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Click here to subscribeScalextric, a group of 1:32nd scale Slot Cars to include (1) C052 Ford Escort Mexico - Special Build; (2) C117 3.0 Ford Capri; (3) C118 Ford Escort with Lights; (4) C130 Triumph TR7, not tested and not checked for completeness - all models appear to be generally Good, within Good packaging - see photo. (4)
Scalextric, a group of 1:32nd scale Slot Cars to include (1) C109 Ford Escort Mexico - Special Build, C114 Triumph TR7, C117 3.0 Ford Capri, C284 Police Rover, plus others, not tested and not checked for completeness - all models appear to be generally Good, within Fair packaging - see photo. (12)
Scalextric, a group of Slot Cars to include (1) C.053 Datsun 260Z (x 2); (2) C.114 Triumph TR7; (3) C.280 PMG Rover; (4) C.342 Ford XR3i Silver, plus others, not tested and not checked for completeness - all models appear to be Fair to Good (a little cleaning required), within Fair original packaging - see photo. (9)
Yulia Iosilzon Pond with Amanita, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Yulia Iosilzon Pond, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Yulia Iosilzon Pond Vol III, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Yulia Iosilzon Pond II, 2025 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Yulia Iosilzon's figurative paintings on stretched transparent fabric are portals into vivid dreamlike worlds with roots in both ancient mythologies and contemporary social concerns. Her works hint at unfolding narratives of human-animal metamorphosis. Her visual references are wide ranging; she draws on imagery from childhood cartoons and representations of paradise, as well as exploring the Jewish iconography of her heritage. This symbolic language also extends into her ceramic practice. Education 2017- 2019 MA Fine Art, Royal College of Art, London, UK 2013 - 2017 BA Fine Art, Slade School of Fine Art, UCL, London, UK Solo Exhibitions 2024 Cool Summer, De Brock, Knokke, Belgium Modus Operandi, Bertnson Bhattacharjee, London, UK 2023 Heaven's Chambers, Carvalho Park, New York, USA 2022 Frogspawn, Sapling, London, UK Yulia Iosilzon - Art Narratives, Roksanda, London, UK Amanita Muscaria, De Brock Gallery, Knokke, Belgium Nocturnal, Foundry, Seoul, South Korea 2021 Yulia Iosilzon, Art Antwerp 2021 Solo Booth presentation, De Brock Gallery, Antwerp, Belgium A Chorus of Beauty and Menace, Carvalho Park, New York, USA The Big Fish!, Berntson Bhattacharjee x Sotheby's Nordics, Stockholm, Sweden Fanfarria, Huxley-Parlour, London, UK 2020 Invisible Power, Osnova, Moscow, Russia Artist Room Solo Presentation, Columbia x Roman Road, London, UK 2019 Paradeisos, Carvalho Park, New York, USA Group Exhibitions 2025 The Threshold Beckons, Carvalho Park, New York, USA Auguries of Innocence, Cedric Bardawil, London, UK 2024 Kristian Touborg, Se Yoon Park, Yulia Iosilzon, Carvalho Park at Frieze No. 9 Cork Street, London, UK The Dimension of Feeling, Vortic x House of Koko, London, UK 2023 Hold Me Now, IONE & MANN, London, UK Luminous Terrain, Atipografia, Arzignano, Italy Processing the past and digesting the future, Badr El Jundi, Madrid, Spain L'heure du conte, Pangée, Montreal, Canada 2022 Jingle Bells VI, De Brock, Knokke, Belgium Once Upon a Time in Mayfair, Dynamisk x Phillips, London, UK The Earth has music for those who listen, Sapling, London, UK Two Sisters, Roman Road & Working Project, London, UK The Sky above the Roof, Tabula Rasa Gallery, Beijing, China 2021 All That And A Bag Of Chips, Des Bains, London, UK Unsellable, Just a Studio, London, UK Paradise Is Not Just a Place, Roman Road, London, UK The Ode to the Body, Daniel Benjamin Gallery, London, UK Selfhood, Berntson Bhattacharjee Gallery, London, UK 2020 Fight or Flight, Roman Road, London, UK Birthday, White Crypt, London, UK Begin Again, Guts Gallery, London, UK London Now, Space K, Seoul, South Korea Crowd, Hannah Barry Gallery, London, UK RedivideR, Platform Projects, Platform Southwark, London, UK 2019 Bloomberg New Contemporaries, South London Gallery, London, UK Detritus, Wells Projects, London, UK Lacuna, Sottosale Projects, London, UK Velvet Ropes, House of Vans, London, UK Bloomberg New Contemporaries, Leeds Art Gallery, Leeds, UK Library, Triumph Gallery, Moscow, Russia RCA Graduation Show, RCA, London, UK Varieties of Disturbance, Shelf Spanish City, Newcastle, UK Wolves by the Road, Assembly House, Leeds, UK Rub The Bronze Dog's Nose, Moscow Museum of Contemporary Art, Moscow, Russia Splodge, Hockney Gallery, London, UK We Can Only Have Fun on Certain Days, Warbling Collective, London, UK Nourishment, Guests Space, London, UK AWB, Herrick Gallery, London, UK 2018 Something Else, Triumph Gallery, Moscow, Russia UJS Exhibition, London, UK More Life, Hockney Gallery, London, UK The Origin of Who, Kvadrat 16 Gallery, Copenhagen, Denmark Thumbnails, Hockney Gallery, London, UK We Are the Ones Vol I, Group Exhibition, Copenhagen, Denmark Visions, Triumph Gallery, Moscow, Russia 2017 Slade Degree Show, Slade School of Fine Art, London, UK Awards 2019 Bloomberg New Contemporaries 2016 Audrey Wykeham Prize Gallery Representation Carvalho Park (New York, USA) Public Collections Roberts Institute of Art (London, UK) HSBC Art Collection (London, UK) Xiao Foundation Museum (Rizhao, China) Nanjo Museum (Nanjo, Japan) X Museum (Beijing, China) Sixi Museum (Nanjing, China) Statement about AOAP Submitted Artwork This is a body of work about scenic environments in which the anthropomorphic creatures find themselves in their natural habitat - a pond. These environments are inhabited by dynamic, changing entities with hybrid anatomies that mix delicately featured human faces with bulbous animal bodies. These creatures move through a colorfully flecked, luminous matter that supports and harmonizes their existence, like an extracorporeal amniotic fluid. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
1962 Triumph 3TA 21Registration number YVU 876Frame number H27260Engine number 3TA-H27260Present owner for 54 yearsOriginal unrestored machine, dry storedMatching numbersComplete service in 2024Fitted new oil pump, new battery and tyresReliable and no oil leaksAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith old buff log bookThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1971 Triumph Blazer 250Registration number OEU 167JFrame number BE06552T25SSEngine number BE06552T25SS4,029 recorded milesPurchased 2009Professionally repainted in the correct colour otherwise original conditionLast used 2021Started regularlyGood conditionFor sale due to advancing yearsAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, owner’s manual, Haynes manual and spare keysThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1958 Triumph Speed TwinRegistration number 679 CCVFrame number H5848Engine number 3TA-H23248Mileage showing 21,000Purchased 2022Starts and runs well but intermittent when hotMechanically good but has oil leak and clutch dragsNew battery fittedAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5CThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1971 Triumph T120R BonnevilleRegistration number NLM 78KFrame number GE28073Engine number GE2807312,345 recorded milesMatching numbers machineExtensive engine rebuild in 1991Not used from 1991 to 2010Cosmetic restoration, hand made mudguards, exhaust and seatLess than 100 miles covered since that timeElectronic ignition and oil filter mods, rev counter cable missingNo oil leaksWith video of the bike runningAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions View videoThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1998 Triumph T 595Registration number S595 MEWFrame number SMTTE502 LGW067190Engine number 06732328,999 recorded milesOriginal unrestored machinePetrol tank completely stripped and professionally re-sprayedIndicators replaced as rubber stalks were brittleNew battery fitted in 2024, now on trickle chargeLast service at 28,000 miles in 2019Rear foot pegs, original silencer and clip-on handlebar raisers are included but not fittedThe engine starts and runs wellAll gears and clutch are in good working orderCurrent MOT expires 29/05/25Completed 39 miles since this MOTAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions With V5C and all MOT's, service book, two keysThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1970 Triumph T100 CRegistration number EPE 522JFrame number 56280Engine number 56280Rare matching numbers machine and considered to be one of Triumph’s better modelsMost were exported to America but this one remained in the UKIn good conditionRuns and rides wellA powerful machine with good handling qualitiesComplete with barbecue grill heat shield, electronic ignition and Avon Road Runner tyresAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, large history file containing details of much spent on maintaining the bike to a high standardThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
1957 Triumph 21Registration number 277 EPDFrame number H1454Engine number 21 H1454122 recorded milesOriginal machine re-painted in blackBelieved garaged to 07/04/2003Invoices for an engine rebuildSold to the present owner in 2006Rebuilt for 2008 and new speedo fitted showing 23 milesNew rear shock, forks re-built, converted to 12 voltNew wiring harness and seat2009 MOT shows 50 miles, for 2012 76 milesRunning okayWill need re-commissioningAll lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C, MOT for 1972 showing 28,293 recorded milesThis lot must be collected by 12.30pm on Friday 14th March. If the buyer has not collected by this time it will automatically be removed and placed into storage, incurring a removal charge of £60 + VAT. Combinations will be charged at £100 + VAT. Storage will then be charged at £10 + VAT per day or part thereof. If collecting from storage, please provide 24 hours notice
* Pocket Watch. A George III pair case watch by William Edwards of Derby circa 1807, with circular white enamel dial and black roman numerals, steel hands, the silver outer case hallmarked Thomas Gaunt, London 1807, the inner case with conforming hallmarks, with brass fusee movement signed 'Wm Edwards Derby and numbered 1412, with key, together with two further pocket watches including an Edwardian silver open face pocket watch by Kay's Triumph, contained in a display case QTY: (3)
Airfix, a boxed group of plastic mainly military kits but does include others to include 903019 Mosquito, 03013 Apollo Lunar Module, 02419 Triumph TR4A and similar. Although unchecked for completeness or pre painted/pre assembled, conditions appear to be Fair to Good in generally Poor to Good boxes with old price stickers, crushing, scuffing, tape repair etc. See photos.
COROT JEAN-BAPTISTE-CAMILLE: (1796-1875) French landscape and portrait painter. A.L.S., `C Corot´, one page, 12mo, Noisy-le-Grand, n.d., in French. Corot states, 'Je vous remercie de votre douce lettre. Ça m´a surpris, mais j´en suis tout joyeux... Je me trouve bien mieux, la jambe gauche a encore un peu de peine mais enfin de la patience. Nous triompherons avec l´aide du dieu puissant. Je compte rentrer à Paris le 23...´ (Translation: "Thank you for your sweet letter. It surprised me, but I am very happy about it... I feel much better, my left leg still has a little pain but it is a matter of patience. We will triumph with the help of the powerful god. I plan to return to Paris on the 23rd...") Further Corot asks his correspondent to forward his thanks to different persons of their entourage. G to VG
Two Boxed Dinky Toys 111 Triumph TR2 Sports Cars, pink body, mid blue interior/wheel hubs, white driver RN ‘29’ in near mint original condition, correct picture box, is in excellent original condition, 2/6 in pencil and 2. turquoise body, red interior, white driver RN’25’ in good original condition, minor paint chips, original box is fair, with edge/age wear. (2 items)
A Quantity of Vintage Play-worn Dinky Toys, including: Boxed 785 Service Station (missing doors) unboxed: 070 AEC Mercury, 14C Fork lift truck,25e Tipping wagon,25p Aveling Barford Road roller (missing roof) 25Y Jeep, 27G Motorcart,29f Observation Coach,30e Breakdown truck, 30f Ambulance, 30j Austin Wagon, 30w Hindle Smart,31a Trojan Van Esso,33w Mechanical horse, 2 x 34C Loudspeaker Vans,35a Saloon car, 38b Sunbeam Talbot, 38e Armstrong Sidley, 40b Triumph,105e grass cutter, 113 MGB, 143 Ford Capri,147 Cadillac 62,154 Hillman Minx, 161 Austin Somerset, 170 Austin Van Shell BP, 172 Studebaker,2 x 181 Volkswagens,188 Four Berth Caravan,190 Caravan, 194 Bentley S2,215 Ford GT, 260 Royal Mail Van, 261 Telephone Service Van,263 Superior Criterion, with stretcher, 269 Jaguar Police car, 2 x 282 Leyland Tiger coaches,292 Atlantean Bus Regent, 295 Standard Atlas,320 Farm trailer, 2 x 422 Fordson,428 Trailer, 435 Bedford TK Tipper, 480 Bedford Kodak, 490 Express Dairy Van, 502 Foden 1st type flat bed, 503 Foden 1st type flatbed with tailboard,511 Guy Lorry,591 AEC Monarch, 914 Guy Van Spratts and 958 Snow Plough, all in poor to good condition. (55 items)
Vintage Corgi Toys 231 Triumph Herald Coupé gold/white with red interior, flat spun wheel hubs, in very good original condition, slight paint loss to high line on driver’s side, blue/yellow illustrated box is in very good original condition, 5/3 vintage price label to one end flap, with Corgi club leaflet.
A Quantity of Play-worn Dinky Toys, including: boxed 106 Austin Atlantic, overpainted, 172 Land Cruiser, overpainted, unboxed: 40A Riley,107 Sunbeam Alpine overpainted,154 Hillman Minx, 161 Austin Somerset, 188 Caravan (missing door) 189 Triumph Herald, 2 x 190 Caravans overpainted,197 Morris Mini Traveller, overpainted,254 Austin Taxi, 256 Humber Hawk Police Car, 2 x 260 Royal Mail Vans (one overpainted) 265 Plymouth Plaza Taxi, overpainted, 290 Leyland Bus, 295 Standard Atlas, overpainted, 452 Chivers Trojan Van,453 Oxo Trojan Van, overpainted, 455 Brooke Bond Tea Trojan,470 Austin Shell BP,492 Loudspeaker Van, 643 Army water tanker, 942 Foden 14-Ton Tanker Regent, overpainted, 753 Police controlled crossing, missing black & white box, 6 x International road signs, 755 single road lamp and two other makes petrol pumps. (35 items)
A Quantity of Playworn Vintage Corgi Toys, including 150 Vanwall, 206 Hillman Husky, 2 x 209 Riley Police Cars, 210 Citroen DS19, 211S Studebaker Golden Hawk overpainted, 215 Ford Thunderbird overpainted,216 Austin A 40, 217 Fiat 1800,219 Plymouth Sports, 222 Renault Floride overpainted,223 Chevrolet Impala State Patrol, 225 Austin Seven,229 Chevrolet Corvair, 230 Mercedes -Benz 220 SE, 231 Triumph Herald Coupe, roof repainted,237 Oldsmobile County Sheriffs car, 258 The Saints Volvo overpainted, 268 The Green Hornet Black Beauty,404 Bedford Dormobile, 414 Bedford Military Ambulance, 418 Austin Taxi,424 Ford Zephyr Estate Car, 428 Smiths Karrier Ice Cream Van overpainted,458 ERF Tipper, 464 Commer County Police Van overpainted,1128 Priestman Cub shovel,2 x 1486 Bricks loads, 4 x 1488 Cement bags loads, 447 spare original Ice cream seller, 12 x plastic figures, plus three Lone Star Roadmasters Chevrolet El Camino, Dodge Dart Phoenix Police Patrol and Rolls Royce Silver Cloud II, all in poor to good condition. (49 items including figures)
Two Boxed Dinky Toys Cars,151 Triumph 1800 Saloon, fawn body, green wheel hubs, mint original condition, picture box, with correct colour spots to end flaps is fair to good and 158 (40A) Riley Saloon, cream body, green wheel hubs, in very good original condition, rub to highline to roof, outer picture box is fair to good. (2 items)
A Quantity of Unboxed Dinky Toys Cars Post War including:23a Racing Car, silver/red,23b Hotchkiss racing car, 23c Mercedes Benz racing car, 23e Speed of the Wind racing car, 2 x 25j Jeeps 1. red 2.sky blue, 27f Estate Car, 30b Rolls Royce fawn/black, plain chassis, 30d Vauxhall, plain chassis, brown/black,36f British Salmson, with original windscreen, green/black, detailed base, 38a Fraser Nash BMW grey body,38b Sunbeam Talbot Sports, red body, 38d Alvis green, black interior (missing one tyre) 38e Armstrong Siddley, grey/dark blue interior, missing windscreen, 38f Jaguar Sports Car red body, 39b Oldsmobile six sedan car, (missing centre post in windscreen) 2 x 39c Lincoln Zephyr, 1. brown,2. overpainted, 39d Buick Viceroy, maroon, 39f Studebaker, dark blue, 139a Ford Fordor Sedan, yellow, 2 x 40a Riley Saloons, 1.green, 2. dark blue, 40b Triumph, grey body, 40d Austin Devon, maroon, 40e Standard Vanguard, all in fair to very good original condition. (26 items)
Boxed Dinky Toys 134 Triumph Vitesse, metallic aqua blue, red interior, white side stripe, in near mint original condition, picture illustrated box is in good original condition, missing one inner tab, 3/11 in pencil to one end flap and 198 Rolls-Royce Phantom V, two tone grey body, spun wheels, red interior, opening windows, chauffeur, good original condition, yellow/red picture box is in fair original condition, 6/11 in pencil to end flap, missing one inner tab. (2 items)
[C]V-NO, vertical ear of grain. Rev. CAR-A-T, warrior on horseback right, holding spear and shield. (ABC -; VA -; BMC -). Extremely Fine. Unique. Auctioneer’s notes: We advise prospective bidders that due to the historical and cultural importance of this piece, we believe it would be highly unlikely to receive an export license from DCMS.When it was discovered by a metal detectorist in November of 2019, the Caratacus Gold Stater caused much excitement and discussion in the world of Iron Age numismatics. Lauded by experts such as Dr Philip de Jersey, David Sear, Dr John Sils and Professor Martin Henig, the unique gold piece of perhaps Britain’s most famous Celtic Chieftain, Caratacus, was sold at a Chris Rudd Auction in 2020, where it hammered for an impressive £80,000. It remains the most valuable Iron Age British coin ever sold. While silver coins of Caratacus have been known of for centuries, this stater is the first, and remains the only, gold coin ever discovered of the Atrebatic ruler. Famous for fighting a guerilla war against Roman forces in the aftermath of the Invasion of Britain in AD 43 for nearly a decade, his forces were defeated at the Battle of Caer Caradoc in AD 50, and he was later captured. Paraded through Rome in a triumph, his courageous speech before the Senate and Emperor Claudius so impressed the Romans that he was spared. Given a house in Rome, he lived in peace for the rest of his life.This unique gold stater borrows imagery from earlier Celtic gold coins, including, most remarkably, the obverse. This design, inspired by the gold coinage of Cunobelin, confirms that Caratacus was indeed a son of the British King, with the inscription CV-NO flanking an ear of barley. Similar to the images appearing on earlier coins of Verica, the reverse depicts a warrior on horseback, crucially surrounded by the Latin ‘CARAT’, leaving no doubt as to the issuer’s identity.
Carlo Innocenzo Carlone, Italian 1686-1775- The Triumph of the Arts; oil on canvas, 86.2 x 57 cm. Provenance: Private Collection, Genoa. with Thomas Agnew & Sons, London, 1968 [no.30151]. The Collection of Professor W. M. Ballantyne (1922-2021), and thence by descent. Literature: A. Barigozzi Brini and K. Garas, 'Carlo Innocenzo Carloni', Milan, 1967, p.86, pl.67. Advertisement, Apollo Magazine, October 1968, p.lxxxi (illustrated). Exhibited: London, Thomas Agnew & Sons, '17th and 18th Century Italian Paintings', 3-26 October 1968, no.29. Note: Carlone was one of the most brilliant decorators of the 18th century. He was a master of the 'bozzetti' and this is a fine example of his firm yet intensely fiery style. He seems to have kept his 'bozzetti' and at his death some three hundred were found in his studio. The present work depicts Apollo surrounded by allegorical figures 'Justice' and 'Time' with putti holding up a mirror possibly to 'Beauty'. This sketch was possibly made for a ceiling painted during one of the artist's many trips to Germany and Austria.
Lucas van Leyden, Dutch c.1494-1533- The Triumph of Mordecai; engraving on laid paper, signed with initial and dated 'L 1515' (within the plate, lower left), with watermark of a high crown with a cross above, bears collector's stamp for Alfred Morrison [Lugt L.151] verso, 21.1 x 28.9 cm. (unframed / mounted). Provenance: Collection of Alfred Morrison (1821-1897), according to the collector's mark. Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).
William Holman Hunt, OM RWS, British 1827-1910- A portrait of the artist's son, Hilary Lushington Holman Hunt, in profile; coloured chalks on buff paper, signed with monogram and dated '18 Whh 97' (lower left), 53 x 37.6 cm. Provenance: (Probably) sold by the trustees of Hilary Holman Hunt by Charles Hawkins & Sons at The Rookery, Rockland All Saints, Norfolk, 5 June 1951, lot 190 (part); where purchased by Leger Galleries, London. Anon. sale, Christie's, London, 31 October 1978, lot 47. where purchased by Julian Hartnoll, London. Anon. sale, Sotheby's, Belgravia, 11 December 1979, lot 15a. Private Collection. with Southgate Gallery, Shifnal (gallery open 1979-1985) [no.9014]. Anon. sale, Christie's, London, 11 December 2018, lot 135 (part); where purchased by the present owner. Exhibited: Shifnal, 1980. Literature: J. Bronkhurst, 'William Holman Hunt. A Catalogue Raisonné', 2006, p.209, no.D426 (illustrated). O.J.W. von Schleinitz, 'William Holman Hunt (Künstler-Monographien vol. LXXXVIII)', Bielefeld and Leipzig, 1907, p.129, pl.125. W. Holman Hunt, 'Pre-Raphaelitism and the Pre-Raphaelite Brotherhood', 2nd ed., London, 1913, vol. II, p.311 (illustrated). Note: The sitter, Hilary, was the artist's son by his second wife, Edith (1846-1931), and served as the model for a number of Holman Hunt's paintings, including 'Master Hilary - The Tracer' now in a private collection, and as the Christ Child in 'Triumph of the Innocents', in the Walker Art Gallery in Liverpool [WAG 2115]. The present work is a striking example of the artist's sensitive, softly-shaded chalk portraits, much like Holman Hunt's portrait of Hilary's mother, Edith, in the collection of the Tate Galleries [T12881]. It also recalls his slightly smaller portrait of Annie Miller, also in profile, which sold at Sotheby's, London, on 5 July 2023, as lot 61 for £76,200. The sitter is shown here at the age of seventeen or eighteen and his features very much reveal his close resemblance to his half-brother Cyril.
Paolo Farinati, Italian 1524-1606- The Holy Family with Saint Catherine of Alexandria; oil on copper, bears indistinct inscription in pencil verso, 39.8 x 30.6 cm. Provenance: The Collection of John F. Hayward, the owner's grandfather, and thence by descent. Note: Farinati was active mainly in his native Verona, but also in Mantua and Venice. He was a contemporary of the prominent artist of Verona, Paolo Veronese, and was instructed, according to Giorgio Vasari, by his father and by Niccolò Giolfino, and probably also by Antonio Badile and Domenico del Riccio (Brusasorci). Vasari praised his thronged compositions and merit of draughtsmanship. His works are to be found in Venice, Verona, Padua and other towns belonging or adjacent to the Venetian territory. He is notable for having kept a detailed journal of his activities from 1573 until his death. His many drawings on handmade and prepared blue paper are also particularly noteworthy. John F. Hayward (1916-1983) was an art historian who established himself as an authority on European decorative arts. He served the Courtauld Institute, and after the war (he was a SOE) the Victoria & Albert Museum (Deputy Keeper) and Sotheby's until 1981. He published a number of books, including 'Virtuoso Goldsmiths & the Triumph of Mannerism' (1976), and was a collector of Mannerist art. We are grateful for Dr Eveline Baseggio Omiccioli for confirming the attribution of the present lot based on images.
Georg Pencz, German c.1500-1550- The Triumph of Bacchus; engraving on laid paper, signed with monogram 'PG' (within the plate, lower edge), 4.9 x 28.1 cm. (unframed / mounted). Provenance: Property of the Late Professor Eric Gerald Stanley, FBA (1923-2018) (https://en.wikipedia.org/wiki/Eric_Stanley).
JAKOB DE WIT19. Dezember 1695 Amsterdam - 12. November 1754 ebendaHERKULES UND OMPHALE Öl auf Leinwand (altdoubl.). 125 x 139 cm (R. 130 x 145 cm). Rechts unten signiert und datiert: 'JdWit 1721'. Part. leicht altrest., min. Altretuschen, leichte Farbverluste. Rahmen. In der griechischen Mythologie ist die Geschichte von Herkules und Omphale ein faszinierendes Kapitel, das Aspekte von Sühne, Umkehrung der Geschlechterrollen und kulturellen Austausch beleuchtet. Herkules, bekannt als der stärkste aller griechischen Helden, war der Sohn des Zeus und der sterblichen Alkmene. Er war berühmt für seine immense Stärke und die Erfüllung der zwölf Arbeiten, die ihm von König Eurystheus auferlegt wurden. Doch trotz seiner heroischen Taten war Herkules auch für seinen unbändigen Zorn und gelegentlichen Verlust der Selbstkontrolle bekannt. Nach einer besonders schweren Tat - dem Mord an Iphitos - suchte Herkules göttlichen Rat, um seine Sünden zu sühnen. Das Orakel von Delphi wies ihn an, sich als Sklave zu verkaufen, und der Erlös sollte als Wiedergutmachung verwendet werden. Herkules wurde an Omphale, die Königin von Lydien, verkauft. Omphale, die Tochter des Flussgottes Iardanos, war eine mächtige und unabhängige Herrscherin. Sie besaß nicht nur königliche Autorität, sondern auch große Weisheit und Stärke. Die Beziehung zwischen Herkules und Omphale war ungewöhnlich, da sie eine Umkehrung traditioneller Geschlechterrollen darstellte. Herkules, der große Held, wurde zum Diener und trug die Frauenkleider seiner Herrin, während Omphale seine Keule und das Löwenfell übernahm. In dieser Zeit führte Herkules viele Aufgaben für Omphale aus, darunter auch heroische Taten, die seiner üblichen Rolle entsprachen, wie das Erlegen von Räubern und das Säubern der Landschaft von Ungeheuern. Doch gleichzeitig zeigte er sich auch in häuslichen und demütigeren Tätigkeiten, die traditionell als weiblich angesehen wurden. Diese Geschichten illustrieren nicht nur die Vielseitigkeit von Herkules, sondern auch die Macht und den Einfluss von Omphale. Die Episode mit Omphale endet schließlich damit, dass Herkules seine Sühnezeit erfolgreich beendet und als gereinigter und weiserer Mann zurückkehrt. Omphale, die ihn nicht nur als Diener, sondern auch als Geliebten behandelt hatte, half ihm, seine innere Balance und seine wahre Stärke zu erkennen. Die Geschichte von Herkules und Omphale hebt sich in der griechischen Mythologie durch ihre ungewöhnliche Dynamik und die Umkehrung der traditionellen Rollenbilder hervor. Sie zeigt, dass Stärke und Weisheit nicht nur in körperlicher Macht liegen, sondern auch in der Fähigkeit zur Demut und zur Anerkennung der eigenen Fehler. Jakob de Wit, geboren am 19. Dezember 1695 in Amsterdam, war ein bedeutender niederländischer Maler des 18. Jahrhunderts, der vor allem für seine meisterhaften Grisaille-Malereien und dekorativen Decken- und Wandgemälde bekannt ist. Sein Werk ist ein beeindruckendes Zeugnis des barocken Stils, geprägt von Eleganz, Leichtigkeit und einer virtuosen Technik. De Wit zeigte schon in jungen Jahren ein bemerkenswertes Talent für die Malerei. Seine erste künstlerische Ausbildung erhielt er bei dem Amsterdamer Maler Albert van Spiers. Um sein Können weiter zu verfeinern, reiste er 1714 nach Antwerpen, wo er Schüler des renommierten Malers Jacob van Hal wurde. Diese Zeit in Antwerpen war prägend für de Wit, da er dort intensiv mit der barocken Malweise und der flämischen Tradition vertraut wurde. Nach seiner Rückkehr nach Amsterdam 1717 etablierte sich de Wit schnell als gefragter Künstler. Seine Spezialität waren Grisaille-Malereien - monochrome Gemälde, die oft in Grau- oder Brauntönen ausgeführt wurden und das Aussehen von Skulpturen imitieren sollten. Diese Technik nutzte er meisterhaft für illusionistische Effekte, die in der Innenraumdekoration des 18. Jahrhunderts sehr geschätzt wurden. Jakob de Wits Werke waren häufig großformatige Decken- und Wandgemälde, die in den prächtigen Häusern der wohlhabenden Amsterdamer Bürgerschaft zu finden waren. Ein herausragendes Beispiel seiner Arbeit ist die Deckengemälde-Serie im Amsterdamer Stadthaus, das heutige Königliche Palais. Diese Werke zeichnen sich durch ihre lebendige Darstellung mythologischer und allegorischer Szenen aus, die sowohl eine tiefe Kenntnis der klassischen Themen als auch eine brilliante künstlerische Technik zeigen. Ein weiteres bemerkenswertes Werk ist sein Gemälde "Triumph der Tugend", das sich im Rijksmuseum in Amsterdam befindet. Dieses Werk zeigt de Wits Fähigkeit, komplexe Kompositionen zu gestalten und die Figuren in einer dynamischen, fast skulpturalen Weise darzustellen. Jakob de Wit war nicht nur als Maler erfolgreich, sondern auch als Lehrer und Förderer der Kunst. Zu seinen Schülern zählten einige der bedeutendsten Künstler seiner Zeit, und er trug wesentlich zur künstlerischen Ausbildung in Amsterdam bei. Er starb am 12. November 1754 in seiner Heimatstadt Amsterdam. Sein Werk hinterließ einen nachhaltigen Einfluss auf die niederländische Malerei des 18. Jahrhunderts, und seine Kunstwerke sind bis heute in zahlreichen Museen und Sammlungen weltweit zu bewundern. Jakob de Wit bleibt ein bedeutender Vertreter des Barocks, dessen Werk Eleganz, technische Perfektion und künstlerische Innovation vereint (OpenAI's ChatGPT AI language model, persönliche Kommunikation, 24.07.2024). Provenienz: Hessische Privatsammlung.
The unique Victorian campaign and long service group of six awarded to Petty Officer S. Ford, Royal Navy, one of just six naval recipients of the ‘Red River 1870’ clasp Abyssinia 1867 (S. Ford Boy. 1. Cl. H.M.S. Argus); Canada General Service 1866-70, 2 clasps, Fenian Raid 1870, Red River 1870 (A-B: S. Ford, H.M.S. Royal Alfred) officially impressed naming, the Red River clasp of later issue type; South Africa 1877-79, 1 clasp, 1879 (”Shah” S. Ford. P.O. 2nd Cl. H.M.S.) officially re-engraved naming; Egypt and Sudan 1882-89, dated reverse, 1 clasp, Alexandria 11th July (S. Ford. Qr. Mr. H.M.S. “Helicon”); Royal Navy L.S. & G.C., V.R., narrow suspension (Samuel Ford P.O. 2nd Cl. H.M.S. Shah.) engraved naming; Khedive’s Star, dated 1882, some adhesive deposits to reverses, light contact marks, otherwise very fine or better (6) £4,000-£5,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Alan Hall Collection, June 2000. Just eight Fenian Raid 1870 clasps and six Red River 1870 clasps were awarded to the Royal Navy, and only four medals with both clasps. Samuel Ford was born in Lymington, Hampshire on the 13 November 1850, and entered the Royal Navy as a Boy 2nd Class in May 1865. Having then been advanced to Boy 1st Class he joined H.M.S. Argos in May 1867, in which ship he served in the Abyssinia operations of 1867-68. Advanced to Ordinary Seaman in December 1868, he joined the Royal Alfred in March 1869 for services on the Canadian Lakes and was present at various skirmishes with the Fenians in addition to the action at the Red River in 1870. He also gained promotion to Able Seaman in January 1873. Upon his return to England after a four-year commission aboard Royal Alfred, Ford served in Excellent from January 1874, Malabar from September 1875, back in Excellent from April 1876 and in Penelope from June 1876 until December 1877. And during his next seagoing appointment in Triumph, from May to -November 1878, he was advanced to Petty Officer 2nd Class. Moreover, Ford went on to witness further active service, firstly in the Shah’s Naval Brigade in the Zulu War in 1879, and afterwards as a recently promoted Petty Officer 1st Class in Helicon at the bombardment of Alexandria on 11 July 1882. Further seagoing appointments having ensued in the interim, he was finally pensioned ashore in April 1889, after completing 20 years adult service. Sold with copied record of service and other research.
The scarce Great War D.S.C. group of five awarded to Acting Flight Commander C. C. ‘Jumbo’ Carlisle, Royal Naval Air Service, late Merchant Navy, one of the more unusual characters of ‘The Spider Web’ Sea-plane Flight at Felixstowe Distinguished Service Cross, G.V.R., the reverse hallmarked London 1917; 1914-15 Star (Flt. S. Lt. C. C. Carlisle, R.N.A.S.); British War and Victory Medals (Flt. Cr. C. C. Carlisle. R.N.A.S.); Denmark, Medal for Heroic Deeds, silver, mounted as worn, good very fine (5) £1,400-£1,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Butterfield’s Auction, U.S.A., June 2000. D.S.C. London Gazette 1 May 1918: ‘For zeal and devotion to duty between 1 July and 31 December 1917.’ The original recommendation states: ‘This officer has served on this station [R.N.A.S. Felixstowe] since August 1915 and has been consistent in carrying out his varied duties in a thorough and capable manner. I consider his influence on this station to have been highly valuable to the Service and most deserving of recognition.’ Cyril Campbell Carlisle was born in Liverpool on 14 March 1880, and originally served in the Merchant Navy, having been apprenticed to Nicholson & McGill in February 1896. He was awarded the Norwegian Medal for Heroic Deeds in respect of the rescue of the crew of the barque Varuna in 1902 and he gained his 1st Mate’s Certificate in the following year. His subsequent Master’s Certificate was obtained at Victoria, British Columbia, Canada in August 1906, but on joining the Royal Naval Air Service in May 1915, he listed his current employment as that of a manager of a petroleum company in West Africa. Having undertaken pilot training at R.N.A.S. Chingford - seemingly without success, one report stating ‘he will never improve as a pilot’ - Carlisle was posted to R.N.A.S. Felixstowe for duty as ‘senior watch keeper and motor boats’ in January 1916. Subsequently described as ‘an exceptional officer with great ability to command,’ he was advanced to Flight Lieutenant in October 1916 and given charge of ‘seaplane lighters and motor boats.’ And apart from his detachment to Houton Bay ‘in connection with the America Seaplane’ in April 1917, he appears to have remained likewise employed until the war’s end. Having been advanced to Acting Flight Commander in March 1918, he transferred to the Royal Air Force in the rank of Captain and served in 70 Wing and in France. Carlisle emigrated to Canada in the 1920s but died back in the U.K. at Brighton, Sussex, in July 1969. A much liked and unusual character, some of Cyril Carlisle’s antics are recounted in The Spider Web, The Romance of a Flying-Boat War Flight, by ‘P.I.X.’, published in 1919, an amusing account of R.N.A.S. Felixstowe during the war, but, as the following extracts might illustrate, ‘Jumbo’ had an important part to play: ‘C. C. Carlisle, the Old Man of the Sea, or Jumbo, as he was called, because of his appearance and methods on the football field, was an institution on the station. He was in charge of the working party which did all the pulley-hauley work, and of the piratical crews of the motor-boats who looked after the flying- boats when they were on the water of the harbour. He had all sorts of fascinating model sheerlegs and derricks for training his men, and on occasion headed the salvage crew or the wrecking gang. He was a merchant service officer who had spent thirteen years at sea, part of the time fetching oil from Patagonia, and it was rumoured that he had also fetched from that salubrious spot his picturesque language. Some weekend trippers to Felixstowe, standing outside the barbed wire enclosing the beach, after watching and hearing, with eyes popping out and ears flapping, the unconscious Jumbo handling a working party bringing In the Porte Baby, wrote an anonymous letter to the Commanding Officer complaining of the earache, and adding, “it was Sunday too." This effusion was signed " A Disgusted Visitor." It was quite evident that the writer had never been with our armies in Flanders.’ ‘The new year [1918] opened badly. On the 2nd, in a thirty-knot wind, Gordon took off the harbour in a new type boat. As he rose from the water a petrol pipe failed, and not having height to turn he landed her outside down wind. She touched the water at a rate of knots, her bottom split open, and she sank in shallow water. Before she sank Gordon and his crew were taken off by a motor-boat. The Old Man of the Sea organised a salvage party. Jumbo boiled about in the sheds setting alight his trusty henchmen, and collected an amazing assortment of wire cables, ropes, balks of timber, flares, anchors, and what else I know not. The station tug Grampus, the steam hissing from her safety-valve through the zeal of her fireman (for the usual unexciting job of the crew was to bring bread and beef from Shotley, and this was an adventure), took the O.M.O.T.S.'s pet, the flat- bottomed salvage barge, in tow. They took it out and anchored it to windward of the wreck, but nothing further could be done until low water, which was at nine o'clock. In the darkness of the night, in the shadow of the sheds, Jumbo collected his piratical crew and packed them into the Grampus. I asked to be taken along, and we all shoved out through the guardships into the open sea. We could not get near the barge owing to the shallow water, and Jumbo forsook us, climbing with five of his satellites into a small dinghy, which, perilously overloaded, bobbed away over the heavy sea into the darkness. A long wait. The tug was rolling and tossing in the steep waves. A drizzling rain was falling. There were no shore lights, and the night was pitch-black. And then there was a glare of light in the distance, Jumbo had lit one of the acetylene flares on the stern of the salvage barge. The glare increased, and presently a light came bobbing over the water towards the tug, - it was a lantern in the bow of the dinghy. I climbed across and was ferried to the scene of activity. It was a weird sight. Five hissing acetylene flares surrounded the wreck with a fierce glow. Intense darkness all around, and in the brilliant pool of light a section of tossing waves, the flying-boat with her lower wings showing on the surface of the water, and the oilskin-clad men working on her. The wind was dying down, and as the tide fell the force of the waves was broken by the shoals over which they had already passed and by the barge. Jumbo took a short wire rope, with a wire hawser attached midway between the two ends, and had it worked down from the bow beneath the flying-boat. The ends were made fast to the engine bearer-struts, the men tying the knots under water, as the tide was now rising. Other men had made and fitted a wire sling for each engine, and to these two lines were made fast and taken to the barge. The slack in the wire hawser and the two lines was hauled in, and as the incoming tide raised the barge the flying-boat was lifted clear of the bottom. As soon as the water was deep enough Jumbo had the anchor heaved up and two motor-boats took the barge in tow. The flying-boat, supported on the surface by its lower wings moving through the water, followed after. It was towed by the two lines attached to the engines, the wire bridle under the bow preventing it nose-diving. The Old Man of the Sea processioned into the harbour in triumph. First the Grampus, then the two motor-boats, then the barge, and finally the flying-boat....
The rare Naval General Service and Army of India campaign pair awarded to Captain George Tincombe, Royal Navy, promoted to Commander for services during the Burmese War from whence he returned with Despatches Naval General Service 1793-1840, 1 clasp, Egypt (G. Tincombe, Midshipman.); Army of India 1799-1826, 1 clasp, Ava (1st Lieut. G. Tincombe, R.N. Actg. Capt.) short hyphen reverse, officially impressed naming, light handling marks, otherwise extremely fine (2) £6,000-£8,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Brian Ritchie Collection, Dix Noonan Webb, September 2004. The earliest N.G.S. clasp in combination with Ava to the Royal Navy, one of only 20 such pairs, nine of which were in combination with Syria. The ‘Actg. Captn.’ shown on his medal for the Burma campaign refers to his post at the time rather than his rank. George Tincombe was born at Sidmouth, Devon, in 1784 and entered the Navy in March 1800. He served his first eight months at sea as an Ordinary and A.B. in the Wassenaer, employed in the Downs and afterwards in the Mediterranean under Captains Edward Marsh and John Larmour. Tincombe was appointed Midshipman on 1 October 1800, and, having followed Larmour into the troopship Diadem, took part in the operations connected with the expedition to Egypt, and was present at the landing of the Army in Aboukir Bay on 8 March 1801. In 1803, he again followed Larmour, this time into the frigate Clyde 38, in which he served for the next eighteen months chiefly blockading the Dutch coast. In September 1804, he joined Melampus, Captain Stephen Poyntz, stationed in the Channel, West Indies and on the North America station. While in Melampus, he contributed to the capture of two armed brigs each carrying fifty men, most of them troops; four luggers of one long 18-pounder and twenty-five men each en route from Bordeaux to Brest; and a Spanish privateer of 28 guns and 192 men, of whom three were killed and several wounded. He also was aboard Melampus when she joined the 74’s Belleisle and Bellona, and assisted in the destruction of the French 74 L’Impéteux. In February 1808, Tincombe was nominated Acting-Lieutenant of Triumph 74, the command of the Trafalgar hero, Captain Sir Thomas Masterman Hardy, Bart. After cruising in the North Sea and the Basque Roads, Tincombe was given charge of a division of gun boats on the Tagus. He was next appointed to the command of a gun boat and was ‘actively engaged’ in the defence of Cadiz, and as a reward for his services he was confirmed a Lieutenant of the Triumph on 4 May 1810. From December 1810 to September 1814, he was employed in the Armada 74, participating in the blockade of Flushing, the Texel, and Toulon, the unsuccessful attack on Leghorn, the capture of Savona, and in a variety of operations off the Italian coast. In October 1821, he went with Captain Charles Grant from the Armada, when that officer transferred his broad pendant to the Liffey 50 in the East Indies. While serving in the Liffey, Tincombe witnessed the reduction of Rangoon during the First Burma War, and took part in operations against various stockades on the Irrawaddy. Tincombe returned from the Far East aboard a merchantman carrying despatches in July 1825, and was promoted Commander on 19 August following. His final promotion to Captain came on 1 April 1856. Tincombe was placed on half-pay in 1825 and settled in Plymouth; firstly at 6 Oxford Street, and afterwards at 13 Portland Square. Captain George Tincombe died in Devon sometime in 1868.
The scarce Great War D.S.C. and Bar group of five awarded to Lieutenant-Commander Reginald Allen, Royal Naval Reserve, who won his D.S.C. in the Gallipoli landings of April 1915, and his Bar for services in Q-ships Distinguished Service Cross, G.V.R., the reverse hallmarked London 1916, with Second Award Bar; 1914-15 Star (Mid. R. Allen, R.N.R.); British War and Victory Medals, with small M.I.D. oak leaves (S.Lt. R. Allen. R.N.R.); Royal Naval Reserve Decoration, G.V.R., the reverse hallmarked London 1928, mounted as worn, good very fine (5) £3,000-£4,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Dix Noonan Webb, September 2001. D.S.C. London Gazette 14 March 1916: ‘Probationary Midshipman Reginald Allen, H.M.S. Europa. For services performed under shell fire on the beaches and in steam boats off the beaches.’ Also commended for service in action during the operations in Gallipoli, April 1915-January 1916. Bar to D.S.C. London Gazette 17 November 1917: ‘Sub. Lieutenant, D.S.C., R.N.R. For services in action against enemy submarines.’ For the possible destruction of an enemy submarine by the Q-ship Chagford. One of only approximately 92 bars to the D.S.C. awarded during the Great War. The following extract is taken from Q Ships and their Story by E. Keble Chatterton: “In the spring of 1917 there was a 2,905-ton steamship, called the Bracondale, in the employment of the Admiralty as a collier. It was decided that she would make a very useful Q-ship, so at the beginning of April she was thus commissioned and her name changed to Chagford. She was fitted out at Devonport and armed with a 4-inch, two 12-pounders, and a couple of torpedo tubes, and was ready for sea at the end of June. Commanded by Lieutenant D. G. Jeffery, R.N.R., she proceeded to Falmouth in order to tune everything up, and then was based on Buncrana, which she left on August 2 for what was to be her last cruise, and I think that in the following story we have another instance of heroism and pertinacity of great distinction. Chagford’s position on August 5 at 4.10 a.m. was roughly 120 miles north-west of Tory Island, and she was endeavouring to find two enemy submarines which had been reported on the previous day. At the time mentioned she was herself torpedoed just below the bridge, and in this one explosion was caused very great injury: for it disabled both her torpedo tubes and her 4-inch gun; it shattered the boats on the starboard side as well as the Captain’s cabin and chart room. In addition, it also wrecked all the voice-pipe connections to the torpedo tubes and guns, and it flooded the engine-room and put the engines out of commission, killing one of the crew. Lieutenant Jeffery therefore ‘abandoned’ ship [i.e. sent off the panic party], and just as the boats were getting away two periscopes and a submarine were sighted on the starboard side 800 yards away. As soon as the enemy came to the surface fire was opened on her by the two 12-pounders and both Lewis and machine-guns, several direct hits being observed. The submarine then dived, but at 4.40 a.m. she fired a second torpedo at Chagford, which hit the ship abaft the bridge on the starboard side. From the time the first torpedo had hit, the enemy realised that the Chagford was a warship, for the 4-inch gun and torpedo tubes had been made visible, and now that the second explosion had come Lieutenant Jeffery decided to recall his boats so that the ship might genuinely be abandoned. The lifeboat, dinghy, and a barrel raft were accordingly filled, and about 5.30 a.m. the enemy fired a third torpedo, which struck also on the starboard side. Having sent away in the boats and raft everyone with the exception of himself and a Lieutenant, R.N.R. [James S. Hely], two sub-lieutenants, R.N.R. [Reginald Allen, D.S.C., and George E. Martin], also an assistant paymaster, R.N.R. [Harry Manley], and one petty officer [E. A. Edgecombe], Lieutenant Jeffery stationed these in hiding under cover of the fo’c’sle and poop, keeping a smart look-out, however, through the scuttles. Here was another doomed ship rolling about in the Atlantic without her crew, and only a gallant handful of British seamanhood still standing by with but a shred of hope. To accentuate their suspense periscopes were several times seen, and from 9 a.m. until 9 p.m. a submarine frequently appeared on the surface at long range, and almost every hour a periscope passed round the ship inspecting her cautiously. During the whole of this time Chagford was settling down gradually but certainly. At dark Lieutenant Jeffery, fearing that the enemy might attempt boarding, placed Lewis and Maxim guns in position and served out rifles and bayonets to all. Midnight came, and after making a further examination of the damage, Lieutenant Jeffery realized that it was impossible for the Chagford to last much longer, for her main deck amidships was split from side to side, the bridge deck was badly buckled, and the whole ship was straining badly. Therefore, just before half-past midnight, these five abandoned the ship in a small motor-boat which they had picked up at sea some days previously, but before quitting Chagford they disabled the guns, all telescopic sights and strikers being removed. Having shoved off, they found to their dismay that there were no tanks in the motor-boat, so she had to be propelled by a couple of oars, and it will be readily appreciated that this kind of propulsion in the North Atlantic was not a success. They then thought of going back to the ship, but before they could do so they were fortunately picked up at 7.30 a.m. by H.M. trawler Saxon, a large submarine having been seen several times on the horizon between 4 and 7 a.m. The trawler then proceeded to hunt for the submarine, but, as the latter had now made off, volunteers were called for and went aboard Chagford, so that by 4 p.m. Saxon had commenced towing her [Sub-Lieutenant Allen was again amongst the volunteers on this occasion]. Bad luck again overcame their efforts, for wind and sea had been steadily increasing, and of course there was no steam, so the heavy work of handling cables had all to be done by hand. Until the evening the ship towed fairly well at 2 knots, but, as she seemed then to be breaking up, the tow rope had to be slipped, and just before eight o’clock next morning (August 7) she took a final plunge and disappeared. The Saxon made for the Scottish coast and landed the survivors at Oban on the morning of the eighth. In this encounter, difficult as it was, Chagford had done real service, for she had damaged the submarine so much that she could not submerge, and this was probably U-44 which H.M.S. Oracle sighted in the early hours of August 12 off the north coast of Scotland, evidently bound to Germany. Oracle chased her; U-44 kept diving and coming to the surface after a short while. She had disguised herself as a trawler and was obviously unable to dive except for short periods. Oracle shelled and then rammed her, so that U-44 was destroyed and Chagford avenged.” Lieutenant Jeffery was awarded the Distinguished Service Order, while Sub-Lieutenant Allen got a Bar to his Distinguished Service Cross, and Sub-Lieutenant Martin and Assistant Paymaster Manley both received the Distinguished Service Cross. Reginald Allen was born at Warrington in 1895, was appointed Midshipman, Royal Naval Reserve, on 15 August 1911, and in September 1914 was serving aboard the armed merchant cruiser Teutonic. In January 1915 he transferred to the battleship Triumph and would appear to have been one of the survivors from that ship when she was torpedoed and sunk by a...
The 3-clasp Naval General Service medal awarded to Lieutenant Lawford Miles, Royal Navy, for his services as a Midshipman on board the Amethyst at the capture of the Thetis in November 1808, when he was severely wounded, and in the same ship at the capture of the Nieman in April 1809; he was afterwards Master’s Mate on board Lord Exmouth’s flagship Queen Charlotte at the bombardment of Algiers in 1816 Naval General Service 1793-1840, 3 clasps, Amethyst Wh. Thetis, Amethyst 5 April 1809, Algiers (Lawford Miles, Midshipman.) edge bruise and contact marks, otherwise very fine £20,000-£24,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Dalrymple White Collection, Glendining’s, July 1946; Spink, June 1976; Peter Dale Collection, July 2000. 31 clasps issued for Amethyst Wh Thetis, and 26 clasps issued for Amethyst 5 April 1809. Capture of the Thetis, 10 November 1808
This action was fought near L’Orient, between the Amethyst, thirty-eight, Captain Michael Seymour, and the French frigate La Thetis, of about equal force, but superior in the number of her crew, and having besides a body of one hundred soldiers on board. The engagement began about nine at night, and soon after eleven the Thetis made a desperate but unsuccessful attempt to board the Amethyst. After great slaughter, the French frigate was boarded and taken, being much shattered and entirely dismasted. The captain of the Thetis and one hundred and thirty-four of her men were killed, and one hundred and two wounded, including all her officers except three. The Amethyst suffered severely, Lieutenant Kendal, of the Marines, and eighteen men being killed, and fifty-one wounded. Her mizzen mast was shot away, her other masts much injured, and she had three and a half feet of water in her hold. Just as the action ended, the Triumph, seventy-four, Captain T. M. Hardy, and the Shannon, Captain Broke, came up, and the latter ship, taking the prize in tow, brought her into Plymouth. For this action Captain Seymour received the honour of knighthood, and a sword valued at one hundred guineas from the Patriotic Fund, in addition to the Naval Gold Medal. (Medals of the British Navy by W. H. Long refers). Capture of the Niemen, 5 April 1809
At eleven on the morning of April 5th, the thirty-eight gun frigate Amethyst, about forty-two leagues from Cordovan lighthouse, caught sight of a ship steering to the westward. The Emerald, thirty-six, Captain T. L. Maitland was in company, and both ships joined in pursuing the stranger, the French frigate Niemen, forty guns, bound for the Isle of France. The chase was continued during the day, and at seven in the evening, the Amethyst, lost sight of the Emerald and of the enemy, on which he had gained but little. Captain Seymour then altered his course to cross the probable track of the French frigate, and at twenty minutes to ten p.m. discovered her steering to the westward. Soon after eleven p.m. the ships exchanged shots from their bow and stern chasers, and about quarter past one a.m. the Amethyst closed on her opponent, and gave her her starboard broadside. From this time till half past three, a severe action continued, and shortly after, the main-top and mizzen masts of the Niemen were shot away, her main top was on fire, and her guns nearly silenced. In bringing to, to the leeward, the main-mast of the Amethyst through the damaged state of her rigging, fell over the starboard quarter, carrying with it the mizzen mast, and about the same time the main-mast of the Niemen fell. Both ships then ceased firing. A quarter of an hour later, the thirty-eight gun frigate Arethusa, Captain R. Mends, came up within gunshot, and the Niemen hoisted a light, and fired a gun at the Arethusa, and another at the Amethyst. The Arethusa returned the fire with some of her foremost guns, and the French frigate lowered her light and surrendered. Two officers and thirty-seven men of the Amethyst were absent in prizes, and of her remaining crew of two hundred and twenty-two men and boys, she had eight men killed, and three officers, and thirty-four men wounded. The Niemen with a crew of three hundred and thirty-nine men and boys, lost forty-seven men killed, and had seventy-three men wounded. The Arethusa sustained no loss whatever. The prize, a very fine new frigate, was taken in tow by the Arethusa, her hull being much damaged, and the next day, her foremast fell over the side. She was added to the Royal Navy by the same name.
There is a great similarity between this action and that of the Amethyst and Thetis, in the manner of conducting it, in the comparative force of the combatants, and also in reference to the intrusion of a third party. It is quite evident, however, that in both cases the capture was virtually effected by the Amethyst. Captain Seymour was created a baronet of the United Kingdom, and the first lieutenant, William Hill, promoted to Commander. (Medals of the British Navy by W. H. Long refers). Lawford Miles entered the Navy 4 August 1806, and while serving as Midshipman of the Amethyst, of 42 guns and 261 men, assisted at the capture, 11 November 1808, off L’Orient, of the French frigate La Thétis, of 44 guns and 436 men, including troops, which was boarded and carried at the close of a furious conflict of more than three hours, in which the British had 19 men killed and 51 (including himself severely) wounded, and the enemy 135 killed and 102 wounded. The injury he sustained on the occasion was at first rewarded by a gratuity from the Patriotic Fund, and subsequently by a pension of £6. On 6 April 1809, he was further present in a severe intermittent action of about four hours, which terminated in the capture, with a loss to the Amethyst of 8 men killed and 37 wounded (including himself with a severe contusion), of another of the enemy’s frigates, Le Niemen, of 46 guns and 339 men, of whom 47 were slain and 73 wounded. During his stay in the Amethyst Mr. Miles also served in the boats at the capture and destruction of a convoy off Chasseron Tower; and was a participator in the operations connected with the expedition to the Walcheren. In August 1816, having passed his examination in the course of the preceding year, he was present on board the Queen Charlotte 100, flag-ship of Lord Exmouth, at the battle of Algiers. He was made Lieutenant, 4 April 1825, into the Menai 26, Captain Houston Stewart, on the Halifax station, whence he invalided in the following April; and, since 19 October 1846, has been serving as Agent on board a contract mail steam-vessel.
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