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Lot 178
Chinese white metal, dragon design, three piece tea set comprising: teapot, sugar bowl and cover and cream jug, mark to base: Shanghai Singfat with seal mark. (3) CONDITION REPORT: Oxidisation, especially to interior of teapot. General surface wear and scratches, dinks in places. Approx 554g Teapot size: 7" long x 3.5" high approx Sucrier: 5"x 2.75" Milk jug: 4.5" x 2.5"
Lot 165
A set of five late 17th / early 18th century Kangxi period blue and white saucer plates, decorated with various panels of flowers and foliage, one having a monogram within a double blue circle to base, together with a miniature blue and white tea bowl, bears jade mark to base. D. 11cm (smallest) D. 14cm (largest)
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 222
HELEN BRADLEY ARTIST SIGNED LIMITED EDITION COLOUR PRINT 'Aunt Edith was Seventeen and wept for love' (19/200), unframed Supplied with a copy of the book about the artist 'Helen Bradley's Lancashire' with slip case, and a SET OF FOUR BOOKS by Helen Bradley, with dust wrappers 'The Queen Who Came to Tea' 'Miss Carter Came with Us' and 'Miss Carter Wore Pink' 'In the Beginning, Said Great Aunt Jane' (5)
Lot 35
A quantity of 19th century black glazed tea wares with various painted and gilded floral and leaf decoration including two samovars fitted with plated taps (one missing cover), a five piece tea set with gilt border decoration comprising hot water jug, teapot, teapot stand, milk jug and sugar bowl, three teapots and a hot water jug with various ivy leaf design, etc
Lot 119
A collection of 19th century Wedgwood dessert wares with turquoise and gilt border decoration comprising a pair of low comports, a high comport and nine plates, a Copeland Spode basin with printed floral detail to the interior and exterior, a further jug and basin set with green and gilt ivy detail, a quantity of tea wares with blue printed floral sprig detail, Hammersley Dresden Sprays pattern wares comprising teapot, milk jug, sugar bowl, a pair of plates, a cup and four saucers, etc
Lot 39
A quantity of Royal Albert Old Country Roses pattern tea wares comprising milk jug, sugar bowl, five cups, six saucers and six tea plates together with a set of six Wedgwood plates from the Williamsburg Series in the shell edge and further plates including a boxed Spode limited edition example commemorating 2,500 years of the Persian monarchy, etc
Lot 533
"RHODANTHE", A CLARICE CLIFF BON JOUR EARLY MORNING SET, c. 1934, comprising teapot, cream jug and sugar bowl, two cups and saucers and a tea plate, painted with yellow, orange and brown flowers on sinuous brown stems, various versions of black printed mark including Newport and Wilkinson. (8)
Lot 159
A set of six dessert forks with silver tines and loaded thread and shell handles, to/w five matching knives with steel blades, Harrison Bros. & Howson, Sheffield 1906/10, various other table knives and tea knives with loaded silver handles, electroplated Albany pattern soup ladle and basting spoon and other electroplated flatware and cutlery (box)
Lot 484
A 19th century Dutch tortoiseshell cased 833 standard silver teaware set, the fitted interior comprising ten fiddle pattern teaspoons, pair of sugar tongs and a sugar shovel, all with maker's mark K over a bridge?, Rotterdam, 1831, together with an ivory handled tea strainer with sword mark only and a caddy spoon with the sword mark and maker's mark JSM, box
Lot 449
A late 19th century German 800 standard matched silver three piece tea set, of baluster form, with oval sugar box and spiral decoration with ornate cartouche and conch shell finial, two pieces with engraved inscription to base and marks for Bruckmann & Sohne, Heilbronn, sugar box stamped "Buckmann", gross 49 oz.
Lot 494
A late 19th/early 20th century Chinese export silver three piece tea set by Hung Chong & Co, Shanghai, of shaped circular form, with applied prunus decoration, with rustic handles and spout, comprising tea kettle on stand (no burner), teapot and two handled sugar bowl and cover, gross 65 oz.
Lot 493
A good early 20th century Russian 84 zolotnik silver three piece tea set by Ivan Khlebnikov, Moscow, of cylindrical form, with ornate ring scroll handles with central swan motif and borders decorated with swags, floral motifs and beaded and milled bands, with turned finials, 1908-1917 kokoshnik mark, teapot 5.75in, gross 30 oz.
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