We found 1283 price guide item(s) matching your search

A Viking 'Arundel 6061' tandem bicycle, having 700c tandem frame.

Registration No: YOR 40 Chassis No: 70512 MOT: ExemptOn offer from the estate of the late David NevePurchased from H&H by the later owner fr, having been subject to a previous full restorationA rewarding recommissioning projectIntroduced in 1953 as the 'fend', after its co-designer Fritz Fend, the KR175 Kabinenroller (scooter with cabin) was soon marketed under the more famous Messerschmitt name. The narrow body and corresponding low frontal area was achieved with tandem seating and handlebar controls which also allowed the body to taper like an aircraft fuselage. Powered by a two-stroke 148cc Fichtel & Sachs engine that produced a modest 9bhp, the fuel consumption was reported to be 87mpg with a top speed of 55mph. In 1955, an improved KR200 was introduced with a larger 191cc engine, revised bodywork, an improved turning circle and floor-mounted accelerator and clutch. The tandem seating allowed centralised weight distribution irrespective of occupants, avoiding the flawed logic of the Isetta's lop-sided engine arrangement, and providing the little tricycle with handling characteristics that outclassed its contemporaries. Four forward and four reverse gears made for rapid progress in either direction with a top speed of 62mph. Available in the UK from 1955 onwards, production ceased in 1964 after some 30,000 KR200s had been built.According to the Dating Certificate on file, chassis 70512 was originally supplied by Cabin Scooters (Assemblies) Ltd on the 19th March 1959. It is understood that the car was well known in club circles, however, it was then laid up for approximately forty years before being acquired by the previous owner and treated to a comprehensive restoration using only original and club-supplied parts, during which the engine and transmission were overhauled by a club specialist. Re-registered after restoration in 2018 and used sparingly by the previous owner for only one year after, the tandem-seater was then sold by H&H at our March 2019 Duxford sale.The late owner and father of the vendor, Mr David Neve, was the gentleman who would acquire the Messerschmitt from the auction, and it would become the jewel of his collection. Mr Neve’s son recalls that his father was exceptionally proud of his microcars and would often be seen around Norfolk at different car shows. Mr Neve’s declining health meant that his collection had not been used for some years, so the KR200 will require some level of mechanical attention. ‘YOR 40’ is to be supplied with a modest history file consisting of the V5C and some Dating Certificate material from the club. H&H is honoured to have been entrusted to offer the car collection all at No Reserve at our Duxford Imperial War Museum sale. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430

Leitz 14185 tandem coupling device to suit Leica Leicaflex SL MOT cameras, comprising frame, handle and lead, in Leitz box

'Super' tandem / two person electric mobility scooter, charges and appears to be in good working order, L210cm

A Dawes Super Galaxy 531 tandem

A Boxed Corgi Volkswagen Breakdown Truck (Hook missing) and a Wheel Controlled Tandem Disc Harrow #71.

Diecast Masters - 2 x boxed 1:50 scale trucks, a Western Star 4900 SB Sleeper Tandem Tractor # 71063 and an International HX620 Tridem Tractor # 71009. The models appear Mint in Very Good boxes, the International is a little dusty from being on display. (This does not constitute a guarantee) [ba-2]

Diecast Masters - 2 x boxed 1:50 scale trucks, a Kenworth T880 SBFA Sleeper Tridem Tractor with 40' Sea Container # 71060 and an International HX520 Tandem Tractor with XL120 Low Profile HDG Trailer # 71016. The models appear Mint in Very Good boxes. (This does not constitute a guarantee) [ba-2]

Diecast Masters - 2 x boxed 1:50 scale trucks, a Kenworth T880 SBFA Daycab Tandem Tractor with XL120 Low Profile HDG Trailer # 71061 and an International HX520 Tandem Tractor with XL120 Low Profile HDG Trailer # 71016. The models appear Mint in Very Good boxes, there is no outer sleeve for the International box. (This does not constitute a guarantee) [ba-2]

FINSBURY PARK CYCLE CLUB GOLD MEDAL, 1925 the obverse with enamel crest, the reverse inscribed H. PICKETT N.M. & H.C.A. 12. TANDEM 203 5/8 miles, 23 August 1925, in nine carat gold4cm including suspensionQty: 10g

Curtius Rufus,Q.: De rebus Alexandri Magni recte tandem captui juventutis accommodatus, oder: Deutliche und nach dem Begriff der Jugend endlich recht eingerichtete Erklärung des Q. Curtii,... verb. ...durch E. Sincerum. Augsburg, Lotter Erben 1757. Mit gest. Front. u. 1 gefalt. Kupferstichkarte. 35 Bl., 865 S., 78 Bl. Hldr. d. Zt. mit Rsch. u. Rverg. (Berieb., kl. Bibl.-Rsch.). Schweiger I, 324. Seltene Augsburger Lotter-Ausgabe des Lebens Alexanders des Grossen. - Schnitt u. einige Blattränder etw. tintenfleckig. Entferntes Exlibris. - Provenienz: Adelsbibliothek.

Original vintage sport poster for a horse racing event. This is a stock poster where details of the event would be added, it might have been also displayed blank as a decoration. This poster has revenue stamps from Tunis. Harness racing is a type of racing where horses race around a track while pulling a two-wheeled cart (sulky / spider) and a driver behind them. In this sport, Standardbreds are used. These horses are separated into two categories, trotters and pacers. Pacers move the legs on each side of their body in tandem, while trotters move their diagonal legs together. The latter are typically faster than the former due to the gaits used. Occasionally a horse will break their gait into an actual canter or gallop. This could cause the loss of a race or even a disqualification. Notable races include the Breeder's Crown series. Good condition, tears, light staining, pinholes. Country of issue: Tunis, designer: Unknown, size (cm): 51x62.5, year of printing: 1936

Six boxed Corgi 1/50 diecast models to include 3 x Kings of the Road (2 x CC10701 Scammell Highwayman Tanker British Oxygen Company and CC12602 Scammell Crusader Tilt Trailer CRTS), 2 x Hauliers of Renown CC15305 Scania 110 Tandem Axle Tilt Trailer BRS and Heritage 55303 Diamond T980 Transport Exceptional Bourgey Montreuil, diecast ex, boxes vg

Neun verschiedene Silberteile, u.a. Besamin-Fisch und Champagnerbesen Englische Lorgnette, klappbar mit Haltestil, Champagnerbesen, Besamin- bzw. Riech-Fisch, Miniatur-Mandoline, Miniatur-Floß mit Segel, Miniatur-Tandem-Fahrrad. Alles Feingehalt 800. Silberne Rose, Feingehalt 880. Miniatur-Grammophon und englische Pillendose als Bonbon, Feingehalt 925. Ges.-Gew. ca. 114 g. Dazu: Asiatische Silberschale, reich verziert, Gew. ca. 45 g. (61029)

A Vintage (1930's) Hercules Tandem Bicycle

SILVER CROSS WAVE TANDEM SEAT / APPEARS TO BE, OPEN BOX / S41

A Green Glass Onion-Shape Bottle, dated 1830, engraved with a scroll cartouche inscribed VERT TANDEM JAMES & ISABA CUNNINGHAM 1830 over a crown and rose and thistle27cm highSlight flaking around the pontil. No cracks or chips. Some surface scratches.

* PETER KNOX (BRITISH b. 1942), DURHAM oil on canvas, signed and titledframedimage size 29cm x 39cm, overall size 43cm x 53cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

* PETER KNOX (BRITISH b. 1942), THE RACES oil on board, signed and titledframedimage size 20cm x 15cm, overall size 35cm x 29cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

* PETER KNOX (BRITISH b. 1942), FOUR SKETCHES four pencil sketches on paper, each signedeach mounted, framed and under glassthe largest image size 20cm x 28cm, overall size 50cm 57cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

* PETER KNOX (BRITISH b. 1942), COAL DELIVERY oil on board, signedframedimage size 20cm x 28cm, overall size 37cm x 46cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

* PETER KNOX (BRITISH b. 1942), CHARIOT oil on board, signed, titled versoframedimage size 10cm x 28cm, overall size 24cm x 41cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

* PETER KNOX (BRITISH b. 1942), SHIPYARDS oil on board, signedframedimage size 37cm x 44cm, overall size 44cm x 50cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

* PETER KNOX (BRITISH b. 1942), FOUNDRY oil on board, signedframedimage size 80cm x 41cm, overall size 97cm x 58cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

* PETER KNOX (BRITISH b. 1942), MANY FACES oil on board, signedunframedoverall size 36cm x 36cm Note: Heavy industrial images tend to be the (more than welcome) norm for many an artist who has grown up in and around the North East of England, a proud and resolute region and people who’s previous generations were collectively responsible for the accumulative successes of mining, shipbuilding, railway construction and steelworking to name but four industries on which the North East’s reputation was built and in which its economy prospered, until fairly recent times. One such son of this area was acclaimed contemporary fine artist, Peter Knox, whose signature works of art provide a very visual dialogue and readily seal a pictorial documentation of the lives and industrious times of the landscape which it’s fair to say shaped Knox’s childhood. Knox’s visual diary presents enigmatic and evocative industrial images, which whilst portray typical vistas in a unswervingly unrealistic illustrative gaze, never lose sight of an entrenched affection and underlying sensitivity for what the artist describes himself as a vanishing world. If there’s one common thread running through Knox’s work it’s that inextricable link between the awareness, connection and concept of family, friends and childhood all being woven into his canvases. With nearly every family in the North East at one time seeing many of its members employed in the shipyards that dotted the banks of the River Tyne, the engineering works which worked in tandem with the dockyards, the mines or the steelworks, the sense of community and a common purpose was immense, and is a socio-economic essence which Knox captures with style, grace and aplomb in his individual and collective pictures. Typical scenes of the North East’ said industrial heritage were more often than not witnessed from the crossbar of Knox’s father’s bicycle, as father and son took in the sights, sounds and smells of their hometown during Knox junior’s formative years, and it was undoubtedly this powerful scenery which inspired the (as yet) unexplored artist in Knox retrospectively. Knox was born in Hartlepool back in 1942 and has plied his trade as a professional fine artist for in excess of 35 years now, having initially trained in creative disciplines both locally, at Hartlepool and then latterly, in Leicester. In 1968 onwards, Knox became a tutor for the College of the Sea (now known as the Marine Society) and courtesy of this role was fortunate enough to travel around the globe in the guise of art instructor, passing on his knowledge and skillset in drawing and painting to others, primarily those aboard merchant ships. Knox had always possessed an affinity with the sea, born and bred on the coast himself, and as a child dreamed of adventures on the high seas and circumnavigating the ocean waves further a field, habitually losing himself in wondrous fictional worlds filled with late night naval tales and fishing yarns passed down through successive generations of coastal-dwelling folk. After following his heart and experiencing a life at sea, Knox returned to land and enjoyed a three year stint as an art lecturer in Norwich, before eventually opting to take up painting on a full-time basis and seeking to dedicate himself to his personal calling permanently. Now living and working in the Scottish Borders, Knox’s art has found favour with fans and collectors alike, around the world, with a continual host of galleries exhibiting his work, whilst a number of his paintings are found in the collection of The National Maritime Museum as well as the Marine Society.

Winnipeg Patriotic Aquatic Carnival 10 ct gold fob, marked to the rear Racing Tandem GW Peacock and WB Kay, 3/7/15 and stamped Dingwall 10K. 7.9 grams and on a brass Albert chain. Diameter +/- 2.8 cm.

Agent Crush (2008) Yellow Taxi Cab Model Miniature. Screen used 1/18th scale model miniature Yellow Taxi Cab, seen in several scenes throughout the film, including street scenes during high speed pursuit. (both will connect to each other). 42cm x 20cm x 16cm. Agent Crush is a 2008 (released some years later) Puppet and Model based feature film from Director and Model maker Sean Robertson. The Supermarionation Super-Spy spoof film was an homage to Derek Meddings and various features made by Gerry Anderson before it, including Thunderbirds and UFO. In tandem with the films impressive Models and Puppets scratch built specifically for production by Robinson and his team, the crew brought together various notable figures from the film industry including Mike Trim (Thunderbirds, UFO, Joe 90), Chris Clarke (Rogue One, Star Wars Episode VII) and Robbie Scott (Aliens, Judge Dredd). Voice Talents include Roger Moore, Brian Blessed, Neve Cambell, Ioan Gruffudd, Danny Glover and Rula Lenska. Provenance: From the personal collection of Director and Model Maker Sean Robinson. Condition Report: Condition; Some general production wear throughout.

Henry Alken et al: 'The Sporting Repository, containing Horse-Racing, Hunting, Coursing, Shooting, Archery, Trotting and Tandem Matches, Cocking, Pedestrianism, Pugilism; Anecdotes on Sporting Subjects, Interspersed with Essays, Tales, etc.', London, Kegan Paul Trench Trubner and Co., 1904, limited edition (500), 22 colour plates as called for, frontis loose, original cloth gilt (worn), all edges gilt; together with 6 other sporting titles, including E.D. Cuming: 'British Sport Past and Present', 1909, 1st edition, 31 tipped in colour plates by G. Denholm Armour as called for, 4to, original cloth, Martindale 'Sport Indeed', [1901], orig. pictorial cloth gilt, Robin Chute 'Shooting Sitting', 2002, limited edition, number 419 of 500 signed by the author, large 4to, orig. cloth gilt, etc (7)

Henry Alken & others: 'The Sporting Repository containing Horse Racing, Hunting, Coursing, Shooting, Archery, Trotting and Tandem Matches, Cocking, Pedestrianism, Pugilism, Anecdotes on Sporting Subjects', London, Kegan Paul, 1904, limited edition, number 39 of 50 hand made paper copies only, 2 volumes bound as 1, 22 colour plates after Henry Alken, Barenger, Dighton, Benjamin Marshall. Faint tide mark to top third of verso blank on FEP and first blank and lesser so to half title and top half of rear free end paper. 4to, half dark blue morocco, spine with raised bands and gilt decorated with sporting motifs in compartments within gilt ruled borders, top edge gilt, others uncut, a fine binding. Armorial bookplate of R.N.H. Moore Stevens to front paste down. Sporting Repository was originally published as a magazine in 1822 and was important for its fine colour plates

12 First Gear American Trucks. 1959 International RF-200 Tandem Axle Tractor with Lowboy Trailer, EJ Wallace. 1935 Ford Sedan Delivery, Dodge Power Wagon Breakdown Truck and a 1966 Mack R Fuel Tanker, all TEXACO. 1953 Ford C-600 Straight Truck, Roadway Express Inc. Dodge Power Wagon Express Truck, Colwell. 1952 GMC Bottler's Truck, Dr. Pepper. 1957 International R-190 Fuel Tanker, Champlin Deluxe. 1951 Ford F-6 Dry Goods Van, Eastwood's. 1951 Ford F-6 Bottler's Truck, Yoo-Hoo. 1951 Ford F-6 Fuel Tanker, Hudson Oil Company. Plus a 1937 Chevrolet Tow truck, Chevrolet St. Louis. All boxed, minor wear. Contents VGC-Mint. £80-120

12 First Gear American Trucks. 1959 International RF-200 Tandem Axle Tractor with Lowboy Trailer, International Harvester. 2x 1951 Ford F-6, Fuel Tanker, Phillips Petroleum and a Bottler's Truck, Double Cola. 3x 1957 International R-190- 2x Dry Goods Van, Hot Wheels and Bardahl, plus a Fuel Tanker, Champlin Deluxe. Mack R Model Tow Truck, WH Malcolm. 1955 Diamond T Bottler's Truck, Dr. Pepper. 1949 Chevrolet Panel Truck, Kazim Temple. International KB-8 Bottler's Truck, Dr. Pepper. Mack Model R-600 Mixer, Bulldog Concrete. Plus a 1952 GMC Dry Goods Van, Mc.Lean. All boxed, some wear to a few. Contents VGC-Mint. £80-120

Sylvia Cook and John Fairfax signed Ten Shilling Note includes accompanying TLS dated 3RD June 1972. Sylvia Cook is a British ocean rower and adventurer who, on 22 April 1972, became the first person to row the Pacific Ocean, in tandem with John Fairfax. [1] With this accomplishment she became the first woman to row any ocean. [2] The journey took 363 days at sea from San Francisco to Australia. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

A Hermes Tandem Ladies Stainless Steel Wristwatch Model: Tandem TA1.210 Serial: 1527673 Year: 2010s Case Material: Stainless Steel Case diameter: 20mm Bezel: N/A Dial: Slate Gray Numerals: Abstract Movement: Quartz Calibre: 976.001 Strap: Stainless Steel Buckle: Butterfly Deployant Box: No Papers: No Please request or check the condition report.The watch is not presently running, no long-term tests have been performed and accuracy cannot be guaranteed, a full service is advised on all watches and pocket watches once purchased. Surface scratches & wear consistent with age The online condition report may not mention mechanical replacements or imperfections to the movement, case, dial, pendulum, separate base(s) or dome.Watches with water-resistant cases may have been opened to examine movements, but no warranties are given regarding their water resistance. It is also important to note that we cannot guarantee the authenticity or originality of individual components, such as wheels, hands, crowns, crystals, screws, bracelets, and wrist bands, since subsequent repairs and restoration may have changed the original components. Also, we cannot guarantee the authenticity or originality of any engraving or re-engraving on watch cases, case backs, bracelets, straps or internal movements

Dublin - A set of 13 George IV silver table forks, mark of Patrick Moore, tandem marked by Matthew West, 'Fiddle' pattern, monogrammed, 1064g (34.2ozt) gross, presented in the retailer's cardboard box (13)

Breitling - A steel 'SuperOcean Steelfish X-Plus' wristwatch, circa 2006, model number A17390, serial number 919261, circular cream-coloured dial with quatre Arabic numerals, silver coloured hands, centre sweep with red square accent, date window at 3H and inner Arabic 24 hour ring, tandem signed mechanical automatic chronometer rated ETA movement number 919261 calibre 2824-2 DM05/B2, with helium escape valve at 9H, case, 44mm diameter, unidirectional rotating bezel with Arabic numerals and markers between the four rider tabs, to a steel 'Professional Mark 1' bracelet with fold over clasp, safety catch and wetsuit extension, presented in the original case with outer card box, swing tag, instruction booklet, chronometer certificate, distributor list and guarantee booklet dated 21/5/2006

Corum - An 18ct gold wristwatch, circa 1960, circular black dial with gold coloured batons, hands and centre sweep, tandem signed 23 jewel mechanical automatic ETA movement number 30276 calibre 2451, case, 34mm diameter, interior with London import and Swiss marks for 18ct gold, to a black strap with pin buckle

Davosa, Genève - A steel 'Classic Auto' wristwatch, circa 2017, model 161.456.32, serial number 0434 931, circular textured white dial with copper coloured batons, hands, centre sweep and date window at 3H, tandem signed 26 jewel mechanical automatic Sellita movement, calibre SW200-1, case, 40mm diameter, verso with exhibition back, to a brown strap with pin buckle, presented in the original case with outer card box, swing tag, instruction and guarantee booklets dated 15/5/2017

Longines - A steel 'Master Collection' wristwatch, circa 2018, model number L2.628.4, serial number 46580163, circular white textured dial with black Arabic numerals and hands, centre sweep and date window at 6H, tandem signed 21 jewel mechanical automatic ETA movement calibre A31L01 V8XU25 L888.2, case, 38mm diameter, verso with exhibition back, to a brown stitched strap terminating in a signed and numbered deployant clasp, presented in the original case with outer card box, instruction booklet, warranty card and original receipt dated 30/4/2018

Tudor - A two tone 'Prince Oysterdate' wristwatch, circa 1995, model number 72033, serial number B609187, circular champagne linen dial with gold coloured batons, hands, centre sweep and date window under a Cyclops at 3H, tandem signed 25 jewel mechanical automatic 'Auto Prince' ETA movement calibre 2824-2 IIB30 with liveried screw down crown, case, 32mm diameter, gold coloured fluted bezel, verso screw down, interior signed and numbered, to a steel and gold coloured 'Jubilee' style link bracelet with fold over clasp numbered S9 (for September 1994), the end links numbered 601 Crystal - Complete. Some very minor dust scratches visible under reflected light under magnification.Dial - In good condition with no obvious sign of damage. Some very minor deterioration to the batons and hands, viewable under magnification.Movement - In working order, but not tested for timekeeping or endurance. Crown screws, unscrews, engages and disengages satisfactorily and the hands and date move freely.Case - Generally in good condition, with some minor surface scratches and nicks as to be expected and commensurate with age, wear and use

Corgi - A pair of boxed limited edition 1:50 scale diecast vehicles to include #CC11802 Leyland DAF 85 Tractor, Tandem Axle Jeep Dolly, Bogie & Concrete Beam Load and #29105 Guy Invincible Platform Lorry with Fruit Box Load & Sharp Clock. Both items appear to be in excellent condition with certificate and wing mirrors present. Boxes appear excellent; minor storage wear. (This does not constitute a guarantee) RG

TANDEM CYCLE

C1940s H. Rensch tandem bicycle, a/f L210cm

Siku 1/32 scale die-cast models, four including ref. 2850 Deutz-Fahr DX 86; ref. 2851 Fendt farmer 308 LS; ref. 2250 Zweiachs-Anhanger 2-axled trailer; ref. 2251 Tandem-anhanger 2-axled trailer, all boxed

A 9ct gold brooch and medallion the first; Royal Engineers Regimental 9ct gold and enamel brooch, stamped with Birmingham hallmarks, with safety chain, the second: a university cycling society medallion, inscribed '30 miles Tandem / T.T. / Fastest / F.J. Churchill / Catford C.C. / 1H. 6M. 46S. / 1935', stamped with Birmingham hallmarks, suspended on a fine fancy-link chain, stamped "9k" to suspension loop (2) total approx. diameter 2.5cm, total approx. chain length 51.5cm, total approx. weight (excl. chain) 15.2gCondition:

Corgi - Heavy Haulage - 3 x boxed limited edition 1:50 scale Corgi Heavy Haulage die-cast model trucks - Lot includes a #CC11802 'G.C.S Johnson Ltd' Leyland DAF 85 Tractor, Tandem Axle Jeep Dolly, Bogie and Concrete Beam Load. A #CC12301 'United Heavy Transport' Scammell Contractor. A #17501 'Siddle Cook' Scammell Contractor. Comes with limited edition certificates and wing mirror accessories. Boxes appear in very good condition with only minor storage wear. Die-cast models appear in mint condition. (This does not constitute a guarantee) (M)

4X Boxed Corgi Vehicles and Farming Implements. A Massey-Ferguson 165 Tractor With Shovel #69. A Four Furrow Plough #61. A Wheel Controlled Tandem Disc Harrow #71 and a Double Horse Box #112.

Weeride Co-Pilot tandem bicycle attachment

Robert Cottingham (American, b. 1935). Group of two drypoint relief prints from the "Component" series published by Tandem Press, 2007. All pencil signed and dated along the lower right; from an edition of 30. Including "Component V," "Component XXIV," and "Component XXVIII."(Each) sight; height: 7 1/4 in x width: 5 1/4 in. Framed; height: 15 3/4 in x width: 13 1/4 in x depth: 2 in.Condition: The colors are bold and bright. No visible tears, creases, losses, or restorations. Slight undulation to the sheets. All are housed under a non-acidic mat. All framed under plexiglass. Light wear to the frames. Not inspected out of frame.

Maud Earl (British, 1863-1943)'The Black Watch' - The famous Schipperke Ch. Fandango signed in pencil 'Maud Earl' (lower left), titled (lower right)photogravureimage 24.5 x 32.5cm (9 5/8 x 12 13/16in)publised in 1903mounted but unframedFootnotes:Ch. Fandango, was bred and owned by Dr Freeman who wrote the first book on the breed, won nine CCs with four off one judge, two off two judges and one off another. Half brother to Ch. Yaap, both sired by El Dorado.The present work is illustration number 21 from 'Terriers and Toys' a collection of twenty-five photogravures of the finest quality, in a portfolio, limited to five hundred copies, after original paintings by Maud Earl, and published in 1903 by The Berlin Photographic Company. It was exhibited in tandem with Earl's 'Terriers and Toys' show at Graves's Galleries in London in 1903. The portfolio was seventy guineas and was sold out by the following year according to the records of The Berlin Photographic Company.For further information on this lot please visit Bonhams.com

A Victorian silver trophy, presentation engraved 'Grantham Horse Show 1893, presented by Winsor Bishop, Grantham, for the best tandem turnout, won by GW Harvey, Londonthorpe', London 1893, 10.46oz.

Rose Miniatures - A Pair of Lead Soldier Sets. Comprising: 'First Aid Nursing Yeomanry...' & 'Two Horse Tandem Stretcher...'. Conditions generally appear Good to Excellent overall (may include repaints), contained in non-original boxes. See photo. 

[MOULIN, Peter du (1601-84, attributed)]. Tragicum theatrum actorum, Amsterdam, 1649, small 8vo, 8 engraved portraits, folding plate of the execution of Charles I (lacks all before title [i.e. blanks]), contemporary calf. FIRST EDITION.[MOULIN, Peter du (1601-84, attributed)].  Tragicum theatrum actorum, & casuum tragicorum Londini publice celebratorium, quibus Hiberniæ proregi, Episcopo Cantuariensi, ac tandem Regi ipsi, aliisque vita adempta, & ad Anglicanam metamorphosin via est aperta. Amsterdam: Apud Jodocum Jansonium, 1649. Small 8vo (139 x 90mm). Woodcut ornament on the title, 8 engraved portraits, folding plate of the execution of Charles I with the Banqueting House in the background, 4-pages of errata inserted between pp.84 and 85 (lacks all before title [i.e. blank or blanks], variable but mostly light browning throughout, some light spotting mainly at margins). Contemporary mottled calf gilt (neatly rebacked, rubbed). Provenance: Nathan of Churt (armorial bookplate). FIRST EDITION.

A 1960's tandem bike

A Hercules tandem project

VINYL LPS, MISCELLANY. A interesting group. Mostly sleeves in Good or better condition, with some rubs to spines. Discs in at least VG condition, we suggest. Kai OLLSON, 'Once in a While', EMC 3082, 1975; HUDSON FORD, 'Free Spirit', A & M, AMLS 68274, 1974, clearly VG sleeve; CONTINUUM, 'Autumn Grass', VICTOR SF 8196 (small rub to sop of spine of sleeve o/w VG; Jiri STIVIN/Rudolf DASEK, 'System Tandem', JAPO 60 008 ST (sleeve very close to VG); EAST OF EDEN, 'New Leaf', Harvest, SHVL 796, 1971, sleeve Good, disc much better; FIREFALL, 'Firefall', Atlantic K50260, 1976, VG or better disc, sleeve VG; JACK-KNIFE, 'I Wish you Would', EG Records, 1979, POLS 1010, VG/disc better. Some rareities here.

Corgi Toys Group To Include (1) 61 Four Furrow Plough, (20 67 Ford 5000 Tractor with driver, (3) 71 Tandem Disc harrow and (4) 112 Rices Beaufort Pony Trailer - conditions are fair to good Plus in Poor to Good (slightly grubby) blue and yellow carded picture boxes (4) 

CORGI TOYS; two boxed vehicles, 264 Oldsmobile Tornado, 67 Ford 5000 Super Major Tractor and a No. 71 Wheel Controlled Tandem Disc Harrow (3).

A Dunlop Tandem cardboard advertising tyre insert, unusually double sided, 23 1/2" diameter.

W. B. Yeats. Reveries over Childhood and Youth. New York. 1916. First U.S. edition published in tandem with the London first. With coloured plate by Jack B. Yeats and 2 family portraits by John B. Yeats. The only Yeats book in which all the family participated. Beautiful original decorative cloth, superior to the London edition. Scarce

Corgi Toys No.GS5 Gift Set "Agricultural" comprising of Massey Ferguson 165 Tractor with shovel, Tandem Disc Harrow, Tipping Trailer with raves, Land Rover finished in metallic green, lemon interior and spun hubs, Dodge Truck with Animals plus other accessories, dog figure, in the original window box with Gift Set 5 leaflet (NM-BVG)