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Lot 150
A probably unique and very comprehensive RAWLPLUG collection of shop furniture and fittings, tools, accessories, advertising and promotional items, books, catalogues etc. a Dorset collection accrued over many years and being offered in one lot. The collection comprises; A rare and early counter top glazed pine display cabinet c1930 and measuring 15"x 12"x 24" h. showing a selection of Rawlplugs, jumping tools and holders, the rear of the cabinet comprises of a set of four drawers. Another counter top display for various sizes of tool holders and Rawldrills. An unused mechanical hammer in it's rare orig box with leaflet. Two mechanical hammers. Three other mechanical hammers of different patterns with a rare breast plate attachment. An early electric drill model R.P.I. A heavy duty model B electric hammer drill. Rawlplug Rotary Drill Hammer attachment to convert an electric drill to a power hammer. Rawldrive major. Quantity of Stardrill Rawlbits incl. the rare wood handled No 8 holder. 30 various drill bits in orig tubes. Four orig packets of Rawldrills of various sizes and dates. Four early boxes of Rawlplugs and several later boxes. An unusual box of assorted sizes of Rawlplugs with sizing gauge on lid. Later boxes of fibre Rawlplugs. Boxes of plastic plugs and fixings. Four early tins of Rawlplug outfit kits (one marked New York) six tins of Mechanics outfit No 8 and other tins of various versions and ages. Three household fixing kits and two DIY outfits. Seven different popular outfits and six No 8 household outfits. Seven Handyman outfits (originally Amature Mechanics) Rawlplastic tins and boxes inc. plastic wood, iron cement, Duraglue, & Durofix. Welder's Mate, Soldering irons, Tapes, Gauges, Blowtorch, Sharpening Stones etc. all by Rawlplug Various Rawlplug promotional and advertising items incl. Pewter Tankard (1919-1969) Three miniature bottles of Rawlplug malt whisky (1919-1999) mugs, cigarette case, matches and ashtrays, packs of playing cards etc. 30 Rawlplug advertisements from various magazines, trade cards, letter heads, wall charts, booklets and instructions. Many of the outfits are in as produced condition. A note from the vendor; I started the collection over 10 years ago. The first few items were acquired by chance, but they encouraged me to research information about the company and its history. The first expanding wall-plugs were patented in 1912 by the Rawlings Brothers in West London, and famously were used to fix electric lights in the British Museum without damaging the walls. The Rawlplug company was established in 1919 and by the early 1920s the company was making many different tools and advertising widely in several magazines and national newspapers. All this encouraged my interest in such an enterprising company; this led to the acquisition of further random items and eventually I deliberately started to try to fill gaps in the collection. As time went on a strong motivation was the knowledge that the collection seemed to be unique, as I don't know of anyone else who has gathered such a large and comprehensive collection of Rawlplug products. The collection includes not just tools, though Rawlplug have made a surprisingly wide range over the years, but it also includes associated documents and promotional items, all of which give a wider view of the company as a whole.
Lot 340
COLLECTION OF DECORATIVE OBJECTS including a 20th century Royal Vienna lidded urn painted with gold and Roman figures, a clown figure playing the violin, a painted porcelain trumpet vase on a square base flanked by two putti; together with several shoes figures, perfume glass countainers, etc
Lot 169
George Eastham signed World Sports February 1961 magazine. Signed on the front cover by the former English footballer. He is known for playing for Newcastle United, Arsenal and Stoke City, as well as a non-playing member of England's 1966 World Cup-winning squad. However, he is also notable for his involvement in a 1963 court case which proved a landmark in improving players' freedom to move between clubs Good condition. All signed items come with a Certificate of Authenticity and can be shipped worldwide.
Lot 67
Four Soviet figurines featuring cats and a dog, the tallest of a chef rebuking a cat eating a stolen chicken, 23cm high, the Dulevo girl celebrating the 1985 Moscow Festival, 12.5cm high, one figure playing with a dog, 12cm high and the last by Lomonosov of a lady carrying a jar with a cat beside her, 12cm high (4)
Lot 53
Four Soviet porcelain groups featuring the balaika, the tallest of the two Kiev groups of a man playing the instrument to his lady, the smaller with the couple seated, 9.5cm high, the Polonnoe man with his moustache drooping as he sits playing, 6.5cm high and the Korosten female player also seated, 13.5cm high (4)
Lot 105
A Pair of George III Satinwood Card Tables the tops inlaid with boxwood in the form of a fan within a walnut crossbanded arch, banded and inlaid throughout with rosewood, boxwood and ebony, the tops opening to reveal a baize playing surface, on square tapering legs, the back legs with brass locking latch and with capped feet, 91cm wide, 74cm high, 46cm deep
Lot 55
A Pair of French Empire Bronze and Marble Candelabra each with a standing bronze classical maiden holding aloft a finely chased flaming urn issuing three scrolling branches with foliage and eagle head detail, standing on a white cylindrical marble base with ormolu band depicting classical maidens playing instruments with dancing putti, 31cm wide, 92cm high A related pair of Candelabra sold Christie's, London, 'Le Pavillon Chougny A Private Collection', 9 Dec 2004, lot 353.
Lot 24
A rare and unusual George IV silver musical box, by Thomas Edwards, London 1823, the hinged lid decorated with engine turning and chased floral thumb piece,the body having ribbed decoration, gilded interior, playing two tunes, 9 x 5.5 x 3cm approximately. Condition Report: Overall condition very good, the case having minor denting and surface scratching. In working order. Key present. Interior marks to both parts clear, but having minor denting. Hinge firm. Cartouche blank.
Lot 157
A Late Victorian Electroplated Britannia-Metal Inkwell, by Mappin & Webb: circa 1880, modelled as an elephant's head, the hinged cover applied with a seated monkey playing a flute, raised on a circular base. Foot note, for a similar example see "Understanding Antique Silver Plate", by Stephen Helliwell, published 1966, page 198. CONDITION REPORT: Detailing good however there is wear to the highpoints of decoration.
Lot 100
PAUL MCCARTNEY & WINGS - 1979 UK TOUR - great collection of memorabilia to include 5 x 35mm colour transparencies featuring them playing on stage, 14 press and promotional photographs (11 x 8"x10" and 3 8"x12"), a hat, a t-shirt, a programme, tour rosette, 7 stickers, 4 badges including 2 enamel, an enamel necklace, a Christmas card and 5 photographers passes.
Lot 213
JOHN LENNON - 'HOW I WON THE WAR' - (***Please notify the auctioneer by email/phone of your intention to bid on this lot otherwise your bid may not be accepted on the day***). a fantastic and unique collection of over 200 original black and white 35mm negatives of images taken by the late photographer Zdenko Hirschler on the set of How I Won The War (Andalucia, Spain, 1966). The majority of the images have never been published and are to be sold with full copyright. Contact sheets are also included with the lot. The majority of the images are of John Lennon himself and feature candid shots of a 'happy' Lennon whilst taking a break from filming. The collection contains many high quality close up portrait shots together with full length shots, including quite a few of John playing cricket. There are also images of Lennon with a camera taking some photographs himself having jokingly discussed a possible future as a photographer with Zdenko. Further scans will be added to the catalogue shortly. The following feature by Zdenko written around 4 years ago, gives an interest backstory to the photoshoot: An exclusive ZDENKO HIRSCHLER feature JOHN LENNON'S SECRET - AN EERIE PROPHESY Revealed for the first time after 45 years....... Almost half a century has passed since I shot those pictures of John Lennon. More than 45 years since I went to the charming Andalusian resort of Almeria in the south east corner of Spain. I went there to interview JOHN LENNON on location in Dick Lester's movie 'HOW I WON THE WAR'. The site of Almeria was chosen because of its blistering-hot climate (104 F) and its Sahara-like,Taberas desert - it was then a super popular place for shooting all kinds of desert warfare. I arrived on location at the same time they has a tea break. Lennon had a brick in his hand with a sandwich and a cup of tea in the other. "You see", he told me. "You don't have to be a movie star to get a cup of tea. But it helps to get you to the front of the waiting line". I was amazed to meet a COMPLETELY re-invented John Lennon; No more MOPTOP haircut... No more Trotsky-like unshaved chin... No more black jeans... No more leather jacket with the quasi- Elvis collar... In spite of his nondescript sloppy military uniform, Lennon looked clean, fresh and very young. Even his new yellow-tinted grandma style glasses did not change that impression. He looked like a cute teenager in spite of his 26 years. "My my - what a change!"' I told him."You've gone from HIPPIE TO HIPSTER". "Glad you like it!" he quipped back. "This moon-like desert is super cool -no fans, cars or photographers here"'. Lennon was originally case to play the part of Lt.Ernest Goodbody - an officer obsessed with endless tirades on how war seems to be 'the noblest' of all games. His musings about heroism and duty were meant to portray him as a complete idiot. But alas, there was no leading role for Lennon. Very soon, Lester learned that John Lennon was totally incapable of memorizing the lines. So the lead role went to a Michael Crawford, who at that time, was a less known actor. Although Lennon seemed useless, Lester could not afford to send the famous Beatle home. So instead, Lennon was cast in a smaller part of a 'Private Gripwood' which gave him complete freedom to ad lib his lines, to clown around and do as he pleased. The movie was meant to be an anti-war piece consisting of endless display of idiotic officers… but it reminded me more of a slapstick Keyston Kops silly symphony of the early twenties. Lennon was very happy with this new direction and he had his own reasons to be in Almeria. 1966 was a crucial year for the Beatles. Although the group achieved world fame, made tons of money and was idolized by millions of young fans, 1966 ended in a very bad way… It started with Lennon giving his famous interview to the London Evening News saying something to the effect that 'JESUS IS OUT OF FASHION AND LESS POPULAR THAN THE BEATLES.' The result of his words was catastrophic.. The Beatles were almost attacked in Tokyo, beaten in Manilla and started to receive hundreds of threatening letters from former USA admirers. As a result, they decided to end their tour. It was then that Lennon accepted the offer to try acting in Lester's movie in Almeria, being in an obscure corner of Europe and far away from all the negative publicity. It seemed an ideal place to hide. Lennon spoke of the new lives his band-mates had and explained to me... "The Beatles started to go in different directions..Paul and his girlfriend at the time, Jane, decided to start watching animals in Africa. George and Patty went to India while Ringo and Maureen went to see relatives in England. I wanted to try something new in my life - ACTING - So far, l I am very happy here and it is an exciting, new adventure". I countered, "Perhaps you could be a good photographer. Take my camera and try to make a portrait with my long lens." I gave Lennon my Nikon and he shot some portraits of me and some of Dick Lester. My picture was a complete miss but Lester's was OK.. There was no financial need for Lennon to start a new life, whether it was in the acting world or wherever. He was already a very rich man who owned a big home in Kenwood and lots of cars including a Rolls Royce and a Ferrari. He was happy staying six weeks in Almeria. But near the end of shooting Lester asked him to do the very last scene where Lennon was to be shot by four bullets and fall to his death. He refused to perform this tragic scene. He explained to Lester that dying in a violent way was something that had haunted him for years. It dated from Hamburg in 1962 when the Beatles first started. Once, he was involved in a very violent fight with his best friend Stuart Sutcliffe -- a member of the original group at that time. A year later, Sutcliffe died from a brain injury. Lennon was crushed and told his then girlfriend Cynthia about it… "This is too freaky…it could mean I'll have a violent death too" he said to her. He told Lester the same story and exclaimed that being killed in the movie scene would be too much like 'an eerie prophecy'. "I don't want to do this scene!" he shouted. Lester tried calming him down. "Don't be silly!", he said and added, "It's only a movie and this last scene shows that war is tragic and in spite of all the silliness we are portraying, the message is that people do die during war". Lester knew the real value of having John Lennon killed in his movie. Even if the movie might end as a complete flop (which indeed it did), the truth was that Beatles and Lennon fans would most likely go in droves to see Lennon die a violent death on the silver screen. They argued a lot about it. In the end, Lennon was forced to give up and play the part of dying a lonely death in a field shot by four bullets. Out of character, he acted so well in the scene that his wife Cynthia broke down and had to be whisked away from the cinema.. John how could you do this to me,asked Cyntia,but John was not in mood to talk about this last act..He forbade any future mentioning of this uncanny death and this was a subject not to be touched by any Beatle or friend... A tabu theme... Was this an eerie prophesy? The full unedited version can be seen on Omega Auctions website.
Lot 424
Daniel and Arter, Birmingham, an Edwardian oak and EPNS mounted tantalus/games compendium, fitted a mirror back and plush lining enclosing three cut glass decanters and stoppers, the front having a double hinged lidded compartment with divided interior, over drawer, on plinth, contains two cribbage boards, playing cards and natural/red stained ivory disc counters, 34 x 38 x 29 cm
Lot 699
An interesting collection of 18th and 19th century and other prints and engravings, etc, including a pair of early 19th century coloured engravings of Napoleonic military and naval battle scenes after W Heath and AMS, both engraved by Sutherland, 26 x 37 cm approx, unframed, a humorous early 19th century coloured caricature of Poor Billy, published by T McLean, coaching subjects including A View on the Highgate Road after James Pollard, published by J Moore, various topographical studies, botanical studies, etc, mostly unframed together with a 19th century French coloured engraving of an interior setting with miser playing his fiddle whilst surrounded by bags of coinage, after Destouche, 40 x 47 cm approx in burrwood style frame
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79736 item(s)/page