A pair of Edwardian cranberry glass table lustres, having gilt and enamel floral decoration and cut crystal drops, with two circular wooden stands on bun feet, height 40 cm (2)Please see the additional images. Some droplets are missing, unattached and have scratches and chips. Overall in good condition. Some rubbing to the gilt, bases and decoration and light scuffs and scratches consistent with age and usage. Some chips (mainly to bases). No obvious cracks or restoration. Some bubbling to the glass. Wooden stands are very worn and one is missing the velvet lining.
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A Doulton Lambeth faience ware vase of bulbous form decorated with yellow flowers, bearing the painted initials 'E M' together with an Art Nouveau vase with highly stylised raised decoration, height 21 cm (2)Please see the additional images. Bulbous vase has chips to the top which have been painted over and spots of pitting. Both would benefit from a clean. No obvious cracks. Colours bright, marks clear. Light scratches consistent wit age and usage.
A Cunard Line ceramic cube coffee set, made by George Clews & Co Ltd Tunstall, circa 1935, consisting of a coffee jug (missing lid), two jugs and a cup, all with a brown glaze and makers marks to the bases (4)Please see the additional images. Crazing to glaze but otherwise in good condition. Light scratches and slight rubbing to bases. No obvious cracks, chips or restoration. Would benefit from a clean.
A Chinese Qianlong seal marked bowl, likely late 19th / early 20th Century, overglaze polychrome enamel, decorated with a profusion of flowers and fruit bearing plants, on a crimson ground, approximate diameter 22 cm, together with a hardwood stand (2)Please see the additional images. Restoration to the stand. The marks to the underside of the bowl are clear. Spots of pitting to the glaze and a hairline crack to the interior. Would benefit from a clean. light scratches and rubbing consistent with age and usage. No obvious restoration to the bowl.
A Royal Doulton Art Nouveau jardinière, the exterior with stylised organic imagery in relief on a blue glazed ground, incised artists initials to base, height 14 cmEarly 20th Century. Overall in good condition. A couple of very small chips to the base (pre-glazing). Some very light spots of pitting. A couple of 'drips' of blue glaze onto the lower rim. No obvious cracks or restoration.
A blue and white English 18th Century tin glazed earthenware 'delftware' charger, with decoration of waterside buildings in the Chinoiserie taste, diameter 34.5 cm overall condition good in light of age, there is one noticeable chip to the rim, and various areas of fretting and firing flaws, but no hairlines or significant damages
A 1970's Tremaen studio pottery lamp base, designed by Peter Ellery Newlyn Cornwall, modelled as a couple in bed, with a white shade, marked to the base, height (excluding shade) 18 cmOverall in good condition. Cord has been cut. Some light scratches and marks consistent with age and usage. Some rubbing to base. No obvious cracks, chips or restoration. Dusty. Marks to the underside clear.
An early 20th Century Royal Doulton Titanian glazed ceramic vase, decorated by F. Henri, decorated with a swan and cygnet, signed 'F. Henri' (lower right), printed back stamp and titled 'Titanian', height 14.5 cmOverall in good-very good condition. Some light pitting, some small dents and marks to the base (likely pre-glazing) no apparent cracks or restoration. Signature clear.
A 20th Century Danish silver bowl by Peter Hertz, Copenhagen 1924, in the Art Nouveau style with the inscription 'Landsorganisationen for Let Hesteval', diameter 25 cm, together with a set of six George VI teaspoons by C. Robathan & Son, Birmingham 1937, with blue enamel handles, within a black leather case with a fitted interior (2)Bowl weight 555g, light scratches and marks consistent with age and usage. Spots of discolouration and would benefit from a clean. Otherwise in good condition. Spoons, 60g, overall in good condition. Some tarnishing and scratches but no obvious dents, chips or breakage.
Alfred Pizzey Newton (1830-1883) watercolour on paper mounted on board, Ben Nevis', signed and indistinctly dated 'Alfred Newton 18--', the verso bearing a label 'Ben Nevis by Alfred Newton, property of D. S----y', 60 cm x 87 cm, framed and glazed. Additional information: Pizzey specialised in the depiction of mountain scenery. He worked in the Highlands of Scotland and obtained the patronage of Queen Victoria. Upon seeing his work` View in Argyllshire` (OWS 1858), Ruskin wrote "Let Mr Newton but draw all the four sides of Ben Nevis as has done this one, and nobody need ever go to the mountain again for the mere sake of seeing what it is like"Please see the additional images. Overall in good condition. The paper has been roughly cut around the edges and areas are exposed. Some spots of residue to the paper. No obvious tears or restoration. Not examined under UV light. Frame has chips and scratches consistent with age and usage but is structurally sound.
A Lalique opaque glass dove on a circular dish, the underside etched 'Lalique France', height 10 cm, diameter 10 cm, together with a ceramic scarab beetle pendant with a blue glaze (2)Overall the dove is in very good condition. No apparent cracks, chips or restoration. Some very light scratches and rubbing. The beetle has some small chips to the edges and tarnishing to the metal and crazing to the glaze.
Guenevere's (Cherie Lunghi) dress from John Boorman's Arthurian adventure film Excalibur. Guenevere wore her dress at the Round Table when Sir Gawain (Liam Neeson) questioned her fidelity to King Arthur (Nigel Terry). The floor-length dress is made from cream cotton that displays an array of faux-gold floral embroidery, with decorative diamond patterning around the neckline. A long, orange, heavily embellished sleeveless trail accompanies the dress, with two circular beads attached to the front. Bonn & Mackenzie labels with the handwritten text "Cheri Lunghi €“ Guinivere [sic]" are adhered to the inside necklines of both garments. The dress displays light plucks, wear to the stitching and a stain on the back of the trail from production use.£800-1200 M
A miniature model of Kara Zor-El (Helen Slater) from Jeannot Szwarc's superhero film Supergirl. During the opening scenes, Kara climbed into an orb and followed the Omegahedron to Earth to retrieve it. The model depicts Kara sat cross-legged, in a flowing white dress. It is cast in resin with synthetic hair and hand-painted details. It displays some signs of age and handling: there is a crack around the neck and a chip missing near the join, as well as some light grime that has collected in the gathers of her garment. Also, the glue that attaches Kara's hair to her head has become dry and suffered some discolouration. Dimensions: 12 cm x 13 cm x 17 cm (4 3/4" x 5 1/4" x 6 3/4")£800-1200 M
The T-X's (Kristanna Loken) special effects arm from Jonathan Mostow's sci-fi action sequel Terminator 3: Rise of the Machines. The T-X damaged her arm when she was ripped from the roof of a hearse driven by the Terminator (Arnold Schwarzenegger), who purposely drove under a truck to stop her pursuit. The majority of the arm is made of chrome-plated metal painted black, and displays four €ËÅ“battle' damaged prongs at the top. Made of plastic, the lower part of the arm is painted to replicate human skin, and two black Velcro straps adorn the back. The arm is displayed on a circular base with the film's title artwork on the front. A button is situated on the base which, when pressed, causes the title to light up and parts of the arm to illuminate blue, producing an eerie glow. Parts of the paint have worn away on the bottom section exposing the plastic underneath, and the lot exhibits minor wear from production use. Dimensions (displayed): 69 cm x 15 cm x 15 cm (27 1/4" x 6" x 6")£6000-8000 M *Contains electronics; see electronics notice in the Buyer's Guide
Ray Stantz' s(Dan Aykroyd) Ghostbuster jumpsuit from Ivan Reitman's supernatural comedy Ghostbusters. Stantz and his fellow Ghostbusters donned their jumpsuits to track and capture the ghosts haunting New York City. This jumpsuit is made from two different shades of khaki material, features brass zippers, and includes both the "STANTZ" name patch on the left chest and the Ghostbusters logo patch on the right sleeve. It has pockets on the front, back, legs, and left sleeve. There is visible marking and stitching remnants on the left leg where the suit's rubber hose connector was once fastened. The jumpsuit exhibits some signs of wear and aging. While it was intentionally constructed of two different shades of khaki material, the contrast between the materials is now much greater due to one of them becoming heavily discoloured with age; this fading giving the affected material a warmer, pink-coloured hue. The unaltered colour is more prominent in areas not exposed to light, such as underneath the collar.£10000-15000 Ω
An Ewok (John Pedrick) mask from Richard Marquand's Star Wars: Return of the Jedi. Ewoks helped the Rebel Alliance defeat the Galactic Empire during the climactic battle on the forest moon of Endor. This mask, part of a background Ewok costume worn by Pedrick, was designed by makeup artist Stuart Freeborn, who with Phil Tippett was nominated for a BAFTA for his work on the film. The mask comprises a foam-latex face piece including lips and nose; light brown faux fur that is padded with foam around the sides and back of the mask; yellow plastic eye lenses; two yellowed urethane teeth; and a Velcro closure on the reverse. The foam lining is marked "E.S. 41 Jonny Pedrick 23 3/4 C.", and the mask is stored on an original white foam makeup stand labelled the same. The mask exhibits minor signs of wear and age, including fraying to the fur around the ears, tears to the nose and lips, and tape applied over a rip on the interior. Dimensions: 29.25 cm x 33 cm x 34.5 cm (11 1/2" x 13" x 13 1/2")£40000-60000 Ω
Four pages of storyboards from George Lucas' Star Wars: Attack of the Clones. Hand-drawn by Academy Award-winning concept designer Doug Chiang, this set consists of four pieces of white A4 paper with black printed storyboard boxes. Each of these boxes features a light blue pencil drawing, which together plot sequences in the Battle of Geonosis' Petranaki arena fight, between the Jedi and the Separatist battle droids. Underneath several of these drawings are slivers of white paper with printed notes. The drawings are replete with background detail, although the foreground figures are less detailed. Chiang describes one storyboard box as "2 Jedi"; these later became Obi-Wan Kenobi (Ewan McGregor) and Mace Windu (Samuel L. Jackson) fighting back-to-back. Chiang has also added in handwritten pencil notes beneath the boxes, with colourful language such as "That's Gotta Hurt!", adding a real sense of character to the lot. The artwork has very minimal production wear. Dimensions (per sheet): 29.5 cm x 21 cm (11 1/2" x 8 1/4")£600-800 †Δ
A set of door signs from Irvin Kershner's Star Wars: The Empire Strikes Back. Signs would have adorned the door of each department, and they would have been displayed in restricted areas on location at the Finse 1222 hotel in Norway. Made of white card, the signs feature a blue screen-printed The Empire Strikes Back logo. Marked "No Entry" and "Special Effects", with a third blank label also included, each title has been handwritten by the film's lettering artist in blue, and the signs are laminated and sealed. All three exhibit minor wear to the logo prints, marks and slight discolouration from age. Light wear is present on the edges from use on production. Dimensions (each sign): 7.5 cm x 33 cm x 0.2 cm (3" x 13" x 1/4")£400-600 M
A set of four Wonka bars and a Wonka box from Tim Burton's adaptation of Roald Dahl's children's novel Charlie and The Chocolate Factory. Stacks of Wonka bars appeared in various locations as everyone around the world hunted for the five elusive Golden Tickets. The bars are made of brown plastic and feature a "Wonka" logo imprinted on each segment. Each bar has been covered in silver foil and colourful wrappers, which indicate the different flavours of the bars. The front features a printed seal reading "Win a trip to Wonka's Chocolate Factory" and nutritional information is presented on the back. The cardboard box displays brightly coloured sides, which are decorated with the distinctive "Wonka" logo, and is in an opened state. Minor scuffs are present on the corners and the bars exhibit wear, including a small rip in the foil and light creasing on the wrappers. Dimensions (box): 19.5 cm x 17.5 cm x 9.5 cm (7 1/2" x 6 3/4" x 3 3/4"); (each bar): 9.5 cm x 17.5 cm x 1 cm (3 3/4" x 7 1/4" x 1/4")£1000-1500 M
Robocop's (Peter Weller) helmet from Irvin Kershner's sci-fi action sequel Robocop 2. Robocop wore his signature patrol helmet while combating the rise of a new narcotic called Nuke, and its creator and distributor Cain (Tom Noonan). This resin-and-fibreglass helmet is painted metallic light aqua and highlighted with a violet sheen. It features a foam-and-Velcro padded interior and a screwed-on attachment labelled "1", which covers the back of the head and neck. A visor is fitted to the interior. A black foam latex neck-and-chin-lining piece is also attached to the helmet. The helmet exhibits some cracking and chipping throughout, as well as significant wear and aging on the neck-and-chin lining.£8000-10000 Ω
Sandman's (Thomas Haden Church) costume from Sam Raimi's superhero sequel Spider-Man 3. Escaped convict Flint Marko (Thomas Haden Church) wore his costume as he fell into an experimental particle accelerator, transforming him into Sandman, with the power to control and turn himself into sand. The costume consists of two parts: a deliberately torn and tattered T-shirt and a pair of khaki trousers. The T-shirt is deliberately distressed and fraying around the neck. The components are assembled on a custom-made life-size mannequin set atop a black display stand with the Spider-Man 3 logo etched into it. There is a light inside the display stand which, when activated, illuminates the film's title. The display also features Sandman's arm in gigantic sand-form, with the hand curled into a fist. The arm and hand are made of foam with a grainy covering painted the colour of sand.The arm shows some signs of age and storage, most notably in two minor cracks running in parallel lines along the width of the forearm. The costume is distressed and shows signs of wear, but the whole ensemble remains in good, production-used condition. The lot is accompanied by a photograph of the character autographed by Church, and two Columbia Pictures certificates of authenticity. Dimensions (displayed): 38 cm x 56 cm x 188 cm (15" x 22" x 74")£8000-10000 M *Contains electronics; see electronics notice in the Buyer's Guide*Special shipping required; see special shipping notice in the Buyer's Guide
Freddie Mercury's (Rami Malek) Live Aid outfit, and a pair of glam rock video montage promotional touring costumes from Bryan Singer's Oscar-winning biopic Bohemian Rhapsody. Mercury wore his well-known white-vest attire during the Live Aid set, his white glam rock costume whilst performing "Killer Queen", and his sequin catsuit during a world tour montage. These costumes were made in Los Angeles for exhibition during the film's promotional tour, and were based on original reference drawings by famed costume designer Zandra Rhodes, who created costumes for Mercury and Brian May during the 1970s.The Live Aid costume consists of a white cotton jersey vest, a pair of light-wash Wrangler jeans, a black leather belt with metal round- and star-stud detailing, and a black studded armband. The first glam rock video montage costume comprises a white sateen pleated "butterfly" cape top with covered buttons, and a pair of white sateen trousers. The second glam rock video montage costume consists of a silver-sequined sleeved unitard with a plunging neckline. Accompanying the costumes is a German promotional poster, autographed by Rami Malek and Gwilym Lee (who plays Brian May) in black marker. Sequins have fallen off of the jumpsuit, exposing loose threads, and the costume set exhibits light wear and minor marks. The poster displays minor tears and wear to its edges. Dimensions (poster): 84 cm x 59 cm (33" x 23 1/4")£3000-5000 M
Achilles' (Brad Pitt) broken spear from Wolfgang Petersen's mythical epic Troy. Achilles wielded his broken spear during his ferocious battle with Prince Hector of Troy (Eric Bana), and ultimately used the weapon to stab Hector in the chest.The weapon comprises a pointed spearhead made from resin and a light wooden shaft. Intentionally distressed, the spearhead has been painted in shades of faux gold to produce the appearance of worked bronze, and the shaft has been deliberately broken, leaving an exposed splintered end. The head features remnants of green paint, which has been added to produce a verdigris effect. Several marks adorn the shaft and the lot shows minor paint wear, while an exposed section of resin is present on the tip of the spearhead. Dimensions: 82.5 cm x 7 cm x 3 cm (32 1/2" x 2 3/4" x 1 1/4")£1000-1500 †Δ
Achilles' (Brad Pitt) shield from Wolfgang Petersen's mythical epic Troy. The Greek warrior wielded his shield throughout the film, notably using it alongside his sword during the beach battle sequence in which he slaughtered many Trojan soldiers and confronted Hector (Eric Bana) inside the Temple of Apollo. Made of biscuit foam, the shield is round with two semi-circular cut-outs on opposing sides, which allowed Achilles to thrust with a spear while still protecting himself. Finished in black and faux-bronze paint, the face of the shield features intricate figures at war around the centre, with eight discs situated above them. A black wooden handle is affixed to the rear, alongside a strip of thick leather binding and four faux-gold rings. Signs of production use are present on the lot, including light scuffs around the edge and minor paint wear. Dimensions: 81.5 cm x 81.5 cm x 11 cm (32" x 32" x 4 1/4")£4000-6000 M
A light-up "Pup" scanner ball from Ridley Scott's sci-fi prequel Prometheus. This comes from the personal collection of the film's set decorator Sonja Klaus. After the spacecraft Prometheus landed on a distant planet, Fifield (Sean Harris), the expedition's geologist, used his floating scanner balls, referred to as "pups", to explore the submerged Engineer vessel and create a holographic map of its tunnels and rooms. The ball features a resin outer shell, painted and textured to resemble metallic mesh. The ball is predominantly made of translucent acrylic and can be twisted along its equator to make it light up with a red glow. There is some wear from production use, including scuffs, scratches and a couple of small marks in the resin. There is also a minor crack in one of the resin panels. Dimensions: 9.5 cm x 9.5 cm x 9.5 cm (3 3/4" x 3 3/4" x 3 3/4")£2000-3000 M *Contains electronics; see electronics notice in the Buyer's Guide
A set of production design copies by Elliott Scott from the production of Steven Spielberg's action-adventure sequel Indiana Jones and the Last Crusade. These items come from the personal collection of legendary producer Robert Watts. The lot consists of six printed colour copies, which would have been used by the film's production departments. The designs depicts various rooms within Castle Brunwald, including the room where Indiana Jones' (Harrison Ford) father Professor Henry Jones (Sean Connery) was imprisoned by the Nazis. Adhered to thick black card, each design features annotations written in white pencil. The notes explain the setting and point out certain elements within the design. Signs of production use are present on the card, including light marks and minor wear, notably on the corners. Dimensions (each): 28 cm x 59.5 cm (11" x 23 1/2")£600-800 M *Sold without copyright; see copyright notice in the Buyer's Guide
A Battle droid head and arm from George Lucas' Star Wars: The Phantom Menace. Battle droids were used by the Trade Federation to invade the planet of Naboo, attacking the Jedi Qui-Gon Jinn (Liam Neeson) and Obi-Wan Kenobi (Ewan McGregor) on the Trade Federation control ship, and later the Gungans and Naboo Royal Guards in the climactic Battle of Naboo. These pieces were designed by Industrial Light and Magic to simulate destroyed battle droids, and littered the ground during the battle scenes. The head is made of resin, with a mount at the rear to connect it to the droid's neck. It is painted beige, with silver paint washes in places to give the appearance of scratches and battle damage. The head features intentional distress, including a gaping hole in the back, with painted blaster scorches, scratches and scuffs. The arm is made of resin and has articulated joints on the elbow, wrist and fingers. The arm and hand are capable of turning, although the hand missing the thumb and ends of the fingers. Like the head, it is painted beige, with silver-paint-wash weathering. Both pieces display some wear from production use and age, including some scratching and scuffing. Dimensions (head): 38 cm x 15 cm x 36 cm (15" x 6" x 14"); (arm): 48 cm x 8 cm x 4.5 cm (19" x 3 1/4" x 1 3/4")£6000-8000 Ω
A Kull warrior costume from the sci-fi TV series Stargate SG-1. Kull warriors were created by Anubis (David Palffy) to carry out his plans for galactic conquest. Temporarily taken under the control of Ba'al (Cliff Simon), Anubis' army would ultimately be brought down by the Replicators and finished off by the Free Jaffa Nation. The costume consists of a black resin helmet with a mesh fabric over the eyes and mouth; a black resin upper armour piece with faux cables and foam shoulder pads; a pair of black bracers featuring wrist-mounted light-up plasma repeaters; black resin-and-leather lower body armour and codpiece with adjustable belt; a pair of black resin thigh and shin guards; and a black neoprene bodysuit with grey circuit designs. The costume shows wear from production use: the left wrist-mounted plasma repeater is missing its wiring cover, there are small scratches throughout, and there is mild wear on the decorative cables.£2000-3000 M *Contains electronics; see electronics notice in the Buyer's Guide
A set of hand-drawn storyboards from Peter Hyams' sci-fi sequel 2010: The Year We Make Contact. Drawn in pencil on seven opaque sheets of US Letter tracing paper, the storyboards map out the surreal scene in which Dave Bowman (Keir Dullea) appears to Dr. Heywood Floyd (Roy Scheider) and advises him to leave within two days. These detailed pencil sketches feature numerous handwritten notes for frame composition and cast direction, with directional marks and arrows for camera movements. Each page displays light smudging and fingerprints from pencil work and handling during production. Dimensions (per sheet): 28 cm x 21.5 cm (11" x 8 1/2")£1000-1500 †Δ*Sold without copyright; see copyright notice in the Buyer's Guide
A hand-drawn Dave Carson "Home One" storyboard from the production of Richard Marquand's Star Wars: Return of the Jedi. After original storyboards like this one were approved, copies were made and distributed to the various department heads for use throughout production.This storyboard was rendered in pencil, ink and marker on sketch paper, and signed "D" by Industrial Light & Magic key sculptor Dave Carson. It depicts the MC80A star cruiser Home One, also known as Headquarters Frigate, under assault by the Empire, and features the label "SB 48 (1)". The storyboard exhibits minor wear along its edges. Dimensions: 29.25 cm x 23 cm (11 1/2" x 9")£1000-1500 Ω *Sold without copyright; see copyright notice in the Buyer's Guide
An apple box used by Industrial Light & Magic at its San Rafael, California facility. Apple boxes are commonly used on film sets as tools for propping up or supporting items. This piece is a plywood block that is painted grey and whire and features the stencilled words "ILM STAGE" in white on both the top and one side panel. The box exhibits visible wear from production use and age, with paint flaking, wood chips and several holes throughout. Dimensions: 51 cm x 30.5 cm x 10.25 cm (20" x 12" x 4")£400-600 Ω
A crew cap from Steven Spielberg's action-adventure Indiana Jones and the Raiders of the Lost Ark. Crew members were given these caps while working on set. This style of cap was also worn by Spielberg himself in famous behind-the-scenes footage of the film. The cap was manufactured by The Thinking Cap Co. and is made of beige cotton with mesh panels. An embroidered Raiders of the Lost Ark patch is attached to the front. It shows signs of age and wear, the light pink sweatband inside shows some staining, and the top of the hat shows some discolouration and trailing threads. In addition, the adjustable buckle is held together with brown gaffer tape.£300-500 M
A model miniature DeLorean time machine from the Back To The Future Special Effects Stage, part of Universal Studios Hollywood's The World of CineMagic attraction, which ran from 1991 to 2001. The model DeLorean was used to demonstrate how detailed model miniatures were utilised to achieve shots of the car flying. It was constructed using the same patterns as the larger-scale DeLorean miniatures created for Back to the Future: The Ride. The model time machine is made of resin, aluminium, and plastic and includes key details such as the miniature "Mr. Fusion" energy reactor, the rear vents, and a mass of intricate tubes and wiring, all of which ensured the miniature looked convincingly realistic, as compared with its full-size counterpart. The model DeLorean has a mounting collar for a large-diameter tube, which allowed for it to be moved by a model mover during the show. The model is mounted to a custom-made display base with a momentary electrical switch to run its remaining lighting elements, including some of the tail lights, vents, and wheels. The model is missing some minor elements, such as the driver's-side mirror, a few pieces of trim, and one wheel light, and exhibits other various signs of wear from age and storage. Dimensions: 77 cm x 52.25 cm x 51 cm (30 1/4" x 20 1/2" x 20")£10000-15000 Ω *Contains electronics; see electronics notice in the Buyer's Guide
Austin Powers' (Mike Myers) cufflinks from Jay Roach's spy-comedy sequel Austin Powers: The Spy Who Shagged Me. Austin wore his cufflinks near the beginning of the film during a photoshoot with Ivana Humpalot (Kristen Johnston), and when they played a seductive game of chess at Austin's €ËÅ“shag pad'. Made of metal, the pair of cufflinks feature a raised "P" initial inside a circle. The outer edge and the letter display a polished, gold-coloured finish and the posts of the cufflinks twist, allowing them to be locked in place. The lot is housed inside a small grey velvet box and exhibits signs of production use, including minor scratches, marks to the rear side and light wear. Dimensions (cufflink): 2 cm x 2 cm x 2 cm (3/4" x 3/4" x 3/4"); (box): 6 cm x 5.5 cm x 3.5 cm (2 1/2" x 2 1/4" x 1 1/4")£400-600 M
A Baby-Baby Solarspot with light filters from ILM (Industrial Light & Magic). 1000-watt, Type 2831 Molequartz lights of this type were produced by Mole-Richardson Co. to produce basic film light. The toggle-switch light, known in the industry as a "tweenie", is made of cast aluminium with maroon enamel, sheet steel, and features a three-pronged house plug. The wooden filter bin and the Solarspot both feature the ILM lightbulb logo stenciled on them, with the bin marked "Tweenie" and "TW", and the light marked "C26". The Solarspot, bin, and filters exhibit signs of wear and age throughout. Dimensions: 28.75 cm x 22.25 cm x 26.75 cm (11 1/4" x 8 3/4" x 10 1/2")£400-600 Ω *Contains electronics; see electronics notice in the Buyer's Guide
Bruce Nolan's (Jim Carrey) prayer beads from Tom Shadyac's fantasy comedy Bruce Almighty. TV reporter Bruce was given a set of prayer beads by his girlfriend Grace (Jennifer Aniston) as she left his car to take part in a blood drive at the beginning of the film. Threaded onto a piece of red elastic string, the wooden spherical beads are finished in varying shades of green and feature an intentional light stripe. A lime green barrel-shaped bead with a grooved-out middle is positioned under the knot in the elastic. Minor wear is present on the beads and the elastic ends have begun to fray. Dimensions: 15 cm x 7 cm x 1 cm (6" x 2 3/4" x 1/4")£1000-1500 â€
Two-Face's (Tommy Lee Jones) screen-matched ringmaster top hat from Joel Schumacher's superhero sequel Batman Forever. Posing as ringmaster, Two-Face wore his hat during the Flying Graysons massacre at the Gotham Hippodrome's Charity Circus event. The unique two-toned hat screen matches to the scene where Two-Face attempted to draw Batman (Val Kilmer) from the circus audience. Made of silk, the hat is vertically divided with multi-coloured graffiti on the left and plain black on the right, and finished with a matching bow. The graffiti features skull motifs with stains and burned details throughout ۠reflecting the character's disfigured half. Following the bisected design, the interior is silk-lined, with orange leopard print on the left and plain black on the right. A leather band runs around the inside and shows stains from the purple makeup Jones wore throughout the film. Presented on a custom-made display stand, the hat shows light wear from production use, in addition to the intentional distressing. Dimensions (displayed): 32 cm x 27 cm x 40 cm (12 1/2" x 10 3/4" x 15 3/4").£3000-5000 †Δ
A radio-controlled hero ghost trap and pedal from Ivan Reitman's supernatural comedy Ghostbusters and its sequel Ghostbusters II. The Ghostbusters ۠Peter Venkman (Bill Murray), Raymond Stantz (Dan Aykroyd), Egon Spengler (Harold Ramis), and Winston Zeddemore (Ernie Hudson) ۠used traps to capture ghouls haunting New York. A small number of electronic trap props were made for the production by Academy Award-nominated special effects supervisor Chuck Gaspar, and reused in the second production. This piece comes with a letter of authenticity from producer Michael C. Gross. The trap consists of a black aluminum box with a handle and four wheels, an illuminating red plastic light, an illuminating electronic charging meter, a yellow plastic light, and two doors with yellow striped caution tape applied on top. When charged, the trap doors open to reveal five 9V batteries in a battery pack, an array of four small light bulbs, and circuitry connecting the doors to the batteries. The original plastic and metal Futaba radio-control system used to operate the trap is labelled with numbers corresponding to the mechanism that each button controls. The trap has several pieces of functionality: the remote button labelled "5 DOOR" opens the striped hatch doors on top; the throttle labelled "3 BARGRAPH" operates the light bar graph at the top of the piece which illuminates up and down to confirm that the trap is filled up; the "6 FLASH" button initiates the internal strobe-light used for on-set interactive lighting effects when the trap opens; and the mechanism labelled "7 RED LIGHT FLASH" operates the red flashing light at the rear of the unit that signifies it is holding a ghost. The hydraulic foot pedal is made of steel and wood painted black, with red and yellow wires underneath. Also included is a plastic-and-steel cable that connects the trap and the pedal, and a red-and-black AC charging cord for the trap. The round silver bars on the side of the trap's body were originally painted orange for the first film, and were stripped back to raw aluminium when the trap was reconditioned for the sequel. All pieces exhibit signs of use and wear, including scrapes and scuffs throughout, as well as chipped wood on the pedal. Operating instructions for the functional electronic components are also included. Dimensions: 75 cm x 58.5 cm x 24.25 cm (29 1/2" x 23" x 9 1/2")£80000-120000 Ω Δ*Contains electronics; see electronics notice in the Buyer's Guide
A collection of nine crew items from the original Star Wars trilogy. These items come from the personal collection of legendary producer Robert Watts. The lot consists of a black mesh crew cap featuring "Revenge of the Jedi" embroidered in red on the front; two navy blue "Revenge of the Jedi" sweatshirts (size L); a matching children's sweatshirt (size S); a navy ladies' The Empire Strikes Back T-shirt (size M); a blue Star Wars: Droids sweatshirt (size XL); two black "The First Ten Years" sweatshirts (size XL); and a yellow Star Wars T-shirt (size L), featuring a triangular logo designed by Ralph McQuarrie. The set displays light wear from production use, including several marks and minor plucks, and cracks have formed in some of the printed titles.£800-1200 M
A Y5-X2 astromech droid dome from Rian Johnson's Star Wars: The Last Jedi. Astromech droids were important members of the Resistance, working to keep weapons, ships and other machinery functional. The Y5-X2 was created to appear in several scenes on the bridge of The Raddus, in the background behind General Leia (Carrie Fisher), but Fisher asked that the droid be removed as the noise of it moving was distracting her from her lines. The droid dome was hand-built by Brad Oakley, who also produced droids for Star Wars: Rogue One: A Star Wars Story and Solo: A Star Wars Story. While ultimately not seen in the final cut of the film, it was used for the film's promotion, having been turned into a toy after the release of the movie, and can be found on page 21 of Star Wars: The Last Jedi ۠The Visual Dictionary. The droid head is made of styrene CNC (computer numerical control)-cut frames that were hand-skinned. It is predominantly white with dark green panels, and it features three metal eyes ۠each with its own LED light ۠and a metal antenna. The droid dome is hollow, except for the wiring and panels used to control the electronics. The droid dome has been intentionally distressed in places to look worn and well-used, like much of the technology and weaponry of the Resistance. This includes damage to the white paint on the lower ring. There is additional wear from production use, such as scuffing and scratches. The lot comes with the droid's power supply. Dimensions: 47 cm x 47 cm x 55 cm (18 1/2" x 18 1/2" x 21 3/4") Literature Star Wars: The Last Jedi ۠The Visual Dictionary by Pablo Hidalgo, published by DK.£8000-10000 M *Contains electronics; see electronics notice in the Buyer's Guide
A baby Tyrannosaurus Rex maquette from Steven Spielberg's action-adventure sequel The Lost World: Jurassic Park. The baby T-Rex, known as Junior, featured throughout the film, and was captured by hunter Roland Tembo (Pete Postlethwaite) to lure its parents.Created by Stan Winston Studio, maquettes were used as a master reference for colour matching and were cyberscanned by ILM to create CGI models, allowing the team to computer-mill foam pieces to build the full-size animatronic dinosaurs.The maquette is made of cast resin and has been expertly painted in shades of green, with distinctive markings running down its back and tail. Highly detailed, it features scaled skin, muscle definition, a set of sharp teeth and a pair of piercing green eyes. The model stands on a black wooden base with a label reading "BABY T-REX" adhered to the front. Minor chips to the paint are present all over from production use, and the base shows light wear. Dimensions: 64 cm x 25.5 cm x 43 cm (25 1/4" x 10" x 17")£4000-6000 †Δ
A hero Wonka bar from Mel Stuart's fantasy musical Willy Wonka and the Chocolate Factory. Wonka bars featured throughout this adaptation of Roald Dahl's classic children's story, after Willy Wonka (Gene Wilder) randomly hid five golden tickets within the wrappers of his chocolate bars. It was in such a bar that Charlie Bucket (Peter Ostrum) found his precious ticket and his adventure began. The bar comes from the personal collection of Julie Dawn Cole who portrayed Veruca Salt Very few hero versions of the chocolate bar were made for production, and props from this beloved film are extremely hard to find, as most were destroyed at the film's Bavarian studio to allow production to wrap quickly, making way for the immediate filming of Cabaret. This is the first hero bar Prop Store has ever encountered. The bar is made of card, with a silver-painted core representing the foil-wrapped chocolate. Glued to the exterior is a paper cover bearing the iconic Wonka top-hat logo in yellow. The bulk of the front of the confectionary is decorated a rich chocolate brown. The sides of the bar are hand-painted pink, visible underneath the bright orange paper surround, which has become unstuck over time. The back of the bar is unpainted and rough, likely where it was originally affixed to part of the set. The bar shows some signs of age and use, with some colour fade to the corners and a light crease at the top edge. Dimensions: 16.5 cm x 8 cm x 1 cm (6 1/2" x 3 1/4" x 1/4")£10000-15000 M
A Goa'uld TER weapon from sci-fi television show Stargate SG-1. Transphase Eradication Rods were used at various points throughout the show's run, most notably against the insectoid Re'tu. TERs appeared whenever invisible enemies attacked SG Command, as it was able to make such foes visible, before blasting them. This TER is a light-up version created for close-ups to show the weapon's functionality. It is made of resin with elaborate sculpted detailing and is finished to appear as though it is made of worn, corroded bronze. The prop features a battery-operated scanner eye that illuminates when a small slide switch is activated. Dimensions: 43 cm x 8 cm x 17 cm (17" x 31/4" x 63/4")£2000-3000 M *Contains electronics; see electronics notice in the Buyer's Guide
A green Kryptonian energy crystal from Sidney J. Furie's superhero sequel Superman IV: The Quest for Peace. Clark Kent (Christopher Reeve) visited his family's farm and recovered a green crystal from the wreckage of the capsule that brought him to Earth. He used the crystal later to heal himself back to health after contracting radiation sickness from Nuclear Man's (Mark Pillow) scratches. Cast from translucent acrylic, the crystal shard features clear uneven pointed ends, which gradually fade into green at the centre. The crystal displays signs of wear from production use, including light scratches, minor marks and two lines of glue residue on the underside. Dimensions: 33 cm x 4.5 cm x 3 cm (13" x 1 3/4" x 1 1/4")£4000-6000 M
Frank Abagnale Jr.'s (Leonardo DiCaprio) Pan Am ID from Steven Spielberg's biographical crime caper Catch Me If You Can. Frank falsified his employment with Pan American World Airways and wore an employee badge as he travelled the world pretending to be a co-pilot. Laminated in plastic, the ID shows a picture of DiCaprio in the role of Frank and includes his alias ۠Frank Taylor ۠typed, with his signature positioned underneath. A Pan Am logo is situated to the right of the picture, with "Pilot" and an ID number printed below. The edges of the laminated plastic are slightly worn and the card displays light surface scratches. Dimensions: 0.1 cm x 8.5 cm x 5.5 cm (1/4" x 3 1/2" x 2 1/4")£1000-1500 †Δ
A pair of Nebuchadnezzar console buttons and a collection of crew items from the Wachowskis' The Matrix sequels. Various buttons were incorporated into the main cockpit control panel of the Nebuchadnezzar ship. Made of plastic, one button consists of a red switch housed inside a black frame, while the other button features a printed black-and-yellow chevron pattern, with a separate clear plastic panel. The crew items comprise of a black adjustable cap with an embroidered emblem of a baby growing in a pod and the title artwork on the back; a black cotton jacket (size L) which features both sequel titles and digital rain emblems embroidered in green on the back; and a weighted metal plaque which exhibits a raised emblem of Agent Smith's (Hugo Weaving) face, distorted by the impact of a punch from Neo (Keanu Reeves). The lot exhibits signs of light wear, including minor distressing and paint wear from production use on the buttons. Dimensions (plaque): 7 cm x 7 cm x 1 cm (2 3/4" x 2 3/4" x 1/2"); (black button): 5 cm x 5 cm x 4 cm (2" x 2" x 1 1/2"); (patterned button): 5 cm x 5 cm x 1.5 cm (2" x 2" x 1/2") ADDITIONAL INFORMATION: The label inside the hat features handwritten black text reading "MLS! Costume".£200-300 †Δ
Christopher Lee's director chair back and autographed note, from the production of Guy Hamilton's Bond movie The Man with the Golden Gun. Director's chairs were designated to specific cast and crew using named chair backs. This chair back is made of white canvas, with "Christopher Lee The Man With The Golden Gun" printed on it in black. It comes with a handwritten letter of authenticity confirming that this was Lee's only chair back from the production, signed by Lee and dated 9 January 1997. The chair back's fabric has discoloured greatly, there are light fold lines, and there is a long glue stain along the bottom. Dimensions: 55 cm x 18.5 cm x 0.1 cm (21 1/2" x 7 1/4" x 1/8")£2000-3000 M
A Hill Valley 2015 police baton from Robert Zemeckis' sci-fi adventure sequel Back to the Future Part II. Officers Foley (Stephanie E. Williams) and Reese (Mary Ellen Trainor), armed with their batons, found Jennifer Parker (Elisabeth Shue) unconscious in an alley and brought her to the home of her future self. The police baton comprises a black plastic handle and siding over a clear yellow plastic interior. It features a small metal switch on the handle, as well as the remnants of its internal lighting components. At the connection of the main extension to the handle, the baton is split into two pieces. Any possible functionality of the electrical wiring is unknown, and the cylindrical light bulb inside is broken and should be handled carefully. Dimensions: 33.25 cm x 21.75 cm x 4 cm (13" x 8 1/2" x 1 1/2")£1000-1500 Ω *Contains electronics; see electronics notice in the Buyer's Guide
A light-up stunt Klingon disruptor rifle from J.J. Abrams' sci-fi sequel Star Trek Into Darkness. Disruptor rifles were used by the Klingons during the battle on Kronos with Kirk (Chris Pine), Spock (Zachary Quinto), Uhura (ZoÃÆ’« Saldana) and John Harrison (Benedict Cumberbatch). During the battle Spock picked up one of the rifles and started firing it. The stunt weapon is made predominantly of rubber and features textured plastic side panels which light up green when the button underneath is pressed. The weapon displays spiked blades, with the gun's jagged look reflecting the "barbarism of the Klingons", according to property master Andrew M. Siegel. The rifle comes with its own custom-made stand which features the film title and the weapon name. The weapon is designed to look distressed, while the side panels are slightly loose and there is some additional scuffing. Dimensions (displayed): 92 cm x 6.5 cm x 24 cm (36 1/4" x 2 1/2" x 9 1/2")£2000-3000 †Δ*Contains electronics; see electronics notice in the Buyer's Guide
Seven certificates from Sir Christopher Lee's private collection, dated from 1943 to his death in 2015. These items come from the personal collection of legendary actor Sir Christopher Lee. The papers consist of: the registration of a tree planted in his memory by the Jewish National Fund; three appointments from King George VI (one as an RAF Officer, two as a Pilot Officer); his certificate of membership to the Company of Musketeers of Armagnac; and his nominations as Aide de Camp by Governor Cliff Hinch of Mississippi and Governor Jimmy Carter of Georgia. Most of the documents are ornately transcribed and well-preserved, though the Jewish National Fund commemoration shows some light creases, and the 1973 certificate from the Company of Musketeers of Armagnac has a tear at the top. Dimensions: (largest) 43 cm x 35.5 cm (17" x 14")£400-600 M

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