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Continental - Œuvres de Messire Antoine Arnauld [...], volume VI only, Paris & Lausanne: Chez Sigismond d'Arnay & Compagnie, 1776, title-page engraved armorial vignette, allegorical headers and historiated initials engraved by George Malbeste (1754-1843), occasional woodcut vignettes of flowers and urns, rebacked and relaid contemporary calf boards, marbled edges, late 19th century ecclesiastical seal bookplate: Ex Libris R: Can: Chapman, 4to, (1); Hua ([Citizen Eustache-Antoine]), Notions Élémentaires sur le Régime Hypothécaire [...], second edition, Paris: An VII de la République Française [1799], contemporary speckled calf over papered boards, 8vo, (1); Instructions sur les Principles Vérités de La Religion, et sur les Principaux Devoirs du Christianisme [...], Clermont-Ferrand: Landriot, 1818, contemporary calf, flat six-compartment spine tooled in gilt with the Cross, Virgin Mary and the Host, Adamesque paterae and devices, lettering piece to the second-compartment, 8vo, (1); 7 19th century French novels, various imprints and dates, bound en suite in gilt-tooled blue morocco over boards, 8vo, (7); further 19th century literature, including Victor Hugo; Fournier's La Langue Française [...], thirty-third edition, Pairs: 1826, contemporary vellum, 8vo, (1); various 17th, 18th and 19th century leather bindings, various sizes; etc., [38]

Original vintage motorcycle and bicycle advertising poster for Favor Cycles & Motos Clermont Ferrand France featuring a great image of a cyclist on a bike and motorcyclist on a motorbike racing alongside each other inside a circle with stripes on the background. Acceptable condition, tears and minor loss. Country of issue: France, designer: Jean Pruniere, size (cm): 49.5x50, year of printing: 1930s

Théodore Géricault (Rouen 1791-1824 Paris)Portrait of a man, probably the engraver Francois Godefroy (d. 1819), on his deathbed oil on canvas19.1 x 24.5cm (7 1/2 x 9 5/8in).Footnotes:Provenance(Possibly) Charles-Emile Callande de Champmartin (1797-1883)(Possibly) His sale, Hotel Drouot, Paris, 28-29 January 1884, lot 273 (as Géricault, Portrait de Godefroy, graveur, this sale was cancelled)(Possibly) His sale, Hotel Drouot, Paris, 28 January 1888, lot 112 (as 'Attributed to Géricault, Godefroy, graveur, sur son lit de mort)Private Collection, ParisLiteratureB. Chenique, Géricault, au coeur de la creation romantique; etudes pour la Radeau de la Meduse, exh. cat., Clermont-Ferrand, 2012, p.230, no. 37, ill.ExhibitedClermont-Ferrand, Musee d'Art Roger-Quillot, Géricault, au coeur de la creation romantique. Etudes pour le Radeau de la Meduse, 2 June - 3 September 2012, cat. no. 37This intimate oil sketch, painted the same year as Géricault's masterpiece The Raft of the Medusa, represents an extremely important addition to this major artist's oeuvre. It is almost certainly the picture from the collection of Émile Champmartin, who was Géricault's friend and fellow apprentice in the studio of Pierre Guérin. Long known to scholars only through sale catalogues, its recent rediscovery adds considerably to our understanding of an artist working at the forefront of the emerging Romantic movement, during the turbulent early years of the Bourbon Restoration. Until this painting surfaced recently in a private collection in Paris, references to a portrait of 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues were believed to describe a work acquired by the Art Institute of Chicago in 1937. That work, likewise a small oil sketch of a man's head, bore an old label that seemingly confirmed its provenance: 'Géricault (Th)/69 – Tête d'homme sur son lit de mort, provident de la coll. Champmartin'. Evidently a cutting from an old sale catalogue, the label had yet to be traced in 1991. The art historian Lorenz Eitner defended the attribution to Géricault in his two major studies of the artist (1971 and 1983), albeit without attempting to identify the model. It was Philippe Grunchec (1978) who first doubted the attribution of the Chicago picture to Géricault on the grounds that the drapery, in particular, bore no resemblance to other works by the artist. When the Chicago picture was finally cleaned of old restorations in 1985, Grunchec's suspicions were confirmed: the cleaning revealed a bold signature in red, 'E. Champmartin'. By the time of the Géricault exhibition, held at the Grand Palais in Paris in 1991, the Chicago picture was known to be by Champmartin. Curator Sylvain Laveissière revisited the question of the model's identity at this point, postulating 'si l'on croit les catalogues des ventes Champmartin, le modele serait Godefroy, graveur'. Parmi les artistes de ce nom contemporains, le meilleur candidats est François Godefroy, né en 1743...et mort l'année meme du Radeau de la Meduse.' Laveissière's identification of the model as 'probably François Godefroy' is based on the mention of the aforementioned painting entitled 'Godefroy, graveur, sur son lit de mort' in the Champmartin sale catalogues. M. Laveissière further restates Grunchec's hypothesis that the painting in the Champmartin sale catalogues (1884 and 1888) was in fact the Chicago picture, now known to be a signed work by Champmartin. Born in Rouen in 1743, Godefroy was a successful and prolific engraver with a thriving studio in Paris. He can be linked to Géricault through the Coiny family of engravers, father and son; the younger Coiny, Joseph, was awarded the Prix de Rome in 1816, the same year in which Géricault competed unsuccessfully. Even more tellingly, Godefroy died in Paris on 28 April 1819, aged 76 – just four months before the Salon at which Géricault unveiled the Raft of the Medusa, in preparation for which he made a number of studies in oil of cadavers. Unusual though it might seem to us today, for 19th century artists the practice of painting corpses followed a longstanding academic tradition. In-depth studies of human anatomy, based on dissections and drawing from nude models and ancient sculpture, were fundamental for Renaissance masters, such as Leonardo and Michelangelo. It was in this classical Academic tradition that Géricault received his earliest training, in the studio of Pierre-Narcisse Guérin. However, the talented but disobedient Géricault did not last long in this environment of strict instruction. Abandoning his apprenticeship, Géricault began his own programme of independent study, setting up his easel in the Louvre, recently renamed the Musée Napoleon and filled with the artistic spoils of conquest from Italy and Flanders. He bypassed the classicists such as Raphael and turned instead to works by Rubens, Titian, Velázquez and Rembrandt. These were the masters of colorito painting, in which the tones and physicality of the paint medium reign supreme over elegant contours. Travel to Italy in 1816-17 reinforced Géricault's reliance on colorito, which lends itself readily to the turbulence and emotion that characterise the Romantic style. As one of the early proponents of Romanticism, Géricault laid the groundwork for the subsequent generation of French masters, including Delacroix and Courbet. It was in Italy that Géricault began his practice of painting contemporary events in the elevated manner of history painting. Upon his return to France, Géricault chose as his subject for the 1819 Salon The Raft of the Medusa, a monumental representation of man's struggle against nature (fig. 1). In order more accurately to depict the shipwrecked passengers, Géricault made a number of studies at local hospitals and of victims of the guillotine. A friend of the artist, Théodore Lebrun, recalls posing for Géricault when he fell sick with jaundice; Géricault, upon spotting Lebrun's sickly pallor, exclaimed 'Ah! Mon ami, comme vous êtes beau!' It is to this important moment in Géricault's career that the oil sketch of Godefroy can be dated. Demonstrating all the hallmarks of Géricault's mature style, the forms are defined by heavy impasto brushwork, with alternating areas of illumination and deep shadow suggesting a candlelit interior. The small scale of the work lends it an air of intimacy: although it can be linked, artistically, to such grim studies as the Severed head of a man (private collection, Paris) and Le Guillotiné (Musée Royale d'Art Moderne, Brussels), it is a dignified rather than a gruesome representation of death and in this regard recalls Renaissance postmortem portraiture, and even religious iconography. There is an ambiguity to the old man's half-closed eyes and sunken cheeks that suggests the space between living and dead, sleeping and dying. It is altogether a subtler, more sensitive painting than that by Champmartin in Chicago and is a testament to Géricault's enduring appeal among today's contemporary artists, including Lucien Freud. This work has historically been excluded from Géricault scholarship simply because it has, until now, been unknown to experts. Charles Clément, the first chronicler of Géricault's work, was unable to interview the elderly M. Champmartin, which explains why works in his collection receive no mention in his monograph. This omission has been compounded in all subsequent scholarship. However M. Bruno Chenique, who has had the opportunity to study this work first-hand and has confirmed its attribution in a letter, dated 8 September 2013, will include it in his forthcoming catalogue raisonné, currently in preparation.... For further information on this lot please visit Bonhams.com

Michelin tyre interest - Cristal D'Arques frosted and clear glass Bibendum figure produced in 2000 as a souvenir solely for visitors to the original factory at Carmes in Clermont-Ferrand H19cm, boxed with visitor's folding plan Condition Report Click here for further images, condition, auction times & delivery costs

Studio of Frans Francken the Younger (Flemish, 1581–1642) The visit of the Queen of Sheba to King Solomon Oil on cradled panel 21 1/4 x 29 1/2 in. (54 x 74.9cm) PROVENANCE: Private Collection, New York, New York. NOTE: A similar composition is in the Roger Quillot Art Museum in Clermont-Ferrand, France. We wish to thank the Rijksbureau voor Kunsthistorische Documentatie, also known as R.K.D, for their kind assistance in cataloguing the present lot.

Jean Jansem (France, Armenia, 1920 - 2013) "Three Figures". Oil on Canvas. Signed lower right. Old labels verso. Exhibit loan label verso. Provenance: Benjamin Duhl (New York)- Important Jewish philanthropist. Jansem graduated from the Arts D?ratifs in 1938 and exhibited his first oil painting at the Salon des Ind?pendants in 1939. Jansem held exhibitions of his work in France (Paris, Amiens, Nantes, Avignon, Marseille, Nancy, Toulouse, Cannes, Mulhouse, Bayonville, Clermont-Ferrand) and in other countries (Rome, Palermo, Lausanne, New-York, Chicago, Palm-Beach, London, Brussels, Montr?al, Tokyo, Osaka, Beirut, Sao Paolo, Johannesburg, Germany, Art Expo New York and Los Angeles. Sight Size: 25 x 19 in. Overall Size: 34 x 28.25 in.

French School (style of Guy Bardone). Summer Cafe. Lithograph indistinctly signed. Numbered 27/150. Label verso: Jean Cusset, Clermont-Ferrand, France, image size 41cm x 54cm

A French Michelin tyre compressor The pump in the form of an artillery shell surmounted by Mr. Bibendum with pump extending from his mouth, the gauge stamped Michelin & Co. Clermont Ferrand, France.

A Collection of 115 x European Banknotes, comprising: France (including 2 x assignats for 100 francs & 10 livres) & French Colonies (St Pierre et Miquelon & New Hebrides), Italy (including an assegnato for 7 paoli anno 7 (1798)), Greece, Spain, Germany (mostly inflation notes), Yugoslavia, Hungary, Romania, Belgium & Netherlands, various denominations, almost all early 1900s to 1940s, together with 20 x South American banknotes comprising: Brazil, Chile, Paraguay, Uruguay, Ecuador (2 x Banco Sur Americano 2 Jan 1920) & Colombia, various denominations, majority 1940s to 1950s; 135 x notes in total, majority high grade VF to UNC (including assignats); lot also includes WW11 Vichy France 3 x Bons de Solidarité for 1, 2 & 5 francs, each with bust of Marshal Pétain, France WW11, 7 x PoW issues - 0.50, 1, 2, 5, 10, 20 & 50 francs, Commando No. 142 A Olier - Clermont-Ferrand for use by Axis prisoners in France, on red card AUNC to UNC & Germany 6 x Notgeld VF to UNC; collection housed in two albums

Original vintage travel advertising poster published by Cie Generale de Transports Aeriens CGTA Air Algerie / Air Algeria featuring a great design by the French artist Albert Brenet (1903-2005) depicting an Air Algeria propeller plane above a airport runway with a map of France in the background marking the cities served by the airline company: Paris, Marseille, Nice, Perpignan, Toulouse, Lyon, Clermont-Ferrand and Geneva with the title text below. Printed in France by Photolith, Paris. Very good condition, creases. Country: France, 1950s, design by Albert Brenet, size (cm): 57.5x40

 [SUMPTER LEONARD]: (1911-1993) British Royal Air Force Flight Sergeant, a member of 617 Squadron who participated in Operation Chastise (The Dambusters Raid) as Bomb aimer of Lancaster ED929/G AJ-L, 16th-17th May 1943. A unique personal hardback 4to scrapbook, complied by Sumpter during his service with 617 Squadron, 1943-45, with a postcard photograph adhered to the cover, the image depicting a Lancaster in flight high above the English countryside, beneath a partially torn label stating '…J Sumpter. Navigator…'. The scrapbook containing 53 pages of various newspaper cuttings, original photographs, and a telegram, and numerous annotations in Sumpter's hand, including, 'R.A.F. Left huge fires raging in Berlin' (newspaper cutting, 18th January 1943, annotated 'This is a report on flight made with F/L Curry (Pilot), P/O Henderson (Nav), F/S Sumpter (Bomb Aimer), F/S Higgins (M/V), F/S Shepherd (W/OP), Sgt. Henderson (F/E), F/O Longden'); 'Ruhr Floods Arms Cities From Mined Dams' (newspaper cutting, 16th May 1943); a photograph of the Mohne Dam, above which Sumpter has written, 'Nets on Mohne Dam erected after repair to Dam. Taken April 47 by self'; a newspaper cutting entitled 'Dam raiders meet King', the final sentence of the article stating, in part, 'Their Majesties spoke to every Officer and N.C.O. in the squadron…', next to which Sumpter has written, 'This is a lie!'; a typed telegram to Sumpter, signed by Air Chief Marshal Arthur Harris, 23rd May 1943, the message stating, 'My warmest congratulations on the award of your Distinguished Flying Medal'; a newspaper cutting depicting bomb damage headlined, 'Bomb-Aimers view of RAF Target' (annotated 'February 8th '44' and 'Limoges'); newspaper cutting, 'First picture of our 5½-Ton bombs' havoc', with further newspaper photographs of the Limoges raid annotated 'Before' and 'After', and with two original photographs annotated 'Marker Bombs exploding on roof at Limoges (raid) factory' and 'Limoges. Taken during raid. By Flashbomb'; a newspaper cutting 'RAF pin-point 'Busters'on tyres centre', beneath, an original photograph depicts a bomb on its carriage, surrounded by ground staff, annotated, 'The 12,000lb bomb for blast effect. First used Sept. 1943'; a reprinted photograph, captioned by Sumpter, 'Michelin Tyre Works Clermont-Ferrand'; '1,500 tons smashed this tank depot' (newspaper cutting 3rd April 1944); a typed telegram to Sumpter, signed by Air Marshal Robert Saundby, 24th May 1944, the message stating, 'My warmest congratulations on the award of your Distinguished Flying Cross' opposite a newspaper cutting depicting Sumpter in head and shoulders pose, above the headline, 'D.F.C. for Kettering Dam Buster'; 'Fleet of Nazi Ships Sunk at Le Havre' (newspaper cutting 13th June 1944); an original aerial photograph of a bomb dropping high over Northern France, to which Sumpter has added, '13,400lb Bomb. Penetration type. Submarine pen 'Buster'. Picture taken over Northern France, 24.6.44. Just after the release of a 13,400lb bomb. This type was first used in May 1944. Main use is for destroying underground works'; an original photograph of servicemen and women at a dance, clearly showing Sumpter dancing with a woman from the W.A.A.F., annotated, 'Squadron party July 18th 1944. Partnered by Diana Mitchell-Dawson (Cpl)'; three original aerial photographs, one depicting the submarine base at La Rochelle, France (26th December 1941), and two others depicting the midget U-boat shelters at Pooters Haven, Holland, annotated '617 Squadron alone - Tallboy bombs, 3.2.45'; an original photograph of the Bielefeld Viaduct, above which Sumpter has written, 'Bielefeld Viaduct. Photographed by myself May 1947, showing temporary repair 2½ years after raid'; an original aerial photograph annotated '22.2.45 Railway viaduct Bielefeld Germany (nr. Hanover), This was destroyed. Nine spans were demolished', Sumpter indicating with ink the viaduct on the photograph; an original aerial photograph of the submarine pens at Farge, Germany, annotated '27.3.45 617 Squadron alone. "Grand Slam" bombs', with three press cuttings of the raid, Sumpter also indicating in ink the targets on the photograph; a reprinted photograph, a detailed image of the damaged inflicted at Farge, photographed from within the submarine pen, annotated, 'Taken late 1945. Farge'; an original aerial photograph of Ijmuiden harbour, annotated, 'Ijmuiden. 7.4.45. Ship attacked is by jetty in lower left of the picture. Tonnage 14,000'; a reprinted photograph of a Lancaster bomber releasing a 22,000lb bomb, annotated, '22,000lb bomb on release. Note straps hanging. Bomb doors were removed for this bomb, also mid upper turret. Taken over the target. Only 5 crew carried, P-B/A-Eng-Rear Gunner-Nav'; newspaper headline 'Berchtesgaden hit by 12,000lb bombs', with a further press cutting (26th April 1945); a reprinted photograph depicting aircraft flying at high altitude, annotated, 'Armada on the way to Berchtesgaden 25.4.45'; a magazine photograph of Hitler's Berghof at Berchtesgaden, above which Sumpter has indicated the location of the Eagles Nest; a photograph (possible reprint) of the destruction of the Mohne Dam taken at ground level, written on the page below Sumpter reveals, 'Bought for 1 cigarette from a German on Mohne Dam. June 21st 1947'; a newspaper photograph depicting R.A.F. Bomb Disposal personnel examining three 'bouncing bombs' at Reculver, Kent (1980); a single page, being a hand written performance chart of Sumpter's navigational skills, with error rates stated for various tasks, including the comment, 'Sight analysis to date. Star sights taken on ground but wrong star used', written in Sumpter's hand, and signed by the course instructor, C.A. Johnson, dated 13th February 1942. With several pages neatly removed, the spine slightly loose, but with all pages firmly intact, and with age wear to the cover, otherwise GSumpter had already served two stints in the Grenadier Guards before transferring to the RAF in 1941. After training in England and Canada, he was posted to 57 Squadron at Scampton in September 1942. This book was evidently used during part of the initial training and this may account for the missing pages and the one remaining page from his time under instruction. 

Original vintage advertising poster for Favor Cycles & Motos, Clermont Ferrand, France. Great image of a bike and motorbike racing alongside each other inside a circle with stripes on the background. Excellent condition. France,1920s. Designer: Jean Pruniere. Size (cm):49.5x49.5

*Job (Charles, 1853-1930). A group of 5 French views, circa 1910, vintage carbon prints on thick paper, 3 titled and signed to verso, showing Clermont Ferrand, Washing Place, Toulon (gelatin silver print), and Chateau de Langeais, the other 2 of a street scene with chateau and a wooded landscape, a little corner creasing and a few small marginal splits, each 36 x 26 cm or the reverse (5)

France 1837 Fine entire with detailed contents in immaculate copper print cds Trelon, posted to Clermont-Ferrand with interesting h/s circled 1d in red. Highly unusual item.

MICHELIN & CIE, CLERMONT FERRAND (PUBLISHED): ILLUSTRATED MICHELIN GUIDES TO THE BATTLEFIELDS (1914-1918), THE AMERICANS IN THE GREAT WAR, VOLUME 1 THE SECOND BATTLE OF THE MARNE...- VOLUME 2 THE BATTLE OF ST MIHIEL... - VOLUME 3 MEUSE-ARGONNE BATTLE, circa 1919, 3 volumes, each original cloth, volume 2 dust-wrapper + 10 other titles in the same series, published circa 1919-1920 including VERDUN AND THE BATTLES FOR ITS POSSESSION, THE YSER AND THE BELGIAN COAST, RHEIMS AND THE BATTLES FOR ITS POSSESSION, each original cloth, dust-wrapper, VERDUN ARGONNE-METZ, AMIENS BEFORE AND DURING THE WAR, each original wraps, YPRES AND THE BATTLES OF YPRES, THE BATTLEFIELDS OF THE MARNE 1914, each original cloth, LILLE BEFORE AND DURING THE WAR, AMIENS BEFORE AND DURING THE WAR, SOISSONS BEFORE AND DURING THE WAR, each original wraps, dust-wrappers + modern facsimile reprint, + one other similar (15)

An Unmarked Folding Camera, 8x12cm, with Magir Hermagis f/6.3 136mm lens, with plate to side reading 'Barthelemy Clermont - Ferrand'

A large box containing a wide assortment of Catholic Church Dress including capes, one fur lined, two academic hoods, a red coat labelled M. Bertholon Barthomeuf, Clermont Ferrand, purple edged cloak, etc. Many unworn and various sizes. With a group of Church Banners and a leather carrying belt.

Merovingians, King Theodebert II of Austrasia AV Tremissis. Arvernus (Clermont-Ferrand), AD 595-612. THIOD. BIRTI, pearl-diademed and draped bust right / MANILEOB…, MONI (retrograde) around large AŸR. Depeyrot III, p. 142, 8, pl. 57; Belfort 345.1.28g, 10mm, 6h. Extremely Fine. Extremely Rare. From the Dr. Murray Gell-Mann Collection.

(PROVISIONAL) INFANTRY DRILL AS REVISED BY HER MAJESTY'S COMMAND 1892, L, HMSO, 1892, 16mo, orig limp leath gt, crudely reinforced with Sellotape + AMIENS BEFORE AND DURING THE WAR, Clermont-Ferrand Michelin & Co, circa 1919, orig wraps + JOHN C CLAYTON: CRAVEN'S PART IN THE GREAT WAR, [1919] 1st edn, 391pp, orig limp pict cl + HOWARD WILLIAMSON: A DICTIONARY OF GREAT WAR ABBREVIATIONS, 1996 1st edn, orig laminated bds (4)

202 Agostino, Aurelio. Divi Aug. Sermones. Divi Aurelij Augustini Hipponensis ... Aureorum sermonum nuper accuratissime lugduni speciosissimis characteribus impressorum. Lione, Jacques Marechal, 1520. In 4° (200 x 135 mm); [26], CCII, XXIII [1] carte. Frontespizio stampato in rosso e nero con bordura xilografica e figurata, iniziali figurate, testo su due colonne (difetti e restauri al frontespizio.) Legatura del secolo XX in piena pergamena con titolo manoscritto al dorso, entro custodia. Esemplare fresco uscito dai torchi di Marechal, attivo a Clermont-Ferrand e Parigi. € 150,00

A serial Jaguar owner who had had the pleasure of piloting an ex-Ecurie Ecosse C-Type on the Mille Miglia Storica, the late Richard Colton commissioned `NBD 2' from Bryan Wingfield of DRL Engineering during summer 1991. A recognised master in his field, Wingfield's customer base at the time encompassed Francesco Scianna, Edward Harrison and Sir Anthony Bamford. One of only a few such `Lightweight' Roadster Evocations to be completed (some sources put the number as low as eight), it utilised a 1969 E-Type 2+2 donor car. The work of renowned specialist RS Panels, the re-born Jaguar's alloy monocoque was reinforced via the use of steel for its floor, front / rear bulkheads and internally braced sills not to mention a Safety Devices rollover bar. Lighter yet stiffer than its production equivalent, the resultant bi-metal structure was fitted with uprated suspension (rose-jointed anti-roll bars, adjustable shock absorbers) and more efficient brakes (XJ6 callipers). Built by Dave Butcher, the 3.8 litre engine featured D-type camshafts and triple Weber carburettors etc. Reputed to develop 282bhp and 275lbft of torque, the straight-six was allied to a five-speed manual Getrag gearbox. Riding on correct-type `peg drive' alloy wheels and clad with alloy outer panels, `NBD 2' is understood to have weighed 23.3 cwt with a few gallons of fuel aboard. Visually distinguished from a factory `Lightweight' by its more steeply raked windscreen, the two-seater also boasted a properly lined hardtop, Parchment leather / Chiltern Tweed upholstery and full carpet / door trims so as to make it a more civilised companion on long, fast road trips. Writing in the Jaguar Drivers' Club Newsletter (January 2007 issue), Richard Colton recalled that `The Wingfield Lightweight first moved on the road in August 1992. Since then it has covered many miles on the Continent, climbed all the major Alpine Rally passes, competed in the Rallye Pyrenees (x2), Prix des Alpes (x2), Rally Atlantique, Carrera d'Espagne, Euroclassic (x3), RAC Haynes Two-Days (x2) and Entente Cordiale (x3). It has been driven on the circuits of Goodwood, Silverstone, Castle Coombe, Snetterton, Thruxton, Zandvoort, Zolder, Nurburgring, Hockenheim, Clermont Ferrand, Montlhery, Chimay, Reims, Spa Francorchamps, Brno, Budapest, Mas du Clos and has ascended the hills of Prescott, Shelsey, Loton and Wiscombe. After all that it still feels as good as ever including when it recorded 143.6mph for the standing mile at the 2005 Woodbridge Speed Trials'. Thought to have covered some 25,000 miles since completion, `NBD 2' possesses an MOT certificate valid until August 2016 but would doubtless benefit from a thorough service / checkover before attempting another Speed Trial. Great fun to drive, it has been estimated that this handsome `Lightweight' Roadster Evocation would cost circa £150,000 to replicate today. Offered for sale with V5C Registration Document and history file.

HAMILTON MAXWELL, RSW, SIGNED LOWER LEFT, WATERCOLOUR, Inscribed Clermont Ferrand , 15" x 22" ; together with one further Watercolour by the same artist (2)

GAUL, A BRONZE OF THE ARVERNI, Vercassivellaunos, area of Clermont-Ferrand, 1st century BC, 1.659g, 1h. DT 3608. Untouched dark green patina. Exceptional for issue. By far the finest known. Superb extremely fine Vercassivellaunos was a Gaulish commander of the Arverni who led a relief force to assist Vercingetorix at the Battle of Alesia. He was a cousin of Vercingetorix. Sedullos, chief of the Lemovices, joined his force with 10,000 men and was killed at the battle.

(ƒ) TASTEVIN en argent uni, l’anse serpent. Gravé sous la bordure?: Victor Astier. Poinçon du maître-orfèvre?: Claude II Dulaure ou Delort, reçu en 1752. Clermont-Ferrand, 1756-1762. DIAM. 7,5?cm - POIDS?: 129,59?gr

BELLEFOREST - Description du pays d’Auvergne. - La ville, cité de Clermont Ferrand. Gravures. 1575. Cosmographie. Feuille : 43 x 34 cm. Carte : 27 x 26 cm. P. Belle I-1 / 35. 40 x 31 cm.

Joseph CHINARD PORTRAIT PRESUME DE MLLE FANNY PERRIN SOUS LES ATTRIBUTS DE PSYCHE Buste en plâtre Signé sur le devant : Chinard de Lyon H : 47 cm (Tâches et salissures) Le Musée de Clermont Ferrand conserve le portrait en marbre de Mlle Fanny Perrin sous les attributs de Psyché jouant avec une couronne de fleurs, buste présenté par Chinard au Salon de 1808. Notre buste dont la composition diffère sensiblement du marbre de Clermont-Ferrand pourrait en être le projet. On retrouve dans notre plâtre le même type de visage enfantin, les attributs de Psyché, la couronne de fleur et, sur le bonnet, la lettre « P » pour Perrin. Fanny Perrin deviendra en 1828 la femme de Louis-Jean Desaix de Veygoux, neveu du général Desaix. Expert : Monsieur Alexandre Lacroix

Album Art Nouveau de 615 cartes postales anciennes: Auvergne: Clermont-Ferrand, Le Puy, Brioude, Auvergne Pittoresque, Cantal pittoresque, Haute-Loire pittoresque, dentellières, fileuses, scieurs, astiquage des casseroles, cures, noce, Eugène Gilbert aviateur, auberge sanglante de Peyrebeilhe, autobus, usines, marché, gares, mines, camps, casernes, visite de Fallières; Loire, Pyrénées orientales (Catalane), paquebot Urubamba, Grande Guerre, Algérie, cartes-photo, fantaisie: fleurs, cartes gaufrées, collages, paillettes, applications de matières (tissu, fleur), ajourées, dentelle papier, illustrateurs, soldats, cartes dessinées à la main, cartes à système à fenêtre avec tirette ou disque ou à ouverture avec calendrier, enveloppe ou cartes dépliantes miniatures (Grüss aus Baden-Baden).

Album Art Nouveau de 180 cartes postales anciennes: Auvergne (Clermont-Ferrand), Saint- Etienne (festival), Cévennes, Provence (grand format rade de Toulon, Hyères, marché de Cavaillon), Est, Allemagne (Cologne), Grèce, navires, cartes illustrées de Raphael Tuck, Grande Guerre (cartes patriotiques, série "La guerre en Lorraine", campagne d`Orient Monastir), scènes et types-la belle fathma

Régionalisme: Massif central (Auvergne, Limousin, Lozère, Aveyron). 274 cartes postales anciennes et semi-modernes. Thermalisme (Vichy, Néris-Les-Bains, La Bourboule), Montluçon, Moulins, Clermont-Ferrand, Le Mont-Dore, Brioude, Le Puy, places, montagnes, châteaux, camp du larzac, gares, ponts et viaducs, funiculaire, folklore (bourrée, louis Coulon), attelages (malle-poste), poids public, coupe Gordon Bennett 1905, petits métiers (laitière, dentellières), usines, hôtels, carte publicitaire (le Petit Parisien), fantaisie, cartes lithographiées, carte-photo (courses à Vichy). On y joint une photo ancienne légendée à la main et un carnet de cartes postales semi-moderne sur Clermont-Ferrand

de LARREY. Histoire des sept sages. Rotterdam, Fritsch et Böhm, 1714. Première partie. In-6 veau havane dos à nerfs orné, plat aux armes de Jean de Freydefont de Sauvagnat de Beaulieu, président au présidial de Clermont-Ferrand de 1747 à 1790 "de gueules au sautoir d`argent, accompagné de 4 alérions" cantonnées de deux atlantes avec couronne de marquis (mors usés).

JEU AU PORTRAIT D`AUVERGNE Cheminade, 32/32 cartes, gravure sur bois, couleurs au pochoir ; dos blancs ; sur le VT : CLERMONT ; traces de filigrane à la fleur-de-lis. Enveloppe imprimée sur un document officiel remployé daté 1792 : le dessus montre une figure masculine que le bois très usé ne permet pas d`identifier ; sur un côté, on distingue : CARTES TRÈS FINES DE […] CHE [M] IN [ADE] M. CARTIER RUE DE/IES A CLERMONT (fragment de bande de contrôle conservée avec timbre humide). Clermont-Ferrand, vers 1792. (Quelques cartes légèrement décollées, sans gravité, sinon bon état). 82 x 54 mm

SOGNO Engagez-vous - Rengagez-vous dans les troupes coloniales, 1940 Affiche lithographique, imprimeur Mont-Louis à Clermont-Ferrand 80 x 56 Entoilée - Etat B.

ƒ ARMAND GUILLAUMIN (1841 - 1927) Madame Guillaumin écrivant, 1892Pastel sur papierSigné en bas à droite70,5 x 64 cm - 27 3/4 x 25 1/8 in. Provenance : Vente Ader, Drouot, Paris, le 18 décembre 1961Expositions : "Guillaumin",Wally Findaly Galleries, Paris, 1972"Armand Guillaumin", Musée du Petit Palais, Genève, 1992, référencé au catalogue d`exposition sous le numéro 24 page 67"Armand Guillaumin...L`impressionniste ami de Cézanne et de Van Gogh", Musée des Beaux Arts de Clermont-Ferrand, 1995, référencé dans le catalogue de l`exposition sous le numéro 27 page 70 "Vom Spiel der Farbe Armand Guillaumin (1841-1927) ein vergessener Impressionist", Wallraf-Richartz Museum, Cologne, 1996, référencé sous le numéro 651 page 173"Armand Guillaumin, un maître de l`impressionisme français", Fondation de l`Hermitage, Lausanne, 1996, référencé sous le numéro 44, page 84 du catalogue"Armand Guillaumin, de la lumière à la couleur", Musée d`Art et d`histoire, Belfort, 1997 référencé dans le catalogue de l`exposition sous le numéro 28 page 56"L`impressionismo di Armand Guillaumin" ua Palazzo Brischerasio, Turin, 2003-04, référencé dans le catalogue de l`exposition page 92Bibliographie : Catalogue de l`exposition "Peintres de Montmartre et de Montparnasse", Musée Rath, Genève, 1965, référencé sous le numéro 9Catalogue de l`exposition "Maîtres connus et méconnus de Montmartre et de Montparnasse", musée d`Annecy, 1964, référencé sous le numéro 9"Armand Guillaumin" de Christopher Gray, 1972, référencé sous le numéro 19 page 118

Clermont-Ferrand (faïence) ? Moutardier couvert en camaïeu bleu dans le style rouannais avec monture d`étain. XVIIIe siècle. Haut. 8 CM

A D.B. 12 BORE FRENCH PERCUSSION SPORTING GUN BY CUSSON A CLERMONT FERRAND, CIRCA 1840, with browned twist sighted barrels encrusted with the gold inscription `Canons de Leclerc` on the rib, the breech decorated with a gold bird, chiselled with slender ribs enriched with gold lines (small losses), stamped with the barrelsmith`s marks of Jean Nicolas Leclerc (Neue Støckel 187) and the serial number 4719 beneath, finely engraved breech tang decorated with scrolls and a central medallion decorated with a hound and her puppy in two colours of gold, signed flush-fitting shaped locks finely engraved with differing landscapes enriched with hounds, game birds and the signature in two colours of gold, engraved shaped hammers matching the locks, highly figured walnut half-stocks, engraved steel mounts comprising butt-plate, scrollwork trigger-guard, rear ramrod-pipe and barrel bolt escutcheons each decorated en suite with the locks, two further ramrod-pipes and a pair of sling swivels, vacant silver escutcheon, and brass-tipped wooden ramrod (incomplete), 78.5cm; 30 7/8in barrels. Cusson is recorded in Clermont-Ferrand circa 1825-45.

*Couthon (Georges Auguste, 1755-94). Autograph letter signed, Clermont-Ferrand, 9th May, 1789, lengthy letter to a friend and colleague in a very neat hand, ‘... Si je pouvais douter que la chose publique vous laisse quelques instants de libres, je ferais des reproches ˆ votre amitiŽ, de ne m'en avoir pas accorder un seul depuis que vous etes parti, mais je respecte trop le motif de votre silence pour m'en plaindre', two pages, folio, together with two other French manuscript documents including one leaf of verses (numbered three and four and lacking first part) believed to be in the hand of Charles Jean Marie Barbaroux (1767-94, noted Girondist), and an autograph letter signed from the Duc D'Istrie to Monsieur Tardis, dated 20th January 1814, 2 pp., folio (3)

French School (19th century) Notre Dame du Port, Clermont Ferrand, South Porch signed, titled, dated 16 May 1911, watercolour, 23.5cm x 16cm

A Bony Clermont-Ferrand Marble and Spelter Clock Garniture having figure motif of a young lady holding a mandolin with bird motifs, with cream enamel dial having painted ribbon and Arabic numerals with gilt metal mounts and feet, flanked by 2 5-light 4-branch candelabras, 73cm high (3)

AUVERGNE-LIMOUSIN v SOUTH AFRICA, match programme at Clermont-Ferrand on 5 November 1968.

A large and impressive late 19c French gilt bronze cased clock garniture to comprise pair of urns on pedestal, each with garland and scroll mounts; the clock case with similar urn and scroll mounts, applied acanthus leaf designs to the front and base; the circular dial with enamelled Roman numerals inscribed 'Legay Fils Clermont Ferrand', enclosing an eight-day[?] striking movement [lacking bell], 62 cms. x 36 cms

Cyclomalle Shaped Plywood Case 'Velo-Valise"Cyclomalle" Bis SGDG Clermont Ferrand' in grey and dark red, c1930. Fair condition. 48x40x40cm

Ramond (L.) Memoires sur la Formule Barometrique de la Mecanique Celeste, first edition, half-title, blind stamps of the Topographical and Statistical Depot on title, half-title and preliminary ff., slightly foxed, bookplate of Thomas Best Jervis on front pastedown, contemporary half calf, slightly rubbed, gilt spine, (Perret 3568), 4to, Clermont-Ferrand, Landriot, 1811.

Rees (Major R.T.) A Schoolmaster at War, presentation copy signed by the author, plates, original cloth, very slightly rubbed, n.d. § Ypres and the Battle of Ypres, a Michelin Illustrated Guide to the Battle-Field, plates and maps, original cloth, damp-staining, dust-jacket, worn, Clermont-Ferrand, 1919 § 51st (Highland) Division War Memorial, Beamont-Hamel (Somme), plates, original cloth, lower corner of upper cover slightly rubbed and damp-stained, a little darkening, n.d. ; and a small quantity of others including ephemera, mostly First World War, v.s. (sml qty).