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Lot 47
BULGARI - a pair of diamond set pendant earringseach composed of a cushion shaped surmount, with chevron-shaped border pave set with round brilliant cut diamonds, suspending an ovoid drop with similarly diamond set heart-shaped border, with post and hinged clip fittings, signed and stamped 750, with original leather fitted boxLength 3cm
Lot 275
CARTIER - a horse racing finishing post novelty stickpinthe open circular terminal millegrain set to one side with a border of old mine cut diamonds, the reverse set with French cut rubies, signed CARTIER PARIS, numbered, and stamped with French control marks, contained in a tooled olive green leather fitted slim oval caseLength 7.5cm
Lot 305
VAN CLEEF & ARPELS - a French gold mounted sapphire set gentleman`s dress setcomprising a pair of cufflinks and two studs, the cufflinks with shaped rectangular terminals each claw set to the centre with a border of circular cut sapphires, conjoined by a hinged waisted bar, signed, numbered 85627 and stamped with French control marks, the studs with similarly decorated shaped rectangular central panel to a sliding post fitting also signed and numbered 8534421g total
Lot 197
Oil on board Sidney d`Horne Shepherd (1909-1993) Odalisque, signed and inscribed verso by Helen Shepherd, the artists wife, 61 x 91.5cm ("24 x 36") Born in Dundee Shepherd was educated at The Harris Academy, he then attended the Dundee School of Art from 1924-26 and then Glasgow School of Art where in 1927 he won a travelling scholarship and prizes for portrait and landscape. In 1929 he took a painting diploma, winning a post diploma and scholarship and becoming assistant art teacher at Glasgow Art School from 1930-32. A series of portrait commissions took him to London, where in 1937 he became a lecturer at Shoreditch College, until joining the National Fire Service in 1941. He was subsequently drafted by the Ministry of Labour to Napiers Aircraft Factory in Acton working as a tecnical assistant, air agent test and draughtsman, before returning to Shoreditch to resume his duties in 1945. Having been appointed senior art lecturer in 1947 he remaind at Shoreditch until 1954, thereafter he held a number of teaching posts, including:- Ealing School of Art, St Martin`s School of Art and The Sir John Cask School of Art before retiring reluctantly in 1974. He was an exceptional draughtsman and adventurous artist, who enjoyed exploring a wide range of media and his remaining years were spent in West Sussex producing as always an amazing amount of work, mainly watercolours, drawings and monoprints
Lot 16
* PETROV-VODKIN, KUZMA (1878-1939) Still Life. Apples and Eggs , signed with a monogram, inscribed in Cyrillic "S-kand" and dated "1921-VII". Oil on canvas, 35.5 by 47 cm. Provenance: Collection of G. Blokh, Leningrad.Collection of N. Efron, Leningrad.Collection of A. Chudnovsky, Leningrad.Private collection, Europe.Authenticity certificate from the experts N. Aleksandrova and T. Zelyukina.Exhibited: Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Ateneum, Helsinki, 14 October 1993-9 January 1994, No. 53 (label on the reverse).Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Turku Art Museum, Turku, 5 February 1994-6 March 1994, No. 53 (label on the reverse).K.S. Petrov-Vodkin. Izbrannoe, The State Russian Museum, St Petersburg, 1996 (label on the reverse).Literature: V. Kostin, Kuzma Petrov-Vodkin, Moscow, Sovetskii khudozhnik, 1986, No. 64, illustrated; p. 157, listed.Exhibition catalogue, Avantgarde 1900-1930: Tšudnovskin kokoelma Pietarista, Helsinki, 1993, p. 102, No. 53, illustrated.Still Life. Apples and Eggs is one of the most typical and recognisable of Petrov-Vodkin’s works of the early 1920s. It was painted in Samarkand during the summer of 1921 when he was travelling around Central Asia with an expedition organised by the Academy of the History of Material Culture and it very clearly reflects his experimental path from the abstract space of his early years to the metaphysical world of “planetary reality”, full of colour and light.On the table, which is covered with a vivid, rich sky-blue cloth or sheet of paper, there are apples - some red and green, one yellow - and two eggs. At first glance we are struck by the absolute verisimilitude of the depiction: the sharply delineated flattened spheres of the apples, with their light, mauve shadows, and the accurately gauged ellipse of the eggs, warmed by the sun. The modesty of this still life, fairly typical of everyday life in those hard years, did not prevent the artist from creating a serene and exceptionally harmonious piece.In this still life we can sense that special sensitivity and pursuit of the metaphysical essence of objects and phenomena that became the defining element of Petrov-Vodkin’s works of the late 1910s and early 1920s and which resonated with the principles of his Italian contemporaries, Carrà and de Chirico. In its well thought-out haphazardness and in the seemingly random scattering of the fruit across the surface we see the artist’s carefully planned game; he is trying to trace, to get a feel for the inherent interconnection between objects by their very arrangement - the hidden life of inanimate matter. On the one hand, this “magic of corporeality” allows the artist to convey faithfully the concrete attributions of an object (of a greenish, ripe apple, of an egg) but on the other, to create a universalised image of that object, its Platonic eidos: the apple is a generous gift of the earth, the egg a symbol of the eternal beginning of life.Arranging his colour harmonies around the subtle juxtaposition of primary and complementary colours, Petrov-Vodkin achieves a striking vibrancy and richness. The artist is looking at the foodstuffs placed about the table from on high so that their configuration can be accurately rendered and we see them “as if in the palm of our hand”. In this way the artist tries to overcome the one-sidedness of the monocular point of view, considering it neither adequate nor a reflection of genuine knowledge of the object which can and must be viewed from as many angles as possible in order to form a true idea of it. Thus Petrov-Vodkin’s still lifes always have a peculiarly intense character generated by the strong lines of “spherical perspective” which spread throughout the whole space of the canvas. For Petrov-Vodkin, the problem posed by the object is inseparable from the concept of spherical perspective. Although he noted that this acquires an “even greater kinetic sense” in relation to large-scale objects - “landscapes and urban spaces”, which are inconceivable for him without strong “planetary” motion - the apples, matches and violins of his still lifes are connected with planetary motion in exactly the same way. It is no coincidence that a tilted perspective and tilted pictorial axis appear in all of them.The technique based on his “spherical system of perception”, allows Petrov-Vodkin to convey the whole in part, to retain in any still life a sense of the link between the object portrayed and the infinite expanse of the universe. As the artist himself confirmed, it is no coincidence that his study of the object, and by extension his principal work on still lifes, took place during the years of revolution. It seemed to him that without doing this he could not progress further; he could not solve the new artistic challenges he was presented with. Petrov-Vodkin succintly defined this genre, which was so important to him at this period: “The still life is one of the intense conversations the artist has with nature. In it, subject matter and psychology do not hinder the definition of an object in its space. What kind of object is it, where is it, and where am I, the viewer? This is the fundamental question the still life asks of us. And in this there is the great joy of knowing, which is what the viewer takes from the still life.”Petrov-Vodkin had occasionally painted still lifes of flowers and apples earlier in his career, but it was only from about 1918 to 1920 that they became central to his work. During this period he also regularly inserted into his landscapes and portraits the motif of an appletree branch loaded with fruit or of a single fruit or vegetable (Midday, 1917; Portrait of the Artist’s Daughter with Still Life, 1930s). However, thanks to their wonderfully sculptural forms and their graceful draughtsmanship and colour design, each of this artist’s still lifes with apples (Pink Still Life, Apple Tree Branch, 1918; Apple and Cherry, 1917; Apples, 1917; Still Life with Blue Cube, 1918 etc.) proves to be as beautiful and expressive as it is self-contained.Having resolved his major creative challenges of this period in both painting and drawing, Petrov-Vodkin did return from time to time to this genre, but the still life never again reached such heights in his oeuvre. The conciseness and creative concentration of his still lifes from the late 1910s to early 1920s (which invoke fundamental symbols, religious and cultural principles of existence and compassion for spiritual and physical hunger) make them, perhaps, the benchmark standards of Russian art of the post-Revolutionary period, alongside Pavel Filonov’s revolutionary Formula paintings.
Lot 25
*§ LARIONOV, MIKHAIL (1881-1964) Flowers on a Veranda , signed with initials, further inscribed with the artist`s name and dated 1902 on the reverse. Oil on canvas, laid on board, 54.5 by 97.5 cm. Provenance: Alexandra Tomilina, the artist’s widow, Paris.Private collection, Europe.Exhibited: Larionov-Gontcharova, Galerie Beyeler, Basel, July-September 1961 (label on the reverse).Michel Larionov, Acquavella Galleries, New York, 22 April-24 May 1969, No. 6 (label on the reverse). Literature: Exhibition catalogue, Michel Larionov, Acquavella Galleries, New York, 1969, No. 6, illustrated.Flowers on a Veranda is an outstanding example of Mikhail Larionov’s early work. This idiosyncratic piece has an impeccable provenance which can be traced back to the estate of the artist’ s widow, and is a rare example (even for museum collections) of his works in oil from the early 1900s. Unlike his works in pastel and gouache, very few oils of this period have been preserved, so each is particularly precious.It is most likely that the artist painted Flowers on a Veranda after his year-long exclusion from the Moscow School of Painting, Sculpture and Architecture for sending pieces featuring “obscene content” to an exhibition of student work. Captivated by the experiments of the Impressionists which he had seen in the Moscow collection of Sergei Shchukin, Larionov was then beginning to consider himself a truly independent artist, liberated from academic didacticism. Every summer he would leave Moscow for his maternal grandmother’s home in Tiraspol, Bessarabia, where he had spent his childhood and where he now wholly devoted himself to painting from nature. The significance of these works in the artist’s creative development cannot be overestimated.He converted a wing of his grandmother’s house, with its enormous garden planted with apricot trees, into a studio, and there produced a series of canvasses, paeans to the everyday life unfolding outside his window. His best works of the first half of the 1900s are full of sunshine and greenery and depict pots of flowers, lilac bushes, geese and turkeys strolling about the yard. Stylistically these pieces, including Flowers on a Veranda, are reminiscent of his early works in which we recognise the influence of Borisov-Musatov and the plein air approach to rendering phenomena. Yet these are not studies, in the 19th century sense of the word, but finished pictures painted from nature, which are absolutely consonant with the art of the new century. In Larionov’s work of the 1900s, the question of distinguishing between a preparatory study and a finished picture does not even arise. Rather orangeries, acacias, roses wet from the rain and even pigs grow from the primary elements of a study into an autonomous painting, whilst retaining both the typically small dimensions and the dynamic paint application of a study. Flowers on a Veranda is similar in composition to the well-known 1904 work now in the Russian Museum, Still Life with Beer, in which the characteristic traits of Larionov’s celebrated works of the 1900s first appear. Despite their simplicity, the objects arranged on the veranda create a feeling of dynamic equilibrium. The pot holding the plant with luxuriant foliage emphasises the centripetal movement of the composition towards the corner of the veranda, literally dividing the picture into two practically equal halves. At the same time, the general structure of the picture is defiantly fragmentary: the flowerpots in the bottom row barely protrude from the edge of the canvas and the right-hand corner of the composition is dramatically cropped along both edges. The framing is extremely tight. It is as if the scene has entered the artist’s field of vision quite by chance. Larionov was not sitting down at a table to paint his still life, as Cézanne had done, but standing, and because of his significant height objects seem to retreat downwards, beyond the confines of the picture area. By doing this he creates the impression of dynamism, so important in avant-garde art of the early 20th century, of the motion of the human eye as if it were skimming across the line of plants by the window. The artist has placed an analogous counterpoint in the paint layer of the picture: He counters the firm, stationary mass of the ochre clay pots, the blue table and solid, wood-clad terrace wall, dappled with a pattern of shadow, with the Van Gogh-style light that streams through the window, seemingly “quilted” in thickly-impastoed, multi-directional brush-strokes.The composition is based on two main colours, red and yellow, with the addition of blue and green to reinforce the contrast. Almost everywhere, the blue serves to demarcate the yellow from the red zones. Only where light dominates completely, flooding into the room through the window panes, does a fiery red abut directly on to a bright yellow injecting an extraordinary colouristic force into the composition. The pot plants seem to be indoors but at the same time bathed in bright, exterior daylight. According to Gleb Pospelov, a renowned expert on the artist, “the light in Larionov’s works seemed to shine through a flattened reality. It somehow issued from the phenomenon of life itself… a radiance animated from within which permeated all living things: this was the defining essence of his art. The whole of Larionov’s oeuvre was a benediction on that which was alive and living, the like of which was completely absent from the work of other Russian painters at this time.”Larionov’s paintings were truly unique in European Post-Impressionist art. His dedication to “the living world” was inseparable from his extremely perceptive experiments in “liberating the paint layer”. It is no coincidence that in his pictures of the 1900s the “element” of paint confronts the elements of nature. The energy in Larionov’s best canvasses of the period is created from this very desire for equilibrium in the confrontation of these forces and this is clearly seen in the present lot.In Flowers on a Veranda, with its tendency to generalise the impact of the palette, its fusion of individual brushstrokes into one splash of colour and its decorative resolution of the whole, we clearly see Larionov establishing himself as one of the founders of the Russian avant-garde and as a major artist of the 20th century, head and shoulders above his contemporaries.
Lot 4
Good quantity of plastic and metal wargaming miniatures and models, mostly WW2 or post-war era: consists of 50+ 1:72 scale plastic tank kits (mostly built and painted); 100+ 5mm scale modern warfare tanks and other vehicles; various aircraft WWI to modern; large quantity of infantry models in various scales; artillery pieces; etc. Overall G, many painted to a good standard.
Lot 169
HO gauge, four Marklin Nederlandse Spoorwegen (Dutch Railways) electric locomotives: consists of 4x Bo-Bo locomotives (8324 grey/yellow `1139`, 8327 blue/silver `1135`, 8386 `ptt post 3004`; 8388 `ptt post 3026). Together with De Kleine yellow/grey Bo-Bo diesel locomotive `2447`. All appear G/VG, boxed. (5).
Lot 810
Quantity of Corgi diecast vehicles: includes three `X-Ploratrons` (D2022 Scanotron, D2024 Lasertron, D2026 Magnetron); 471 Silver Jubilee bus; three Routemaster Bus (Yorkshire Post, Hamley`s, British European Airways); 160 Hesketh Formula One Racing Car; 2029 Mack Fire Pumper; 2027 Mack Box Van; 5x 50`s Classics; 299, 301, 382, 441; 4x Corgi Trucks. Overall VG, boxed (box conditions vary F/G to VG). (23).
Lot 28
4 German Table Telephones 1) Modell W25, manufactured by "Merk Telefonbau, München". - 2) Mickey Mouse, by the German federal post office, manufactured by "Zettler". - And: 3-4) 2 drum-dial telephones, models Fgtist 264b, manufactured by "Siemens & Halske, Berlin". 4 deutsche Telephone (Tischapparate) 1) Modell W25 (Kuhfuß), Hersteller: "Merk Telefonbau, München". - 2) Mickey Mouse, Telephon der Deutschen Bundespost, Hersteller: "Zettler". - Und: 3-4) 2 Telephone mit Wähltrommel, Modelle Fgtist 264b, Hersteller: "Siemens & Halske, Berlin". Condition: (3+/-) Starting Price: €200
Lot 832
2 VW Toy Transporters 1) "Góso", VW pick-up truck, lithographed tin, clockwork (working), length 6 3/4 in. - And: 2) "TippCo", VW post van, lithographed tin, friction, length 9 in. 2 VW-Spielzeug-Transporter 1) "Góso", VW-Lieferwagen, lithographiertes Blech, Federwerk (funktioniert), Länge 17 cm. - Und: 2) "TippCo", VW-Postbus, lithographiertes Blech, Friktionsantrieb, Länge 23 cm. Condition: (3+/2) Starting Price: €320
Lot 836
5 Diecast Model Toy Cars "Tekno" Danish toy cars. 1) Akerman 700 Excavator. - 2) Volvo 459 Express fire tender, back door hinge broken. - 3) Volkswagen 819 Polis. - 4) Toronado 933 Oldsmobile. - 5) Volvo 810 Amazon. - Added-extra: Kirk Toyota 934, 2000GT. Mostly in original box. 5 Metall-Modell-Autos "Tekno" Dänische Spielzeugautos aus Zink-Druckguß. 1) Akermann 700 Kranwagen. - 2) Volvo 459 Feuerwehr, Scharnier an der Rückwand gebrochen. - 3) Volkswagen 819 Post. - 4) Toronado 933 Oldsmobile. - 5) Volvo 810 Amazon. - Dabei: Kirk Toyota 934, 2000 GT, zumeist in Original-Schachteln. Condition: (2/2) Starting Price: €180
![Chicago, Illinois ([Lot of 2] Map of the City of Chicago [and] Atlas of Illinois Counties of Cook, Du Page, Kane Kendall and](http://lot-images.atgmedia.com/SR/36385/2862480/243-2012510162327_468x382.jpg)
Lot 243
Chicago, Illinois ([Lot of 2] Map of the City of Chicago [and] Atlas of Illinois Counties of Cook, Du Page, Kane Kendall and Will…), Warner & Beers, Chicago, ca. 1875. 13.8 x 16.8”. (HC) This lot includes two maps of Chicago and the surrounding area. The post-fire Chicago map displays good detail of streets, railroads, parks and wards. The second map shows the extensive railroad network converging on the city once Chicago had established itself as the central distribution hub of the nation. Both maps are surrounded by a decorative scroll border. There are a few faint spots and minor soiling. (+B)
Lot 742
*Paperwork and photographs relating to William Boyle Junior, 7th Cavalry, United States Army including Enlistment Document to 1st Rifles dated 1.5.1800; an appointment to the 7th Cavalry dated 12.9.1894; black and white photograph of Boyle in uniform, two further photographs of Cavalry lines published by E.D. Zellner, Over Post Office, Junction City, Kans and another by Graham Frenton each approx. 14cm x 9.8cm; several ink `Cavalry` sketches; Honourable Discharge Certificate from `H` Troop, 7th Cavalry at Fort Apache (-)
Lot 759
*World War I. A Miscellany. A collection of photographs, many of snapshot or postcard size, from private sources and press agencies, etc., including military groups of officers and men, shell damaged buildings, post-war personalities including those of the Russian Revolution of 1917, later images of the trial of Ramsine, Trotsky before his murder, Karl Marx, Joseph Stalin and others, approx. 80 images, contained in a folder (1)
Lot 792
*An interesting Great War M.M. to Sergeant A. Bishork, Essex Regiment, Military Medal, G.V.R. (13513 C.S. Mjr: A. Bishork.10/Essex R.), extremely fine, M.M. London Gazette 23.2.1918 13513 Sjt. (now Coy. S.M.) A. Bishork, Essex R. (Canning Town, E.), 13513 Sergeant A Bishork served on the Western Front with the 10th Battalion, Essex Regiment from 25.7.1915 (entitled to a 1914-15 trio), discharged 8.4.1919 and re-enlisted with the Royal Fusiliers 9.4.1919 (12891) The battalion diary recorded at 3pm on 22nd October 1917, C.S.M. A. Bishork and Lance-Sergeant B.T. Dupree had an exciting and perilous adventure. They set out to investigate a pillbox lying to the Company`s front, but with rifles that were rendered useless by the mud, their only effective weapon was a Very light pistol. The pair became seperated and Dupree, with the pistol, went ahead with the pillbox as his objective. Suddenly he came upon two Germans with a light machine gun. He immediately pointed his weapon at their heads and they were about to surrender when the garrison of the pillbox hurried up the rescue. `A rough and tumble ensued, in which the sergeant managed to give a good account himself. He discharged his pistol into the middle of the assailants, kicked the machine gun into a shell hole and then set about defending himself with his fists. But he was outnumbered and although the Germans could not shoot at him for fear of hitting one of their own men, a rifle butt on his head put an end to his resistance and he was dragged into the pillbox, but not before he had left his mark on more than one of his opponents... Dupree was marched eastward into captivity in Germany`, Much had happened outside, however, for C.S.M. Bishork had heard the report of the Very pistol and signals were made which attracted the attention on Private C. Andrews. He guided the platoon, then only about eight strong, to the strong point, which they found well held by the enemy and although they had a hard fight for an hour, in which they caused several casualties, they could not overcome the machine gun fire. They were in front of it when they were relieved by a platoon of the 11th Royal Fusiliers, who had been ordered up whilst the fight was in progress. About half past four heavy shellfire pointed to a counter-attack by way of the Westroosebeke road, but 2nd Lieut. N.D.J. Hight was able to deal effectively with the party, who got within two hundred yards of the Essex position, by deploying from shellhole to shellhole. As the Germans came forward they met with rifle and Lewis gun-fire. One of the latter weapons stopped firing owing to the mud, and L.-Corporal C. Tebbitt coolly proceeded to take the gun to pieces, clean and reassemble it and then fire again in time to assist the repulse of the final enemy effort. It was due to the coolness and determination of Hight and his men that the Germans were driven off, leaving several casualties, which were removed the next day (October 23rd) and all that time was the object of special hostile attention. When the 11th Royal Fusiliers came in at night, `A`, `C` and part of `B` Company returned to Cane Post and `D` Company remained in support in Rose Trench. Whilst looking for this point, Lieut. Nicol was seriously wounded and handed over command to C.S.M. Bishork, as all the officers in the Company had become casualties. Then having seen that all his men were safely in the trench, Nicol walked down to the dressing station...Testimony is borne to the assistance rendered during this bout of fighting by runners, stretcher-bearers and the Medical Officer, Captain Belanger. The casualties were severe totalling 253, p207-209,The Essex Regiment (10th Battalion) refer (also included in the lot is a copied photograph featuring Bishork, captioned `Sergts. Bush, Brooks and Bishork `round the old camp fire` in trenches somewhere in France). (1)
Lot 48
*Cattoi, Observer to Natale Palli, Royal Italian Air Force 1915-1917. A rare, perhaps unique, collection of private photographs of this successful team who flew over the Italian /Austrian front during the First World War, flying Ansaldo, Farman, Italian-built Nieuport, Savoia, Cant and Caproni types, some aircraft portraits including Nieuport Ni. 1765, air-to-air of an Ansaldo reconnaissance aircraft, crashed Caproni, an airship shed and image taken at dawn from an airship, various flying boats, airfields, pilots and other air and ground crews, motor transport, troops going to the front, wrecked fortifications, Caproni Ca. 1144 push-pull trimotor and later post-war Savoia aircraft and others of similar interest, including Italian ace Baracca`s flight to Trento 19-6-1921, approx. 80 images contained in a folder (approx. 80)
Lot 51
*Convair 340. A collection of manufacturer`s and airline publicity photographs of this successful post World War Two twin-engined airliner, some fine air-to-air aircraft portraits, ground studies including passengers and crews, first flight celebrations of Lufthansa, Swissair and other airlines, cockpit details, numerous liveries including Allegheny, Delta, Finnair, Frontier, Jugoslovenski, Kar-Air, K.L.M., Mowhawk, National, Sabena, S.A.S., ScanBee, United and others, a good record of period air travel showing a more relaxed approach to passenger handling than that experimenced in 2012, approx. 80 images, many inscribed or labelled verso, contained in a modern ring binder (approx. 80)
Lot 61
*Korea, Malaya and Vietnam. A collection of photographs compiled from official sources, private albums and personal archives of aircraft, air and ground crews involved with these post World War II conflicts, included are images of Fairey `Firefly`s` and Hawker `Sea Fury`s` operating from aircraft carriers, jungle operations with helicopters, supply dropping, Bristol `Belvedere` and `Sycamore` aircraft in jungle clearings, Malayan soldiers, Vietnamese Air Force A-1 `Skyraider` aircraft in action, parachute dropping by Fairchild C-119, air-to-ground photographic reconnaisance images of targets, aircraft in bunkers, missiles and other views of similar interest, approx. 90 images contained in two folders (approx. 90)
Lot 91
*Overseas Airfields. An extensive collection of photographs compiled from numerous sources, together with many Royal Air Force souvenir brochures, menu cards, greetings cards, and similar ephemera, many images copied from originals featuring an airfield or landing ground layout, motor transport, personnel barrack block and tented accommodation, aircraft types, some formations and others similar, most inscribed to verso, a wealth of historic material with an emphasis on the R.A.F. inter-war expansion period including the N.W. Frontier, post World War Two, aircraft graveyards, flying-boat bases and others similar, approx. 200 images contained in two modern ring binders (approx. 200)
Lot 94
*RAF & Civil Aviation Aircraft. A quantity of original Air Ministry and professional study photographs, 1940s-1960s, variously depicting aeroplanes in service during the early post-war years including images for Bristol Aerospace, AV Roe & Co Manchester, De Havilland, Sir W.G. Armstrong-Whitworth & Co and others including Hawker Aircraft Co, Short SG1, Avro, Blackburn, Hunting Aircraft Ltd, Hawker-Siddeley, English Electric, some by Charles Brown, many with wet-stamps and captions verso, exÑJohn Lloyd Collection (approx. 70)
Lot 98
*RAF, USAAF & Civil Aviation. A group of approx. 45 early post-war photographs of Jet Aircraft, 1940s-1960s, mostly air-ministry or professional press and official factory photographic images depicting service aircraft of the immediate post-war period, including Gloster Meteor, De Havilland Vampire & Venom, Avro Vulcan, Supermarine Swift, Hawker Hunter, etc., together with a group of approx. 45 early post-war photographs of Service Aircraft, 1940s-60s, professional press and official factory photographic images depicting service aircraft of the immediate post-war period, etc., plus a group of approx. 45 post-war photographs of Aircraft, 1940s-1970s, professional press and official factory photographic images depicting service aircraft of the immediate post-war period, etc., many with printed captions and mostly with factory or photographer`s wetstampes verso, mostly 8 x 10in (20 x 26cm) (approx. 135)
Lot 100
*RFC & RAF WWI & later Aeroplanes. A quantity of original and copy-negative photographs depicting combat aircraft of the fighting powers, 1914-1920s, various studies including some enlarged prints, mostly older post-card-sized copy-negative images from Imperial War Museum Archive depicting German fighter machines, together with others by `Real Photographs Ltd` similar studies, variously captioned verso, ex-John Lloyd Collection (approx. 40)
Lot 242
*Flying Log Books. Spiller (Alec John). A rare group of pilot`s flying log books which trace the career of this highly succesful A.T.A., service and private pilot who flew approximately 100 different aircraft types both military and civil, and post war flew in the King`s Cup and other races. Log Book No. 1. First flight on 2.2.36 in de Havilland DH60 G-ABTS, at Sywell for 15 minutes with Mr Hayward as instructor, other instructors included a Flt. Lt. Wilson and Capt. I.W.C. Mackenzie, went solo after 6 hrs 30 mins. Training continues with the Northamptonshire Aero Club flying the DH60 and Douglas engined Drone G-AEJH, on 20.4.38 took DH60 G-AAHG to friends wedding, on 18.6.39 flew at Brooklands for the 4 Club Competition with S/Ldr. Shute with only 78 hrs to his credit, records many flights for tea with friends, on 12.3.41 takes test for the A.T.A. in Tiger Moth R4907, extensive map reading, forced landing and other practice with A.T.A. pilot Flight Officer Pickup, numerous cross-country exercises, converts to `Anson` and `Oxford` twin-engine types, based at White Waltham, first flight in `Hurricane` and `Lysander` aircraft, then the `Fulmar`, `Battle` and `Defiant`, first `Spitfire` delivery with AB789 from Ringway to White Waltham on 30.8.41 then picked up `Hurricane` BE112 and flew to Harwarden, numerous deliveries safely made, 300 hrs passed on 28.1.42. Log Book No. 2. Apparently concurrent with No. 1, i.e. dated April 1941-Sept. 1944, inside rear cover lists 75 different types flown including the Armstrong Whitworth `Albemarle`, Consolidated `Liberator`, Blackburn `Botha`, Bell `Aircobra`, Short `Scion` and `Sunderland`, the Handley-Page `Halifax` and others, a colossal variety of single and multi-engined types delivered to various units for disposal or other purposes including Gloster `Gladiator` H2267 from Cambridge to Little Rissington on 3.3.44 and Fairey `Swordfish` V4621 from Inskip to Worthy Down on 6.8.44, A.T.A., H.Q., Accidents Committee certificate on 17.8.44 records that flying `Ventura; JT888 the `pilot`s foot slipped off the rudder pedal and became jammed`, by this time Spiller was flying with the No. 6 Ferry Pool, by Sept. 1944 perhaps 50 aircraft types flown, in June 1943 19 types flown in the month after 391 deliveries. Log Book No. 3. Opened October 1st 1944, delivery flight of Avro `Lancaster` HG189 from Castle Bromwich to Elsham Wold, other types flown during month include Short `Stirling`, Bristol `Beaufighter` Consolidated `Catalina` and Fairey `Baracuda` No. 6, Ferry Pool activities continue, during December 1944 seventeen types, including Boeing B-17 flown, by January 1945 85 hours flown, now most being 4-engined types and flying boats, March 1945 particularly busy - 4 sorties on 28/3 including `Anson`, `Beaufighter` and `Spitfire`, end of WWII not recorded as collections and deliveries continue, June 1945 total hours now 1032 first deliveries of the Avro `Lincoln` recorded, Fairchild `hack` aircraft still in use, October 2nd 1945 records delivery of `Albemarle` 2006 to Ratcliffe and last A.T.A. flight on 20.10.45 in Fairchild FK177, on Jan. 11th 1946 Spiller joins Shell in Ecuador flying Budd, Ford and Grumman aircraft, intensive flying over next few months, in June 1947 rejoins Ferry unit delivering `Mosquito` and `Spitfire` aircraft in Italy and Turkey, February 1947 with the Caribbean Petrolcum Company, Venezuela flying Lockheed and `Sea Otter` aircraft. Log Book No. 4. Opened 1.12.48 flying Lockheed 12A YV-P-AEL, month after month of flying including Percival `Prince` and Miles `Messanger` aircraft, March/April 1953 back in England flying from Sywell, National Air Races entered on 27.6.53 flying `Leopard Moth` G.-ACMA, European Tour with `Messanger` G-AKIN to France, Spain and Tangiers, London-Cardiff Air Race practice on 26/5/60, many overseas trips and air-races entered, including the King`s Cup 14/15.8.71 Goodyear Farnborough and others. Log Book No. 5. Records as winner of 1976 King`s Cup air-race flying Cessna C-180 G-ASIT and third in South Coast air-race on 17.7.79, last flight recorded 7.11.80 with C-180 G-ASIT after total of 6371 hrs and 30 minutes, together with a small group of associated letters and literature. An unusual group of pilot`s flying log books not previously seen at auction. (-)
Lot 349
R.C.A.F. WWII Pilot`s Flying Log-Books to W/o R.C. Granger, 1941-58, a continuous service record during World War II and post-war peace-keeping, test flying, ferrying and training etc., commencing as qualified pilot in September 1941 on Vultee BT-13A, Walrus and Sea-Otter, further training dual and solo in Canada transferring to Britain June 1942, variously flying Magister, Lysander, Master & Spitfire from Debden, Twinwoods & Elstreet Aerodromes, further training including formation-flying, aerobatics, camera-attack night-flying, qualified assessment 22nd March 1943 `Average`, entries continue from Martlesham flying `searches` with Spitfire and Walrus types around coasts captioned `Heavy landing: carelessness - 7 extra duties!`, thence transferred to Greece (Heliopolis) flying Master, Walrus, Wellington, various patrols March 1944 with 297 Sqdn, finally back in Britain January 1945 patrols in Channel, Spitfire and Oxford types captioned `Mighty Cheesed - could not find target!`, continual service post war on many types including Spitfire, Tiger Moth, Chipmunk, Brigand, Balliol, Valetta, Vampire, Meteor, Canberra, signed off June 1958 still classified `Average`! (2)
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