough, this is a widely preferred manual version featuring the six-speed Getrag 420G transmission and is a non-sunroof model to boot. In other words, a real purists’ delight. Clearly the eight keepers to date have appreciated what they had as ‘RF04WCT’ is complete with a fully stamped service book documenting the last service in November 2024. As well as routine maintenance, ‘RF04WCT’ has seemingly wanted for nothing in terms of non-routine works, including a VANOS service, air conditioning re-gas and a re-trimmed steering wheel. This fine E46 M3 in this optimum specification comes with a current MOT valid until November 2025.‘RF04WCT’ further adds to its innate desirability by presenting in the perennially popular BMW Silbergrau, or Silver Grey livery. The exterior of ‘RF04WCT’ remains entirely faithful to the original “less is more” Ulf Weidhase design and is all the better for it. This M3 sits purposefully on its original 67M double spoked alloy wheels with diamond cut faces. These are complete with subtle M-sport badges. The vendor reports that ‘RF04WCT’s’ underside and wheel arches are very solid and free from corrosion. The M3’s cabin is finished in black leather and, again, exhibits a highly desirable level of sought-after originality. Only the Bluetooth head unit and the retrimmed steering wheel are known to be non-original. ‘RF04WCT’s’ paintwork, bodywork and interior are all rated “good” by the vendor.Any M-car’s headline act is always going to dwell under the bonnet, of course, and ‘RF04WCT’ is no exception. The E46 M3 was fitted with the S54 unit which was the ultimate evolution of the hugely admired S50, naturally aspirated straight six engine. Being an M-engine, it features separate throttle bodies for each cylinder and, new for the E46 M3, “drive-by-wire” throttle control. The results speak for themselves. Originally rated at 338 bhp at a dizzyingly high 7,900rpm. This translated into a five second 0-60mph time and a 155mph electronically limited top speed. Hugely impressive in 2004 and still very competitive today.In summary:· A highly sought-after six speed manual, non-sunroof configuration· Offered complete with a fully stamped service book and much supporting paperwork· Maintaining a high degree of originality and a popular colourway

Registration – E119 YJCChassis No. – WBAAC620100551644M.O.T. – NOOdometer – 127,860With the BMW 3 Series in second generation E30 form, it underwent a major upgrade in 1987 to see it through to the end of production in 1994. ‘E119 YJC’ is one such post facelift 3 Series in 316 Automatic guise. Offered here with no reserve, ‘E119 YJC’ has been off the road for around two years and was last MOT’d in 2021 at 121,765 miles. This example is a 316i model equipped with a ZF automatic transmission. ‘E119 YJC’ has had five keepers to date and has covered around 128,000 miles to date. Clearly with some work left to do ‘E119 YJC’ is described as “90% complete” and still requiring an ignition barrel and rear three-quarter window glass. The E30 is an everyday classic with a rapidly growing following and ‘E119 YJC’ represents an example with great potential.‘E119 YJC’ is finished in a very late 1980’s gold livery. It is clear that this example has spent some while off the road, but the underlying bones seem good and relatively easy to bring back to standard. To this end the vendor rates both paintwork and bodywork as “good,” hinting at great promise. The period-appropriate exterior livery of ‘E119 YJC’ is matched with a brown, velour interior. Whilst the driver’s seat and carpet seem to be in a significantly worn condition, the driver centric black dash and other areas of trim look nicely preserved overall. The key here is ‘E119 YJC’s’ originality. It appears to be in a highly original condition which is currently highly desirable.‘E119 YJC’ is one of those models that slightly flies in the face of BMW’s long standing numbering convention. This 316 actually is 1766cc in capacity, featuring the four cylinder M40B 16-valve engine originally rated at around 100bhp. This is mated to a four speed ZF automatic transmission making for a nicely rounded mechanical specification. The mechanical aspects of ‘E119 YJC’ are all rated as “average.”In summary:· An example of the increasingly popular E30 BMW 3 Series· Offering a high level of desirable originality· A promising looking project car offered with no reserve

Registration – X451 NLBChassis No. – WBAD141060GY23339M.O.T. – October 2025Odometer – 61,500‘X541NLB’ represents a second generation, high-specification Mercedes-Benz CL500 Coupe in C215 guise. The CL500 was based on the W220 S-Class cars and hence represented a luxurious continent crossing GT model. With just five owners to date and a moderate 61,500 covered, ‘X541NLB’ is offered here with no reserve and presents in 5-litre V8 configuration making this a 150mph plus luxury four seater coupe with few equals. Being a high specification model, ‘X541NLB’ is very well equipped with refinements including double glazed windows, heated, ventilated and massaging seats, cruise control, sunroof, and rear blind to name but a few. ‘X541NLB’ comes complete with a good service history and plenty of accompanying bills. A rare chance to secure a high powered, high specification luxury bargain.Presenting in classic Mercedes Benz silver, ‘X541NLB’ is fitted with a distinctive looking Lorinser body kit giving the car an even more sporting look. Five spoke, deep rimmed Mercedes alloy wheels are also fitted. This is a great looking uber-coupe without question. The spacious cabin is usefully commodious and beautifully fitted and finished in peak Mercedes Benz over engineered style. Those special multi-function seats are finished in perforated supple grey leather. There are even accents of highly polished walnut veneer inn here to further enhance that luxury ambiance. A high level of originality is noted, and the condition of exterior and interior presentation is rated as “good.”‘X541NLB’ is fitted with the 5-litre V8 M113 engine. This refined but powerful unit was originally rated at an impressive 302bhp with 339 Ib-ft of torque. This is mated to a smooth shifting 5-speed automatic transmission. It is reported that an aftermarket back box is fitted but that it’s not too noisy and doesn’t drone whilst cruising. Active body control active suspension is also part of the extensive mechanical specification. All mechanical systems are rated as “good.”In summary:· A rarely seen 5-litre, V8 uber-coupe offered with service history and paperwork· With a sensible recorded mileage and low owner background· A luxurious and highly specified model

Circa 1750 A.D. Each door a single board with graduated scalloped upper edge, horizontal wooden bars to the reverse, hand-forged iron hinge knuckles and D-section leader to left door; primed with tempera on both faces and painted on the obverse, each with a bottle-green field, blue-grey frontage with vermillion upper storey and gilt roof; Left Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King David standing holding an unfurled scroll, wearing a gilt crown, vermillion tunic and blue mantle; before the wall a winged angel Gabriel holding a frond, wearing a draped mantle over ankle-length chiton and sandals; above, red painted legend 'BOUNA'; to the right edge, a D-section leader painted with red, white and blue diagonal stripes; Right Door: portion of city wall with tall, narrow building behind, balcony at the upper level with King Solomon standing holding a scroll and wearing a gilt crown, similar tunic and mantle to the other; dove descending towards Mary standing before the wall in front of a cushioned throne, with gilt nimbus around her head; red painted legend 'V E S T I R E' above; rare. Cf. Popescu, G.A., Cristiani d'Oriente, spiritualità, arte e potere nell'Europa Post-Bizantina, Milano, 1999, fig.69, for similar; cf. also Baboș, A., ’Royal Doors of Maramures beyond their appearances’ in Museikon, a journal of Religious Art and Culture, 6/2022, pp.263-294, for similar doors and discussion. 13.8 kg total, 132 x 34 cm each (52 x 13 3/8 in). [2] Property of a London, UK, gentleman collector. Accompanied by a copy of a Romanian export licence. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12466-229954.The 'royal doors' (Greek: Ωραία Πύλη) mark the entrance to the iconostasis (wooden screen hiding the altar) in an Eastern Orthodox church.

Gauge 1 scratch-built electric battery operated SD Holden B12 (GER S69 1500's) 4-6-0 loco, in LNER lined green, no.8507, built and painted to a professional standard by Dave Walker, in 2006. The loco is fitted with Slaters wheels, a two-stage MSC motor and gearbox, non-helical, dummy inside motion, cast brake detail, wire, brake rodding, sanding detail, a very good level of backhead detail, smokebox door is detached, but present, as is the drawbar, and two brakeshoes. The charging socket for the loco is located under a cover on the tender. The loco is housed in a bespoke wooden box and is in near-mint condition.

A Good Pentacon Six TL Camera Outfit, to include a Pentacon six TL, body G, shutter works, slow speeds inaccurate, with a Carl Zeiss Jena Biometar f/2.8 120mm, barrel G, optics F with haze, a Carl Zeiss Jena Flektogon f/4 50mm, barrel G, optics G, a Carl Zeiss Jena S f/4 300mm, barrel G, optics F-G with external haze, eye level finder, extension tubes, M42 adapter.