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Lot 304
United Colours of Benetton rings, various styles, with enamelling (2), set with pink stones (1), with cut-outs (2) & one with engraved faces, various sizes & a ladies` black rubber bracelet with silver beads, some with enamel, fitted with lobster claw fastener, bracelet in CD style box (gross 2.37oz) (7)
Lot 251
An early George II tablespoon Charles Dickson, Edinburgh 1727 - 1728, Assay Master Edward Penman, of ribbed Hanoverian pattern with contemporary initials JM to reverse of terminal and pronounced rat tail to reverse of bowl 20cm long, 1.5oz Notes: the Charles Dickson makers mark struck to this piece is the earlier heart shaped punch with CD within a star below initials
Lot 295
Dundee - a Scottish provincial transitional tablespoon by Charles Dickson I, marked CD in monogram, pot of lilies, CD in monogram, the chamfered stem with shaped terminal of transitional spatula design, with engraved initials in contemporary script IT / MP to reverse and with long rattail to bowl 20.5cm long, 1.5oz Notes: items attributed to Charles Dickson I of Dundee are very rare and to date no items of hollow ware are noted and only a very small number of spoons. The design of this spoon is of particular interest as this unusually shaped terminal appears to suggest a transitional period between the Dog Nosed and Hanoverian patterns, often termed spatula. This design is quite accomplished on this example with the slight upturned terminal, and chamfered stem, the slender rattail is also very comparable to late Dog Nosed examples. References: `Compendium of Scottish Silver II` R & J Dietert, listed page 288
Lot 204
Schjeldahl (P) and others. Art of Our Time 4 vol. original wrappers very slight water-staining to lower edges spines a little faded 1984 § Koolhas (Rem) and Bruce Mau. S M L XL second edition original silver boards blocked in black and blue New York Monacelli Press 1998 § Young (La Monte) and Jackson Mac Low editors. An Anthology... second edition printed on coloured papers envelopes tipped in containing loosely-inserted cards original wrappers spine faded [New York] 1970 Poetter (Jochen editor) Sigmar Polke: Fotografien illustrations magazine containing article on Polke loosely inserted original boards dust-jacket (slightly frayed at head of spine) Stuttgart 1990 § [Richter (Gerhard)] Richter 858: Eight Abstract Pictures edited by David Breskin colour plates some loose in pocket at end as issued with CD of music inset in inside front cover original cloth aluminium slip-case in original box San Francisco 2002; and 16 others including an empty beer bottle advertising exhibition of Rebecca Horn`s work at the Tate & Serpentine galleries in 1995 some damp-stained v.s.(a box)
Lot 13
Francis Bacon 1964 introduction by John Rothenstein coloured plates original cloth dust-jacket 1964 § Madonna Sex photographic illustrations with CD loosely inserted original ring-bound boards 1992 § Myers (Bernard S.) Expressionism: a Generation in Revolt original cloth marked and browned dust-jacket torn with loss 1957 § Morand (Kathleen) Claus Sluter: Artist at the Court of Burgundy original cloth dust-jacket 1991 § Cowling (Elizabeth) and John Golding Picasso: Sculptor/Painter original wrappers Tate Gallery 1994; and a quantity of others art 4to(9 boxes)
Lot 1309
English School, circa 1770: Portrait Miniature of a Gentleman, bust length, his hair en queue, wearing a blue jacket and lace cravat, against a sky background, oval, 3.7cm, in a closed back with later loop for suspension; and Two Other Decorative Miniatures, one depicting a young girl with long brown curly hair wearing a diaphanous robe, circa 1800, oval, 5.5cm, the other a bust length portrait of a lady, initialled CD, turning to sinister, wearing pearls around her neck and lace trimmed raspberry coloured dress, oval, 3.6cm by 2.7cm, both in later gilt metal frames (3)
Lot 368
* Sinatra (Frank, 1915-98). Signed programme for the Madison Square Garden live show ‘The Main Event’, 1978, col. and b&w illusts. from photos, signed and inscribed to Sinatra’s full length photo on page one, ‘To John & Joyce [Rimington], all the best, Frank Sinatra’, orig. stapled col. wrappers, a little creased and rubbed, 35.5 x 25.5cm, together with Liberace, two signed programmes, the first titled The Liberace Story to upper cover, signed, dated 1977, the second titled Liberace “Mr Showmanship”, signed and dated 1978 on inside front cover, both slim 4to, all three signatures with Liberace’s trademark piano paraph, plus two Liberace books including a signed copy of his autobiography, plus a quantity of showbusiness and film programmes, etc., plus fifty copies of ‘Lady Di’, the official 1981 Royal Wedding vinyl single, celebrating the marriage between Prince Charles & Lady Diana Spencer and ten copies of the CD ‘Let There Be Christmas’, a schoolgirl’s song inspired by the death of Princess Diana (a carton)
Lot 354
A good collection of costume jewellery, to include; A Trifari gilt metal necklace;A Christian Dior gilt metal `CD` monogram brooch; A pair of coloured enamel and paste set oval earrings; A Chanel style, black enamel and paste, circle link bracelet; A heavy gilt metal Monet style necklace; A millefiori green glass bead necklace, and further items. (a lot)
Lot 34
Elton John A red boiler suit with yellow collar, buttoned to front, with Gianni Versace label to neck, made for Elton John, who is pictured wearing the garment on the back cover of the 2000 Mercury album One Night Only - The Greatest Hits; accompanied by two signed photographs of Elton wearing the suit; a corresponding copy of the CD and documents concerning the suit's provenance (3) View on Christie's.com
Lot 68
Radiohead A collection of three Radiohead releases; a CD single Creep, Capitol, 1992 signed on the inner sleeve in black marker pen by Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, and Phil Selway; a promo CD single Creep, Parlophone, 1992 signed on the sleeve by all band members; and a limited edition 12in. EP Creep, Parlophone, 1992 signed on the inner sleeve by all band members (3) View on Christie's.com
Lot 49
5x scarce original tennis film reels c. 1920/1930`s featuring Wm Tilden et al- showing footage ofÊearly tennis matches incl Bill Tilden at Longwood, Lacoste, Wills, Johnston et al. as follows: Reel 1. Amateur footage showing Tilden serving and rallying at Longwood Cricket and Lawn Tennis Club in 1932 (probably a professional tournament). Also shows an impressive clubhouse and further shots ofÊmatches taking place on all the courts, also private family film of tennis played in the garden. - Duration 1 Minute 58 secs. Reel 2. Tilden in his Prime - A silent French film with English entitled "Tennis par William Tilden Second". Superb, close-up slow motion and full speed footage shows Tilden demonstrating all the shots including the three types of service. Duration 4 minutes 13 secs. Reel 3. Amateur footage showing Tilden serving and rallying with Karel Kozeluh (Czechoslovakia) as well as some doubles footage at Akron, dated June 1932. Duration 1 Minute 59 secs. Reel 4. "Tennis Form"Ê (c. 1920s) Showing scenes of Tilden in a Championship Doubles match at Forest Hills, close-up of him serving, and rallying, as well as impressive footage of Maurice Johnston rallying and Helen Wills (in visor), many of the scenes in slow-motion. Duration 2 Minute 42 secs. Reel 5. Slow-motion and real time footage showing Rene Lacoste and Paul Feret (France) serving andÊvolleying. Duration 1 Minute 3 seconds. All supplied with CD Copies.
Lot 218
* Cartier, Santos Galbee, a gentleman’s stainless steel and gold wristwatch, circa 1990, ref. 1566 no. 381323 CD, the two piece screw down case with sapphire winding crown, the cream dial with black Roman numerals, blued steel hands, centre seconds hand, date aperture and secret Cartier signature at 7 o’clock, the 7 jewel Cartier quartz movement cal. 687, on a stainless steel and gold bracelet with concealed fold over clasp, case 4.1cm long including lugs
Lot 193
AN ART DECO TORTOISESHELL MANICURE SET, the box of plain rounded rectangular form, the mildly domed lid with silver gilt hinges and clasp, the cream velvet fitted interior with lift out compartment enclosing gilt metal and tortoiseshell implements, hinges marked with leopard`s head, lion passant and maker`s mark CD only, 6" x 4"
Lot 625
6 WWII A3 posters: “Gas Attack” details and sketches of what to do in the event of an attack; “The Citizens Service- Special Constabulary” head and shoulders man and woman in uniform, “Help the Police - Join the Special Constabulary” text; “Join Your Local Special Constabulary” portrait of constable wearing cap; “CD - Welfare Section” and “CD - Ambulance and First Aid Section,” each with head and shoulders of woman in uniform; in 3 sleeves. VGC
Lot 394
Colour Slides, a large collection in two cardboard boxes. Two large slide boxes of Continental Steam/Diesel, most catalogued with a list and on CD; two complete Carousels, loaded with what looks like modern traction and overseas but not checked; three slide boxes of Coaches, Modern Traction and Diesel Nameplates; a couple of slide boxes containing miscellaneous slides (some commercial); ten smaller slide boxes with a vast variety of locos, some modern image some preserved, some commercial. Additionally, a quantity of negatives and a couple of Gratispool Colour Movie Films, importantly `LT Last Day of Steam`. A collection not to be missed. Note that 99% of the slides come with copyright.
Lot 109
* Aircraft miscellany. An interesting collection of manufacturer’s press, publicity and private photographs of numerous aircraft types, including Northrop C-125 “Raider”, Lockheed EC-121 “Constellation”, Stearman “World Cruiser”, Douglas CD-3, fokker “Enforcer”, Mystere 20 fan-jet “Falcon” and many others, most with labels or inscriptions verso, approx. 50 images (approx. 50)
Lot 198
Schneider Trophy 1931. An historically important group of three 78 rpm recordings by the three most important men involved in the 1931 Schneider Trophy Contest which Great Britain won outright, retaining the Trophy in perpetuity having won the race three times consecutively (1927, 1929 & 1931), viz. R.J. Mitchell, aircraft designer, A.J. Rowledge, Rolls-Royce engine designer, and Flight Lieutenant J.N. Boothman, pilot. Recorded on HMV 12 inch yellow label “Private Record” discs, but never issued commercially, the British Library Sound Archive is believed to hold copies, probably given to them for posterity by R.J. Mitchell’s son, Dr. Gordon Mitchell. Each recording is introduced by a professional narrator in typical period “BBC” style, and lasts just over four minutes. A set of CD recordings is being sold with this lot.. R.J. Mitchell (part transcription). “... in a very few words I will endeavour to describe one or two of the interesting features of the S6B and also some of the problems of the designer. In the design of a seaplane of this type, the one outstanding and all important requirement is speed, every feature has to be sacrificed to this demand. The result of this is that every part of the aircraft just, and only just, fulfils its requirements... It is not good enough to follow conventional methods of design, it is essential to break new ground and to invent and involve new methods and new ideas... The floats are made so small for the load they have to carry that their reserve buoyancy is less than 40%. The usual reserve buoyancy for seaplane floats is about 100%. The cooling of the engine presents many interesting features. The usual methods employed either by air cooling or by means of honeycomb radiators have very high air resistance, on the S6B the engine is cooled without adding any air resistance. The cooling water is circulated over both surfaces of the wings and most of the surface of the floats, the covering being of a special double-skin construction. Similarly, the oil is circulated along the sides of the body and over the surface of the fin. During flight heat equivalent to 1000 horsepower is being given to the air from these surfaces. The S6B has been aptly described as a flying radiator... I must express the very greatest admiration for the pilots of the High Speed Flight of the Royal Air Force who carried out trials and operated these machines. Their job required great courage and great skill and they played a very important part in developing the machines to their final state. The question is often asked, will higher speeds be attained in the future, I feel quite sure they will. The problems of still higher speeds are no more intense at this stage than they have been at any period in the past. For the present, however, it is generally considered that high speed development has served its purpose. It has accumulated an enormous amount of information which is now being used to improve the breed of everyday aircraft. It is helping to develop our great airlines and ocean-going flying boats and is thus bringing closer together the outlying parts of the British Empire. This indeed is an objective worthy of all our greatest efforts”. A.J. Rowledge (part transcription). “It was not until Lady Houston so generously came forward with her offer to defray the cost of the machines that the decision was made for Great Britain to take part in the 1931 Schneider Trophy contest. This indecision might easily have been fatal to our chances as very little time, only seven months was left for the development of the design to the new standard and the construction of the actual racing engines In preparing the engines for the 1929 contest we were in many ways at the beginning of a development of this particular engine. In 1931 we had more knowledge and data to enable us to tackle the job but at the same time we had a smaller field for development. The 1931 engine, besides giving more power was a more efficient engine than its predecessor... almost every piece of material in the engine is working at its limit of stress or heat capacity, even for the short life required for such an engine We think it will be agreed by most people who saw the engines perform that they did their work in quite a gentlemanly fashion, and that besides giving good power, they were docile and ran smoothly.Looking at the engine, it is perhaps difficult to believe that the engine fitted to it can possibly give more power than a railway engine which has such an imposing size and weighs so many tonnes In conclusion the satisfactory result was due to team work, and in addition to the people already mentioned, a word of praise is due to the suppliers of the materials and the work people”. Arthur Rowledge (1876-1945) joined Napier & Son in 1913 as Chief Designer. After designing car engines and, more notably, the Napier Lion aero engine, Rowledge took up a similar position at Rolls-Royce Limited in 1921, where he became known as “Rg” in company shorthand. He is credited with designing the Condor III, Kestrel and the Rolls-Royce R racing engine, that was used with great success at the 1929 and 1931 Schneider Trophy races. Development work on the Merlin engine was one of his last contributions to aero engine design along with responsibility for the Exe and Pennine projects, before retiring from Rolls-Royce in 1945 at the age of 70. J.N. Boothman (full transcription). “It is rather difficult to record impressions after an event such as the Schneider Trophy Contest because, at the time, one is concentrating so utterly on the job in hand that the prospect of having to make a record later does not enter one’s head. For the contest last year, the former navigability test had been abolished and replaced by a take off, a climb to 50 metres and an alighting, following which the machine had to taxi for about 2 minutes before taking off to cross the starting line of the speed test proper. These new conditions meant a take off at full load, always an extreme test of a racing seaplane, followed by an alighting and a take off at practically full load. On September 13th 1931, the day when the contest was flown, the weather conditions were fairly good, the sea being rather rough but improving rapidly. After a preliminary flight, to test the conditions, I took my seat in the Vickers Supermarine Rolls-Royce S6B and was slipped from the pontoon as the starting gun was fired at 2 minutes past one. The first take off was effected in 40 seconds, the machine making no difficulty about lifting her 6000 pound weight despite the enormous loading of nearly 42 pounds per square foot of wing surface. As soon as we were off the water, the engine with throttle down to half speed in order to conserve fuel, and a left hand circuit made. Over Cowes, the throttle was shut and an alighting made close to the take off position. In spite of the heavy load and the high landing speed of about 110 mph or more, the floats took the rough-ish water beautifully. After taxiing, throttle right down for the specified time, the second take off was started. This one was not so pleasant, the floats running into the wash left from my first effort, the machine receiving rather a hammering from the rough water. Forty seconds saw us in the air again and after a right hand turn, the nose was pointing at Ryde Pier, the starting line of the speed course. This course consists of seven triangular laps of just over 31 miles each. With the throttle wide open we passed over the pier towards the destroyer marking the southern turn near Bembridge in the Isle of Wight, then a gentle left hand turn around the pylon and across the eight miles of open sea to Wittering. The sea here was bad, a heavy swell rolling in from the Channel making any hopes of a successful forced alighting rather small. However the clock-like running of the engine and the perfect way th
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