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A Triumph Class A cornet, cased

An Ingersoll USA water buff Military type pocket watch + Ingersoll Triumph pocket watch

Vinyl - Approx 80 Hard Rock, Metal, Black Metal, Thrash LPs to include Possessed, Hobbs, Running Wild, Sabbat, Gothic Slam, Prophets Of Doom, Nasty Savage, Slammer, Hellanbach, MOD, Testament, Kinghorse, Rigor Mortis, Riot, Dr Know, Laas Rockit, Traitor, Realm, Juggernaut, Def Leppard, Money, Lizzy Borden, Sword, Ostrogoth, Meanstreak, D R I, Hells Belles, Girlschool, Razor Baby, Helix, Persian Risk, Motorhead, Leather, Mamas Boys, Triumph, Target, Samson and more. Vg overall

CELTIC F.C., TWO COLLECTORS ALBUMS, 1967 comprising a display of items and text relating to the club including cigarette and other cards, commemorative function programmes, year of triumph, radio commentary vinyl, multiple matchday programmes, photographs and futher related ephemera, names including all of the Lisbon Lions, multiple signed examplesQty: 2

JOHN HUGHES OF CELTIC F.C., GLASGOW CUP WINNERS GOLD MEDAL, 1967/68 the obverse with central enamelled shield shaped plaque below thistle motif, within enamelled border inscribed Glasgow Cup Glasgow Football Association, the reverse inscribed CELTIC F.C. 1967-68 JOHN HUGHES, in associated boxNote: Yogi. In his own words 'I would just want it to be known that I was a Celtic man.'Following their year of triumph, Celtic would win a domestic double, as well as the Glasgow Cup after defeating Clyde 8-0. 3.3cm high Qty: 10g

ANDY CUNNINGHAM OF SCOTLAND, MATCH WORN JERSEY, 12TH FEBRUARY 1921 vs. Wales, embroidered crest, interior T. R. CHARLTON labelProvenance: Purchased from Sotheby's Auctions, February 1999. Note: Rangers legend Andy CunninghamBorn in Galston, Ayrshire, Cunningham '...began his career with local Junior side Newmilns before moving to Kilmarnock in 1909. After six seasons at Rugby Park he joined Rangers in 1915. He made his Rangers debut on 5 April 1915 in a 1–0 defeat to Partick Thistle, and made five appearances in his first season at Ibrox. Cunningham served as a lieutenant in the Royal Field Artillery during the First World War.Cunningham continued to be used infrequently by manager William Wilton before establishing himself in the Rangers team in 1918–19. He won seven League titles and played in Rangers' famous 1928 Scottish Cup Final triumph where they defeated Celtic 4–0 to win the trophy for the first time in 25 years. In total, he made 389 League and Scottish Cup appearances and scored 183 goals for the Govan clubCunningham was also capped at international level, playing 12 times for Scotland and scoring five goals; he lost just one of his matches for Scotland. Cunningham also represented the Scottish League XI 10 times.'

INTER MILAN VS. CELTIC F.C., EUROPEAN CUP FINAL PROGRAMME, 25TH MAY 1967 from Celtic's iconic European Cup triumph in Lisbon

A tableVarious woods Inlaid ivory and wood decoration of geometric patterns Central sgrafittoed ivory plaque depicting the Triumph of Galatea Resting on cabriole legs joined by turned element and scalloped central stretcher Bun feet Italy, 19th century (wear, chips, minor losses, fissures)72x116x58 cm*This item is not legal to sell in the UK*CITES CERTIFICATE: 24PTLX10958C

DINKY TOYS; a boxed Mercedes-Benz Racing Car, 237, a boxed Triumph TR2 Sports Car, 111, and a boxed Cunningham C-5R Road Racer, 133 (3).

F. J. THORNTON & CO LTD; a pair of early 20th century balance scales, with two part graduated sets of weights, the scales set with the label 'F. J. Thornton & Co Ltd of Birmingham', and a Triumph Personal typewriter (2).

Registration: STK293L VIN: KE139180 Mileage Showing: 35,000 Transmission: Manual MOT: ExemptFirst registered August 1972 this MK3 model shows 35,000 miles although service records show this is likely to be 135,000 due to Triumph using a 5 digit speedo. Recently refreshed including new respray. Sold with original service book containg 16 service stamps, 2 keys and previous MOT certificates. Now tax and MOT exempt.Please see our walk around video for more information and engine start up - PLEASE NOTE - We were unable to open the boot lid during filming this has now been rectified, photos of boot on listing. GUIDE PRICE £7,000 - £8,000

18 Model Figure/Scene Kits Various - Mainly 1/35 Scale (2500G).MB (Master Box Ltd) - Outlaw. Gunslinger Series. Kit No. 1 - MB35203MB - Indian Wars Series Raid - MB35138MB - On the Great Plains - MB35189MENG - Middle Easterners - HS-001MB - Ali - Status Check - MB24028MiniArt - French Guardsman XVII Century - 16011 - 1/16 Scale.Verlinden Productions - Hun Warrior 400 AD - 877 - Super Scale 120mm (Box a little scuffed)K&R Replicas - KR13 Triumph TR6 1969-1975 (Box very scruffy)T5418 - Woodland Indian Allied to Britain FIW.Francois L'Olonnais, 1660 - Pirates of the Caribbean - PC-10 - 1/32 ScalePegaso Girls Tamiya - Livestock Set.Fujimi - Garage & Tools Drivers (Box scruffy)Verlinden - Indian Army Scout - 935 - Super Scale 120mmVerlinden - Mounted Beduin - 1728 - 1/35 Scale. (Box is scruffy) Condition Report - Kits - Advised all are unbuilt. Appear Complete in their boxes, however some boxes are poor. (see photos)

5 Model Bike Kits - Italerie Triumph 3HW, Italeri Norton Manx 500cc, Italierie Norton 750 Commando, Tamiya Red Bull Yamaha & Tamiya Cup Noodle Honda (2100g). (5).1. Italerie Triumph 3HW - 7402 - 1/9 Scale.2. Italeri Norton Manx 500cc Single Cylinder 1951 - 4602 - 1/9 Scale.3. Italierie Norton 750 Commando PR - 4640 - 1/9 Scale.4. Tamiya Red Bull Yamaha WCM YZR500 '99 - 1/12 Scale.5.Tamiya Cup Noodle Honda NSR 250 - 1/12 Scale. Condition Report - Boxes - Poor/Fair (require cleaning)Kits - Appear Complete As New

Boxed Dinky 114 Triumph Spitfire diecast model in gold, with driver, diecast & decals vg, box with some storage squash but gd overall

Seven boxed Dinky diecast models to include 134 Triumph Vitesse (diecast gd with the odd paint chip, box missing side end flaps), 140 Morris 1100 (grubby diecast, box missing end flap), 139 Ford Consul Cortina (paint wear with tatty box), 241 Lotus Racing Car in green with driver (decal wear, paint chips, box missing side end flap), 240 Cooper Racing Car with driver in blue (diecast vg, box with graphic wear), 243 BRM Racing Car in green (diecast and decals gd, box poor), and 135 Triumph 2000 (diecast gd with some marks, box missing end flap)

Two boxed Dinky diecast models to include 133 Cunningham Car Road Racer and 111 Triumph TR2 Sports (both with heavy play wear and poor boxes) plus 6 x Mid 20th C tin plate models to include Police M-0022 Foreign

A mixed group of watches, one base metal Ingersoll Triumph pocket watch, a base metal Ingersoll Triumph wrist watch, an open face white metal fob watch and a half hunter white metal fob watch.

CONRAD, Joseph (1857-1924). Chance, London, 1913, 8vo, original green cloth gilt. FIRST EDITION. Please see the extensive notes regarding the edition below.CONRAD, Joseph (1857-1924).  Chance. A Tale in Two Parts. London: Methuen & Co. Ltd., 1913. 8vo (190 x 125mm). Half title, publisher's advertisement on the verso of the title, title with "First Printed in 1913" on the verso, uncancelled and not mounted on a tab, 8-pages of publisher's advertisements dated "Autumn 1913" at the end, followed by 31-pages of publisher's advertisements dated "September 1913" (half title spotted, title cleanly torn at the lower gutter without loss, some other mainly marginal light spotting and staining, more pronounced towards the front, ink spot on page 377). Original green cloth, the spine lettered and decorated in gilt with "METHVEN" at the foot of the spine. Provenance: The Property of a Collector; Ryan Campbell, followed by a third, illegible, name (later pencil signature on front free endpaper); Tauchnitz flyer loosely-inserted. FIRST EDITION, with "First Published in 1913" on the verso of the title and "Colonial Library" stamped in purple ink in small letters beneath the imprint on the front of the title. "Moral isolation is ... the theme of Chance (1914) [sic], which is, again, a very different kind of book - different from Under Western Eyes and from the other novels ... The technical distinction of Chance has not lacked recognition. That no doubt is because Chance invites the description 'technical triumph' in a way which Nostromo and The Secret Agent do not ... The genius is amply apparent in Chance. It is most apparent in the force of realization with which the characters are evoked, and which has led above to the mention of Dickens. That which suggests Dickens in Chance - and there is a great deal of it - is all strongly characteristic of Conrad ... [Chance] is certainly a remarkable novel" (F. R. Leavis, The Great Tradition). "Few 20th-century books have a more complex publishing history than Chance, and even fewer, it would seem, have been the subject of as much bibliographical gossip and conjecture." So opens William R. Cagle's article "The Publication of Joseph Conrad's Chance" in the Autumn 1967 issue of The Book Collector (pp. 305-322) in which the bibliographer identifies no less than 12 different issues of the first edition. The present copy seems to conform most closely to the fourth of these and a pencil note on its front free endpaper [illustrated], which also suggests the numbers of copies printed, would seem to bear this out. Cagle describes this variant as follows: "4. First impression, colonial issue, second state: Issued with a cancel conjugate half-title and title with 'First published in 1913' on the verso of the title. The cancel was supplied when it was decided to issue these colonial copies domestically for which reason they were also bound in the 6s binding. When this decision was reversed and these copies were transferred back to the colonial issue they were rubber stamped 'Colonial Library' on the title-page beneath the imprint. Published as part of the colonial issue at least six weeks before the domestic issue. Two copies examined (Berg Collection, New York Public Library; University of Texas)." Two other issue points in the present copy are the "battered type" (Cagle's term) found at the foot of pages 294 and 299 and "Narcissus" having both sets of quotation marks in the list of the author's works on the verso of the half title, both of which Cagle claims to be indicators of first impressions. However, he also states that in the first impression the "motto" (i.e. the epigram) appears 44mm below the author's name on the title page, whereas in the present copy it appears 49mm beneath, and 5mm might as well be a mile in bibliography. A further article by Donald Rude which appeared in the 1978 Autumn issue of The Book Collector (pp. 343-347) entitled "Joseph Conrad's Chance. An Anomalous Copy of the First Impression of the First British Edition" starts with a similar warning to Cagle's by stating, "... the publication history of Chance ... may well be more complex than that of any other major 20th-century literary work," a conviction he then goes on to exemplify at some length. Cagle A17a; Keating pp.217-219; Smith p.58; Wise 22: "The actual princeps may be readily identified by a reference to the note which stands upon the reverse of the Title-page. In the First Issue this note reads 'First published in 1913'; in the second Issue this note reads 'First published in 1914.' In the case of this book the publishers' advertisement list bound up at the end of the volume may be of service. In some copies of the First issue this list extends to 31 pages dated 'July 1913'; in others the list consists of 8 pages dated 'Autumn 1913'. In the Second issue the 8 page list only is to be found. The binding of both issues is identical." It is interesting to note that the present copy contains both sets of publisher's advertisements. Neither Wise, or his correspondents at Methuen quoted in his bibliography, make any mention of the 'Colonial Library' stamp present in our copy, and recorded in a few others.

A 1958 TRIUMPH TWENTY ONE (3TA) MOTOR BIKE Registration Number: RAJ 832 Engine Number: 21H1333 Chasis Number: H1333 Mileage: 2517 Note: the lot is also to include a "Pure Triumph Open Weekend Custon/Classic Winner 2014" Trophy and paperwork dating back to 1958

Lansdowne Models (Brooklin) LDM37X 1949 Triumph 2000 Roadster LCC 2004 (Metallic Bronze) - 1 of 130 models - Near Mint in Near Mint box. 

Lansdowne Models (Brooklin), a boxed pair of Early 1950s Cars to include, (1) LDM18 1955 Austin A30 Countryman Estate (Grey) (2) LDMX1 1954 Triumph Renown Dealer Special (Black) - Excellent to Near Mint in Good Plus box. (2)

A box of vintage auto parts including Ford lens, Triumph Villiers cover, magnetic L sign, lights, etc.

Rembrandt van Rijn, Harmensz: (1606 Leiden - Amsterdam 1669). Der Triumph des Mardochäus. The triumph of Mordecai. Radierung, um 1641. Blgr. 17,5 x 21,2 cm. Unter Passep. mont. B. 40. BB 41-1. White-Boon 40. Seidlitz 40 - Mit schmalem Rändchen um die Darst. - Nicht identifiziertes Stempel-Fragment verso. R

Ferre,J.E.: Watteau. Avec le concours de G. Mathieu, Saint-Paulien, M. Watteau. 3 Textbände & 1 Tafelband in 4 Bänden. Madrid, Athena 1972. Gr.4°. Mit tls. farb. Abb. Olwdbde. Eines v. 2000 Ex. - Band III enthält den Werkkatalog der Gemälde (mit Watteau-Umkreis & zugeschriebenen Werken). - Dabei: Wildenstein,D. Monet oder der Triumph des Impressionismus. Catalogue raisonne. Werkverzeichnis. 4 Bde. (1996).

Dinky Toys 114 Triumph Spitfire Sports Car - Gold body, red interior, silver trim and spun hubs - Good bright example in a Good Plus  yellow and red carded picture box 

Dinky Toys (Atlas Editions) Group Of 7 Sports Cars To include - 104 Aston Martin DB3S - Peach, 105 Triumph TR3 - Grey  - plus others conditions are Near Mint to Mint including boxes (7) 

Corgi Toys 231 Triumph herald Coupe - Two-Tone white and blue, red interior, silver trim and spun hubs - Good (small paint touch-in) in a Good Plus blue and yellow carded picture box 

Dinky Toys 162 Triumph 1300 Saloon - Light blue body, red interior, silver trim and chrome spun hubs - Good to Good Plus still a bright example in a Fair to Good  yellow and red carded box with detailed picture 

Corgi Toys 301 Triumph TR2 Sports car - Cream body, red seats, silver trim and flat spun hubs - Good including blue carded box 

Dinky Toys A Pair - (1) 131 Cadillac Tourer - Yellow body, cerise interior, light beige rigid hubs and (2) 151 Triumph 1800 Saloon - Blue body and rigid hubs . silver trim - Conditions are Good to Good plus in Poor to fair yellow and red carded picture boxes (2) 

Dinky Toys 135 Triumph 2000 Saloon - Metallic Aqua, off white roof, red interior, silver trim, spun hubs and with luggage case  - Excellent in a Good Plus  yellow and red carded picture box (with price label attached) 

Dinky Toys Triumph TR7 Sports Car A group Of 3 - (1) 112 "The Avengers" - yellow, black interior, speedwheels, (2) 211 Red body, black interior and base, (3) Red Body, grey interior and base - conditions are Good Plus to Excellent Plus in Good Plus window boxes (3) 

A 1993 Triumph Trophy 900 Triple Motorcycle. K971 BRW In British racing green, an early example from the Hinckley factory, 33,382 miles, seen running by auctioneers with some service history present, current V5 and keys in office. PLEASE NOTE THIS IS SUBJECT TO A BUYER'S PREMIUM OF 10% plus VAT.

A Triumph Bonneville 800 twin motorcycle and sidecar. FP04 DHE, in red with complete with wet weather hood for sidecar, converted for partially able bodied rider having two hand operated levers for front and rear brake, sold with a range of spares, keys, V5 and some previous service history, 11,104 miles, turns over but doesn't run, carburettors requiring attention. PLEASE NOTE THIS IS SUBJECT TO A BUYER'S PREMIUM OF 10% plus VAT.

Ten albums of stamps including The Triumph, world stamps, 20th century British stamps, etc

Dinky unboxed selection of unboxed early saloon cars including Austin Devon, Triumph, Morris Oxford , Austin Somerset etc. (some repaints) (Qty)

Illustra - Pilen - Minichamps - A boxed white metal Triumph Mayflower model by Illustra with a Minichamps Audi Le Mans car, a Pilen De Tomaso Mangusta and a Pilen Ferrari 512S. They appear Very Good to Mint. (This does not constitute a guarantee) [ba]

Corgi Vanguards - A group of boxed models with mirrors and certificates including Triumph Dolomite # VA53000, a Vauxhall Victor # VA38000, Mini # VA13005 and similar. They appear Mint in Very Good boxes. (This does not constitute a guarantee) [ba-6]

Corgi Vanguards - A group of boxed vehicles with mirrors and certificates including Triumph Herald # VA5000, Ford Consul GT Lancashire Police # VA55000, Hillman Minx # VA06800 and others. They appear Mint in Very Good boxes. (This does not constitute a guarantee) [ba-6]

A 1970 TRIUMPH HERALD 1200 TWO DOOR SALOON CAR, in blue and white, with a 1147cc petrol engine, four speed manual gearbox, sunroof, V5C present, first registered 25th February 1970 under umber PJA 586H, two sets of keys, odometer reads 12,939 miles (unwarranted) (Condition Report: engine turns over but hasn't started, bodywork appears in good order, interior appears in good order) (BUYERS PREMIUM IS CHARGED AT 10% + VAT PLUS ONLINE PLATFORM FEES)

MONET - CATALOGUE RAISONNÉ, (4 VOL) The Triumph of Impressionism, Daniel Wildenstein Taschen, 1996, hardback in slipcase (4 in total) Condition: The books are in overall very good condition, each protected with an plastic cover (one with a minor tear that does not impact the book itself). Some surface dust and mild soiling are present from storage. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Claude Monet, Mer agitée à PourvilleÖl auf Leinwand, sorgfältig doubliert. 59,5 x 73,5 cm. Gerahmt. Unten rechts schwarz signiert und datiert 'Claude Monet 82'.Wildenstein (1996) 718; Wildenstein (1979) 718ProvenienzIm Dezember 1883 wohl vom Künstler direkt an Paul Durand-Ruel verkauft (rückseitig auf dem Keilrahmen mit dem Galerie-Etikett); Catholina Lambert, Paterson/New Jersey; Versteigerung Catholina Lambert, New York, Plaza Hotel, 21.-24. Februar 1916, Lot 158 (Durand-Ruel); Versteigerung Galerie Charpentier, Paris, 4. April 1957, Lot 60; Vente Francis Briest Scp, Paris, Art Moderne, 22. Juni 2001, Lot 39; Marble Arch Fine Arts, Inc., Los Angeles; Privatsammlung USAAusstellungenNew York 1891 (Union League Club), Monet, wohl Kat. Nr. 61LiteraturLionello Venturi, Les archives de l'impressionnisme. Lettres de Renoir, Monet, Pissarro, Sisley et autres. Mémoires de Paul Durand-Ruel. Documents, Durand-Ruel éditeurs, Paris/New York 1939, Reprint New York 1968, Nr. 87, S. 269Herausragendes, sehr atmosphärisches Werk aus der Hochzeit von Claude Monets KüstenbildernZu Beginn der 1880er Jahre wird die Küste der Normandie zu der bevorzugten Wirkungsstätte Claude Monets. Der Künstler, der in Le Havre aufgewachsen ist, kehrt damit zu seinen Wurzeln zurück. Er erweist sich als begnadeter Maler von Meereslandschaften. Die klassische Gattung des Seestücks, die er bereits als Jugendlicher in Le Havre mit den Meeresbildern Eugène Boudins kennengelernt hatte, definiert Monet nun gänzlich neu. Die Lichtstimmungen und Farbnuancen von Himmel, Wasser und Felsen im steten Wechsel des Wetters und der Jahreszeiten setzt er in kraftvoller Unmittelbarkeit um.„La nature ne s’arrête pas“ („Die Natur steht niemals still“) ist ein vielzitierter Ausspruch des Malers, der mit seiner plein air-Malerei im Freien direkt vor dem Motiv arbeitete und sich für die größtmögliche Wahrhaftigkeit seiner Schilderungen den Unbilden jedes Wetters aussetzt. Der Journalist François Thiébault-Sisson berichtet 1927 rückblickend von einem selbstlosen Einsatz Monets, als dieser versuchte, im Sturm an der Küste von Étretat zu malen: „Nachdem er sich genau erkundigt hatte, wie hoch die Wellen steigen konnten, hatte er seine Staffelei in erforderlicher Höhe in einer Felsspalte der Steilküste aufgestellt, um nicht von der Flut überschwemmt zu werden. Als weitere Vorsichtsmaßnahme hatte er seine Staffelei mit festen Stricken vertäut und seine Leinwand gut auf der Staffelei befestigt. Anschließend hatte er begonnen zu malen. Der Entwurf entwickelte sich ganz prächtig, als sich vom Himmel Wassertropfen darauf ergossen. Gleichzeitig wurde der Sturm stärker. […] Monet arbeitete wie rasend weiter, ohne auf etwas zu achten. Plötzlich riss ihn eine gewaltige Woge von seinem Klappstuhl. Sie überspülte ihn, tauchte ihn völlig unter und drohte ihn mitzureißen, als er, einer spontanen Eingebung folgend, Palette und Pinsel fahren ließ und nach dem Seil griff, das seine Staffelei hielt.“ (zit. nach: Claude Monet, Ausst. Kat. Von der Heydt- Museum Wuppertal 2009, S. 21f.).Im Sommer des Jahres 1880 entdeckt Monet erstmals das Sujet der normannischen Steilküste für sich, als er während eines Besuchs bei seinem Bruder Léon in den kleinen Badeort Petites-Dalles kommt und von den dortigen Klippen begeistert ist. Bereits im März 1881 kehrt Monet an die Küste zurück, ermutigt durch die positive Reaktion seines Förderers Paul Durand-Ruel auf seine Seestücke, diesmal in den Fischerort Fécamp. Seine Darstellungen der beeindruckenden weißen Steilküste, die senkrecht ins Meer abfällt, erlangen besondere Berühmtheit. Im folgenden Jahr begibt sich der Maler erneut auf die Suche nach eindrucksvollen Küstenmotiven. Er bricht im Februar 1882 nach Dieppe auf in der Hoffnung auf eine gleichermaßen inspirierende Umgebung, wie er sie in Fécamp gefunden hatte. Doch ihm erscheint Dieppe zu städtisch und die Küste dort als nicht reizvoll genug. Das nahegelegene winzige Fischerdörfchen Pourville hingegen mit seiner spektakulären Steilküste fasziniert ihn sehr, er quartiert sich direkt am Strand in ein Hotel ein. Es entstehen hier ganz unmittelbar gesehene Ansichten, die die beeindruckende Naturkulisse der abrupt ins Meer abbrechenden Hügel östlich und westlich des Dorfes aus unterschiedlichen Perspektiven und bei variierenden Wetterbedingungen und Wasserständen wiedergeben (vgl. Wildenstein 709-721). Bei diesem Aufenthalt zu noch winterlicher Zeit entsteht auch das hier angebotene „Mer agitée à Pourville“, das Gemälde zeigt als einziges dieser Werkreihe die See bei stürmischem Wetter. Der Betrachterstandpunkt befindet sich direkt am Wassersaum, inmitten der Elemente. Über das bewegte Meer geht der Blick weit nach Osten, wo der weitere Küstenverlauf schemenhaft sichtbar wird, darüber ballen sich am grau-violetten Himmel die Sturmwolken zusammen. Der Steinstrand im Vordergrund ist in dunkle Rotbraun- und Blautöne getaucht. Umso heller leuchten die Schaumkronen auf dem aufgewühlten Wasser, das in einer Vielzahl von Blau-, Türkis- und Grüntönen erfasst ist. Die Wellen brechen in hellgrünen Voluten und blendend weißem Schaum, langgezogene weiße Schaumzungen spülen auf den Strand. Im Hintergrund erhebt sich der markante, senkrecht aufragende Felsabbruch in warmen Erdtönen. Nur die winzigen Silhouetten von zwei Schiffen am Horizont deuten auf die Anwesenheit von Menschen hin, ansonsten ist die Szenerie ein reines, unverfälschtes Naturschauspiel. Im Juni desselben Jahres wird Monet zusammen mit seiner Familie nach Pourville zurückkehren und Ansichten der nun sommerlichen Kulisse schaffen.Neben seinem erfüllenden Aufenthalt in Pourville ist das Frühjahr 1882 auch insofern von besonderer Bedeutung für Monet, als er mit 35 Werken an der von Durand-Ruel organisierten „7ᵐᵉ exposition des artistes indépendants“ beteiligt ist – gemeinsam mit Gustave Caillebotte, Paul Gauguin, Armand Guillaumin, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Alfred Sisley und Victor Vignon. Die Ausstellung eröffnet am 1. März und ruft durchaus positive Resonanz bei Kritikern und Publikum hervor. Besonders gelobt werden die Küstenbilder Monets aus Fécamp. „Ich verweile vor diesen wundervollen Seestücken, auf denen ich zum ersten Mal mit einer solchen illusionistischen Kraft das Anschwellen und die langen Seufzer des Meeres verspüre, das Abfließen des Wassers beim Rückzug der Flut, die graugrüne Färbung des tiefen Wassers und die violette Färbung des flachen Wassers über seinem Sandbett“, schreibt der Kritiker Ernest Chesneau (zit. nach: Daniel Wildenstein, Monet oder der Triumph des Impressionismus, Köln 1996, S. 179).„Mer agitée à Pourville“ wurde wohl von dem Galeristen Paul Durand-Ruel direkt beim Künstler erworben. Der bedeutendste Fürsprecher und Förderer der Impressionisten besaß durch die stetige finanzielle Unterstützung Monets das Vorkaufsrecht auf seine Werke. 1886 reiste der Händler mit über 300 impressionistischen Werken in die USA, wo sie auf eine begeisterte Resonanz trafen, 1887 eröffnete Durand-Ruel eine feste Dependance in der New Yorker Fifth Avenue. Von hier gelangte unser Gemälde wohl in den Besitz des Geschäftsmannes und Sammlers Catholina Lambert (1834-1923). Als junger Mann aus England nach Boston ausgewandert, stieg er in die Seidenproduktion ein und brachte es zu großem Vermögen. Seine über die Jahre entstandene umfangreiche Kunst- und Antiquitätensammlung präsentierte er in seinem prunkvollen Anwesen Bella Vista in Paterson/New Jersey. Der Niedergang der Seidenindustrie und ein Streik der Arbeiterschaft führte 1913 zur Insolvenz von Lamberts Unternehmen, infolgedessen war er gezwungen, seine Sammlung versteigern zu lassen. Bei der Auktion im New Yorker Plaza Hotel im Februar 1916 wurde dieses Gemälde als Lot 158 unter dem Titel „Marine“ verkauft.Ein Meisterwerk des größten französischen Impressionisten

Corgi Toys; comprising Ford Zephyr Motorway Patrol car, number 419, boxed, a Triumph Herald Coupe number 231, boxed, and a Lotus-Climax formula 1 racing car, number 155, boxed. (3)

Seltene Meissen Kindergruppe beim SpielRocailleförmig gerahmter, mit plastischen Blüten und Blättern belegter Sockel. Auf einem Rokokostuhl sitzendes, sich im Spiegel betrachtendes Mädchen in Kakiemonblüten gesäumten Gewand mit ihrer Zofe. Seitlich stehender Knabe in Wams als Bräutigam. Zu ihren Füßen liegende Schmuckschatulle. Polychrome Malerei mit Goldstaffage. Entw. Johann Joachim Kaendler, 1758 - 1759. Minim. best.; Schwertermarke. H. 16 cm.Diese Figurengruppe wurde nach einem Stich von François Bernard Lépicié mit dem Titel "Jeu d' énfants a la toilette" gestaltet. Rückert (1966) betitelt sie als "Kinder spielen Verlobung". Sie ist im Meißener Archiv, im Preiskurant von 1765 verzeichnet. Vgl. Brattig, Kat. MAK Köln, Nr. 55.; Vgl. Rückert, Kat. Bayer. Nationalmuseum, Nr. 1021. Vgl. Pietsch, Triumph der blauen Schwerter, Nr. 361.A porcelain figure group of a playing children group. Minor chipped. Crossed swords mark.Meissen. Um 1760.

Große Meissen-Figur "Sitzender Mops"mit geringeltem Schwanz, den Kopf dem Betrachter zugewandt. Braune Augen und schwarze Schnauze sowie hellbraune und schwarz gestrichelte Fellzeichnung. Polychrome Malerei. Entw. Johann Joachim Kaendler und Peter Reinicke. Unw. best.; Schwertermarke. H. 23 cm. Nachweisbar durch die Taxa von Johann Joachim Kaendler hat er seit 1734 bis zur Mitte des 18. Jhs. unterschiedliche Mops-Modelle entworfen. Das geheime Symbol der Freimaurer ist der Mops mit dem Mops-Orden, eine Gesellschaft freimaurerischer Prägung mit römisch-katholischen Mitgliedern. Der Mops war in diesen Kreisen ein Symbol der Treue, Zuverlässigkeit und Standfestigkeit.Vgl. Rückert, Kat. Meissener Porzellan, Bayer. Nationalmuseum, Nr. 1091; Pietsch, Triumph der blauen Schwerter, Nr. 327.A large porcelain figure of a pug dog. Insignificantly chipped. Crossed swords mark.Meissen. 18. Jh.

Henri Le Sidaner(1862 Port Louis/Mauritius - 1939 Paris)"Après l'office". OriginaltitelIn diesem frühen, impressionistisch aufgefassten Hauptwerk schilderte Le Sidaner eine ergreifende dörfliche Szene aus Nordfrankreich, getragen von einer poetischen Melancholie. Hierin steht ein junges, bäuerliches Geschwisterpaar Hand in Hand auf einem Friedhof neben einer kleinen, alten Kirche, während dahinter eine weitere, ganz in Schwarz gehüllte Figur zu sehen ist. Le Sidaner studierte seit 1880 für einige Zeit bei Alexandre Cabanel an der École des Beaux-Arts in Paris, gab diese akademische Ausbildung jedoch auf, um sich 1882 in der Küstenstadt Étaples im Pas de Calais in Nordfrankreich niederzulassen. Dort lebte und arbeitete er die nächsten 12 Jahre isoliert und malte die umliegende Landschaft und Szenen des Bauernlebens. 1887 debütierte Le Sidaner mit "Après l'office" im Salon in Paris, seit 1894 stellte er auch bei der konkurrierenden Société Nationale des Beaux-Arts aus, im selben Jahr kehrte er nach Paris zurück. Seit 1899 hatte er eine exklusive Vereinbarung mit der Galerie Georges Petit in Paris (bis zu deren Schließung 1931). Um 1901 ließ sich Le Sidaner in dem kleinen Dorf Gerberoy im Département Oise zwischen der Normandie und der Picardie nieder, wo er ein Haus mit Atelier und Garten baute und bis zu seinem Lebensende arbeitete. Es wurde sein Hauptthema, lieferte ihm fast vierzig Jahre lang Motive und Inspiration. Außer dort und auf seinen Reisen durch Frankreich malte Le Sidaner auch in Venedig, London und rund um den Lago Maggiore in Italien. Er hatte Freude daran, flüchtige Lichteffekte einzufangen, malte Szenen bei strahlendem Sonnenschein, aber auch in der Dämmerung, im Mondlicht oder sogar bei künstlichem Licht. Ein amerikanischer Kritiker schrieb 1906 über Le Sidaner: "Sein künstlerischer Ausdruck liegt irgendwo zwischen dem von Corot und dem von Claude Monet". 1910 widmete ihm die Galerie Georges Petit eine Retrospektive, und auf der Biennale von Venedig 1914 wurde seinem Werk ein Raum gewidmet. 1930 wurde Le Sidaner schließlich in die Académie des Beaux-Arts aufgenommen, ein Triumph für einen Maler, der den Großteil seiner Karriere außerhalb der offiziellen Kunstszene gearbeitet hatte. Öl/Lwd.; R. u. sign. u. dat. (18)87. Verso Malwarenstempel von M. Chabod, Paris (vor 1892). 88,5 cm x 113,5 cm. Wohl Original-Rahmen.Vgl. Kat Salon des Artistes français, Paris 1887, Nr. 1504.Eine kleinere, ebenfalls (18)87 datierte Version (46 x 55 cm) ist aufgeführt im Wvz. von Yann Farinaux Le Sidaner ("Le Sidaner. L'oeuvre peint et gravé", Paris 1989, Nr. 11).Oil on canvas. Signed and dated (18)87. Artist's suppliers stamp by M. Chabod, Paris (prior 1892). Probably exhibited 1887 in Salon des Artistes Français in Paris. A second version is mentioned in the catalogue raisonné by Yann Farinaux Le Sidaner under no. 11.

Murder & Adultery.- Reynolds (John) The Triumph of Gods Revenge Against the Crying and Execrable sin of Murther... To Which is Added, Gods Revenge Against the Abominable Sin of Adultery, sixth edition, additional engraved pictorial title, letterpress title in red and black, divisional titles, numerous half-page engraved illustrations, single preliminary leaf trimmed with paper repairs to all edges, occasional faint soiling or spots, contemporary calf, spine gilt with later morocco label, discreet repair to spine head, a little scuffed and rubbed, [Wing R1313], 4to, by J. Bennet for Thomas Lee, 1679.*** Reynold's hugely successful collection of 'histories' relating to murder, this sixth edition being the first to include the section on adultery as well.  First published in 1629, it was still in print in the 18th century. The engraved illustrations are some of the first examples of the "strip cartoon" style of illustration in English books. 

Eight 1:43rd Scale Diecast Model Cars by Corgi, Lledo - mostly Vanguards Editions including Corgi #VA10102 Triumph Stag, #VA06104 Zodiac MkII, Heartbeat #CC01701 Morris Minor Traveller, boxed.

Ten Lledo Vanguards 1:43rd Scale Diecast Model Cars to include #VA53000 Triumph Dolomite Sprint, #VA04102 Roger Clarke Lotus Cortina MkII, (incorrect Imp model noted within #VA40002 box), all boxed.

Bernard Cornwell, Sharpe Novels, a near complete set of Cornwell's Sharpe Novels, 22 (of 23 volumes), all first edition, first impressions, all published London, Collins/Harper Collins, all original cloth, all in dust wrappers, comprising 'Sharpe's Eagle', 1981; 'Sharpe's Gold', 1981; 'Sharpe's Company', 1982; 'Sharpe's Enemy', 1984; Sharpe's Honour', 1985; 'Sharpe's Regiment', 1986; 'Sharpe's Siege', 1987; Sharpe's Rifles', 1988; Sharpe's Revenge', 1989; 'Sharpe's Waterloo', 1990; 'Sharpe's Devil', 1992; 'Sharpe's Battle', 1995; 'Sharpe's Tiger', 1997; Sharpe's Triumph', 1998; 'Sharpe's Fortress', 1999; 'Sharpe's Trfalgar', 2000; 'Sharpe's Prey', 2001; 'Sharpe's Havoc', 2003'Sharpe's Escape', 2004; 'Sharpe's Fury', 2006; 'Sharpe's Fury', 2006; 'Sharpe's Assassin', 2021; 'Sharpe's Command', 2023, Limited Edition Signed, a near complete set of Sharpe Novels in first edition, lacking only 'Sharpe's Sword', 1983, the fourth novel in the series; together with 'Sharpe's Christmas', 2003 revised edition, original wraps, 'Sharpe's Skirmish', 2002, revised and extended edition, orig. wraps, 'Sharpe's Story', Harper Collins, 2006, orig. wraps, and Mark Adkin: 'The Sharpe Companion', L, Harper Collins, 1998, 1st edition/1st impression, original cloth, dust wrapper (26)

Assorted world stamps, including a penny black, trimmed, in two Triumph albums (2)

Dan Toys, 8 Modelle, 6x Triumph Competition, 1x Citroen DS, 1x Peugeot 204, Druckguss, Okt , Z 1

Bandai, Triumph TR3, Japan, 21 cm, Blech, Friktion ok, Okt Z 1-, Z 1-

Corgi Toys, 223 Heinkel Economy Car, 230 Mercedes 220 SE &231 Triumph, Okt Z 2, Z 2

Dinky Toys, 135 Triumph 2000, England, 1:43, Okt Z 1-, Z 1-

Corgi Toys, 305 Triumph TR3 Sports Car, 1:43, Druckguss, Okt Z 1, Z 1

5 vintage Dinky Die Cast Toys. A McLaren M8A Can Am. A Police Mini Clubman. A Johnson 2 Ton Dumper. A Triumph TR7 Rally. A Bedford Van Speedwheels 410.

Registration No: 614 XWE Chassis No: 3350 MOT: ExemptMG A engine option MkII GranturaBenefiting from a recent brake overhaul and new radiatorIdeal winter projectThe first production model TVR car, the Grantura debuted in 1958 and went through a series of developments leading to MkI to MkIV and 1800S models, with production ceasing in September 1967. Hand-built at the TVR factory in Blackpool with varying mechanical specifications, the Grantura was also offered in ‘kit form’. All cars featured a cocktail of Austin-Healey brakes, VW Beetle or Triumph suspension parts and BMC rear axles. The Grantura bodyshell was made from glass-reinforced plastic (GRP) and made use of a variety of proprietary components, with a front-hinged bonnet. Buyers could choose from a range of powerplants which, depending on the model in question, included a choice of side or overhead valve engines from Ford, a Coventry Climax unit, the engine from the MG A and, ultimately, the 1798cc BMC B-series engine. By the middle of 1960, the factory employed forty-three workers and the Grantura MkI production ended with a total of only 100 cars produced.This MkII Grantura, first registered in Liverpool in November 1960 was originally supplied with the MG A engine option plus Canary Yellow paintwork and is known to the TVR Club, appearing on the factory records. Now wearing Cream with a Black vinyl roof, it is a stalled restoration project that has seen recent works that include a brake overhaul, a new radiator, propshaft, wheel refurbishment with new tyres etc. The vendor reports the engine to be ‘in running order’. A fuel tank is supplied, however, it would need fitting and the vendor reports the clutch pipework needs ‘attention’. Offered at auction with the V5C, ‘614 XWE’ represents an excellent opportunity to acquire an early Grantura with great potential as, hopefully, a straightforward restoration project. For more information, please contact: Stewart Parker info@handh.co.uk 07836 346875

Registration No: 704 YUJ Chassis No: 41059 MOT: ExemptCreated by the previous owner for use in VSCC trials and speed eventsExtremely attractive aluminium bodied special built by Chris ComptonFitted with Wade R020 superchargerOffered with a collection of invoices and current V5C documentBetween 1933 and 1938 triumph produced a large, if somewhat confusing, range of excellent sporting Saloons, Coupes and Tourers under the Gloria moniker. All but the final iterations were powered by engines of four or six-cylinders, that were of overhead inlet / side exhaust valve configuration designed by Coventry Climax and modified and manufactured by Triumph. They drove through a manual four-speed gearbox supplied by ENV. The model was developed by new recruit Donald Healey and did more than any other to establish Triumph as the producer of quality sporting motorcars. The adopted name of Gloria is rumoured to have been that of a Selfridge's fashion model who featured in some early publicity shots of the mark.Created by the previous owner between 2011-2012, for use in VSCC trials and speed events, this is an extremely attractive aluminium bodied Triumph Gloria Special, fitted with a Wade R020 supercharger and built by Chris Compton of Compton’s of Welshpool, known for the repair and restoration of Alvis’ for over 40 years and with a reputation for his craftsmanship. Finished in Grey and complemented by Black spoked wheels, the Special is VSCC registered.Regarding the build, there’s a handwritten invoice note on file for £6,041 for the work to create the Special, that also states that other components were sourced elsewhere, such as the Beaulieu Autojumble and builder Chris Compton. The notes states the chassis as having been sourced from the Pre-1940 Triumph Club, the body made by Compton, as well as the trim by him and the supply of the wheels was from Compton’s own stock. Electrics, instruments, distributor, dynamo, fan, carburettor, fuel pump were hand-picked from Beaulieu. There are a number of images on file that show some parts of the build. Mechanically, there is a £2232.60 invoice dated 16th August 2010 from The Coventry Boring and Metalling Co. Ltd that relates to work to have the Coventry Climax blocked stitched, machined to fit liners, crankshaft re-ground, conrods remetalled, main bearings remetalled and the flywheel refaced. A Derek Chinn Precision Engineering invoice dated 10th April 2012 for £3,059.95 details work to overhaul the Wade R020 supercharger. There is a further invoice for £430 on file dated 14th February 2011 from the Pre-1940 Triumph Club Ltd for the purchase of an engine block, crank, cam and crank shafts, gearbox and manifold.This Chris Compton built supercharged Special was bought to trial, however, a change of circumstances means a reluctant sale for the vendor. The Special is offered at the sale with a collection of invoices, photographs on file and a current V5C Registration Document. There is also a collection of spares available by separate negotiation. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760

Registration No: 34 RMU Chassis No: LD2190 MOT: ExemptCurrent ownership since 1994Fitted with a Ford 'Essex' 2.5 litre engine allied to four-speed manual plus overdrive transmissionOffered with the cherished registration number '34 RMU'An ideal winter projectIntroduced in June 1970, the Triumph Stag was conceived as a luxury convertible sportscar to rival the likes of the R107-series Mercedes-Benz SL. As such, it came equipped with electric windows, power-assisted rack and pinion steering and servo-backed disc / drum brakes as standard. Based around a two-door monocoque bodyshell (stylist Giovanni Michelotti had physically shortened a pre-production Triumph 2000 saloon in order to fashion the initial prototype), the newcomer featured all-round independent suspension (McPherson strut front / semi-trailing arm rear) and a well laid-out 2+2 cabin. Neatly integrated, the substantial roll-over hoop that joined the B-pillars gained extra strength from a T-bar link to the windscreen frame. With some 145bhp and 167lbft of torque on tap from its bespoke 2997cc SOHC V8 engine, the model was reputedly capable of 120mph. Available with a choice of four-speed manual or three-speed automatic transmission all but the earliest Stags benefited from both hard- and soft-top roofs. Despite being in production for seven years during which time 25,877 cars were made, a mere 9,500 or so are thought to have survived.Although nowhere near as prevalent as legend suggests, the Stag did suffer from engine failure on occasion especially if the 3-litre SOHC V8 was not maintained properly or filled with non-corrosion inhibiting coolant. Those owners unable to find or fund a Triumph replacement often installed a Ford Essex V6 or Rover V8 instead. An old V5 Registration Document on file suggests that '34 RMU' underwent a conversion to Ford 2.5 litre power decades ago. A project when the vendor acquired it in 1994, the 2+2-seater remains in need of full restoration. Thought to be substantially complete, the Triumph rides on correct-type alloy wheels and is equipped with four-speed manual plus overdrive transmission. A great winter project and offered for sale at No Reserve. For more information, please contact: Luke Hipkiss luke.hipkiss@handh.co.uk 07886398226