Issue No. 22 - Pullman Gallery

P U L L M A N 

The newsletter of the Pullman Gallery 

Issue No. 22 

Night Train: 

Emmanuel Zurini’s 

masterpiece in 

bronze. 

Ref 2700, See pp10/11

The World according to Pullman 

Luxury Variety 

The dictionary defines diversity as ‘the condition of being different.’ In this issue of 

PULLMAN we have set out to showcase a superb selection of diverse objets de luxe 

from our unique collection. 

Authenticity, provenance and condition are everything, and strong demand for these 

substantial pieces is both a reflection of the continuing interest in this exclusive 

collectors’ market, and proof that you - the sharp-eyed readers of PULLMAN - 

recognize and possess immaculate taste. 

Our centre pages focus on a powerfully original composition of a 1929 Bugatti Type 

43 Grand Sport, Art Deco symbol of speed and modernity, a most covetable and 

massive oil on canvas showing the unmistakable influence of the gifted avant-garde 

artist Sonia Delaunay. Another engrossing double-page spread features the streamline 

look and ´´ elegançe francais of the great Emmanuel Zurini. His stylised Night Train, quite 

outstanding, provides our striking front cover picture. Nor is the eye ever less than 

delighted with the sharply nostalgic images of leading masters of automobile art 

Frederick Gordon Crosby and Peter Helck, equally represented on these pages. 

Riding the skies is renowned painter of the air Lucio Perinotto, recapturing the spirit of 

flying’s glamorous past in three major works on canvas. Glittering prizes include a fine 

historic motor-boating racing trophy presented by that most versatile of sportsmen, Sir 

Thomas Lipton, recalling a vanished age of racing and record-breaking on water. A 

collection of Sterling silver trophies, paintings and posters conjure up the recreational 

joys of horseplay on the polo field. 

Elsewhere, you will find suitably exclusive period objects from the world’s greatest 

luxury goods makers - Hermes, ` Louis Vuitton and Tiffany among them - individually 

designed and craftsman-made with customary restrained flair. The original, as the 

saying goes, is usually the best. 

Take your pick: a finely 

preserved set of twelve 

Sterling silver lobster 

picks. The double-ended 

design for use on both 

body and claws of 

the shellfish. Each pick 

hallmarked Sheffield, 

1935. Complete with 

original purple-lined, fitted 

case. Crustaceologists 

please step forward. 

Ref 2652 

Novelty value: (left) the upright 

attitude of the genial Penguin 

family was the inspiration for this 

novel pair of heavy-cast, silverplated 

candlesticks. Both 

decorative and usable in a 

modern context. American, 

c.1930’s. Height of each 6’’ (15 

cm). Ref 2641 

“Rara Avis”: (right) by a common 

verdict, Emil Schuelke’s typically 

ingenious design in the form of a 

lovable penguin is one of the 

most acclaimed novelty cocktail 

shakers of all time. The beak 

opens to reveal a rubber stopper 

and pourer. First introduced by 

American maker Napier for the 

1936 Christmas season, surviving 

shakers are keenly sought-after in 

today’s market. Height 12’’ (31 

cm).Ref 1436 

www.pullmangallery.com 

Tellingly, the finishing touch to this 22nd edition of PULLMAN is provided by the truly 

diverse: a rare Battle of Britain Operations Room sector clock. A defining moment in 

British history, the Battle of Britain gave iconographic status to Spitfire and Hurricane 

fighter aircraft and the “Few” who flew them in 1940. Touched by history, this 

remarkable restored timepiece is a reminder of the most famous of all air battles. The 

stuff of dreams and legend. 

Until next time, 

Simon Khachadourian. 

14 KING STREET 

ST JAMES’S 

LONDON SW1Y 6QU 

TELEPHONE: (+44) 020 7930 9595 

116 MOUNT STREET 

MAYFAIR 

LONDON W1K 2NH 

Anchored-down: a 

stylish cased set 

of twelve nauticallythemed 

place-card 

holders, imaginatively 

shaped to resemble a 

ship’s lifebelt. Alloriginal 

sets in 

complete and near 

perfect condition are 

now hard to come by. 

Of 1950s origin, and 

characteristic of the 

timeless appeal of 

Hermes’ ` luxury items. 

Ref 2660 

All American; a trio of impressively 

substantial black glass cocktail shakers 

embellished with Sterling silver overlay 

and fluted silver-plated necks, with red 

Bakelite stoppers. Made by Rockwell, 

c.1930’s. Height of each 16’’ (40 cm). 

The rise and rise of consumer interest in 

20th century innovation led to a vogue 

among contemporary designers to 

adopt resin-based Bakelite to 

decorative effect. 

Ref 2688, 2613, 2614 

Email : sk@pullmangallery.com Website:www.pullmangallery.com 

PULLMAN Issue No: 22 

3

Seen at Annabel’s 

Where else An enthralling line-up of beautifully finished vintage Art Deco cocktail shakers and 

bar accessories, featuring pieces by Asprey, Cartier, Hermes ` and Tiffany (a little name dropping 

is irresistible) from Pullman’s unique collection. 

The scarce 1927 ‘Boston Lighthouse’ shakers (in both sizes), the 1919 ‘Tank’ cocktail set, ‘Golf 

Bag’ shaker from 1926 and the unusual Henckel’s ‘Aeroplane’ set from 1927 are all of special 

interest. 



4 PULLMAN Issue No: 22 


5

Pullman Variations 

Hunted down 

Rear view 


“Aviary”: a Service size table lighter, one of 

the rarest of Alfred Dunhill’s classic 1950s 

aquatic-themed lighters. The decorative finish 

to the Perspex achieved by consumate 

craftsman Ben Shillingford, using the reverse 

intaglio technique. No two designs were the 

same - but this distinctive wildfowl motif was 

exceptional. Signed Dunhill on the lift-arm. 

Ref 2646 

Front view 

Victorians uncovered: a uniquely explicit ivory cutter and vesta case. One side engraved “Windsor Gentlemens’ Club” and 

the other with a finely carved erotic scene depicting a resourceful young woman expanding her sexual horizons by 

pleasuring two of the club’s senior members (sic) at the same time. The lid of the vesta case adorned with an equally erotic 

crest. An English rarity, c.1880, exploring beyond the limits of the Victorian moral code, and dating from the days when 

“there were only two types of women...” Uncensored photograph available upon request! Ref 2682 

Cigaresque: (left) 

even the fiercest 

anti-smoker could 

not deny the quality 

of this fine leather 

cigar drum. The 

silver mounting and 

silver cartouche 

add distinction. 

French c1930’s, 

height 7’’ (18 cm). 

Ref 2462 

Tiffany: sumptuous 

and unusual 

Sterling silver cigar 

humidor of large 

proportions. The 

cedar lined body, 

can accommodate 

up to 50 cigars. Fitted humidifier to the removable lid. 

Signed Tiffany, c.1930. Height 8’’ (20 cm). Ref 2237 

CENSORED! 

Variation on a theme: a rare commodity 

in the form of a combined pistol and knife 

by English makers Unwin & Rogers, 

c.1880. Remarkably, a brass implement is 

supplied to produce tailor-made bullets, 

and a separate compartment is reserved 

for the cartridges. In a category of one. 

Length: 7" (18cm). Ref 2681 

Cool conscious: cold storage - the first 

requisite of serving Champagne - in the form 

of an unusual vintage, silver-plated 

Champagne bucket inspired by hunting. The 

martele body with applied rosette featuring a 

well-cast stag's head motif. Matching handles 

designed to resemble the noble heads of 

hunting dogs. Made in Austria, c.1930. 

Height: 10" (25cm). Ref 2678 

Detail 

Bowled over: distinctive and original 

punchbowl inspired by an Edwardiian 

hunting theme. The ornate 

decoration showing stags, wild 

boar and hunting dogs in high 

relief. The 

cover with 

figural finial of a Scottish 

huntsman in traditional 

dress, and bearing a 

shotgun. Complete with 

ladle. German makers’ mark 

WMF, Wurtemmbergische 

Machinen Fabriken, with there 

registration mark prominent. 

Outstanding. Height: 21" 

(53cm) Ref 2679 

Knife edge: an unusual giant penknife, a rare novelty in 

excellent unmarked condition, comprising two steel blades, 

nickelled ends and a fitted plaque. American-made, of 1930s 

origin, and manufactured for use as a cutler's display item. 

Length (closed)11" (28cm). Ref 2651 




7

Presenting its own case 

The case of Louis Vuitton 


Checkered history: travel for its own sake 

was once the preserve of the affluent, and 

Louis Vuitton, founded in Asnieres ` during the 

reign of Napoleon III, is a name forever 

associated with the art of luxury 

travel. The characteristic 

leather and coarse-grained 

monogrammed canvas 

(introduced in 1896) soon 

became an expression 

of contemporary taste. 

In the age of the 

excess-baggage mode 

of travel, Louis Vuitton 

luggage pieces were 

de rigeur among the 

sophisticated It is a 

truism that Louis Vuitton - 

who still rigorously select 

the correct wood for their 

creations - never miss the 

mark when it comes to 

matching their designs with 

the fashion of the 

times. 

On all counts, 

our gallery in 

Mount Street, 

Mayfair holds 

one of the 

most highly 

selective collections of 

vintage cabin trunks, 

humidors and accessories 

by the premier French 

maker. 


Beyond elegant: a real 

sense of tradition and 

attachment to quality 

exampled by this 

most valuable 1930s 

crocodile gentleman’s 

dressing case by 

Hermes. ` The interior, 

fitted to perfection, 

includes a selection of 

hallmarked and signed 

Sterling silver brushes, 

cologne bottles, jewellery boxes and a manicure set. A neat touch is 

provided by the secret compartments and a document case to the inside of 

the lid sets off the case to great advantage. All fitments and locking devices 

signed Hermes, ` Paris. Truly worthy of Hermes’ ` proud heritage and of real 

interest to serious collectors worldwide. Ref 2606 

Detail 

Louis Vuitton: a magnificent and fully fitted necessaire de voyage c.1926, the dark 

green leather case containing a variety of Baccarat crystal bottles, flasks and jars 

all with Sterling silver and rare blonde tortoise-shell covers, the removable tray 

fitted with brushes, jars, a hand mirror, extensive manicure set and a large 

photograph frame all in blonde tortoise-shell and Sterling silver, each individual 

piece with exquisite 18 carat rose gold inlaid Art Deco motif, various leather 

jewellery boxes in hidden compartments, the case lined with dark green moire´ 

silk. Included is the original fitted canvas outer cover monogrammed ‘V.S’, which 

has protected the case for 80 years, accounting for its remarkable condition. Serial 

number 741359, lock number 047827, extensively marked and hallmarked Louis 

Vuitton, Paris. French c. 1926. Width overall 24’’ (62 cm). Ref 2650 



9

The Magnificent Zurini 



Track star: the impressive profile of Emmanuel Zurini's undisputed masterpiece Night Train. The stealth black-patinated 

bronze, futuristically contoured, is set on a grey granite plinth and measures a formidable 63’’ (160cm) in length. One of 

only five surviving examples (the maquette was destroyed - before the remaining three examples could be cast) and 

absolutely in a class of its own. Ref 2700 

Emmanuel Zurini, born in France in 1942, and better known as “Manou”, trained as an artist and photographer. He 

transformed the look of Formula One in the 1960s and his compelling photographs formed the backdrop for countless 

Grand Prix and Le Mans 24 Hour race posters of the period. In 1975, his energies expanded to include sculpture, working 

in bronze or stone. His surpremely stylistic automotive sculptures created over the past three decades are his most 

important legacy. 

An innovative approach to styling has led to major commissions from the world of Formula One and for the Pebble Beach 

Concours d’elegance. The prestigious Car of the Year Trophy was designed by Zurini in 2004. He favours very limited 

edition casts - usually of eight pieces - and Michael Schumacher, Jacques Villeneuve and Flavio Briatore, among others, 

are devotees of his seductively sculpted bronzes. 

Name dropping: a rare collection of Zurini’s most significant automotive sculptures - nominally inspired by the principal 

of minimum drag and drawing on the rich heritage of international competition. All signed by the artist, all mounted on 

original plinths, and all presented with a fitted carrying case hand-crafted by Zurini. Size 21’’- 30’’ (54 x 76cm). 

Ref 2673 Ref 2671 

GT40: (far left) Zurini's celebrates the classic 1964 Ford GT40 track 

car in futuristic form. Black patina finish to the bronze. Numbered 

1/8, dated 2002. Ref 2673 

XJ13: (left) stylised version in bronze of Jaguar's efforts to construct 

a high performance, mid-engined competition car in 1968. 

Numbered 3/8, dated 1989. Ref 2671 

REIMS: (above) homage in bronze to the fabled 1955 Grand Prix 

Mercedes Benz W196, widely known as the "Streamliner". 

Numbered 2/8, dated 2004, Ref 2672 

DUNCAN: (above right) bronze rendering of the one and only "D" 

Type Jaguar campaigned by Britsh privateer Duncan Hamilton. 

Finished in black. Numbered 1/8, dated 2004, Ref 2698 

CARACCIOLA: (right) a striking silvered bronze commemorating 

Rudi Caracciola's all-conquering 1937 Grand Prix Mercedes W154. 

Numbered 1/8, dated 2001, Ref 2699 

Ref 2672 Ref 2698 

Ref 2699 



11

Bugatti Moderne 



Feminine inspiration: historically significant and 

highly expressive oil on canvas of massive 

proportions, painted in 1929 and showing the 

unmistakable influence of gifted avant-garde artist 

Sonia Delaunay. “Jazz, hectic pace movies, America, 

airplanes, the automobile,” wrote Bauhaus director 

Oskar Sclemmer in 1925, “these are the terms in which 

people think.” The creator of the most glamorous fast 

cars racing in the 1920s was Ettore Bugatti, whose pur 

sang automobiles were fine examples of the standard 

of workmanship which Le Patron (as Bugatti was 

Bugatti: Preliminary sketches for fabric design by 

Sonia Delaunay, c. 1925. 

known) demanded in his quest for perfection. 

The various strands that form this magnificent rendering of Bugatti’s 1929 Type 43 Grand Sport 

suggest a crossover between Cubism and Futurism. The vintage thoroughbred cresting the 

brow of a hill, dust clouds dominant, is an intense, defining image of luxury, modernity and 

speed. 

It is not without interest that during the Great War The Observer in a startlingly prescient 

judgement, informed readers that “the reviled Post-Impressionists, Cubists, Futurists, 

Expressionists, Vorticists of today may be the honoured masters of tomorrow.” Well said. 

Dimensions: 98’’ x 46’’ (249 cm x 108 cm). Ref 2676 

Artist at work: the Ukranian-born Sonia Terk 

(afterwards Delaunay, 1885-1979) was an artist in 

every sense of the word. She produced, in a long 

and prolific career, easel paintings, murals, 

ceramics, mosaics, stained glass and theatrical, 

graphic, fashion and interior designs. She 

memorably prepared, in painterly fashion, a Bugatti 

Type 35 for display at the 1925 Paris Exposition. 

She is pictured on the bonnet of the Grand Prix car 

wearing one of her own creations - a matching 

Simultaneous dress. Sonia Delaunay, together with 

her French husband, the painter Robert Delaunay, 

was a leader of a developing style called Orphism 

(sometimes referred to as Organic Cubism). An 

early advocate of colour theory, her sharply 

Sonia Delaunay and companion with the Citröen she 

decorated for the Art Deco exhibition, Paris 1925. 

Modernist designs (much coveted by among others silent movie star Gloria Swanson, and 

socialite Nancy Cunard) launched a vogue for contrasting colour and became all the rage. It is 

a measure of her enduring passion for fast cars that as late as 1967 she was creating a highly 

individualistic design for the Matra 530. 

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PULLMAN Issue No: 22 PULLMAN Issue No: 22 

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Painter of the Air 

Flypast: aviation has always been a dynamic and dramatically 

developing industry, as evidenced by these outstanding oils 

on canvas by Lucio Perinotto. Born in Bordeaux in 1949, of 

Italian origin, Perinotto is acknowledged as one of the 

foremost aviation artists of his generation. His high 

contemporary reputation rests on a sequence of 

monochrome works recapturing the very essence of flying’s 

glamorous past. A distinguished contributor to air-minded 

journals in Europe, his work is widely collected (and widely 

admired by the Powers That Be in the French aviation 

industry). Examples of his large format paintings are 

exhibited in leading corporate and public collections, 

including EADS (manufacturers of Airbus), the Paris Museum 

of the Air, the Air France Museum at Le Bourget, the Orly 

Gallery and the Paris Seaplane Museum. 

The first commercial air crossing of the Atlantic was made by 

a Pan Am flying boat but the slower seaplanes were gradually 

eclipsed, once weight made ground landings possible. That 

said, the golden era of the giant flying boats exudes an aura 

of romance and retains a fascination for many, Lucio Perinotto 

not least among them. 


Right: ‘DC4 over New York City’. Oil on canvas 24’’ x 48’’ 

(60 x 120 cm). Ref 2668 

Below right: ‘Constellation’. Oil on canvas 36’’ x 58’’ 

(90 x 146 cm). Ref 2667 

Below: ‘Sunderland flying boat’ Oil on canvas 39’’ x 52’’ 

(97 x 130 cm) Ref 2666 




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Masters of the Art 


French bleu: the vintage era evoked in this finely 

conserved poster for the smartest of French marques. 

Louis Delage founded his own company in 1905, and was 

a dominant force in Grand Prix and sports car racing. La 

belle voiture Francaise soon gained a reputation for stylish 

appearance and quality, and the celebrated “D” series 

(pictured) reigned supreme in the heyday of Concours 

d’Elegance. Unsurprisingly, the 1930s Depression 

accounted for the downturn in the financial fortunes of 

luxury makers and the Delage name was auctioned off to 

Delahaye mid-decade. Printed by Editions Mathis, Paris, 

c.1930. Linen-mounted. Dimensions: 63’’ (160 cm) x 

48’’ (120 cm). Ref 2750 

Supercharged: an 

interesting pairing of two 

immortals of automobile 

art (right) Frederick 

Gordon Crosby’s style 

attracted both followers 

and imitators but his work 

was rarely equalled 

between the wars. His 

wonderfully evocative 

watercolour depicts the 

1930 Irish Grand Prix, and 

the “heavy metal” of 

privateer Sir Henry “Tim” 

Birkin’s Blower Bentley 

(no.8) at breakneck speed, 

with German champion 

Rudi Caracciola’s vast 

supercharged Mercedes in 

pursuit, and Brooklands 

Riley (no.45) snaking to 

the right at the sinuous 

Phoenix Park circuit, 1930. 

Signed and dated, 

dimensions 28’’ x 18’’ (71 

x 46 cm). Ref 2086 

Return to sender: (right) intriguing rediscovery of 

correspondence between the founding father of American 

automotive art Peter Helck (1893–1988) and the great 

Edwardian racing driver Louis Wagner. A watercolour 

heightened with gouache, rendered on the front of an 

envelope, depicting Wagner’s Fiat at speed in the 1910 

Savannah Races. Their enduring friendship was chiefly 

conducted by airmail, inspiring Helck occasionally to 

illustrate envelopes with scenes of Wagner’s major 

successes. This unique example was returned in perfect 

condition to the artist following the driver’s death in 1970. 

Dated December 18th 1950, Boston, and acquired from a 

member of Helck’s close circle, who received the 

watercolour as a gift. Ref 1210 


Star turn: a particularly fine gilded 

bronze, featuring a race-bred Mercedes 

Benz at speed by the accomplished 

German artist Richard Lange. Both the 

intrepid driver, and riding mechanic 

(once compulsory in competition), a 

model of concentration. Set on a 

bronze sôcle , evoking clouds of dust 

characteristic of the heroic era of road 

racing, when Mercedes achieved great 

success in building and racing cars. 

Mounted on original marble plinth. 

Signed R. Lange, c.1928. Length: 13" 

(33cm). Ref 2680 



17

Sporting Life 

Detail 

Hermes ` Paris: a very rare set of 12 Sterling 

silver place card holders depicting two polo 

players in relief, signed ` Hermes Paris, French 

c. 1950’s. Ref 2703 


Jean Jacquot: (above) Deauville Saison de Polo 

1938, a rare and stylish original poster depicting the 

two teams in play. Linen mounted, framed and 

glazed, French c.1938. Dimensions 34'' x 49'' (87 x 

125 cm). Ref 2701 

“At speed”: (top right) there is no denying the 

quality of this dramatic large format charcoal 

drawing of a polo player in action by George 

Denholm Armour (1864-1949). The Scottish Royal 

Academician’s early life was spent in Tangiers, where 

he bred - and painted - horses. Afterwards a stud 

farmer in England, he commanded a cavalry division 

during the First World War. Armour was appointed 

OBE in 1919. His equine inclinations led to regular 

cartoon commissions from The Tatler, Punch and 

Country Life and his equestrian portraits of society 

figures were equally impressive. Ref 2693 

Chukking it in: (right) a rare original oil painting on 

board of a polo match in progress by celebrated 

Austrian artist Carl Franz Bauer (1879-1954). Bauer is 

arguably one of the most meticulous and underrated 

of illustrators - his accomplished work surely 

deserving of belated recognition. Dimensions 18” x 

14” (46cm x 35 cm). 1930. Ref 2675 

Box clever: an imposing Austrian cigar box, 

c.1910, after a design by eminent American 

sculptor Herbert Haseltine, famous for his 

monumental polo and other equestrian 

bronzes to be found in the Whitney Museum, 

New York. The box with stylish polo player 

depicted in relief to the hinged lid, the sides 

bound and riveted as a strong-box, interior 

lined with hardwood. Austrian, c.1910. 

Length: 9” (23cm) Ref.2643 

Victorious: a group of early silver and silver 

plated polo trophies, comprising clockwise 

from left: a good black onyx glass cigar box 

with Sterling silver overlay Ref 2694, a rare, 

early silvered-bronze car mascot of a polo 

player by Lejeune Ref 2654, a large trophy 

cup and cover with polo players, Ref 2662, a 

fine Sterling silver trophy cup with crossed 

mallets by Elkington, hallmarked 1904, Ref 

2659 and a similar smaller Sterling silver 

trophy cup hallmarked Mappin and Webb 

1921, Ref 2687 




19

20 


Highly Prized Global Reach 

“Why 

Not”: the Sir Thomas 

Lipton Cup, a classical Sterling 

silver trophy of lasting historical 

interest. Winged speed finial prominent, 

inscribed to one side beneath his emblem of an 

enamelled shamrock: ‘Presented by Sir Thomas 

Lipton, BART, KCVO, to the National Yacht Club of 

Toronto For Competition Outboard Hydroplane Races 

Canadian National Exhibition Regatta 1929’. The 

reverse, beneath decorative crossed-enamelled flags, 

complemented by a finely embossed racing hydroplane 

cresting the waves, in high relief. A Sterling silver plaque 

to the ebony campana plinth engraved: ‘Won by 

Hilton Frazer In a fifteen mile race September 8, 1930, 

driving Why Not 4th Time 22:39’. Hallmarked 

Goldsmiths and Silversmiths Company, London 

1929. Overall height: 32” (80cm). Sir Thomas, 

grocer, consummate sportsman and spirited 

challenger for the America’s Cup, was 

knighted for his philanthropy by 

Queen Victoria. Ref 2649 


The celebrated works of Cassandre (Adolphe Mouron, 1901-1968) need no introduction to PULLMAN readers. His widely admired poster designs reveal a stylistic debt to 

both Purist principles and the poetic spirit of his friend Le Corbusier. His attraction to pure geometric form is seen in this image created in 1936 to advertise the Trieste-based 

shipping company’s global reach. A trio of Ocean liners atop a globe is pictured steaming in-line around the globe. 

Passenger services of the Cosulich Line, founded in 1903 by Fratelli Cosulich, operated from Mediterranean ports to New York and South America. A new company, Italia 

Cosulich Lloyd Triestino Adria, was formed in 1932. Printed by Editions de Propagande, excellently conserved and linen-mounted. 24” x 37” (62cm x 96 cm). Ref 2669 


21 

www.pullmangallery.com

Art and Power 

Grand Design 


Detail 

“Eva”: the stark beauty of the 

refined work of Paul Bronisch 

(1904-1989), a leading 

representative of the neoclassical 

tradition and a 

“preferential artist” of the Third 

Reich, along with Arno Breker, 

Joseph Thorak and Fritz Klimsch. 

Bronisch’s work, often 

monumental, varied from heroic 

themes to nudes. Sculpture, 

expressing the National Socialist 

obsession with the ideal body, 

was used increasingly with 

architecture to embody the 

“German spirit” of divine 

destiny. Favoured by Albert 

Speer, Hitler’s chosen architect, 

Bronisch’s State commissions 

included massive bronzes for the 

Reichsbank and Aviation 

Ministry. This darkly patinated 

bronze figure of “Eva” was 

exhibited at the newly-opened 

Haus der Kunst in Munich 1938, 

Works by banned artists - 

notably Picasso - were auctioned 

off in Switzerland to raise money 

for Nazi party coffers. 

Height: 49’’ (125 cm). Ref 2492 

Rear view detail 

Strings attached: definitive Art Deco boudoir baby grand piano 

of the finest quality. The demi-lune case and support exotically 

veneered in dark macassar ebony with ivory stringing. The entire 

piece in perfect working order, fully restored by Bluthner’s with 

special attention to re-stringing and tuning. The matching duet 

stool en suite is very rare indeed. By long-established London 

makers J.Strohmenger - a name rich in tradition, much respected 

in piano - making and well known to musicians and music lovers 

for over 150 years. Frame number 20460. c.1938. Width: 54” 

(137cm). Art Deco remains the most glamorous and soughtafter 

style of the twentieth century. Ref 2697 


22 



23

Finest Hour 

Over Time: a superbly restored and extremely rare R.A.F. Operations Room sector clock with 

ribbed hands, red, yellow and blue five/two-and-a-half minute markings and Service crest, the 

mahogany case with convex surround and brass bezel, marked AM (Air Ministry) and fusee ´ 

movement by F.W.Ellott Ltd. Stamped and dated 1939. 

In 1940, with the Battle of Britain about to begin, the Royal Air Force possessed the world’s best 

aerial defence system, a system of Command and Control based on the plotting of enemy 

formations by members of the Women’s Auxiliary Air Force receiving instructions over headsets. 

By means of croupier-style rakes, WAAFs positioned numbered marker blocks in red, yellow and 

blue to represent the approach of hostile aircraft. “The great room was almost silent”, observed 

the American air attache, ´ “only a little movement as operators moved counters and markers from 

point to point...” 

It is hard to overestimate the advantage of radar in directing intercepting fighters onto attacking 

aircraft but successful engagement by Hurricane and Spitfire squadrons depended on fast and timely information. The colours 

of the markers changed every five/two-and-a-half minutes according to a colour-coded sector clock mounted prominently 

above the plotting table in the Ops room, allowing Controllers to replace a “stale” plot with a “fresh” one. The accuracy of a 

sector clock during the heat of a raid was, put simply, a matter of life and death. 

This particular example, made to the highest standards by F.W.Elliott, was delivered to R.A.F. Fighter Command before the 

Battle. Later, austerity versions (manufactured by Smiths, the instrument makers) were never the equal of their earlier 

counterparts. A rare survivor and reminder of the efficiency of this nation’s defensive effort, when the ‘Few’ did indeed save 

the many from the unthinkable. Ref 2695 

24 

PULLMAN Issue No: 22

Issue No. 22 - Pullman Gallery

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