A <a href="https://www.sothebys.com/en/buy/luxury/collectibles/vintage-poster/music" rel="noopener noreferrer" target="_blank">concert poster</a> for the <a href="https://www.sothebys.com/en/search?query=New%20Order&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">New Order</a> performance at SO 36, Berlin on the 27th May 1981. <ul><li>Features a black and white image with the words ‘New Order were Joy Division’ in the upper left corner and concert details along the bottom edge.&nbsp;</li><li>This work is presented unframed.</li></ul>

German New Order Concert Poster

A concert poster for the performance of New Order at Hal 4, Utopia, Rotterdam.&nbsp;<ul><li>The concert took place on the 13th&nbsp;December 1980.&nbsp;</li><li>This work is presented unframed.</li></ul>

Dutch New Order Concert Poster

Important Watches

PROPERTY OF AN IMPORTANT ASIAN COLLECTOR Rolex Cosmograph Daytona 'Paul Newman John Player Special Cherry', Reference 6264 A yellow gold chronograph wristwatch with bracelet, Circa 1971 Dial: black, exotic Calibre: cal. 727 mechanical, 17 jewels Case: 14k yellow gold, screw down case back Case number: 2’802’702 Closure: 14k yellow gold Rolex Oyster bracelet and folding clasp Size: 37 mm diameter, bracelet circumference approximately 190 mm Signed: case, dial and movement Accessories: none In the Rolex collecting world, several key terms will instantly get any connoisseurs’ attention. Daytona. Paul Newman. John Player Special. All of these terms are no stranger to the community, nor to the gavel. Indeed, Paul Newman Daytonas have made up the bulk of high-flying Rolex auction lots in recent years, with John Player Special versions flying higher still. However, this was not the case half a century ago when the Daytona was first introduced. As the well known story goes, the original Daytonas were so unpopular that they would sit in retailer shop windows for years without attracting any interested buyers. This was one of the reasons why, a few years after the release of the reference 6239, Rolex began producing a new dial type in order to add variety and hopefully increase appeal in its struggling chronograph model. Their plan failed, but only for the time being. No one knew it at the time, but Rolex had just created their most desirable dial design, ever. Few manually wound Daytonas were ever made due to their unpopularity at the time, even fewer with exotic dials, and fewer still were cased in gold. Some experts go so far as to estimate that for every Daytona that was cased in gold, ten were cased in stainless steel, with the total amount of gold Daytonas fitted with exotic dials of any colour never exceeding 100 units. It wasn’t until Paul Newman, star of both race track and silver screen was seen wearing an exotic dial 6239 that people began to take notice. The rest, as they say, is history. Yellow gold Paul Newman dials come in three categories: Champagne, Lemon, and the present John Player Special, which signified a black dial with gold accents, aptly named after the iconic Lotus Formula One team which shared the same colour scheme. Champagne examples are the most common, while JPS and Lemon variants are considerably scarcer. Indeed, no more than 20 JPS examples have appeared at auction in the past decade. However, an even scarcer sub-genre of the John Player Special that may be less familiar to the collecting zeitgeist, and indeed has never yet appeared at auction, is the John Player Special ‘Cherry’. Every single John Player Special dial that has appeared at auction features a gold coloured ‘Daytona’ logo above the 6 o’clock register, with the majority of these belonging to the reference 6241 and serial numbers scattered roughly around the year 1970. However, another small batch of John Player Special dials have surfaced in 6264 cases with serials clustered in 1971. These dials feature a slightly different gold colour tone, deeper and richer compared to standard John Player Specials, prompting some experts to refer to them as ‘Reverse Lemon’ dials. Most importantly, these dials all feature ‘Daytona’ Logo in bright red, earning them the moniker ‘Cherry’. Believed to have been produced as a final batch of gold Paul Newman dials, the handful of known examples are found within a narrow grouping of case numbers. Rarely seen publicly, the JPS cherry has only occasionally featured in reference books and online archives. Further research shows that some 20+ years ago a small group of early vintage Rolex collectors were afforded a tour of the Singer factory, and images from that trip included an example of the JPS cherry within Singers own archives.

View 1 of Lot 2400: Cosmograph Daytona 'Paul Newman John Player Special Cherry', Reference 6264 | A yellow gold chronograph wristwatch with bracelet, Circa 1971

cosmograph daytona 'paul newman john player special cherry', reference 6264 | a yellow gold chronograph wristwatch with bracelet, circa 1971

Books, Manuscripts & Objects from Three Important Collections

Woodrow Wilson, 28th President of the United States of America

Woodrow Wilson, 28th President of the United States of America Letter signed, to Rev. R.B. Meyer, written during the Paris Peace Conference, reluctantly declining to participate in Meyer’s planned commemorative film for the tercentenary of the voyage of the Mayflower, 1 page, 4to (270 x 210 mm), headed stationery of the American Commission to Negotiate Peace, Paris, 28 January 1919, fragile at folds “…I cannot in conscience turn away from my duties to do anything that is not absolutely necessary in connection with them or for the furtherance of the great object for which I came over…” Frederick Meyer (1847–1929) was a prominent British evangelical Baptist minister, who also travelled extensively in America. Wilson had arrived in France in December 1918, hoping that the war could be ended with a principled peace based on his famed Fourteen Points, and that this would usher in a new world order based on self-determination and agreed international rules under a new League of Nations. PROVENANCE: Sale, Phillips, London, 10 November 1991, lot 341

View 1 of Lot 114: Woodrow Wilson | Typed letter signed, to Rev. F.B. Meyer, written from the Paris Peace Conference, January 1919

woodrow wilson | typed letter signed, to rev. f.b. meyer, written from the paris peace conference, january 1919

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition?locale=en" rel="noopener noreferrer" target="_blank">First edition</a>, first printing of The <a href="https://www.sothebys.com/en/search?query=Encyclopaedia%20Britannica&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Encyclopaedia Britannica</a>.<ul><li>Sold as a set of 3 volumes.</li><li>Edited by William Smellie (Scottish).</li><li>Engravings by Andrew Bell.</li><li>Printed by Colin Macfarquhar.</li><li>Encyclopaedia Britannica; or, a Dictionary of Arts and Sciences compiled upon a New Plan. In which the Different Sciences and Arts are digested into Distinct Treatises or Systems; and the Various Technical Terms, etc. are explained as they occur in the order of the Alphabet.</li><li>Edinburgh: Printed for A. Bell and C. Macfarquhar, 1771.</li><li>Quarto in half-sheets.</li><li>Half-title to each volume, 159 engraved plates (of 160, lacking plate 112 in 'Midwifery' section').</li><li>viii, 586, [10], 587-697; [4] 1009, [3]; [4], 280, 283-678, 879-953, [1]pp.</li><li>Contemporary calf-backed glazed blue paper boards,&nbsp;</li></ul> The first edition of 'the most famous of all encyclopaedias in the English language' (PMM). A landmark Enlightenment text, the Britannica was the brainchild of the Edinburgh-based bookseller and printer, Colin Macfarquhar, and the engraver Andrew Bell. At the time, the city was arguably the intellectual center of Britain, host to many of the nation's leading thinkers from David Hume to Adam Smith, and the gathering place of discussion clubs like The Select Society and The Poker Club where members met to debate advances in the arts and sciences. Macfarquhar and Bell conceived of the Britannica as a conservative reaction to the French Encyclopédie of Denis Diderot (published 1751 to 1766), which was widely viewed as heretical, but the key initiative that set the Britannica apart from other earlier encyclopaedias was its layout. Related topics were to be grouped together into longer essays, then organized alphabetically. Previously technical terms had been listed generally in alphabetical order, an approach that the Britannica derided as 'dismembering the sciences' (Preface). The 28-year-old press-corrector William Smellie was employed to provide the text. The result was originally issued in 100 parts (called 'numbers' and equivalent to thick pamphlets), which were later bound into three volumes. The first number appeared on December 6, 1768 in Edinburgh, priced 6d or 8d on finer paper, with the last issued in 1771. With two of the three midwifery plates depicting childbirth in clinical detail that so shocked King George III that he commanded that the pages be ripped from every copy. These plates are consequently rarely found (see Kogan, The Great EB: The Story Of The Encyclopaedia Britannica, 1958, p.13). The other plates include human anatomy, animals and other natural history subjects, scientific instruments and industrial apparatus, geometrical propositions, and miscellaneous subjects ranging from types of cannon to specimens of shorthand; there are also several plates of music score and a small number of maps. Sets in any state of completeness are rare.

Encyclopaedia Britannica

Charles Darwin Letter signed, with autograph postscript, to St George Mivart, defending the theory of Natural Selection ("...I by no means give up the immense power of natural selection; not can I see any probability in the existence of an inherent tendency to an advance in organisation...") in response to Mivart's detailed criticisms of Darwin's work in his new book On the Genesis of Species, the postscript relieving Mivart of the duty of thanking Darwin for sending him a copy of The Descent of Man ("...As you will think my new book all rubbish, you will find it pleasanter not to go through the form of thanking me for it — so pray do not write & I will attribute your silence to your wish not to say directly to me anything disagreeable."), 8 pages, 8vo, headed stationery of Down, Beckhenham, 23 January 1871 [with:] St George Mivart, retained autograph draft reply, accepting some of Darwin's corrections, noting that he may have "represented you as more attached to the predominant action of nat. select. than is really the case", and expressing his fundamental religious objection to Darwinian theory ("...Unhappily the acceptance of your views means with many the abandonment of belief in God & in the immortality of the Soul..."), 4 pages, 8vo [24 January 1871] "...If I had ever thought that I, or any one, could explain the steps through which hundreds of structures have been acquired thro' natural selection, your facts and many others would form a crushing defeat; but I have never thought that this could be done except in a few cases, & then only with some degree of probability, in which a fair number of gradational steps still exist..." AN IMPORTANT LETTER IN WHICH DARWIN DEFENDS NATURAL SELECTION AGAINST ONE OF HIS MOST ACUTE AND PERSISTANT CRITICS. St George Mivart (1827–1900) was a noted natural scientist who had enjoyed the support of both Owen and Huxley in the 1860s, but he was also a prominent figure in Britain's Roman Catholic community. On the Genesis of Species (1871) expanded on a series of articles entitled "Difficulties of the theory of natural selection" that had been published in 1869. In this letter Darwin identifies a number of points at which Mivart has misunderstood or misquoted him and asserts his continued belief in the explanatory power of natural selection. Mivart did not reject evolution entirely, but argued that any role played by the mechanism of natural selection was secondary to evolution guided by an innate force that tended towards greater order. Darwin takes some comfort from this, claiming that Mivart's acceptance of the "general principle of Evolution [...] is infinitely more important for the progress of science than the admission of natural selection." Mivart takes this comment as evidence of Darwin's weakening belief in natural selection. LITERATURE: DCP-LETT-7453 (text from Darwin's retained draft) and DCP-LETT-7454 PROVENANCE: Sale in these rooms, 21–22 July 1988, lot 417

View 1 of Lot 94: Charles Darwin | Letter signed, to St George Mivart, defending the theory of natural selection, 23 January 1871

charles darwin | letter signed, to st george mivart, defending the theory of natural selection, 23 january 1871

Cartier, London Tank Cintrée A rare yellow gold curved rectangular wristwatch, Circa 1972-73 Dial: cream dial signed Cartier, stretched black radial Roman numerals, blued steel épée hands Calibre: 7’’’ oval movement signed Jaeger-LeCoultre, damascened Côtes de Genève decoration, lever escapement, jewelled to the centre, annular balance with poising screws, flat hairspring Movement number: numbered to backplate 1'029'358 Case: 18k yellow gold curved rectangular case, polished tops to the brancards, satin finished case sides and crossbars, lugs with spring bars, back secured by four screws to case sides, beaded cabochon sapphire set crown Case number: outside case back stamped 1'373, inside case back with London hallmarks for 18k gold, date letter ‘r’ for 1972-73, [JC] Jean-Jacques Cartier punch mark Closure: brown unsigned leather strap and 18k gold deployant buckle, engraved Cartier 18k, stamped BC and with further lozenge cartouche Size: 42 mm length x 20.5 mm width Accessories: none The Cartier Tank Cintrée, first introduced in 1921, is one of the most elegant and enduring watch designs of the 20th century. Defined by its elongated, slim rectangular case that gracefully curves to follow the natural contour of the wrist, the Cintrée was a triumph of both ergonomics and aesthetics. Unlike many rectangular watches, which rely on hinges or friction fittings, the Cintrée’s case back is securely pressed into the upper case and held by small screws, creating a seamless integration that ensures a sleek and refined profile. Over the decades, the model has remained a rare and highly sought-after timepiece, typically available only by special order. During the late 1960s, a time of cultural and artistic transformation, Cartier London introduced its own interpretation of the Tank Cintrée, setting it apart from the Paris version with several distinctive design modifications. This period – shaped by the energy of The Beatles, The Rolling Stones, and Mary Quant’s revolutionary fashion movement – saw London become a global centre for creativity and reinvention. Cartier London fully embraced this spirit, breaking from tradition to produce some of the most unconventional and daring wristwatches in its history. The London Tank Cintrée reflected this shift with its exaggerated curvature, creating a sculptural form that closely hugged the wrist. Its creamy white dial, stripped of a traditional minute track, emphasised its minimalist yet striking aesthetic. Meanwhile, the Roman numerals – stretched, thick, and bold – dominated the dial space, amplifying its avant-garde character. These elements, combined with the pronounced curve of the case, transformed the Cintrée into a powerful statement piece, bridging the gap between classic elegance and modern innovation – features that were also found in the London Maxi Oval. The London Tank Cintrée was produced in different sizes, From 1945 to 1974, Cartier London was led by Jean-Jacques Cartier, son of Jacques Cartier. Having apprenticed in Paris, Jean Jacques brought a deep passion for design and craftsmanship, steering the London workshop toward some of Cartier’s most radical and inventive timepieces. His tenure coincided with the cultural revolution of the Swinging Sixties, inspiring a new wave of independent creativity within Cartier London. Watches such as the Crash, Maxi Oval, and Pebble were developed exclusively in London during this era, each retaining the essence of the Cartier DNA while boldly reinterpreting it for a new era. Jean-Jacques worked closely with Rupert Emmerson, Cartier London’s chief designer, to bring these extraordinary timepieces to life. Once designs were finalized, each watch was meticulously handcrafted at the Wright & Davies workshop on Rosebery Avenue, under the leadership of Albert ‘Sam’ Mayo. Producing the case of a London Cintrée required over 35 hours of craftsmanship, with additional components, such as leather straps and deployant buckles, made in-house. The final assembly took place at Cartier’s Bond Street workshop under Eric Denton’s supervision. This painstaking process ensured that each watch was a masterpiece of exclusivity and exceptional quality, often requiring weeks or even months to complete. Predominantly produced between 1966 and 1974, Cartier London wristwatches from this era remain among the rarest and most extraordinary ever made. As the only Cartier branch still owned by a family member, Jean-Jacques Cartier’s London workshop carved out a distinctive identity, balancing bold creativity with impeccable craftsmanship. His visionary approach secured Cartier London’s place in the brand’s illustrious history, producing watches that continue to captivate collectors and enthusiasts alike.

View 1 of Lot 2419: Tank Cintrée | A rare yellow gold curved rectangular wristwatch, Circa 1972-73

tank cintrée | a rare yellow gold curved rectangular wristwatch, circa 1972-73

Charles Darwin Autograph letter signed, to "Dear Sir" [Henry Yates Thompson], thanking him for sending information on the behaviour of lapwings to attract earthworms (“…I have learnt that worms certainly sometimes emerge when the surface of the ground is beaten…”), 1 page, 8vo (203 x 127mm), integral blank, headed stationery of Down, Beckenham, Kent, 23 January 1882, remains of former mount to blank On 21 January 1882 Darwin had received a letter from Henry Yates Thompson (the noted collector of illuminated manuscripts), enclosing a letter by “Mr Moorhouse of Manchester” which described how “he had frequently seen lapwings beat the ground with their tails in order as he believed to get worms to rise to the surface of the ground” [DCP-LETT-13635]. Thompson evidently thought that this observation would be of interest to Darwin, whose final book on worms had been published the previous year. This unpublished letter is Darwin’s typically courteous reply. PROVENANCE: Sale in our New York rooms, 24 September 1986, lot 21 (part lot)

View 1 of Lot 97: Charles Darwin | Autograph letter signed, to Henry Yates Thompson, on lapwings, 1882

charles darwin | autograph letter signed, to henry yates thompson, on lapwings, 1882

Cartier, Paris Crash A rare and iconic limited edition yellow gold distorted oval wristwatch with asymmetric gold deployant buckle, Circa 1991 Dial: white asymmetrical dial obliquely script signed Cartier London, distorted and stretched black radial Roman numerals, secret signature at VII, inner almond-shaped border, blued steel épée hands Calibre: 5¾’’’ oval calibre AS 1978-2 signed Cartier 160, damascened Côtes de Genève decoration, lever escapement, 17 jewels, annular balance, flat hairspring Case: 18k yellow gold, distorted oval case with curvature and undulating rounded bezel, t-bar Vendôme-style concealed lugs to case back, beaded cabochon sapphire-set crown Case number: inside case back stamped 750 and numbered 4'405, case back exterior with signed Cartier Paris, Made in France, numbered 182-91, A108478, stamped 750 and twice with French eagle’s head assay mark Closure: black unsigned leather strap and 18k gold deployant buckle the ‘D’ clasp with asymmetrical detailing, stamped 750, 18k, hys and SCA within oval cartouche for Cartier Société anonyme, signed Cartier Swiss Made and with rubbed eagle’s head assay Size: 38.5 mm length x 22.5 mm width Accessories: none In the 1990s, the design legacy of the Crash was carried forward by Cartier Paris where, in 1991, the Crash was reintroduced as a limited edition of 400 pieces, marking the first official production of the model outside London. This new version retained the iconic asymmetry of the original while introducing subtle updates. The case measured 38.5mm x 22.5mm, slightly smaller than the London original, and the dial was signed “Paris” at six o’clock rather than “London.” A notable addition to this edition was Cartier’s secret signature, subtly inscribed within the Roman numeral VII. While initially produced in yellow gold, the 1991 Paris Crash was later available through custom orders in other metals. The 1991 Paris Crash remains a highly desirable piece for collectors, its limited production, updated proportions, and Paris specific dial setting it apart while retaining the essence of the original design. Despite its evolving production history, the Cartier Crash endures as a symbol of artistic defiance and avant-garde luxury. A product of London’s most daring era, its reintroduction in Paris ensured that its legacy would not only continue but flourish, further solidifying its place as one of Cartier’s most collectible and celebrated designs.

View 1 of Lot 2360: Crash | A rare and iconic limited edition yellow gold distorted oval wristwatch with asymmetric deployant buckle, Circa 1991 

crash | a rare and iconic limited edition yellow gold distorted oval wristwatch with asymmetric deployant buckle, circa 1991

Cartier, London An unusual yellow gold deeply curved rectangular driver’s wristwatch with integrated gold deployant buckle, Circa 1966-67 Dial: white dial signed Cartier, stretched black radial Roman numerals, blued steel épée hands Calibre: 7’’’ calibre K20508 movement signed Audemars Piguet, damascened Côtes de Genève decoration, lever escapement, 20 jewels, free sprung Gyromax balance, adjusted to 4 positions and temperatures, flat hairspring, Kif Flectcor shock absorber Movement number: 86'882 Case: 18k yellow gold curved rectangular case, chamfered bezel, hooded lugs, the lower lugs integrating the deployant clasp’s closure, curved case back, octagonal winding crown set with faceted ruby cabochon, case back secured by four screws to case sides Case number: inside case back numbered 6'950, • 10213 •, London hallmarks for 18k gold, date letter ‘l’ for 1966-67, bezel interior numbered • 10213 • Closure: black unsigned leather strap and 18k yellow and pink gold deployant buckle integrated into the lower lug and formed to the curvature of the case back Size: 31 mm length x 17 mm width Signed: case, dial and movement Accessories: Cartier presentation box and travelling pouch Driver’s wristwatches, among the earliest examples of purpose-made tool watches, are a fascinating blend of watchmaking ingenuity and motoring culture. Designed to meet the specific needs of automobile enthusiasts, these watches allowed drivers to read the time without taking their hands off the wheel – an elegant yet practical solution for an era when motoring was not only a means of transport but also a symbol of sophistication and adventure. Inspired by Cartier Paris’s 1933 driver’s watch, this 1966 Cartier London model revived the avant-garde spirit of its predecessor. By the time this Driver’s model was introduced in 1966–67, Cartier London was entering its most experimental period, producing some of the brand’s most distinctive and unconventional wristwatches. While the fashion for driver’s watches had been short-lived in the later Art Deco period, Cartier London’s decision to reintroduce the concept in 1966 aligns with their exploration of heritage models as part of their pursuit to develop new and creative wristwatch designs. This model closely follows the original’s curved rectangular case, a form specifically designed to sit at an angle on the wrist, ensuring optimal legibility while driving. Its hooded cylindrical lugs, seamlessly integrated into the case structure, contribute to its sleek profile and echo the aerodynamic contours of automobiles from the golden age of motoring. One of the watch’s most ingenious design features is the integration of a curved deployant buckle into the case itself. The lugs beneath the 6 o’clock position serve a dual purpose, cleverly forming part of the hinged closure for the deployant clasp, which is discreetly nestled into the curvature of the case back. This design maintains the watch’s clean, streamlined aesthetic, allowing it to ‘float’ seamlessly on its leather strap. Without the pronounced curvature of the case back, such a design would not have been possible. Such is the significance of this model within Cartier’s storied history that it was reintroduced in the late 1990s as part of the prestigious Collection Privée Cartier Paris (CPCP), a series dedicated to reviving the brand’s historic designs with high-quality mechanical movements. The movement in this watch was ordered by Cartier directly from Audemars Piguet. According to the Audemars Piguet Archives, the movement was produced in 1962 and formed part of an order of six movements supplied to Cartier London in October 1963. Interestingly it was noted by George Gordon in Cartier – A Century of Wristwatches that the actor Stewart Granger ordered three Driver’s wristwatches from Cartier in the 1960s. In her book The Cartiers, Francesca Cartier Brickell notes that Granger also ordered a Crash watch from Cartier London but returned it after a week, finding its distorted dial too difficult to read.

View 1 of Lot 2289: An unusual yellow gold deeply curved rectangular driver’s wristwatch with integrated gold deployant buckle, Circa 1966-67

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