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Lot 616
A good quantity of vinyl LPs including various Beatles titles, including 'Rock 'n' Roll Music' Volumes 1 and 2, 'The Beatles 1962-1966', 'Rubber Soul', 'With The Beatles' mono label 'From Then to You', 'Help!', 'The Beatles at the Hollywood Bowl' and various other titles including The Pointer Sisters 'Black and White', The Specials self-titled album Bette Midler 'The Wind Beneath My Wings', The Temptations 'Greatest Hits', 'The Unforgettable Glenn Miller', Doctor Hook 'Sometimes you Win', The Rolling Stones 'Greatest Hits', Electric Light Orchestra 'Out of the Blue', various Diana Ross titles including 'I'm Still Waiting', Elton John 'Caribou', Queen 'The Game', David Bowie 'Aladdin Sane', Madness 'One Step Beyond', etc.
Lot 169
Rigby & Son of Dublin A 16-Bore Flintlock Travelling Pistol by Rigby & Son, Dublin c.1816-22. A round 4.45" barrel of 0.672", the top channel inscribed with 'DUBLIN' and stamped with Irish census DU4453. Engraved barrel tang with sight groove, leading to hinged backstrap magazine cover with 3 cavities for balls. Engraved bevel edged step lock signed ‘RIGBY & SON’, ‘French’ cock (top missing), bolted safety, semi-rainproof pan and frizzen roller. Figured walnut ¾ stock with chequered grip, steel t/guard with pineapple finial, swivel ramrod. Butt-cap missing. Length 9.6”. AF Action holding only 1 position. Leslie Martin notes: Rigby & Son formed in 1816. John (the father) died in 1818, the 2nd son John joined in 1818, but his name probably not added to company name until 1823 = W & J Rigby. French cock dates this to c.1816.
Lot 194
Bryan of Cork An Irish 16-Bore Flintlock Overcoat Pistol by Bryan, Cork. 3.1" (not including breech of 0.6”) round Damascus twist barrel of 0.657” bore, inscribed 'CORK', case-hardened breech with platinum line and vent. Chisel engraved breech tang with thumb safety. Bevel edged stepped lock with foliage engraving on step, the lock engraved with borderlines, foliage, spark-burst, signed ‘BRYAN’ semi-rainproof pan, frizzen roller and foliage engraved swan-neck cock. Figured ¾ walnut stock with flared butt, part chequered grip, small floral decorated butt plate, floral decoration to steel t/guard bow, pineapple finial, and swivel ramrod. Detailed escutcheon to butt. 8” overall length. GWO.
Lot 22
Goggin of Dublin A Pair of Irish 11-Bore Flintlock Overcoat Pistols by Goggin, Dublin, c.1815. Sighted 4” octagonal twist barrels, inscribed ‘DUBLIN’ and stamped with Irish censuses CW-1094 & CW-1095 to top of barrels, with decorated tang. Bevel edged stepped locks with simple borderline, foliage engraved on step, starburst, signed ‘Goggin’, scroll engraved ‘French’ flint-cock with semi-rainproof pan and frizzen roller. Walnut full stocked with chequered grips, 'WA' on silver escutcheons to wrists, small brass domed butt plate, engraved steel t/guard with pineapple and brass tipped wooden ramrods. 8.3” overall. GWO
Lot 74
Swift of Dublin A 10-Bore Flintlock Travelling Pistol by Swift, Dublin c1805-1815. A 4¼" barrel of 0.785/90" bore incorporating a concave sighting groove inscribed 'Dublin' and stamped with Irish Census L-Y 1150. Lock plate signed ‘Swift’, bevelled edges with rear step, ‘French’ cock engraved en suite (missing top cock plate), semi-waterproof pan, frizzen roller. Missing t/guard, mainspring and 40% of stock. 9" overall. A/F Leslie Martin Notes: First time this maker has been noted.
Lot 190
Dempsey of Dublin An Irish 30-Bore Percussion from Flintlock Travelling Pistol by Dempsey. With sighted 4¼ inch rifled Damascus patterned barrel with good bore. Sighting flat struck with the Irish census L-K 1312, engraved breech tang. The bevel edged step lock engraved with border lines & foliage, signed ‘DEMPSEY’, plain hammer. Dark figured full stock in walnut, part chequered grip with vacant grip and butt escutcheons. Engraved steel t/guard bow and pineapple finial. Horn tipped rammer. 9½” overall. GWO
Lot 3
Robert McCormick of Belfast An Immaculate & Original Pair of Irish 34-Bore Duelling Pistols by McCormick, Belfast, 1793. NO.69. Inscribed ‘AD1793 No69’ to the undersides of the barrels. Sighted octagonal Damascus twist barrels of 10¼”, swamped, signed ‘Belfast’, with adjustable dovetailed fore & rear-sights, decorated inlaid gold line at breech, gold lined touchhole, beautifully chisel engraved breech tang. The deep bevel edged step locks decorated with foliage, with a central gold border engraved oval signed ‘McCormick’, stepped tail with trophy engraving, deeply chamfered swan-neck flint-cocks with borderline & foliage engravings, bolted safeties, gold lined waterproof pan and decorated roller frizzen. Figured ½ stocks with silver fore-ends, chequered grips, decorated but vacant shield escutcheons, border engraved silver wedge plates, deeply chiselled steel butt-caps, beautifully formed & decorated trigger bows pineapple finials, ramrod pipes and horn tipped ebonised ramrods. 15-3/4” overall. Original mahogany case with brass carry handle and oval plaque signed ‘Lieu. J.G. Ranken’. Lined in green baize with accessories including clearing/loading rod, powder flask, pincer mould and turn screw. Leslie Martin Additional Notes. My research so far on the original owner points to a George Ranken of Belfast who is described as an official serving in the East India Company (this reference was in connection with his marriage to a banker's daughter in Edinburgh in March 1799, three years after he purchased this pair.) His father appears to have been a Belfast banker, magistrate, and Commanding Officer (Captain) of the Belfast Yeomanry Infantry (1798) whose name also appears in connection with the Belfast Cavalry (1797). No doubt his son also participated (as a Lieutenant). Perhaps they were his originally? The Ranken's Belfast address was Richmond Lodge, Malone Road; schooling was at (Belfast) Royal Academy. Another branch of the family appears to have been Brewers in Belfast & Newtownards - doubtless a lucrative trade! There are those who question the rarity of these, but then they can't point to another Belfast made pair by McCormick in private hands, although they exist. (Viz Atkinson's book - attributed to Douglas Burnell (‘Bunny’) Tubbs & owned by Tubbs, which are in fact this pair, No.69), plus the silver mounted pair in Holland). There is a later Dublin made pair illustrated in one of Akehurst's books with a similar Chippendale case, so obviously McCormick went against convention and stayed with this uncommon style. Attractive and stronger. See ‘A Directory of the Early Irish Gunmakers’ by D.J.W. Stroud, pages 37/39 colour plates.
Lot 29
Ransford of Dublin A Pair of Irish 30-Bore Flintlock Overcoat/Cloak Pistols by Ransford, Dublin, c1750. Queen Anne style, with 2-stage turn-off cannon 4.6” barrels of 0.53" bore. Sides of frame border engraved, scrolls within, banner inscribed 'DUBLIN' to rhs of frame, Ransford to lhs of frame, decorated top plate. Sunken frizzen spring, t/guard safety, bows engraved with foliage. Proof marks under breech. Walnut grips with silver grotesque butt-caps by Freeth.. 'CF' 1781 and silver oval escutcheons with crest and initials RA. 11” Overall. Both GWO, but one action needs oiled. Irish made Queen Annes have guard safety similar to English made. Later side locks discarded it. What changed. Post ‘step’ frame (1760 on). Ring neck cock (1760 on).
Lot 173
Devereux of Dublin An Irish 20-Bore Flintlock Travelling Pistol by Devereux, circa 1790-1810. A sighted octagonal Damascus twist 4” barrel of 0.615” bore, with additional facets increasing to muzzle, Irish census L-K 2558 stamped on top flat, engraved tang. Bevel edged stepped lock with single line to bevel, foliage to step, signed ‘Devereux’, semi-rainproof pan, frizzen roller, throat-hole flint-cock with bolted safety. Figured walnut full stock with part chequered grip, ‘Thos Weldon 1816’ on white metal butt-cap, demi-Lion escutcheon on wrist, plain brass t/guard, wooden ramrod. Overall length 8½”. A/F Action not catching.
Lot 64
Powell of Dublin A Pair of Irish 21-Bore Irish Flintlock Duelling Pistols by Powell, Dublin, c.1785. Each with rebrowned twist swamped 10” octagonal sighted barrels struck with private proofs of Benjamin Powell and signed 'Powell, Dublin', gold-lined vent, crescent rear-sights and matching engraved breech tangs. The original ‘Powell’ signed lock, bevel edged, flat with large step, bolted safety, scroll engraved swan-neck flint-cock with enclosed frizzen roller. The other, signed 'FOWLER' (a working replacement), bevelled edge with double borderline engraving, sparsely decorated with foliage, with small foliate engraved tail-step, plain swan-neck flint-cock, semi-rainproof pan and open frizzen roller. Figured walnut full stocks (one repaired towards the muzzle), flat-sided butts each with plain silver cap, matching engraved t/guards with urn finials and ramrod-pipes, each with silver escutcheon inscribed with the owner's initials 'FD' and horn-tipped wooden ramrods (one replaced). 15.8” overall. GWO Provenance: Julie Andrews and Blake Edwards. It was confirmed by the Sotheby’s New York expert who ended up working for Christies, London. He personally visited Leslie Martin on the Isle of Man to view his collection and confirmed that he had indeed accepted them from Julie Andrews. Sold Sotheby's New York, May 31st, 1995, lot 337.
Lot 89
GILLICK, LIAM1964 AylesburyTitel: Literally No Place (für Parkett 61). Datierung: 2001. Technik: 5 farbige Plexiglasplatten und 3 farbige Aluminiumplatten, variabel zusammensteckbar.Darstellungsmaß: Platte jeweils: 25cm Blattmaß: 20,5cm. 0,5Bezeichnung: Signiert und nummeriert auf beiliegendem Zertifikat. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 1/70. Zustand:Zwei Aluminiumplatten mit jeweils zwei minimalen Kratzspuren. Ansonsten sehr guter Zustand.Mit beiliegendem Zertifikat. Mit Parkett-Magazin."Gillick's platforms - Plexiglas panels in aluminum frames - do not obey gravity and lie on the floor like Andre's carpets of metal panels that viewers can step on. No, they are suspended from the ceiling, parallel to the floor so that viewers must tilt their heads to look up at the platforms and the way they are mounted. In his boxed and wall constructions, he uses materials like Plexiglas, plywood, pine, and aluminum as Donald Judd did before him, but without giving viewers the feeling of knowing where they stand. Instead they are awash with feelings of enigmatic and fluttering indeterminacy." Gregor Stemmrich, Parkett Nr. 61, 2001.Artikel zu Werk und Künstler aus Parkett Edition Nr. 61. Liam Gillick England Zeitgenössische Kunst Multiples 2000er Abstrakt Multiple Plexiglas FormenErläuterungen zum Katalog
Lot 681
A Theo Fennell, 18ct gold, bombe ring, set with an octagonal step-cut pink tourmaline and two kite-shaped tanzanite, estimated weight of pink tourmaline ca. 4.70cts, with hallmarks for London 1992, length of ring head ca. 2.2cm, ring size N, total weight ca. 17.1gms, accompanied by a fitted case.
Lot 1878
By Omar Ramsden, an Arts and Crafts silver-mounted shagreen casket, London 1931, also engraved 'Omar Ramsden Me Fecit', rectangular form, green shagreen panels, the slightly domed hinged cover with a pierced border and mounted with a fleurs de lys in each corner, the body with ropework and castellated borders, on four step feet, wood-lined, length 14.2cm,Provenance: The Wood Hall Collection of Omar Ramsden. Christie's Interiors, South Kensington, London, 23 September 2008, lot 219.
Lot 138
Creative Master Northcord 1:76 Scale Far Eastern Single Deck Buses Mitsubishi Fusos (11), all cased with card sleeves, JB1012 Osaka City, JB1014 Eco Hybrid Meitetsu Bus, JB1005 Keihin Kyuko, JB1013 Itami City, JB1001 Non Step Bus, JB1003 City Bus, JB1010 Nankai JB1009 Sanko Bus, JB3002 Tomei Highway Bus, JB1002 Non step bus 109, JB1001 JR Hokkaido Bus, VG-E, cases VG-E, (11)
Lot 232
UK 60s SOUL - 7" COLLECTION. A collection of 55 x 7". Artists/ Titles include Ann Peebles inc Breaking Up Somebody's Home, I Don't Lend My Man (HLU 10529), Beware (HLU 10484), Dr. Love Power (HLU 10517), I Can't Stand The Rain (HLU 10428), Do I Need You (HLU 10460), Wayne Kemp - Watch That First Step (584006), Art Gentry, Margie Joseph, Roy Head, Marsh Hunt, Gene Faith, Rex Garvin & The Mighty Cravers, Dobie Gray, Erma Franklin, Jimmy Hughes, Slim Harpo, The Isley Brothers and Jimmy James. The condition is generally VG to Ex with some records falling below this.
Lot 289
ALL THE ROCK - LP COLLECTION. A genre-spanning selection 21 rock LPs. To include classic, blues, prog, kraut, folk etc. Artists/ titles include Nico - Chelsea Girl (2353 025, UK MGM. Record VG+/ sleeve VG+). Velvet Underground feat Nico (2683 006), Arthur Crudup - Roebuck Man (UAS 29092), RL Burnside - A Ass Pocket Of Whiskey, Led Zeppelin - IV aka Untitled (K50008), East Of Eden (SHVL 792). Kraftwerk - Autobahn, Love inc S/T, Da Capo. Gary Moore - Still Got The Blues, Ten Years After - Positive Vibrations, Nazareth - Rampant, Little Feat inc Down On The Farm, S/T, Sailin' Shoes, Waiting For Columbus. Roy Harper - HQ, Curved Air - Air Conditioning, Steve Howe - Beginnings, Biig Shed - Let Them Eat Bog Shed & Step On It. Condition is generally VG to Ex+.
Lot 263
Bassett Lowke - A boxed Bassett Lowke O Gauge 3-rail electric BL99012 BR Thames Clyde Class 4-6-0 Locomotive and Tender Op.No.46102 'Black Watch' & 3 Coach Set. The locomotive has a broken step to the right hand side (present), otherwise the set appears to be in Mint condition. The locomotive features a brass etched plaque to the cab which numbers the vehicle 229 of a limited edition run. The wooden slide off lid box appears to be in Excellent condition. The set is accompanied with its original packaging box which appears to be Good overall with some taping and storage wear. The set is unchecked for completeness. (This does not constitute a guarantee) (K)
Lot 1524
° ° Betjeman, Sir John (1906-1984), poet laureate, writer and broadcaster; three letters to Peter Winckworth i. The Mead, Wantage; received 9 April 1954; ‘I am delighted to have the two pamphlets, but I cannot take up the Middle Class one for not being able to put down the Faculty one [A Verification of the Faculty Jurisdiction (1953)]. … I see in my mind’s eye anxious incumbents, the frightened churchwardens, the angry moustached Protestants. What a brute and a fool Lord Penzance was’. Asked [Walter] Taplin editor of the Spectator whether he wanted an article on Easter in Madrid from you. He regretfully declined. The Easter issue is already planned and most of it in type. I am so much in disgrace at Time and Tide now that I have no influence there. … Wasn’t the Honor Tracy case fun?’ii. 43 Cloth Fair, London EC1, 16 October 1957; thanks for ‘a thoroughly enjoyable evening’, with a commentary on the wines – ‘The idea of a little champagne at the beginning was cunning and good’iii. The Athenaeum, 14 March 1962; Thanks for letting us have the Mercers’ hall for the Hawksworth meeting; ‘I am sorry Ian Nairn was so embarrassingly emotional in his speech about Hawksmoor. Not the right kind of thing, I felt, for the City … the excellent hospitality of the Mercers must have enabled them to recover from the speech’In 1937 Betjeman became a devoted member of the Church of England, speaking of it as ‘the only salvation against progress and Fascists on the one side and Marxists of Bloomsbury on the other’ (Betjeman: Letters, 1.171). Betjeman and Peter Winckworth had many things in common – poetry, Anglo-Catholicism, a love of churches, good food and wine – but it is not known which if any of these brought them together. Winckworth’s publication on Faculty jurisdiction – the process by which the Church of England regulates the maintenance and improvement of church buildings – would have been of great importance to Betjeman, whose devotion to the church lay not only in his open admiration for its buildings, its liturgy, and its worshippers, but for its faith.In 1874 James Plaisted Wilde, Baron Penzance (1816–1899) succeeded to the offices of dean of the arches court of Canterbury, master of the faculties, and in 1875 official principal of the chancery court of York. The bishops discouraged recourse to his court, while the laity generally doubted the morality or practical sense of prosecuting ritualists and so converting them into martyrs.In April 1954 Honor Lilbush Wingfield Tracy (1913-1989), journalist and author, had won considerable damages from The Sunday Times, which had published her account of a Canon O’Connell’s attempt to raise funds for a parish house in Doneraile, Co. Cork. O’Connell took exception and the Sunday Times printed an apology, paying £750 to charity. Tracy in turn sued the Sunday Times for damaging her professional integrity by acting without her permission.Ian Douglas Nairn (1930-1983), architectural writer, served in the RAF until 1953, when he resigned his commission and determined to write about architecture. Like Betjeman, he wrote for the Architectural Review, and in 1962 was the first person to be invited by Nikolaus Pevsner to collaborate on The Buildings of England, producing a volume on Surrey and half of the account of Sussex. He was a trenchant critic of both architects and the planning bureaucracy, whom he considered responsible for ruining the towns and countryside of England. His long article in The Observer (13 February 1966), entitled ‘Stop the architects now’, marked a significant step in the growing challenge to the urban policies of the Modern Movement in architecture which resulted in a change in direction the following decade. Nairn's much vaunted affection for public houses combined with his connoisseurship of beer soon proved to be his nemesis, and he only published some short travel guides for the Sunday Times before collapsing into inarticulate melancholia. Nairn described himself as ‘a person who drinks a lot and can’t bear either pretensions or possessiveness’ (Nairn’s Paris, 13). ‘Difficult and intolerant he may have been’, Christopher Hurst concluded, ‘but his heart was warm. This fact shaped his whole world view—his anger was compassionate, on behalf of people and against the impersonal’ (ArchR). During his short, furious, productive career, Ian Nairn had a more beneficial effect on the face of Britain than any other architectural writer of his generation. (ODNB)John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29
Lot 507
c. 1960-62 Honda C110D Sports Cub, 49cc, project. Registration number 508 FUB (not recorded with DVLA). Frame number C110D 27994. Engine number C110E 61898. This project comes with no paperwork The C110 Sports Cub was launched in October 1960, it was more like a traditional motorcycle that the rider had to straddle, not a step-through. It had a different frame, with the fuel tank on top of the frame and in front of the seat, and the frame's steel tube spine ran horizontally from the head tube to the seat. It also had a bit more power, increased 4.5 to 5 bhp @ 9,500 rpm. Sub-variants of the Sports Cub were the C111, without a pillion seat, and C110D, also called C114, which had a low exhaust pipe. This project comes with no paperwork
Lot 64
SEHR GROSSE FIGUR DES BUDDHA MARAVIJAYALaos, Luang Prabang. zweiteilig, 17. Jh.88 x 64 x 40 cm, Gewicht: 40,85kgBuddha Maravijaya sitzt in Virasana auf einem hohen Stufensockel, die rechte Hand in Bumisparshamudra und die andere in Dhyanamudra. Sein Gesicht drückt Innerlichkeit und Glückseligkeit aus. Seine von feinen Locken angeordnete Frisur wird von der kranialen Ausstülpung Ushnisha gekrönt, aus der ein geflammter Rasmi entspringt.VERY LARGE FIGURE SHOWING BUDDHA MARAVIJAYALaos, Luang Prabang. figure of two parts, 17th c.88 x 64 x 40 cmBuddha Maravijaya is seated in Virasana on a high step pedestal, the right hand in Bumisparshamudra and the other in Dhyanamudra. His face expresses inwardness and bliss, His coiffure arranged by fine curls is crowned by the cranial protuberance Ushnisha from which a flaming Rasmi springs.
Lot 7011
Thomas Cuthbert & Son, Dundee (Scottish 19th century) - Victorian Governess Cart, wooden tub shaped body in dark green painted finish with yellow pinstripe, step-plate and rear access door to the interior with horsehair stuffed upholstered backrests, rubber tyred 16 spoke wheels stamped 'T Cuthbert & Son Dundee' to the hubcaps, fitted with two sconces to the front and 200cm shaft forearmsDimensions: Height: 160cm Length/Width: 330cm Depth/Diameter: 170cmCondition Report:Hinged door does not close properly
Lot 1149
A 14ct gold emerald and diamond ballerina cluster ring, prong set with 1.38ct rectangular step-cut emerald surrounded by tapered baguette and modern round brilliant-cut diamonds, total diamond content approx 0.75ct, setting height, 15.6mm, size L, 5.2gNo damage or repair, all stones present, emerald is a vivid medium green with typical internal inclusions, diamonds are bright and white, shank very slightly worn on back, stamped 14k
Lot 1108
An impressive 18ct gold aquamarine cocktail ring, set with 39ct emerald step-cut aquamarine, weight calculated from dimensions: 21.86 x 18.40 x 13.31mm, size M, 14.4gAquamarine is a bright medium blue with only a few very light surface abrasions on facet edges and nicks to girdle, back of shank has a small join section and is coarsely filed inside, mark clear, stamped 18ct
Lot 1140
A platinum five stone sapphire and diamond ring, prong set with 1.6ct rectangular step-cut sapphire flanked by graduated bezel set baguette-cut diamonds, total diamond content approx 0.75ct, London 2022, size M, 5.8gNo damage or repair, all stones present, sapphire is a very dark blue with 2 tiny corner nicks, diamonds bright and white with no obvious inclusions, hallmarks slightly faded, laser engraved 950
Lot 1280
A large 9ct gold blue topaz dress ring, London 1972, claw set with 22ct emerald step-cut topaz, topaz weight calculated from dimensions: 20.05 x 15.12 x 7.88mm, size N, 8.5gNo damage or repair, facet edges slightly rubbed, basket of setting is slightly bent on 1 side, hallmarks clear, stamped 375
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