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Click here to subscribe*** James Noble (1919-1989) - Oil painting - "Handel", still life of flowers in pewter jug, signed, canvas, 19ins x 15ins, titled to verso, in gilt moulded frameThis canvas has not been inspected out of the frame. It appears to be in good condition with no obvious damage/loss/restoration. Please enlarge condition report images for further details
A Lynton Porcelain Company Moon Flask Scent Bottle by Stefan Nowacki, signed, painted with a still life of fruit within a gilt border to one side, the other side with floral sprays, on a pink ground, with ball pattern stopper, 2.75ins high overallThis scent flask appears to be in good condition with no obvious damage/loss/restoration, other than a slight mark around where the metal neck fits to the ceramic (glue?) The screw lid functions well
This vibrant still life linen on board painting by artist Faveu showcases a beautifully arranged composition of fruits, ceramics, and draped fabric. The artwork is executed in a bold, textured style, with a strong emphasis on form and color. The earthy tones of the background contrast with the vivid yellows, greens, and reds of the fruit, creating a dynamic interplay of elements. The brushstrokes exhibit an expressive quality, lending the piece a unique character. The painting is signed Faveu in the lower right corner, affirming its authenticity. The artist demonstrates a keen understanding of classic still-life techniques while infusing the work with a contemporary and personal touch. The framed artwork is ready for display, adding a sophisticated and timeless appeal to any art collection. Artwork dimensions with frame: 30"L x 24"H x 1.75"W.Artist: FaveuIssued: 20th-21st centuryDimensions: See DescriptionCondition: Age related wear.
This framed botanical still life print features a decorative urn filled with lush fern fronds and cascading berries, rendered in a warm, muted palette of earthy tones. The composition evokes a classical European-inspired aesthetic, with aged patina effects that enhance its vintage charm. The artwork exhibits a textured finish with intentional craquelure, giving it the appearance of an antique fresco. Encased in an ornate, gilded frame with intricate scrollwork, this piece embodies a traditional and timeless appeal, making it a striking addition to any interior space.Issued: c. 2000Dimensions: 24"L x 30"HCountry of Origin: USACondition: Age related wear.
This oil-on-canvas still life painting by Palm Beach artist Annette Krauss Rose features a vibrant composition of a metallic vase and cut fruit against a draped fabric background. Rose, a 20th-century artist, studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMond, whose influence is evident in her use of light and color. The painting measures 20.5”L x 22.5”H and is signed by the artist in the lower right corner. A fine example of Rose's mastery of still life, this work is ideal for collectors of Impressionist and Floridian art.Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: United StatesCondition: Age related wear.
Gregorio Vázquez de Arce (Santa Fe, New Granada, 1638 - 1711)"The Holy Family in Saint Joseph's workshop"Oil on copper.62,5 x 47,5 cm.The lower margin of the copper plate is slightly damaged.The attribution of this work relates to the style and technique that characterize Vázquez: balanced compositions, soft tonalities and detail in the treatment of figures, elements and style that we observe in other paintings that have been signed by the artist and that allow us to affirm that this painting is by Vásquez. We refer, for example, to the paintings in his "Retablo de las Reliquias" or his “Saint Gertrude with the Christ Child” kept in the Santa Clara Church Museum in Bogota, in which similarities with this painting can be observed in the idealized representation of the faces, the delicate handling of light and the tonal palette dominated by warm and earthy colors.The choice of the thick copper support, usual in Vásquez de Arce's small format works, denotes an interest in guaranteeing durability and a luminous finish, something common in works destined for altars or private devotional spaces, as would be the case here.This painting comes from a time when New Granada was experiencing a boom in religious artistic production, driven by orders such as the Jesuits and Dominicans, who promoted artworks that were both didactic and devotional at the same time.Gregorio Vásquez de Arce was an influential Colombian painter, the most important painter from 17th century New Granada. He was endowed with technical and stylistic mastery as reflected in cycles such as the "Retablo de las Reliquias" in the Church of San Ignacio in Bogota. With a prolific career that spanned much of his life, Vasquez left a legacy of religious artworks that significantly influenced the artistic development of the region. His style combines elements of European baroque with a sensitivity and devotion typical of the Latin American context of the 17th century. Vásquez, in fact, through his work, was a central figure in the consolidation of the Baroque in New Granada and his influence extended to later generations of artists in the region. Later painters took his style and adapted it to local needs, making his work a fundamental point of reference in the history of viceregal art. Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. The scene depicts the Holy Family in an intimate, everyday environment, a typical Christian baroque theme that seeks to emphasize the humanity of sacred figures. Just like any family, the patient Virgin Mary is doing embroidery while “meditating everything in her heart”; the chaste St. Joseph, focusing one of the essential virtues he possesses, is working in silence at carpentry, planing wood. The thrice saintly Jesus, as Son, is learning from his father and imitates him at woodworking, and appears as “building his future destiny”, preparing the stipe of his cross. The painting, with its colors, shows a model of all the virtues: humility, chastity, obedience, poverty, love of work and silence; in a word, the total practice of these virtues reflected and lived through by this family. The theme of the Holy Family became popular in art from the 1490s, but the veneration of the Holy Family formally began in the 17th century due to St. Francis de Laval, the first bishop of New France, who founded a confraternity with this name. The family is depicted as being all on the same level, on the same compositional plane, on the same floor, there is no one that predominates or stands out above the other. It is what is called the earthly Holy Trinity and although Saint Joseph had an almost caricatured secondary role in the iconography, from the Renaissance and the Baroque, he becomes very important, since the progressive humanization of the portrayals of Jesus and Mary would make this adoptive father gain presence, he is given increasingly friendly treatment and is portrayed in art as a loving and attentive father.In this regard, as we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands.Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.”Reference bibliography: - Cruz Medina, Juan Pablo. (2014). «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII». Memoria y sociedad 18, n.° 36: 100-117. https://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm- Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (n.d.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Pizano, Roberto. (1985). "Gregorio Vásquez: Vida y obra". Banco de la República, Bogotá.- Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada". - Tovar, Gil. (1995). "El barroco en la Nueva Granada: Gregorio Vásquez de Arce y Ceballos. Ediciones Nueva América, Bogotá.
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772"Portrait of Manuel López-Pintado y Almonacid"Oil on canvas.111,5 x 97 cm.Juan Patricio Morlete Ruiz was one of the greatest painters in Mexico during the second half of the 18th century. Although his biography was little known until the 20th century, his work began to be more widely disseminated through various collections, which made it possible to learn more about him. Morlete, with extensive oeuvre in Mexico, is particularly known for his series of caste paintings. The Museo de América in Madrid has a still life by his hand (inv. 2021/04/01).He founded the Academy of Painting in 1753, together with his teacher José de Ibarra, Miguel de Cabrera, José de Alcíbar and other illustrious figures. Two years earlier, in 1751, he had been part of the group of artists who inspected the image of the Virgin of Guadalupe. These two events reflect the artistic and cultural importance, as well as the social and professional recognition of the painter.The iconographic themes of his artistic production are varied. Urban views, devotional and allegorical motifs, sacred history and several portraits known to date, including those of several viceroys and a portrait of King Charles III dated 1760.Focusing on the painting we present here - and delving deeper into the identity of the sitter - the clothing and important coat worn by the sitter in our work behove us to mention two paintings on canvas that we can compare stylistically and help us to date and geographically locate the painting to the first half of the 18th century in New Spain. We are talking about the portrait attributed to the painter Juan Rodríguez Juárez of Viceroy Juan Vázquez de Acuña y Bejerano (1658-1734), Viceroy of New Spain between 1722 and 1734; and the portrait of Viceroy Pedro Cebrián y Agustín (1687-1752), Viceroy of New Spain between 1741 and 1746.The attire and accessories of the sitter in our painting are comparable in quality, materials and design to those worn in the portraits of the Viceroys of the 18th century. From this we can deduce that the sitter enjoys a very high social status, possibly among the nobility or great merchants of globalisation.It should also be noted that our noble and illustrious personage holds a magnifying glass in his left hand. This element and the book of cartography resting on the table next to the silver inkwell with its quills relate the sitter to maritime activity. In this sense, moreover, the design of the decorative patterns of the garments reminds us of the waves of the sea and the symbols on the sleeves are related to the four cardinal points.The proposal suggested to satisfy the mystery of the identity of the man portrayed is that of Manuel López-Pintado y Almonacid, Admiral of the Fleet of the Indies, who was born in Toledo in 1677 and died in Seville in 1745.A portrait of Manuel López-Pintado, dated 21 December 1730, is kept in the Naval Museum in Madrid.As the Royal Academy of History informs us, "The great wealth of López-Pintado, a mixture of sailor, soldier and businessman, originated from the title of silver-master granted to him by Sebastián de Talledo in Madrid in 1704. [...] He was a deputy of the royal fleets until he obtained the title of admiral of the Fleet of the Indies in 1715-1716, and in that post he acquired a large fortune that enabled him to invest in land, buying and improving various estates and mills in different towns in the province of Seville. [...] In 1737, Philip V granted him the title of Marquis of Torre Blanca del Aljarafe, with the previous viscountcy of Cabrejas". Reference bibliography:- Caño Ortigosa, José Luis. (n.d.). "Manuel López-Pintado y Almonacid". Real Academia de la Historia. https://dbe.rah.es/biografias/51501/manuel-lopez-pintado-y-almonacid
Ravilious (Eric).- Heath (Ambrose) The Country Life Cookery Book, first edition, illustrations by Eric Ravilious, T.L.s. from the publishers tipped in, original cloth, dust-jacket with vignette, price-clipped, slightly rubbed and soiled, 1937 § Christmas Book Shop (The): The Year's Best Books, 8pp., printed in yellow and black, illustrations by Ravilious and Edward Bawden, spotted, interleaved and stitched into card folder (staples removed), manuscript paper label in shape of Christmas tree to upper cover, [1924] § London Transport. Country Walks, First [-Third] Series, 3 vol., photographic illustrations, some spotting, original wrappers, all with dust-jackets featuring wood-engraving by Ravilious, a little rubbed, 1936-37 § Pope-Hennessy (James) London Fabric, second edition, foxing, original cloth, dust-jacket designed by Ravilious, a little rubbed and frayed, spine browned, New York & London, 1941; and 20 others, illustrated, mostly by Ravilious, and a few loose illustrations by John Nash, 8vo & 4to (26)*** The tipped-in letter in the first is a reply to an enquiry concerning the repetition of the January vignette for December, and whether another engraving was rejected. The publishers are unable to solve the matter as their records were lost during the war. The second item was an advertising insert for the December 1924 edition of the Studio. It includes some of both Ravilious's and Bawden's earliest published designs, executed while they were still students at the Royal College of Art.
Fred YATES (1922-2008) Still Life with Boat Oil on panel (wooden door), signed, 22 x 14cm, 51 x 38cm overall.This utterly charming work is in good condition, with some accretions evident and the original rustic nature of the doorframe panel and its quirky asymmetric nature adding to its appeal.
A refined woodblock print by Japanese artist Mabuchi Toru (1920–1994), depicting a floral still life with bold colors and intricate textures. This signed and dated piece (1968) is a limited edition numbered 74/110, showcasing Mabuchi's signature mosaic-like approach to composition. Known for his mastery of traditional Japanese printmaking techniques, Mabuchi's works are highly regarded for their delicate yet structured aesthetic. The piece is professionally framed, measuring 23"L x 29.5"H overall.Artist: Mabuchi Toru (1920–1994)Dimensions: See DescriptionCondition: Age related wear.
A striking oil on canvas painting titled Bananas by Cesar Camarena, presenting a bold and immersive still-life composition. The artwork features a close-up view of ripe bananas, rendered with remarkable precision and attention to texture, shadow, and depth. The artist employs a hyperrealistic style, utilizing rich golden hues and subtle tonal variations to create a sense of volume and natural warmth. The composition, with its repetition of curved forms, evokes a sense of abundance and organic movement. Signed and dated in the lower right corner, this piece is housed in a simple frame that complements the artwork's vibrant subject. Camarena's work showcases his expertise in realism, making this painting a compelling addition for collectors of contemporary still-life and hyperrealism.Artist: Cesar Augusto Camarena (20th-21st century)Issued: 2006Dimensions: 52"L x 42"HCondition: Age related wear.
Vibrant Pop Art oil on canvas by Cesar Camarena, titled Mangos en Primer Plano (Mangos in the Foreground). Executed in 2006, this striking composition captures a hyperrealistic close-up of ripe mangoes in rich golden hues with green undertones, masterfully rendered to emphasize texture, luminosity, and depth. The artist's signature is prominently featured in the lower right corner, and the verso includes the title, medium, and dimensions, reinforcing authenticity. Camarena's technique showcases a keen eye for realism and an exceptional ability to evoke a sensory experience through still life.Artist: Cesar Augusto Camarena (20th-21st century)Issued: 2006Dimensions: 50"L x 40"HCondition: Age related wear.
Registration No: SJW 842S Chassis No: XL2S1N420542A MOT: ExemptFirst prize in a competition to celebrate HM Queen Elizabeth II's Silver JubileeWarranted 5,500 miles from newRetained by its first owner for thirty-one yearsStored in a temperature controlled environmentThis remarkable Mini 1000 is warranted to have covered just 5,500 miles from new. First prize in a competition held by St Cuthbert’s Co-op and Colgate toothpaste to celebrate HM Queen Elizabeth II’s Silver Jubilee, the diminutive saloon’s paintwork is reputedly a non-standard hue that was specially applied to commemorate the occasion. Won by an Edinburgh school teacher, Margaret Irvine, her lack of a driving licence saw ‘SJW 842S’ remain garaged for the first three years of its life. Driven sparingly, the four-seater had covered a mere 2,000 miles or so by the time it was bought by one of Miss Irvine’s neighbours during 2008. Another lady, the latter sold the Mini 1000 to her brother who then passed it to his son. Finally leaving the Everett family’s custody in 2021 when it relocated to Suffolk, the Silver saloon remains notably original. The contrasting Dark Blue vinyl upholstery is as well preserved as one might expect and the supplying dealer’s rear window sticker and tax disc holder are still in situ. The factory-fitted tyres were swapped for fresh rubber some years ago but have been kept for posterity. Surely unique given its backstory, this delightful Mini is offered for sale with V5C Registration Document, Competition Winner’s Telegram, numerous old MOTs and other paperwork. MOT History: 17th August 1984 - 408 miles 19th November 1987 - 1,435 miles 18th September 2008 - 2,083 miles 1st October 2009 - 3,448 miles 5th October 2010 - 3,678 miles 24th October 2011 - 4,802 miles 25th September 2012 - 4,892 miles 22nd January 2014 - 5,053 miles 21st February 2015 - 5,238 miles 22nd October 2016 - 5,373 miles 24th October 2017 - 5,386 miles For more information, please contact: Baljit Atwal baljit.atwal@handh.co.uk 07943 584762
Registration No: RAM 35 Chassis No: AN5/1307 MOT: ExemptBuilt by the late owner Keith Hopwood as a replica of the original Paddy Gaston campaigned Downton Sebring Sprite 'RAM 35'Understood to have been fitted with some of the original parts of 'RAM 35' during ownership by John BrittenSupplied fitted with 1275cc engine and Weber carburettor plus a spare 1150cc engine and various carburettorsIdeal for Modsport category of the Midget & Sprite ChallengeThanks to its prominent, bonnet-mounted headlights, the original Sprite quickly became known as the 'Frogeye' - a moniker that has stuck to this day. The little two-seater, designed by the Donald Healey Motor Company and built by BMC at the MG factory in Abingdon, was launched in Monte Carlo immediately prior to the 1958 Monaco Grand Prix. The unique, one-piece bonnet covered a mildly tuned, 43bhp 948cc version of the BMC 'A' series engine already found in the Austin A35 and Morris Minor. The suspension was coil spring and wishbone at the front and quarter elliptic springs at the rear, with lever arm dampers all round. The construction was 'integrated' rather than a full monocoque and featured forward projecting chassis legs of the type used in the E-Type Jaguar. The minimal specification excluded exterior door handles and boot lid. Some 49,000 Frogeyes were built between 1958 and 1961. The Sprite was quickly adopted for competition by both privateers and the Works - the latter's first major success being the win of John Sprinzel and Willy Cave on the 1958 Alpine Rally. The model is still proving handy in rallies, races, sprints, hillclimbs and autotests to this day.According to records on file, chassis AN5/1307 was sold by W Goddard & Co of Salisbury and registered as ‘RAM 35’ on the 19th May 1958 and is understood to have been bought new by Mr Daniel Richmond of Downton Engineering. Uprated extensively and forever developed, the car was to mainly be driven by John H. (Paddy) Gaston in competition for the following years and eventually was rebodied in full ‘Sebring Sprite’ coupe coachwork and fitted with a Supercharger. Gaston had a tuning and repairs business based in Kingston-upon-Thames, Surrey and took the Sprite to its first outing at the Snetterton 1 hour race. Gaston would enter the car in a further 22 events over the next three seasons. He won his class with the car on several occasions including the Snetterton 3 Hours in 1960.Fast forward to 1966 and following several magazine articles which are presented within the history file, ‘RAM 35’ was sold to renowned ‘Spridget’ racer John Britten. Unfortunately, on his first outing with the car at Mallory Park, the pair endured a very dramatic crash which John Baggott described in his book Mighty Midgets and Special Sprites as follows:"The car hit the banking hard, bounced back on to the track and was tapped by another car, sending it into a multiple roll. He remembers being in the cockpit, counting to himself the number of times it went over: 'One, two, three'. The Sprite came to rest in the middle of the track and burst into flames, which were quickly extinguished by the marshals. The driver emerged from the wreck very shaken, but otherwise unharmed".The crash spelled the end for the original shell of ‘RAM 35’, however many of the uprated components were transferred to Britten’s Lenham bodied Sprite known as ‘SS 1800’ which was campaigned far more successfully over the following years and was eventually rebodied with Arkley panels for which it became well known in its own right. Sometime during the late 1990’s, the late owner Keith Hopwood acquired ‘SS 1800’ along with the ID for ‘RAM 35’ and chose to build a recreation of the ex-Paddy Gaston racer which would invariably use some of the original car’s componentry. Hopwood wanted to recreate ‘RAM 35’ with a Sebring style bonnet, and had a new front end and Speedwell-style hardtop made from Fibreglass by Omnibob Ltd. A highly tuned 1275 engine was fitted complete with a Weber DCOE 45 carburettor and the shell from ‘SS 1800’ was further adapted to quarter-elliptic spring arrangement. Once complete, the car was used successfully for several hillclimb and track events and was invited to attend the Goodwood Revival for display in 2008.Mr Hopwood sadly passed away several years ago and the Sprite was left to his widow who has now decided that it is time to sell the car which is now in need of recommissioning having not been run for several years. Offered with an extensive history file displaying all of Mr Hopwood’s research which includes scans of original registration records, magazine articles and several historic photographs of the car in all guises (both ‘RAM 35’ and ‘SS 1800’) plus spares including a spare bored out 1098cc engine block, cylinder head and three different carburettor options, the current incarnation of ‘RAM 35’ is a perfect opportunity for anybody who wishes to enter historic motorsport events and relive the exciting life of Paddy Gaston! For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: C630 OJH Chassis No: WAUZZZ85ZGA900113 MOT: T.B.ALavished with a comprehensive mechanical and cosmetic renovation which was completed in 2022Less than 500 miles covered since the completion of the workPresenting excellently and a notably standard exampleUK-supplied, WR code engine QuattroOffered with a large history file including the original stamped service bookIntroduced at the March 1980 Geneva Motor Show, the Audi Quattro Turbo was destined to revolutionise the faces of both international rallying and high-speed motoring. Based around a two-door monocoque bodyshell equipped with all-round independent suspension, four-wheel disc brakes and rack and pinion steering, its permanent all-wheel drive system was famously derived from that of the VW Iltis utility vehicle. Powered by a turbocharged five-cylinder engine, the model's speed, poise and agility netted Audi two drivers' (1982, 1984) and two constructors' titles (1983, 1984) in the World Rally Championship. Progressively enhanced during an eleven-year production life, the Quattro Turbo merited its own dedicated production line in Hall N2 of Audi's Ingolstadt plant (each hand-built car undergoing a gruelling multi-point inspection before being signed off). Phased in during October 1982, the first right-hand drive cars boasted a 'WR' code DOHC 2144cc powerplant that developed some 200bhp and 210lbft of torque. Sporting single lens Cibie headlamps, they were reputedly capable of 0-60mph in 6.5 seconds and 137mph. Rarer and more expensive than subsequent rally champions such as the Lancia Delta Integrale and Subaru Impreza WRX, just 11,452 examples of the original (or 'Ur') Quattro Turbo were made.Supplied new through VAG main agents Michael Moore Ltd. of Bracknell, being first registered as ‘C630 OJH’ on the 3rd of January 1986. The Quattro was finished from new in Alpine White paintwork and with the two-tone Grey cloth interior and boasts features such as central locking, electric windows, and sunroof. This rare right-hand drive, WR code engine Quattro covered the vast majority of its life in its early years and boasts a strong service history during this period, with a documented twenty-two stamps illustrated in the original stamped service book. Despite this, the Quattro was lavished with a full engine overhaul in 2011 and has covered minimal mileage since. Purchased by the previous enthusiast owner in 2017, the Quattro was thereafter provided with a comprehensive mechanical overhaul as required with the brakes, suspension, fuel injection, exhaust, radiator, tyres, and battery all refreshed, and invoices on file relating to £5,000 in parts alone.Acquired by the vendor in 2022 as a freshly mechanically renewed Quattro, ‘C630 OJH’ was still requiring cosmetic restoration. Chassis ‘900113’ was thereafter provided with a full repaint, interior refresh, and further cosmetic attention. Presented now as an extensively refreshed Quattro, less than 500 miles have been completed since the work's conclusion, ‘C630 OJH’ presents in notably original specification with only an uprated exhaust and later radio fitted. Accompanied by a history file comprising the aforementioned service book, a large collection of previous MOTs and invoices, and a current V5C document, there are notes in the file that inform that the speedometer was changed in c.2013/14 so the total mileage is some 8,000 higher on the speedometer. Starting readily and both running and driving well during the recent photography session and is due to be supplied with a fresh MOT certificate in time for sale.With under 500 miles completed since extensive cosmetic and mechanical overhaul, this UK-supplied, nicely presented example of the iconic Quattro, is undoubtedly one to consider. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: WHJ 516M Chassis No: 9256 MOT: Exempt1 of just c.130 right-hand drive Espada S3s reputedly builtNotably previously in the ownership of the well-respected Ferrari specialists Reeder BrothersJust 67,000 recorded milesDiscovered as a garage find in 2022 and fully recommissioned by the vendor sincePrevious full engine overhaul by the Reeder Brothers at c.60,000 milesIntroduced at the 1968 Geneva Salon, the Lamborghini Espada was a true four-seater supercar. Styled by Marcello Gandini of Bertone, it was visually indebted to the carozzeria's previous 'Marzal' and 'Pirana' show cars. A low-slung menacing 'wedge' (actually no longer than a contemporary Ford Mustang), its Giampaolo Dallara honed pressed-steel platform chassis featured all-round coil-and-wishbone suspension, Koni dampers, disc brakes and anti-roll bars. Although, the 'quad-cam' Bizzarini 3,929cc V12 was front-mounted and mated to a five-speed manual gearbox, the Espada enjoyed near ideal front-to-rear weight distribution (52:48). The world's fastest four-seater at some 155mph, it was praised for its handling and ride quality. Debuting at the 1972 Turin Motor Show, the Series III came with power steering and air-conditioning as standard. Boasting 365bhp and 290lbft of torque, it also carried a revised interior, re-jigged rear suspension and uprated brakes. In production at Sant'Agata Bologna for just six years, a mere 472 were supposedly made.Chassis number ‘9256’ is a very rare right-hand drive Series III example, which was supplied new to the United Kingdom, being first registered on the 9th of October 1973. Passing through the dealership of Lamborghini ‘guru’ Del Hopkins, who owned the Lamborghini Dealership in Alie Street, London at the time, it is understood that at this time, one of his business partners at the dealership, Bob Hennessy used the car for his wedding in 1976. Known to have been registered as ‘TTK 2’ during the early stages of its life, the Espada was subsequently acquired in 1984 by the highly respected Ferrari specialists Mike and Graham Reeder, the brothers stripped the car to bare metal, bodily restored ‘9256’, and provided a full repaint into Ferrari Rosso Corsa (there could be no other colour with their specialism!). In 1987, at c.60,000 miles, the engine was removed from the Lamborghini and provided with a full engine overhaul which included new pistons, timing chains, bearing shells, etc.Between March 1984 and May 1995, the Espada led a charmed life, being driven exclusively by partners of the Reeder brother's business. Sold out of the Reeder ownership in 1995, the Lamborghini entered into the previous ownership in June 2000. Used for a very short period (less than a full year) the Espada, now registered ‘WHJ 516M’ was parked in the custodian's garage, where it remained for the following twenty-two years. Unearthed by the vendor in May 2022 who came to know of the car as a family friend of the previous owner, the Espada has since been comprehensively mechanically recommissioned. Works completed have included overhauls of the carburettor and distributor; new spark plugs and condensers; partial re-wiring; brake system recondition with many new parts; new front wheel bearings; renewed ignition system; full interior refresh including leather treatment; new fuel pump and battery; re-conditioned rear tailgate struts; clutch overhaul; and new tyres, amongst much more cosmetic and mechanical improvement. The whole re-commissioning process is fully illustrated in a document in the history file, with the expenditure totalling some £10,700 in total. A regular attendee of classic car events in East Anglia since the completion in April 2023, the vendor informs the only thing the Espada still requires is the fitment of air-conditioning belts.Offered with a history file that includes original sales literature, a handwritten log documenting the maintenance work completed by the Reeder brothers during their ownership, a collection of invoices and previous MOTs, images of the car throughout its life (including in Del Hopkin’s ownership and as a garage find), and a current V5C document. Starting readily and both running and driving excellently during the recent photography session, chassis ‘9256’ is due to be driven to the sale, and has covered just 7,000 miles approximately since the full engine overhaul by the Reeder brothers, with a believed genuine c.67,000 on the odometer now. Very few Espadas were manufactured in right-hand drive so finding one with such an interesting ownership history and with the desirable manual gearbox, adds to the appeal of this example. A 155mph, four-seater, 1970s supercar, what's not to like! For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: SV 9682 Chassis No: 181 KF MOT: ExemptKnown ownership history from new and said to have covered just 38,000 milesPreviously exhibited at Pebble Beach and a past prize winner at The Quail etcOriginally bodied as a Four-Light Tilbury Sedan then a Six-Light McNear Sedan and now a Piccadilly RoadsterKept by grand prix and sports car ace Phil Hill for two decades (1967-1985)Matching chassis, engine, gearbox and rear axle numbers The model upon which Rolls-Royce's reputation as makers of 'The Best Car in the World' was founded, the 40/50hp debuted at the November 1906 London Motor Show. A somewhat conventional yet beautifully executed design, the newcomer was based around a massive ladder-frame chassis equipped with all-round leaf-sprung suspension, powerful rear wheel brakes and spiral-bevel final drive. Displacing 7036cc (7428cc from 1910), its superlatively smooth six-cylinder engine featured a seven-bearing crankshaft, full pressure lubrication and twelve spark plugs (fed via a dual magneto / coil ignition system). Allied to four-speed manual transmission (though, a three-speed gearbox was utilised from 1909 to 1913), the sidevalve unit proved both wonderfully torquey and eerily quiet. Possessing a legendary eye for detail, Henry Royce continued to develop the 40/50hp throughout its 18-year production life. Thus, late Silver Ghosts boasted considerably more horsepower (up from 48bhp at 1,250rpm to 80bhp at 2,250rpm) and higher top speeds than their earlier brethren. Rolls-Royce of America Inc was established to bypass the swingeing import duty that had hitherto restricted its parent company's transatlantic sales. Operating from factory premises in Springfield, Massachusetts, the new concern initially built carbon copies of the famous 40/50hp model. However, as time progressed so its product became more attuned to the US market. The beautifully wrought ladder frame chassis and enviably smooth 7428cc straight-six engine were little altered but later cars featured a three-speed, centre gearchange manual transmission and left-hand drive (interestingly just 600 or so of the 1,703 Springfield Silver Ghosts completed were to LHD specification). Designed to woo existing Packard, Cadillac and Pierce Arrow customers who had little truck with the idea of a chassis only purchase, a catalogued range of Rolls-Royce Custom Coachwork was soon made available. The various designs were given British names and subcontracted to the likes of Amesbury, Biddle & Smart, Holbrook, Locke, Merrimac, New Haven, Smith-Springfield and Willoughby. Wonderfully extravagant, Merrimac’s Piccadilly Roadster could host four at a pinch (thanks to its fold-out ‘dickey’ seat) but sat on the same 3658mm wheelbase that other coachbuilders used to accommodate up to seven in comfort. The rakish body was barely taller than the voluptuous wings and the ‘peaked’ soft-top notably well integrated. Less over the top than the Bugatti Royale Edsers Roadster, the Piccadilly was nonetheless pure visual theatre. Sources suggest that some 105 were made in period with most of those being fitted as replacement bodies. Those who specified Piccadilly Roadster coachwork from new included notable playboy turned recluse Howard Hughes. According to its accompanying copy records, chassis 181-KF was originally built as a Four-Light Tilbury Sedan. Supplied new to J.M. Mann, the Silver Ghost then passed through the hands of E.D. Abbott, Roderick J. Watterston, Lawrence Hackett, Mr King, Phil Hill and Theodore E. Reich before being imported to the UK by marque specialist The Real Car Co in 2003. Thought to have been rebodied as a more formal Six-Light Town Car by George W. McNear of Brookline, Massachusetts during Mr Abbot’s tenure, the Phil Hill who owned the 40/50hp from 1967 – 1985 was none other than the ex-F1 World Champion! Having bought the Rolls-Royce six years after winning the title, a copy bill on file shows that he sold it Mr Reich for “$1 and other consideration”. Well versed in the Rolls-Royce and Bentley marques, the latter set about carefully recommissioning chassis 181-KF (which he believed to have covered just 30,000 or so miles at the time) before embarking upon trips to Seattle and Vancouver. Mr Reich also displayed the car at the internationally renowned Pebble Beach Concours d’Elegance as well as using it to win a regional concours and take a 1st-in-class during what he described as “a difficult Postwar Silver Ghost class at the 1993(?) Rolls-Royce Owners’ Club Annual meet at Quail Lodge, Carmel Valley, CA”. UK road registered by The Real Car Co as ‘SV 9682’ on June 16th 2003, they sold the Silver Ghost to R.A. Kilburn shortly thereafter who had it maintained by RR&B Garages of Bromsgrove. Other ‘known names’ appearing within the history file include D.H. Day, A.J. Glew and Ristes. Bought by David O’Connor through RR&B, the 40/50hp changed keepers once more before entering the current ownership. Custodian to numerous pre- and post-WW1 Silver Ghosts over the years (many of them prize winning), the seller took the 'carbon copy' Piccadilly Roadster body from another car in his collection and had it installed aboard chassis 181-KF. The reason for the swap being that the ex-Phil Hill machine was far lower mileage and more correct in terms of numbers matching mechanical componentry. The result is a highly presentable and capable Vintage Tourer with a great provenance. Starting readily and running well during our visit, the two-seater drove to and from the chosen photography location without missing a beat. The Rolls-Royce also completed a 250-mile run last year without incident and is due to be driven to IWM Duxford for the auction. Long known as a low mileage car and still showing just 37,800 miles to its odometer, this stunning Springfield Silver Ghost is worthy of close inspection. About as glamorous as Vintage Roadsters get, ‘SV 9682’ is offered for sale with V5C Registration Document, period instruction book and history file. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
Registration No: PJ 2716 Chassis No: OH10067 MOT: ExemptBegan life as a Supercharged model complete with factory T3 Tourer coachworkRemodelled in period with an altogether more attractive 'bustle' rear and bespoke hoodMuch improved during the current ownership via a thorough engine overhaul and suspension work etcPreviously featured on the front cover of The Automobile magazine and in 'Lagonda Heritage' by Richard BirdOwned by Lagonda Club stalwart W.J.B. Anderson from 1975 - 2007 and extensively restored in that time A development of the Lagonda 2-litre that was driven by Andre D'Erlanger and Douglas Hawkes to 11th place overall at the 1928 Le Mans 24-hour race, the 'Low Chassis' model was introduced the following year. Benefiting from a redesigned front axle (complete with rerouted braking system) and rear suspension spacers etc, its reduced centre of gravity resulted in notably sharper handling. Powered by a 1954cc 'twin-cam' four-cylinder engine that boasted hemispherical combustion chambers and inclined overhead valves, the 'Low Chassis' was reckoned to be good for 80mph (though this was somewhat coachwork dependant). Concerned that rivals such as Alvis and Sunbeam were beginning to offer cars of similar performance, the Staines-based company unveiled a supercharged derivative at the Brooklands Fete on 19th July 1930. While, the attendant demonstrator wore a Powerplus single-rotor assembly, the majority of 'blown' production cars were specified with either Cozette No.9 (4psi) or altogether rarer Zoller (5-7psi) units. Thus equipped, a 'Low Chassis' 2-litre was reputedly capable of 90mph. Underlining their performance advantage, the Lord de Clifford piloted one to 4th place overall on the 1931 Monte Carlo Rally, while St Albans motorcar dealer W.M. Couper used another one to capture a Glacier Cup on the next year's Alpine Rally. First registered in Surrey on January 14th 1932 (or so its ‘PJ 2716’ number plate would imply), chassis OH10067 began life as a supercharged 2 Litre ‘Low Chassis’ Speed Model complete with factory T3 Tourer coachwork. Surviving World War Two, the Lagonda had had its rear end elegantly reshaped and a bespoke hood frame made by the time that Dr Roger Kirkpatrick took possession in 1951. Custodian for the next six years, the anaesthetist is understood to have commissioned the neat luggage rack which remains in situ from the Bristol Hospital Workshop. Passing through the hands of Bruce Balcombe, Adair Robson, Ron Autiss, Adair Robson (again) and Roland Morgan thereafter, ‘PJ 2716’ came with two engines but had fallen into disrepair when Lagonda Club stalwart W.J.B. Anderson acquired it during 1975. Undeterred, he treated the 2 Litre ‘Low Chassis’ to a ground up restoration over the next few years (various photos relating to which remain on file). Contributing various articles to the Lagonda Club, Mr Anderson kept the Tourer for over three decades before selling it to Channel Islands resident John Refault in 2007. The latter had the bonnet and wings bare metal painted, the fabric body cleaned and the interior smartened (redyed leather, fresh carpets, revarnished dashboard etc) as well as fitting a new front valance, stainless steel exhaust and running boards. Returning to the UK mainland in September 2014, the four-seater entered the current ownership the following May for the princely sum of £83,000. Substantially improved over the past decade, more than the guide price has been spent on a thorough engine overhaul (including the purchase of a new downdraught cylinder head) plus attention to the rear axle (new half shafts), radiator, clutch, water pump, suspension and carburettors etc. The engine’s timing case is stamped with the number ‘2B 1068’ which is indicative of a supercharged unit. The vendor bought a period blower but did not reinstate it on the basis that the downdraught cylinder head gave improved performance but without the complexity of force-fed induction. Still highly presentable and, to our eyes, far more attractive than a standard T3 Tourer, ‘PJ 2716’ started readily during our recent photography session. Featured on the front cover of The Automobile magazine and in the book ‘Lagonda Heritage’ by Richard Bird whilst in Mr Anderson’s care, this undeniably handsome Post-Vintage Thoroughbred is worthy of close inspection. Offered for sale with V5C Registration Document, numerous bills, period photos and history file. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
Registration No: Y937 UOW Chassis No: WP0ZZZ99Z15682231 MOT: June 2025Just 79,000 miles from newDesirable UK-supplied 'C16' exampleWell maintained example including recent full suspension overhaul by Centre GravityLarge history file including the book pack with stamped service book documenting strong service historyBenefitting from the X50 brake upgradeIntroduced in 1999, the 996-generation of Porsche's evergreen 911 was styled by Pinky Lai. Boasting a monocoque bodyshell that was some forty-five percent stiffer yet lighter than that of its predecessor, the newcomer also boasted improved aerodynamics and a more ergonomic interior. Perhaps best known for its switch from air- to water-cooling, the standard 996 had some well publicised engine woes. The exception to the rule was the Turbo variant which used an evolution of the Le Mans-winning (and nigh-on bombproof) Mezger flat-six. Displacing some 3.6 litres when fitted to the 996 Turbo, this fearsome powerplant developed a quoted 414bhp and 413lbft of torque. Allied to either six-speed manual or five-speed Tiptronic transmission, it reputedly enabled the 2+2-seater to accelerate from 0-60mph in 3.9 seconds and on to 189mph. With four-wheel drive, Porsche Stability Management and brutally effective four-wheel ABS disc brakes, the flagship 911 was among the very fastest `A-to-B' cars that money could buy. An altogether more brutish looking machine than its normally aspirated siblings, the 996 Turbo sported gaping air intakes to its front bumper, bi-xenon headlights, flared rear wheel arches, 18in alloys and a jutting rear spoiler.A desirable UK-supplied 'C16' example that was manufactured in 2001, chassis ‘5682231’ was first registered on the 1st of March 2001 and finished from the factory in Seal Grey metallic paintwork with a full leather Graphite Grey interior upholstery. Specified from new with aluminium gear selector, alu-look instrument faces, aluminium inlay with handbrake lever, PSM CD radio and CD compartment, steering wheel paddles, and soft leather interior upholstery, the 911 was also specified with option ‘09991’, the ‘Manufacture for Exclusive - Programme’. Warranted to have covered a very modest 79,000 miles from new, the 911 Turbo has since benefitted from the fitment of the highly desirable 18-inch Turbo twist alloy wheels shod with Michelin Pilot Sport tyres and the X50 (6-pot) brake conversion upgrade completed by specialists Welsh Porsche.Looked after by Porsche specialists Autocraft (Kingclare) Ltd from 2018 until 2024, regular servicing and maintenance is documented in the history file across this period. Serviced solely by main dealers and specialists throughout its life, the service book shows eighteen stamps at 14,145; 22,681; 29,623; 32,741; 37,665; 43,916; 49,370; 53,118; 56,783; 64,557; 65,763; 66,521; 71,184; 72,196; 74,044; 75,290; 76,509; 77,775 miles, the most recent being by Autocraft in 2024, along with a further nine brake fluid changes documented. Other notable works completed have included turbo charger waste gates renewed in 2017 (less than 8,000 miles ago) by Welsh costing some £2,500, and a full suspension overhaul including Bilstein CGGT Dampers by Center Gravity in 2023 totalling some £3,500 expenditure.Starting readily upon inspection, the Turbo is offered with a history file that includes the book pack, numerous previous invoices and MOTs, a current MOT until June 2025 with no advisories, and a current V5C document. Still a phenomenally fast car and usefully more compact than its 992 equivalent, a well-sorted, 996 Turbo is a supercar to savour. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
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