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Lot 203
A crate of books, magazines and annuals; More Eves without Leaves photograph studies by Walter Bird Roye John Everard. Model 6- presenting 58 pages of outstanding studies photographed exclusively by Russell Gay.Bruce Lee Motion pictures on paper Volume 2. Bruce Lee Magazines. The Making of "The Goodies Disaster Movie" Annual. Puffin picture books and Hippo Books. Great Tales of terror and the Supernatural- dated 1971. The Royal Air Force Small arms association Handbook 1956. Cigarette card albums and Medley Macabre edited and compiled by Bryan A. Netherwood- reprinted 1970
Lot 299
▲ Peter Collingwood (1922-2008), 'M234', a macrogauze wall hanging, woven linen, steel rods, and signature plate with incised signature and model number,37.7cm wide71cm highProvenance: Purchased directly from the maker by the present vendor in 2006.Condition ReportStructurally, the wall hanging appears sound. There are some loose threads commensurate with age. The colours appear bright. Overall, the work appears in good overall condition and presents well.
Lot 170
Paul Conti for G Plan, a 'Blofeld' swivel leather armchair, model '6250', mid-20th century, on an oak base with metal castors, 93cm wide83cm deep101cm high, seat 47cm highCondition ReportWith some marks to the back bottom corners commensurate with use. With scuffs and marks to the leather where the seat is. There are two 2cm approx indents to the leather at the back of the chair commensurate with use. Otherwise structurally sound. please see additional images.
Lot 172
Marcel Breuer (Hungarian-American, 1902-1981) for Gavina, a set of six chairs, 1950s, comprising four model 'B32' chairs and two model 'B64' armchairs, the armchairs labelled 'Gavina S.p.A. Mod. Cesta-dis M.Breuer',56cm wide, elbow 59.5cm wide, 79cm deep78cm high, seat 46cm high (6)Condition ReportStructurally the chairs all appear sound. There are Gavina labels to the two armchairs but none of the side chairs. The side chairs appear to possibly be of a later production to the armchairs, or recently restored (see images). The set of six chairs were acquired by the present owner as a set.There are scuffs, marks, and loses to the painted wood - particularly to the armchairs, commensurate with use.There are scuffs and marks to the metal on all chairs.The rattan appears in good condition. Some scuffs, discoloration, and loose areas.
Lot 152
Pierre Jeanneret (Swiss, 1896-1967), a pair of 'Library' chairs, model no. 'PJ-SI-51-A', designed for the High Court and Punjab University, Chandigarh, c.1955-60, each of teak and cane with a fabric seat cushion, 45cm wide 41cm deep 76cm high, seat 48cm high (2)Condition ReportStructurally the chairs appear sound. There is expected wear, scratches, scuffs and marks to the wood of both chairs commensurate with age and use. The cane seats have wear but appear sound. The fabric cushions appear in good condition. Overall, the chairs appear in good overall condition and present well.
Lot 192
Alvar Aalto (Finnish, 1898-1976) for Finmar, a model '70' coffee table, designed in 1933, the circular Karelian birch top over an undertier shelf and raised on bentwood supports, with a label 'Finmar Ltd. Design Reg. 787811-19 Patent Applied for',top 63cm diameter70.5cm overall56cm highCondition ReportGenerally good - a few work holes to the edge of the top. Some surface bruises and knocks.
Lot 180
Anglepoise, an Anglepoise 'model 1227' desk lamp, aluminium with a black moulded three-stepped base, stamped 'THE ANGLEPOISE PATS PENDING S. AF. PAT NO. 30/35, MADE BY HERBERT TERRY & SONS', 82cm high fully extendedCondition ReportStructurally sound and in working order. The lamp is fitted with a UK three-prong plug socket. Scuffs and loses to the shade commensurate with age and use. There is oxidation, marks, and scratches to the metal. The lot would benefit from a light clean.
Lot 223
Jean-Pierre Vitrac (French, b.1944), an 'Éventail' folding table lamp, model '10481', designed 1972, French, chrome and opaline glass,29.5cm diameter closed82cm long fully extended29.5cm highCondition ReportTwo replaced glass shades. With some surface marks and scratches to the metal commensurate with use.PAT test - Passed
Lot 15
Cartier: A 'Trinity' ring The three interconnecting 18 carat tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, Cartier size 50Accompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 26
Cartier: A gold rectangular wristwatch "Tank", Numbered 10311, 7746, hallmarked London 1964 Hand-wound mechanical movement, white dial with black Roman numerals, blued steel hands, 18 carat yellow gold rectangular case hallmarked to the inside, on black strap with 18 carat yellow gold Cartier deployant buckle numbered 1138 and hallmarked London 1964. Dial signed, case stamped JC and numbered, movement signed Jaeger LeCoultre. Dimensions 18.5 x 26mm. Accompanied by a Cartier London insurance document dated 1978. From the family of the original owner, London based British actress and model Julie Alexander (1938-2003) Julie Alexander (1938-2003) was a British model and actress in the late 1950s and early 1960s. On leaving school she undertook clerical work to pay for drama lessons and then began her career as a model and in TV advertising. By the late 50s she was working in films and amongst other glamourous roles, she was probably best known for playing Rosalie Dawn, in The Pure Hell of St Trinian’s (1960). She retired from acting in 1962.In 1979 Alexander married Robert Breckman, a theatrical accountant. The couple founded and funded the Julie and Robert Breckman Centre at the PDSA PetAid hospital in Romford which opened in 1999. The Romford centre held memorabilia from Julie Alexander's modelling and acting career as well as a collection of specially commissioned artwork. In 2000, Julie and Robert Breckman donated the most important examples from their collection of prints by Francesco Bartolozzi as well as their collection of Staffordshire ceramics, to the Victoria & Albert Museum. The Julie and Robert Breckman Staffordshire and Print Fund was also established at the V&A.; Their donation included an example of a print in its original frame, Bartolozzi's 'Apotheosis of a Beautiful Female' of 1797 (V&A; Accession no: E.933-2000). The Julie and Robert Breckman Prints and Drawings Gallery at the V&A; Museum opened in 2005.
Lot 29
Les Must de Cartier: A large rectangular quartz wristwatch with date "Must Tank XL", Ref.2413, circa 2000 Quartz movement, white dial with repeated double C logo, plain white chapter ring with grey numerals, date aperture, blued steel hands, centre seconds, gold-plated silver rectangular case, cabochon-set crown, on brown strap with gilt stainless steel adjustable Cartier deployant buckle. Case, dial and movement signed Cartier. Width 26mm. Accompanied by a Cartier box. The oversized Les Must de Cartier Tank with centre seconds and date is one of the rarest examples of Tank model from the series.
Lot 34
Cartier: A platinum "Love" ring Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59 Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Lot 18
Cartier: A seven-band 'Trinity' ring The seven interlocking tri-coloured bands, signed Cartier, ring size M Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 14
Cartier: An oversized gold square wristwatch Louis Cartier Collection "Square", Ref. 97051, circa 1977 Cal.978 mechanical hand-wound movement, white dial signed Cartier Paris, rectangular 18 carat yellow gold case with stepped bezel, cabochon-set winding crown, on green strap with 18 carat gold Cartier buckle. Dimensions 38 x 34mm.Accompanied by a Cartier service pouch. The Cartier ‘Square’, Ref.97051 is known by many names including the Jumbo, TV and Gondole Horizontale. Launched in 1973 as part of Cartier’s ‘Louis Cartier’ collection of twelve new models, the line-up also included the Tank Normale Ref.78092 (see lot 32) and the Square Incuvee Ref.78101 (see lot 13). The large proportions of the Square model, measuring 38 x 34mm, was by far the largest sized watch within the twelve piece collection. Research of case numbers that have subsequently appeared publicly, would suggest limited numbers were manufactured. Possibly due to its large size and limited appeal when released, the model today represents the almost eccentric style of the 1970s.The same model, titled ‘Square Wristwatch’ and attributed to 1973 is illustrated in Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 470.
Lot 13
Cartier: A gold tonneau shape wristwatch Louis Cartier Collection "Square Incurvee", Ref.78101, circa 1980 Mechanical hand-wound movement, white dial with black Roman numerals, blued steel hands, 18 carat yellow gold tonneau shape case, cabochon-set crown, on black Cartier strap with yellow gold deployant buckle. Case, dial and movement signed Cartier. Dimensions 27 x 32mm. Launched in 1973 as part of the ‘Louis Cartier’ collection of twelve new watches, the Square Incuvee Ref.78101 is also referenced popularly as the ‘Cartier Faberge’, although this moniker is not noted in literature on the subject. The same model can be found in the Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 471, listed as being made by Cartier Paris in 1973 and labelled as a ‘Square Incurvee’.
Lot 16
Cartier: A 'Trinity' bangle Designed as three interconnecting tri-coloured gold bands, signed Cartier, maker's mark, numbered, European convention mark, Swiss assay mark, inner diameter 6.0cmAccompanied by a Cartier case. Louis Cartier was a gentleman who curated an electric and fascinating group of friends and counted amongst his close circle in Paris the famed aviator Alberto Santos-Dumont, Jeanne Toussaint and the poet Jean Cocteau.As the story goes, one evening in the early 1920s, Cocteau described dreaming of the rings of Saturn to Louis Cartier. He asked Louis to transform the magic of those celestial rings into a small ring for his little finger. The engineering behind perfecting the smooth rolling motion of three bands gliding over each other, without catching the wearer’s skin or becoming rigid required an engineering masterstroke, one which Cartier’s workshop on the Rue de la Paix was by now well used to fulfilling.In 1924 Louis presented Cocteau with a small ring of three interconnecting bands, devoid of any further decoration. Cocteau declared Louis was “a subtle magician who captures fragments of the moon on a thread of the sun”. Cocteau would go on to wear that ring for decades to come, making him the perfect ambassador of what would become one of the most sought-after rings for both men and women.Initially platinum was used for one of the bands but it was later replaced by white gold. The design was known at the time as bague trois ors (triple gold ring) or a bague trois anneaux (triple-ringed ring). Just the following year, the design was enlarged into a bangle. The first bangle was purchased in 1925 by Elsie de Wolfe, a famed American interior designer.In 1925 American Vogue ran editorial on Cartier's new jewellery including an image of the model Luella Kendall Lee wearing two stacked Trinity bracelets and a ring. Lee would go on to marry one of Cartier New York's top sales executives, Jules Glaenzer. Vogue described them as “amazingly chic” and also “very moderate in price”. Highlighting the conscious choice to begin to curate a wider client base. Fans of the Trinity collection include amongst others King Charles III, Gary Cooper, Princess Diana, Grace Kelly and King Edward VIII, the Duke of Windsor, who wore two stacked upon his little finger.
Lot 59
Cartier: A gold dual-dial reversible wristwatch circa 1975 Dual Cal. 21 Piguet hand-wound mechanical 17 jewel movements, white dial with black Roman numerals and blued steel hands, champagne dial with black Roman numerals and gold hands, 18 carat yellow gold rectangular case with reversible centre, on black strap with 18 carat yellow gold Cartier deployant buckle. Dials, strap and clasp signed Cartier, case numbered, case with French and Swiss assay marks, case width 24mm.Accompanied by a Cartier box and photocopy of Cartier service papers dated 2023. Manufactured by Cartier Paris, the reversible model remains one of the most advanced constructed, and rarest models of the era. Believed to have debuted in 1972 to celebrate Cartier Paris being sold, it was intended to launch a new era of quality and design, and was only made in very small quantity until the late 1970's. Unlike other models of the era that were stamped with both a reference number and unique serial number, the reversible model is only stamped with a serial number, perhaps due to its low production run and limited availability. The identical model can be found in Chaille, François and Cologni, Franco, The Cartier Collection; Timepieces, Flammarion, 2006, page 449. The same model is also illustrated in J. Barracca, G. Negretti & F. Nencini, Le Temp de Cartier, page 250.
Lot 347
Ferdinand Lugerth (German, 1885-1915) a patinated bronze model of a Spartan archer, modelled holding a bow, raised on a veined marble plinth, signed and with Arthur Rubinstein foundry mark,35cm highCondition ReportBow string detached but present. Arrows bent. Minor knocks to the edge of the marble plinth. Some minor wear to the patination. Shipping estimate £48.00 +VAT
Lot 482A
A Edison Gem phonograph, early 20th cenutry, with model C reproducer, with a red Gem horn, with bentwood oak lid, complete with a quantity of cylinders,case 25 x 19.5 x 21cm Condition ReportMechanism working and in good condition. The horn with splits and damage. The case is missing some pieces of veneer with knocks and wear. Cylinders generally good condition for age and use.
Lot 193
Two Meissen porcelain figures allegorical of Spring and Summer after models in the Four Seasons group by Johann Joachim Kandler in 1764 and 1768, each in the form of a putto, Spring with a basket of flowers and Summer with a scythe and wheat, both with blue crossed swords, damages, 7cm wide 13cm high (2)Literature: Each model is illustrated Laurence Mitchell, ''Meissen: Collector's Catalogue', Woodbridge, Suffolk, 2004, pp. 74-75, pl.7, figs. A64 and A67. Condition ReportSummer missing its scythe, light chips to the wheat. Summer with possible repair to hand. Both with dust and small nibbles.
Lot 192
A Meissen porcelain figure of 'The Rape of Persephone' c.1860-70, the crowned Hades (Pluto) with flowing robe carrying Persphone (Prosperpina) over his shoulder, blue crossed swords, impressed '145' or '115', damages, 13cm wide 9cm deep 26cm highLiterature: Model illustrated in Laurence Mitchell, 'Meissen: Collector's Catalogue', Woodbridge, Suffolk, 2004, pp.92-93, pl.16, fig.1448. Condition ReportPersephone's arm is detached but present and it has a break to it. Small chips and losses to the foliage.
Lot 416A
A scratch built model of HM Bark Endeavour James Cook's sailing ship 1768-1771within a glazed display casecase size88cm wide39cm deep76cm highCondition ReportMinor surface scratches to case. Evidence of dust. The hull appears to be planked although it is difficult to tell with the paint. Please see additional images.
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