- Absolutely beautiful example - The most desirable Post-War Bentley model - Exceptionally well-preserved restoration by UK-based specialists - One of only 55 S1 Park Ward Continental Drop-heads built to RHD specification. - Beautiful Oxford Blue with Champagne Connolly Hide hide interior - Dark Blue Mohair Hood Automatic Transmission - Power Steering - Power Hood - Incredibly well maintained and a joy to drive In the early 1960s, Bentley’s parent company Rolls-Royce ran an advertisement that bragged: “At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock”. While the car featured in the advertisement was a Silver Cloud, the ad was careful to state that Bentleys were also made by Rolls-Royce, and the claim certainly rang true for the sister company. If the engine was surpassed only in noise by the clock, surely the only other noise that would come close to that would be music on its radio. The genre of music this particular Bentley would eventually become famed for, however, was still decades away—both acoustically and chronologically. Chassis number BC40EL, a S1 Continental Drophead Coupé with Park Ward Coachwork, was first registered to Mather & Crowther Ltd at the company’s business address at Brettenham House in London, just next to Waterloo Bridge. Specified for the personal use of E.L. Mather, the car was accordingly registered ELM 9 when new. Finished in Tudor Grey over a Green interior with a pale green convertible top, it was delivered to Mather & Crowther on 28 May 1958. An advertising agency founded by Edmund Charles Mather in 1850, it was known as Mather & Crowther through the later part of the 1880s until 1948, when it merged to become Hewitt, Ogilvy, Benson & Mather. In 1959, Hewitt, Ogilvy, Benson & Mather took on Rolls-Royce as a client, one year after this BC40EL was delivered, resulting in the company’s famous aforementioned ad. Perhaps this very car played a role in inspiring that iconic advertisement. Little is known of the car in the succeeding years. A document from HM Customs and Excise dated May 1990 shows that the car was imported back into the UK to P.J. Fisher, a well-known Bentley specialist based in Putney, London, still bearing the registration number ELM 9. Less than a year later, the car was acquired by Alan Prince, a private collector and member of the Bentley Drivers Club, who immediately commissioned a restoration with the Rolls-Royce and Bentley specialist Auto Trade Restoration of Kensal Green, London. Stripped to bare metal, the interior was fully retrimmed, all chrome trim was refinished, and the bodywork was fully repainted in its present dark blue, with the power-operated convertible top retrimmed in dark blue to match. All mechanical components were attended to as well, including a complete rebuild of both the engine and gearbox. Following the completion of the restoration in October of 1992, the Bentley was road registered. Although efforts were made to return it to its original registration of ELM 9, this was not possible, and the car’s present registration of GVS 864 was assigned. The car was well-looked after in Mr Prince’s ownership, and it would enter a fascinating stage of its life with an enthusiastic new owner at the dawn of the 21st Century, just over 40 years after leaving the factory. By the late 1990s, Jamiroquai had risen to international stardom and were ranked as the third best-selling British artist of the decade, following the Spice Girls and Oasis. With their fifth studio album, A Funk Odyssey, set to be released to critical acclaim and commercial success in September of 2001, frontman Jay Kay could finally indulge in his life’s second passion: cars. Looking to purchase a Bentley in late 2000, Jay Kay was faced with the decision between purchasing this car or a ''modern'' Continental. For him, the decision was easy after experienci