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Preisdatenbank abonnierenAlbert Wainwright (1898-1943) - A hand painted wooden box of rectangular form, decorated with a portrait of a female smelling a flower and another figure with a decorative headdress, all in an oval panel, the sides decorated with repeat patterned banded decoration, signed with monogram to the base, 11.5cm x 9cm, together with a similar box, hand carved and painted with a stylised peacock, partial scratch monogram to the base, 14cm x 9.5cm. (2)
George Cartlidge - Thomas Hardy & J H Barratt & Co - A portrait tile, circa 1924, sepia Emaux Ombrants profile portrait of Thomas Hardy on relief moulded ground, initialled lower right and impressed marks to reverse, 22.5cm x 15cm, framed. NB - Literature: Tony Johnson The Morris Ware, Tiles & Art of George Cartlidge, private press, page 82.
A mixed lot to include; three late 20th century stained glass window copies in frames, one depicting Shakespeare; a bankers style lamp (Missing light part); a wooden figure of a monkey; an Arts & Crafts style three division letter rack (but mid to late 20th C); two novelty spelter figures of males, both with pails in hand or on head modelled to be candle holders; a late 20th century Indian mask of a deity; a late 19th / early 20th century silver plated Continental bowl with bird handles and of circular shape; a 20th century silver plated presentation twin ahndled bowl engraved "The Royal Bank 200 years in Glasgow; a Sonnette key panel and a framed and glazed print of a portrait of a man. (Q)
A Vienna porcelain part tea service consisting of six cups and saucers; six plates; twin handled serving plate and a small comport, all hand painted with classical female scenes, all titled to reverse and marked, some signed by Schuler, with gilt and cobalt blue grounds. Together with a hand painted Vienna porcelain twin handled bowl, with central portrait after Gainsborough's lady with gilt surround. (Minor wear, loss to gilding and wear.)
Assorted reproduction coloured photographs relating to the 1966 FIFA World Cup to include celebration photograph complete with two negatives; England and Germany lining up before the game; portrait of Bobby Moore wearing an England home shirt; a signed photograph of various England players holding the Jules Rimet trophy together with a quantity of mid 20th century domestic and international football programs and boxed set 1966 World Cup Winners Collection die cast model vehicles and a red cap with silver thread writing
A Crown Devon hand-painted ceramic tankard designed by Walter Lamonby, featuring a relief portrait of John Peel, the famed English huntsman, alongside a verse from the traditional hunting song. The tankard is adorned with hunting motifs, including a fox head entwined with a whip, leafy accents, and a bamboo-style handle. Marked on the base with the Crown Devon Fieldings backstamp, this vintage piece captures the charm of English sporting heritage.Artist: Walter LamonbyIssued: 20th centuryDimensions: 4.5"HCountry of Origin: EnglandCondition: Age related wear.
A curated collection of six antique and vintage Chinese snuff bottles alongside a unique painted oil lamp or incense burner. The snuff bottles exhibit exquisite craftsmanship, featuring materials such as hand-painted porcelain, enamel, glass, and carved bone, with intricate designs depicting figures, landscapes, and auspicious motifs. One bottle incorporates silver overlay with symbolic imagery. The oil lamp is adorned with ironwork and a stylized painted female portrait, suggesting both functional and artistic significance. This collection embodies Chinese artistic tradition, making it a prized acquisition for collectors. Largest item: 4.25"H.Issued: c. 19th-20th centuryDimensions: See DescriptionCondition: Age related wear. As is. Some snuff bottles can't be opened.
A unique handcrafted studio pottery vase marked Studio A, featuring a bold abstract portrait design. This tall, sculptural piece showcases an intricate combination of textures and geometric patterns, with earthy-toned glazes in shades of brown, blue, and cream. A striking stylized face is prominently depicted on the surface, adding to its expressive, modernist appeal. The vase is further enhanced with applied handles near the rim, giving it a distinctive form. Signed on the base, this piece measures 14.25"H. A remarkable addition for collectors of contemporary studio pottery and ceramic art.Dimensions: See DescriptionCondition: Age related wear.
Tajik/Israeli, b. 1966Portrait of a ManSigned Kremer on the reverseOil on canvas27 1/2 x 19 5/8 inches UnframedIn overall good condition. Some wear to edges.In overall good condition. Some wear to edges.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
German, 1932-2002Portrait of Nan Kempner, 1967Signed and dated Mati Klarwein 67 (ul)Oil and tempera on canvas laid to Masonite 40 x 22 1/4 inches (101.6 x 56.5 cm)Provenance:Acquired directly from the artistThence by descent in the family(Framed 40 1/2 x 22 5/8 inches)Several light surface abrasions at center right. A few tiny losses along the edges. Some minor surface soiling, may benefit from a cleaning.Several light surface abrasions at center right. A few tiny losses along the edges. Some minor surface soiling, may benefit from a cleaning.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
The Smiths: A collection of five postcards, two written by Morrissey to Mike Hinc, the first undated but believed to be September 1984, the front featuring a black and white photograph of The Marvelettes, reading 'Dear Michael, Thoughts on Cardiff: No toilets (except public one)!! Dressing room 300 degrees below freezing point!! Stage laughably small, heavies mid-barrier were ultra heavy with happy fan. Crowd were great. ART WORK (given to Outlaw by ATB) was 3 records old!!!! - Will accept your decision on Belfast & Dublin venues - tickets aren't too expensive, I presume - thanks to Martin for coming to Gloucester. Please compile Feb-Mar venues. Love, your pets, The Smiths'.The second card, featuring a picture of Morrissey himself, and dated April 28th 1985, reads 'Mike, Can we tie in an Italian date with the Spanish jaunt? Yet still to England on planned date? Can we ditch Barcelona and do Rome? Or one important Spanish date and two Italian? Any idea how London Records found my address? Love, M'.The remaining cards feature bass guitarist Andy Rourke apparently practising his signature (on the reverse of a Smiths promotional postcard), a further card with the same image, with a typed message (probably by Morrissey, to Mike Hinc), reading 'These four beautiful boys would like to do SOME GIGS (but NOT the Upper Volta). We feel a grand passion for Ireland. Nine gigs? But we don't want to LOSE MONEY. Nine gigs? Our future support must be JAMES from FACTORY (please contact them when necessary)...Nine gigs (three rows of three). Remember, we are Rough Trade Artists.' There is blur crayon across the card, similar to that used to sign other letters written to Mike Hinc from Morrissey, as featured elsewhere in this sale.The final card, featuring a black and white portrait of Morrissey, is from an unknown sender, to 'Hilary', who worked with Mike Hinc at All Trade Booking, and reads 'Hilary, I need a copy of US tour inv (359?). Are Ross Bennet Smith having this paid from US? Can your travel agent get me info on QE2 to US. And sea routes to Japan?? (P'haps from US). Please call me, [?]', the card with a postmark dated 13th September 1985. Provenance:From the personal collection of the late Mike Hinc, former booking agent at Rough Trade for Morrissey, The Smiths and others. The lot forms part of an extensive archive of related items on this sale, consigned by the family of Mike Hinc. Qty: 5
Star Wars: The Empire Strikes Back (1980), Japanese B2 film poster - artwork by Noriyoshi Ohrai, double sided, with The Empire Strikes Back on one side, and a full length color portrait of Kristy McNichol and Tatum O'Neal on reverse, folded, 20 1/2 x 29 inches.This poster was produced after McNichol and O'Neal's film, Little Darlings was released in 1980, ?possibly as advertisers wanted to expand their audiences across both films or that printers may have been cost conscious and therefore decided to use an over run on another job to print the the other poster on the reverse. Starring Mark Hamill, Harrison Ford, Carrie Fisher, Directed by Irvin Kershner Very good condition, fold creasing and light edge wear
The Beatles: John Somerville (British,1951-) ‘John Lennon’, limited edition sculpture - head and shoulders portrait bust wearing a pair of detachable thin wire spectacles in the Windsor glasses style, modelled and cast by the artist in cold cast metals, bronze resin, signed J. Somerville to lower edge of bronze, this sculpture is number 8 in an edition of 250, mounted on a wooden plinth of oak, 26 x 36 x 24cm, with base H57cm, W36cm, D24cm; with an accompanying certificate (2)
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ⊕ HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF SIDONIE, THE ARTIST'S WIFEsigned with initials and dated 42 lower rightpencil on paper22 x 13.5cm; 8 1/2 x 5 1/4in36 x 26cm; 14 x 10 1/4in (framed)HANS FEIBUSCH (LOTS 9-32)Introduction To stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. (Hans Feibusch) IntroductionFeibusch fought for the Kaiser in the First World War, survived the Russian Front, and studied with Carl Hofer in Berlin and with Emil Othon Friesz and André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in the artist becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches, civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye and the commercial art world. After his last exhibition at the Lefevre Gallery in 1951 he would not have another gallery show until the late 1970s. Instead Feibusch devoted himself to large scale mural projects, designing the decorations for the tearoom at the Victoria & Albert Museum in 1946, and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting The Resurrection and Scenes from the Life of St Peter at St Peter's Church, Pickford Lane, Bexley Heath and Angels with Infants for the baptistry of Christ Church and St Stephen’s, Battersea. Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and contributed the foreward to the catalogue of the first exhibition of the Society of Mural Painters held in 1950.A consummate draughtsman, whether sketching his surroundings, or studying the model before him, he captures each scene with a fine eye for detail. And as a colourist, he responded to the light of his surroundings with a breathtaking freshness and immediacy. But above all it is the manner in which he places the human form at the heart of his work with such ease and fluidity that leaves an abiding impression on the viewer and makes his work so compelling today.Held under glass, not examined out of frame. Despite watermark along lower edge of mount, appears in good original condition.
MARGARET GREEN (BRITISH 1925-2003) ⊕ PORTRAIT OF LIONEL BULMERoil on the artist's prepared muslin-covered board40.5 x 30cm; 16 x 11 3/4inunframedThe untrimmed muslin has slightly rolled inwards to the right vertical edge but is deemed inherent to the artist's working method and does not effect the appearence of the work. There is some thinning to the paint in some places but this is deemed inherent to the artist's chosen medium. Otherwise, this work is in good original condition. The work has been examined under ultraviolet light and there is no evidence of restoration. This work is unframed.
MARGARET GREEN (BRITISH 1925-2003) ⊕ MARGARET GREEN (BRITISH 1925-2003) FESTIVAL GARDENS signed M Green lower left oil on board 35 x 25.5cm; 13 3/4 x 10in unframed MARGARET GREEN (LOTS 56-67) Introduction Margaret Green’s elegant paintings offer delightful, often contemplative, observations of quotidian post-War Britain.The daughter of a Teeside steelworker worker in West Hartlepool, Green was inspired to paint by the young Patrick Heron, who drew her portrait during a family holiday in Yorkshire. She first studied at Hartlepool College of Art before joining the Royal College of Art, where she met Lionel Bulmer, her future husband (see lots 40-55). At the RCA, she was taught by Ruskin Spear and Carel Weight, and was also influenced by the New English Club, established by James Abbott McNeill Whistler, John Singer Sargent and Philip Wilson Steer, who had championed Impressionism in British Art. Green developed a colourful, loose and distinctive style of painting which captured the mood and landscape of Post-War Britain with a poignant delicacy. A cafe scene rendered with gently fluttering tonal strokes and bold expanses of colour bears a characteristic heaviness, each figure bearing a distinct individual weight (lot 58).Green was granted a travel scholarship from the RCA where she and Bulmer spent over a year painting in France and Ireland, returning to London where they undertook part-time teaching roles at both the Kingston and Walthamstow Schools of Art whilst also exhibiting at the New English Arts Club and Royal Academy. The French sun and deep greens of the Irish landscape left a permanent mark on both artists, whose works of the familiar and everyday are dappled with soft warm light, vibrant freshness, joy and memory (lots 59, 62, 63).The couple eventually tired of the city and sought to set up home in the countryside, in particular closer to the sea. Since childhood, Green had captured the fishing and sea coal mining industries in and around Hartlepool, which would remain a recurring theme in her work (lot 65). She and Bulmer renovated an ancient, thatched cottage in Shelland near Stowmarket, Suffolk, where they enjoyed a bucolic existence painting, growing their own food and making their own wine. Grief stricken by Bulmer’s death in 1992, Green stopped painting for the rest of her life. Painting and partnership had become intertwined to both artists, and when asked how she was coping following her husband’s death, Green answered that 'love was an absolute and so was its loss.' Her energetic early portrait of Bulmer, capturing him in an introspective moment (lot 60) serves as an intimate tribute to their relationship, and a testament to Green’s tactful and lasting ability to render the life she loved. This work is unframed. The work is painted onto board which is laid onto a thicker board support. In the top left corner, the board has slightly deteriorated forming a dogear , but all elements are intact and stable. There are dents along the top edge of the work but this is deemed inherent to the artist's studio practice. There are small paint losses along all four edges and two larger areas to the upper right and lower left corners. There is a small surface abrasion to the upper right corner, only visible under close inspection. There is a small nick and two minute tears to the lower right centre. Otherwise this work is in good original condition. The work has been examined under ultraviolet light and there is some light retouching around the larger tear, but there is no other evidence of restoration.
WOOD NATALIE: (1938-1981) American actress, an Academy Award nominee for Best Actress in 1961 for her performance as Wilma Dean ´Deanie´ Loomis in Splendor in the Grass and again in 1963 for her performance as Angie Rossini in Love with the Proper Stranger. Signed 8 x 10 photograph, the original vintage 20th Century Fox publicity portrait depicting the juvenile actress in a head and shoulders pose as Gretchen from the American drama film The Star (1952) in which she appeared opposite Bette Davis. Signed (´Natalie Wood Wagner´, from the time of her marriage to actor Robert Wagner) in blue ink with her name alone to a light area of the image. A few very light, minor corner creases, otherwise about VG
SHEARER NORMA: (1902-1983) Canadian-born American actress, Academy Award winner for Best Actress in 1929/30 for her role as Jerry Bernard Martin in The Divorcee. A good vintage signed 8 x 10 photograph, the Metro-Goldwyn-Mayer publicity portrait depicting the actress in an appealing head and shoulders pose. Signed in dark fountain pen ink to the base of the image. An ink annotation in the hand of a collector to the verso indicates that the photograph was signed at the Waldorf Astoria Hotel in New York on 25th January 1937. One small, minor tear to the lower white border and a few light surface and corner creases to the white borders, otherwise VG
LENYA LOTTE: (1898-1981) Austrian Actress, best remembered for her role as the murderous and sadistic Rosa Klebb in the James Bond movie From Russia with Love (1963). Vintage signed and inscribed 3.5 x 5.5 portrait postcard photograph of Lenya in a close-up head and shoulders pose. Signed `Lotte Lenya´ in bold black ink to a clear area of the image, and inscribed in German. Also dated to the right white border of the image July 1965. G to VG
ABRAHAM F. MURRAY: (1939- ) American actor, Academy Award winner for Best Actor in 1984 for his role as Antonio Salieri in Amadeus. Signed 8 x 10 photograph, a close-up portrait study of the actor. Signed in blue ink with his name alone to a light area of the image. A pencil annotation in the hand of a collector to the verso indicates that the signature was obtained in person following a stage performance of Landscape of the Body at the off-Broadway Public Theatre in New York on 16th November 1977. Together with three signed 8 x 10 photographs and very slightly smaller (1) by some of the Best Actor Oscar nominees of 1984 comprising Albert Finney (for his performance as Geoffrey Firmin in Under the Volcano), Tom Hulce (for his performance as Wolfgang Amadeus Mozart in Amadeus), and Sam Waterston (for his performance as Sydney Schanberg in The Killing Fields). All are boldly signed, two in fountain pen inks, largely to clear areas of the images with their names alone. VG to EX, 4
REVERE ANNE: (1903-1990) American actress, Academy Award winner for Best Supporting Actress in 1945 for her role as Mrs. Araminty Brown in National Velvet. Signed 8 x 10 photograph, the original vintage Paramount Pictures publicity portrait dating from 1950 and depicting the actress in a head and shoulders pose. Signed in black ink with her name alone to a lighter area of the background. Together with four signed 8 x 10 photographs by each of the other Best Supporting Actress Oscar nominees of 1945 comprising Eve Arden (for her performance as Ida Corwin in Mildred Pierce), Ann Blyth (for her performance as Veda Pierce-Forrester, also in Mildred Pierce), Angela Lansbury (for her performance as Sibyl Vane in The Picture of Dorian Gray), and Joan Lorring (for her performance as Bessie Watty in The Corn Is Green). All are boldly signed in black inks, Blyth in fountain pen ink, largely to lighter areas of the images, and none are inscribed. Generally VG, 5
SWANSON GLORIA: (1899-1983) American actress, an Academy Award nominee for Best Actress in 1927/28 for her role as Sadie Thompson in Sadie Thompson, and again in 1929/30 for her role as Marion Donnell in The Trespasser. An excellent vintage signed and inscribed sepia 10 x 13 photograph of the actress seated in a half-length pose. Photograph by Hal Phyfe of New York and signed by him in white pencil to the lower left corner and also bearing his credit stamp to the verso. Signed by Swanson in fountain pen ink to a lighter area of the image and dated 1938 in her hand. VGHal Phyfe (1892-1968) American photographer, famous for his theatrical portraits of Broadway stars of the 1920s and 1930s. Phyfe frequently asked his subjects not to smile when having their portrait taken, an instruction Swanson followed in the present image.
GABLE CLARK: (1901-1960) American actor, Academy Award winner for Best Actor in 1934 for his role as Peter Warne in It Happened One Night. A fine vintage signed sepia 8 x 10 photograph, the Metro-Goldwyn-Mayer publicity portrait depicting the suave actor seated in a head and shoulders pose. Signed by Gable in blue fountain pen ink with his name alone to a clear area of the image. Some very slight, minor surface and corner creasing, one only very slightly touching the signature, otherwise VG
MARCH FREDRIC: (1897-1975) American actor, Academy Award winner for Best Actor in 1931/32 for his roles as Dr. Henry L. Jekyll and Mr. Hyde in Dr. Jekyll and Mr. Hyde and again in 1946 for his role as Al Stephenson in The Best Years of Our Lives. Vintage signed sepia 8 x 10 photograph, the Paramount Pictures publicity portrait depicting the actor in an appealing head and shoulders pose. Signed by March in dark fountain pen ink to a lighter area of the image. VG
[BECKETT SAMUEL]: (1906-1989) Irish novelist & dramatist, Nobel Prize winner for Literature, 1969. A good collection of vintage unsigned 7 x 9.5 photographs (and slightly smaller) of Beckett (7) and various actors and actresses in stage and television productions of his works, the gelatin silver prints by a variety of German photographers including Heinz Koster, Angelika Simon, Ilse Buhs and Wilhelm Pabst, the majority with their credit stamps to the versos, and date from the 1960s. The images include a portrait of Beckett, the playwright standing on a stage (some alongside his collaborator Deryk Mendel), and another showing him behind a television camera during the filming of a German production of Eh Joe in Stuttgart, April 1966 (at the time of Beckett´s sixtieth birthday), the majority of the other images depicting scenes from various plays including Waiting for Godot and Endgame. Three of the images are annotated to the versos in the hand of Deryk Mendel. A few with some creasing and other minor faults, generally VG, 34Ptrovenance: The present photographs originate from the personal archives of Deryk Mendel (1920-2013) British ballet dancer, choreographer, actor and director, a friend of Beckett. The playwright wrote the short play Act Without Words I in 1956 for Mendel and the dancer first performed the mime at the Royal Court Theatre in London on 3rd April 1957.
MEDFORD KAY: (1919-1980) American actress, an Academy Award nominee for Best Supporting Actress in 1968 for her performance as Rose Brice in Funny Girl. An excellent, scarce vintage signed 8 x 10 photograph, the original Paramount Pictures publicity portrait dating from 1960 and depicting Medford in a head and shoulders pose in costume as Mrs. ´Soda´ Gallo from the American drama film The Rat Race. Signed by the actress in bold blue fountain pen ink with her name alone to a light area of the image. About EX
STREEP MERYL: (1949- ) American actress, Academy Award winner for Best Supporting Actress in 1979 for her role as Joanna Kramer in Kramer vs. Kramer. Signed 8 x 10 photograph of Streep in a smiling close-up portrait pose in costume from her Oscar-winning performance as Joanna Kramer from the American legal drama film Kramer vs. Kramer. Signed in bold blue ink with her name alone to a clear area of the background of the image. EX
DENNIS SANDY: (1937-1992) American actress, Academy Award winner for Best Supporting Actress in 1966 for her role as Honey in Who’s Afraid of Virginia Woolf?. Signed 8 x 10 photograph, the original vintage Warner Bros. publicity portrait depicting Dennis in a head and shoulders pose in costume as Sara Deever from the American romantic comedy film Sweet November (1968). Signed by the actress in bold black ink with her name alone to a light area of the image. A pencil note in the hand of a collector to the verso indicates that the signature was obtained in person following a performance of Same Time, Next Year at the Brooks Atkinson Theatre on Broadway on 4th October 1976. About EX
WOODWARD JOANNE: (1930- ) American actress, Academy Award winner for Best Actress in 1957 for her roles as Eve White, Eve Black and Jane in The Three Faces of Eve. A good signed 8 x 10 photograph, the original vintage publicity portrait depicting Woodward in a head and shoulders pose in costume from her Oscar winning performance in the drama film The Three Faces of Eve, becoming the first actress to win an Academy Award for portraying three personalities. Signed by Woodward in black ink across a light area of the image. A couple of very light, minor creases to one corner, VG
SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painters of his generation. A.L.S., John S. Sargent, two pages (written to the first and third sides of the bifolium), 8vo, n.p., n.d. (´Saturday´), to [Francis Derwent] Wood, in bold pencil. Sargent writes, in full, ´Thanks for the addresses. Miss Finch & Miss Phyllis Slough turned up & I have been drawing from them - and have also enjoyed the Belgian´. Some light dust staining and with a small area of paper loss to the upper left corner. GFrancis Derwent Wood (1871-1926) British sculptor.
DOUGLAS MELVYN: (1901-1981) American actor, Academy Award winner for Best Supporting Actor in 1963 for his role as Homer Bannon in Hud and again in 1979 for his role as Benjamin Turnbull Rand in Being There. Vintage signed sepia 8 x 10 photograph, the Paramount Pictures publicity portrait depicting the actor in a head and shoulders pose. Signed in bold dark fountain pen ink with his name alone to a lighter area of the image. Together with John Huston (1906-1987) American film director and actor, an Academy Award nominee for Best Supporting Actor in 1963 for his performance as Cardinal Glennon in The Cardinal. Vintage signed 8 x 9 photograph of Huston in a head and shoulders pose in costume from his Oscar nominated performance as Cardinal Glennon from the American drama film The Cardinal. Signed in blue fountain pen ink with his name alone to a light area of the background. Also including two signed 8 x 10 photographs by two of the Best Supporting Actor nominees of 1979 comprising Frederic Forrest (for his performance as Houston Dyer in The Rose) and Mickey Rooney (for his performance as Henry Dailey in The Black Stallion). Both are signed in blue inks (Rooney in fountain pen ink) with their names alone to light areas of the images. VG to EX, 4
[SHOSTAKOVICH DMITRI]: (1906-1975) Russian composer. A printed folio programme for the Shostakovich 75th Anniversary Concert at the Royal Festival Hall, London, 21st October 1981, individually signed to the front cover by Maxim Shostakovich (1938- ) Russian-American conductor and pianist, son of Dmitri Shostakovich, and Dmitri Shostakovich Jr. (1961- ) Russian-American pianist, son of Maxim and grandson of Dmitri Shostakovich. Maxim Shostakovich conducted the 75th Anniversary Concert at which Dmitri Shostakovich Jr. performed as a soloist alongside the London Philharmonic Orchestra. Both have signed with their names alone in blue inks beneath the front cover portrait of Dmitri Shostakovich, a reproduction of a drawing of the composer by his son, Maxim. Together with Mstislav Rostropovich (1927-2007) Russian cellist and conductor, a friend of Shostakovich who wrote an introduction to the 75th Anniversary Concert programme. Blue ink signatures (in both Cyrillic and Roman script) and inscription an oblong 8vo sheet of paper, dated 1979 in his hand (a few stains, only slightly affecting one of the signatures). Also including Yehudi Menuhin (1916-1999) American-born British violinist and conductor. A printed folio souvenir programme for the Golden Jubilee Concert - 50th Anniversary of the Concert Début of Yehudi Menuhin at the Royal Albert Hall, 4th November 1979, signed by Menuhin in blue ink with his name alone to a clear area of the front cover. Some light age wear, G to VG, 3
CRAIG YVONNE: (1937-2015) American actress, famous for her role as Batgirl (Barbara Gordon) in the television series Batman. Signed colour 10 x 8 photograph of Craig in a close-up portrait pose in costume as the green-skinned Orion Marta from the Star Trek episode Whom Gods Destroy (1969). Signed by Craig in dark ink to the background, also adding her character name in her hand beneath her signature. About EX
SEGAL GEORGE: (1934-2021) American actor, an Academy Award nominee for Best Supporting Actor in 1966 for his performance as Nick in Who´s Afraid of Virginia Woolf?. A good signed 8 x 10 photograph by Segal, the original vintage Warner Bros. publicity portrait depicting the actor in a head and shoulders pose seated in his cabriolet as he arrives at a parking lot reserved with his name at the film studios during the making of the American drama film Who´s Afraid of Virginia Woolf? which also starred Richard Burton and Elizabeth Taylor. Signed by Segal in bold, dark fountain pen ink with his name alone to a light area at the base of the image. About EX
KENNEDY GEORGE: (1925-2016) American actor, Academy Award winner for Best Supporting Actor in 1967 for his role as Dragline in Cool Hand Luke. Signed 8 x 10 photograph, the Universal City Studios publicity portrait dating from 1970 and depicting Kennedy in a head and shoulders pose in costume as Joe Patroni from the Aiport disaster film series. Signed in bold black ink to a lighter area of the background. Together with three signed 8 x 10 photographs by several of the Best Supporting Actor Oscar nominees of 1967 comprising John Cassavetes (for his performance as Victor R. Franko in The Dirty Dozen), Cecil Kellaway (for his performance as Monsignor Mike Ryan in Guess Who´s Coming to Dinner; a scarce example depicting the actor in costume from the film), and Michael J. Pollard (for his performance as C. W. Moss in Bonnie and Clyde). All are boldly signed, Pollard in fountain pen ink, to light areas of the images and none are inscribed. Generally VG, 4
POITIER SIDNEY: (1927-2022) American actor, Academy Award winner for Best Actor in 1963 for his role as Homer Smith in Lillies of the Field. Signed 7.5 x 9 photograph, the original vintage Metro-Goldwyn-Mayer publicity portrait depicting Poitier in a smiling head and shoulders pose. Signed in blue ink with his name alone to a light area of the image. Together with two signed 8 x 10 photographs by two of the Best Actor Oscar nominees of 1963 comprising Albert Finney (for his performance as Tom Jones in Tom Jones) and Richard Harris (for his performance as Frank Machin in This Sporting Life). Both are signed to largely clear areas of the images, Harris in bold, dark fountain pen ink. Neither are inscribed. Generally VG, 3
DAVIS GEENA: (1956- ) American actress, Academy Award winner for Best Supporting Actress in 1988 for her role as Muriel Pritchett in The Accidental Tourist. Signed colour 8 x 10 photograph of the actress standing in a happy half-length pose and holding her Oscar statuette in her hands. Signed in bold blue ink with her name alone to the image. Together with two signed 8 x 10 photographs by two other Best Supporting Actress Oscar nominees of 1988 comprising Joan Cusack (for her performance as ´Cyn´ in Working Girl) and Frances McDormand (for her performance as Mrs. Pell from Mississippi Burning; the image depicting her in a close-up portrait study from the film). Both are boldly signed to the images and neither are inscribed. VG to EX, 3
BOOTH SHIRLEY: (1898-1992) American actress, Academy Award winner for Best Actress in 1952 for her role as Lola Delaney in Come Back, Little Sheba. Signed 8 x 10 photograph, the original vintage Paramount Pictures publicity portrait depicting Page in a head and shoulders pose, speaking on a telephone, in costume from her Oscar winning performance as the frumpy housewife Lora in the American drama film Come Back, Little Sheba. Signed by Booth in blue ink with her name alone to the base of the image, across a darker area although reasonably legible. A couple of very light, minor corner creases, otherwise VG
BONDI BEULAH: (1888-1981) American character actress, an Academy Award nominee for Best Supporting Actress in 1936 for her performance as Rachel Jackson in The Gorgeous Hussy, and again in 1938 for her performance as Mary Wilkins in Of Human Hearts. Signed and inscribed 8 x 10 photograph, the original vintage Columbia Pictures publicity portrait depicting the actress in a head and shoulders pose in costume as Ma Smith from the classic American lighthearted political satire film Mr. Smith Goes to Washington (1939) which also starred James Stewart. Signed by Bondi in bold black ink to a light area of the background. VG
MURATOV DMITRY: (1961- ) Russian journalist and television presenter, Nobel Peace Prize winner, 2021. Signed colour 8 x 10 photograph, a close-up portrait study of Muratov. Signed in bold black ink with his name alone to the lower white border. A pencil note in the hand of a collector to the verso indicates that the signature was obtained in person at the Conference on Journalist Safety held at the Palais Niederosterreich in Vienna, November 2022. EX
STAPLETON MAUREEN: (1925-2006) American actress, Academy Award winner for Best Supporting Actress in 1981 for her role as Emma Goldman in Reds. A good signed 8 x 10 photograph of Stapleton in a head and shoulders pose, the original vintage publicity portrait issued for the Repertory Theatre of Lincoln Center and bearing their credit stamp to the verso. Signed by Stapleton in bold blue ink with her name alone to a light area of the background. Together with three signed 8 x 10 photographs by several other Best Supporting Actress Oscar nominees of 1981 comprising Melinda Dillon (for her performance as Teresa Perrone in Absence of Malice), Joan Hackett (for her performance as Toby Landau in Only When I Laugh), and Elizabeth McGovern (for her performance as Evelyn Nesbit in Ragtime). All are boldly signed, McGovern in fountain pen ink, to light areas of the images and only one is inscribed. Colour (1). VG to EX, 4
MERLANT NOEMIE: (1988- ) French actress whose breakout role was as Marianne in Portrait of a Lady on Fire (2019). Signed colour 8 x 10 photograph of Merlant in an appealing head and shoulders pose. Signed in black ink with her name alone to a lighter area of the image. A pencil note in the hand of a collector to the verso indicates that the signature was obtained in person at a red carpet event at the Sala Grande during the Venice Film Festival in 2022. EX
RAY MAN: (1890-1976) American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer. The original typescript manuscript of Man Ray´s autobiography Self-Portrait, with numerous manuscript corrections and substantial alternate readings, with accompanying carbon copies of many chapters (also with manuscript corrections), together with a series of autograph and typescript working notes, and further including a few pieces of correspondence between Man Ray and his publishers, The Atlantic Monthly Press. The manuscript, typed by Man Ray himself (the final page bearing the manuscript note ´Typed by Man Ray´) in Paris from 1960-62, is loosely contained in a number of paper folders, each annotated and titled by the artist (designated as a First Draft or First Copy), which include Part I New York (originally The Painter) comprising over eighty pages of typescript manuscript, in a paper folder (extensive and heavy tears to the edges) with manuscript title Self Portrait by Man Ray (first draft) and further marked Part I New York (p. 1-81) at the head. With a second copy of the same, retitled New York, and also including an additional eight pages, originally a continuation of The Painter, but later marked as the beginning of Part II: Paris; nine pages of typescript manuscript in a paper folder annotated by Man Ray 1st Chapter in Part II pp.82-89; sixteen pages of typescript manuscript for a chapter entitled Paul Poiret - The Portrait that was Never Made and marked as pp. 90-106; thirteen pages of typescript manuscript for a chapter entitled The True Story of Kiki of Montparnasse; fifteen pages of typescript manuscript for a chapter entitled Contacts with the Aristocracy and marked as pp. 120-134; and other typescript manuscripts for chapters entitled American & English Writers; Painters & Sculptors; Dada Films & Surrealism; The Depressing Thirties (later altered to The Fateful Thirties and finally retitled as Occupations & Evasions) representing the final chapter of Part II; thirty-two pages of typescript manuscript entitled I Discover Hollywood (Part III) followed by the final chapter, Paris Again (Part IV). In all the typescript manuscript and related carbon copies (some on onion skin paper) amounts to around seven hundred 4to pages, typed to the rectos only, much of the manuscript dedicated to Man Ray´s time in Paris and populated with numerous recollections relating to the Dada and Surrealist movements, as well as his friends and contemporaries including Pablo Picasso, Marcel Duchamp, Francis Picabia, Kiki de Montparnasse (Alice Prin), Lee Miller, Gertrude Stein, Salvador Dali, James Joyce, Tristan Tzara, Paul Eluard, Andre Breton and may others. Also included is an earlier folio typescript manuscript, with holograph corrections, of twenty-eight pages, entitled Paul Poiret (1922), written by Man Ray in Hollywood, California, and dated 15th February 1949 (annotated to the verso of the final page to be rewritten (done Oct. 21-61) see Self-Portait, 1963). Together with Man Ray´s manuscript working notes comprising around forty pages (mainly 8vo) and covering a wide spectrum of individuals and subjects including Pablo Picasso, Dora Maar (´Dora gives up photography for painting, contrary to a book in which a painter, upon seeing Picasso, gives up painting for photography´), Marcel Duchamp (´my oldest friend´) and others, also making more general observations, ´I must keep in mind that I am doing a self portrait, therefore all references to my contemporaries should not be taken as criticism or evaluation of them, but as a clearer portrayal of myself…..After recounting these experiences, controversies, I hope my friends will revise their opinion of me – that I have been too modest – not pushed myself forward enough. Rather it has been the hopelessness of convincing the doubtful ones of the equal value of all efforts – or their futility´, and in a passage headed Ending stating ´If I have spoken at greatest length about those the least known by the majority, it complements my self portrait. At Picasso´s one day a visitor lauded him fervently saying he was the best known living painter – and what did I do, he asked? Evidently I was the best unknown living painter´. Other miscellaneous pages of typescript include an initial summary of Man Ray´s autobiography, in part, ´Following is a table of contents for an autobiography of twenty years in Paris; with some specimen pages on my arrival from New York. Also a chapter on my meeting with Paul Poiret, the famous couturier, in which is depicted his gradual decadence, and the author´s own frustration as a photographer. Each chapter may run from fifteen to thirty pages, which would make about a four hundred page book. There are many other names of personalities that may be included, not mentioned in the table of contents, without unduly prolonging the book, unless other episodes were added, which could easily run the book to seven or eight hundred pages. The use of photographs made in this period is optional. I have all my files and they contain many portraits of the people mentioned. If about twenty were used, it would liven up considerably the book….The photographs are to be regarded as documents, not as reproductions of works of art´, a brief text entitled Originals, Graphics, Multiples, and another entitled Dadamade, dated 8th July 1958. The few pieces of correspondence include a T.L.S., Man Ray, two pages (separate leaves), 4to, Paris, 19th July 1962, to Seymour Lawrence. Man Ray states that he has taken note of his correspondent´s letter ´and modified or deleted passages (in red ink on my copy of the manuscript) enclosing the pages involved [still present]´, explaining ´I have tried to eliminate all references to extra-marital relations as regards Donna [his first wife] and myself, Clem Randolph and Mary Reynolds. The latter is dead; I have lost track of the others including Loupov – do not know whether they are still alive. The names Donna and Loupov are modifications of the actual names: Adon Lacroix and Adolf Wolff´ and further remarking ´I do not know how to treat Donna´s defection and our separation unless I eliminate the whole episode, the most dramatic in my life. If she is still alive I do not think consulting her would arrange matters – she might blow up but it would be without consequence….she is now, if alive, a woman of about 75 years´. Man Ray continues ´There is one other pre-marital episode: my meeting with wife Juliet in Hollywood, but she is signing a waver (sic) to all libel action! I have just thought again on the subject of Donna. She was not really married to Loupov (Wolff) before, had her child with him, and after our separation she lived with other men for sixteen years until on my visit to N.Y. I arranged our divorce to please her. She would not dare to make trouble if all this was brought up…..I regret only having to eliminate the sentence “That night I lost my virginity…..” OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED HERE. PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
BARDOT BRIGITTE: (1934- ) French actress and sex symbol. Signed colour 8 x 10 photograph, a close-up portrait study of the actress wearing reflective sunglasses in which the photographer and his lights can be seen. Signed by Bardot in bold black ink with her name alone to the lower white border. EX
KERR DEBORAH: (1921-2007) British actress, an Academy Award nominee for Best Actress on six occasions, the first being in 1949 for her role as Evelyn Boult in Edward, My Son, followed by other nominations in 1953, 1956, 1957, 1958 and 1960. Kerr was the recipient of an Honorary Academy Award in 1994. Signed 8 x 10 photograph, the original vintage Paramount Pictures publicity portrait dating from 1956 and depicting the actress in a glamorous head and shoulders pose. Signed in black ink to a lighter area of the image. A few very minor, light creases to the white borders, VG
BANCROFT ANNE: (1931-2005) American actress, Academy Award winner for Best Actress in 1962 for her role as Anne Sullivan in The Miracle Worker. Signed 8 x 10 photograph, the original vintage publicity portrait depicting Bancroft in a head and shoulders pose in costume as Inga Dyson from the American drama film The Slender Thread (1965), the first feature-length film directed by Sydney Pollack. Signed by Bancroft in blue ink with her name alone to the image. A pencil note in the hand of a collector to the verso indicates that the signature was obtained in person following a performance of Golda at the Morosco Theatre on Broadway on 11th November 1977. About EX
[MONET CLAUDE]: (1840-1926) French Impressionist painter. MIRBEAU OCTAVE (1848-1917) French novelist and art critic. An excellent A.L.S., Octave Mirbeau, three pages, 8vo, n.p., n.d., to Claude Monet, in French. Mirbeau commences his letter by thanking Monet a thousand times for a gift (possibly a painting?) and a portrait photograph, remarking ´Les oliviers que je connaissais sont superbes de lumière en dessous, et je me retrouve là-bas, sous leurs branches que j´aime tant. Et quant à votre photographie, qui m´a été aussi une surprise exquise, c´est un chef d´oeuvre. Vous etes, vous tout entier, male, puissant, avec votre oeil qui dompte le soleil.....´ (Translation: ´The olive trees that I knew are superb in the light below, and I find myself there, under their branches that I love so much. And as for your photograph, which was also an exquisite surprise for me, it is a masterpiece. You are, all of you, male, powerful, with your eye taming the sun...´) and continues by trying to lift his friend´s spirits, ´Maintenant, parlons de vous en peu. Est-ce que vraiment vous allez devenir fou, vous? Et vous laisser abattre comme un vulgaire bonhomme? Comment, jamais vous n´avez été en possession de votre art, comme maintenant, et parce que, cette année, le temps vous a contrarié, vous allez tout envoyer promener! Vous le retrouverez le temps qu´il vous faut; et vous ferez d´admirables chefs d´oeuvre. Nom d´un chien, mais c´est enrageant, ce qui vous prend; et cette énergie dont vous avez donné tant de preuves, où donc est-elle maintenant?´ (Translation: ´Now, let's talk about you for a bit. Are you really going to go mad? And let yourself be brought down like a common man? How can you, when you have never been in possession of your art like you are now, and because the weather has upset you this year, you are going to throw it all away! You will find it again in time; and you will produce admirable masterpieces. Damn it, it's infuriating, what's got into you; and that energy of which you have given so much proof, where is it now?´), further writing ´Voulez-vous que je vous dise, mon ami?.......Mais, écoutez-moi bien, il y a aussi une cause purement physique;........les lubies - passagères d´ailleurs - prennent l´homme le mieux trempé. Mais cést pas grave. Il faut vous secouer; et la pire des choses pour vous, est de rester couché des journées entières, comme vous me dites. Il faut secouer cela, rigoureusement. Vous avez eu le plus grand tort de ne pas venir ici. Si vous ne vous sentez pas en veine de travail, encore, il ne faut pas vous acagnarder.........Remuez, voyagez, allez de l´un á l´autre. Vous savez que la maison ici est votre. Pourquoi ne venez-vous pas passer quelques jours?......Venez. Nous causerons de Monet; nous ferons l´article ensemble. Ca ne va pas, non plus, cette affaire-là? Et bien, nous tacherons de la faire aller. J´ai un ami puissant dans le gouvernement, un homme qui deviendra peut-etre, Napoleon.....il nous aidera. Voyons, mon cher Monet, je vous en prie, retrouvez votre belle energie des beaux jours. Moquez-vous de cet idiot de Wolff. Il n´empechera pas que vous etes un grand artiste, et que votre succès se ralentisse. Car vous avez franchi les dures portes, et vous etes en plein horizon. Cela est mathématique. Rien ne peut vous faire perdre les positions conquises, rien que votre découragement et votre inertie´ (Translation: ´Do you want me to tell you, my friend?.......But, listen to me carefully, there is also a purely physical cause;........whims - passing whimss at that - take even the steeliest man. But it doesn't matter. You have to shake yourself awake; and the worst thing for you is to lie in bed for days on end, as you tell me. You have to shake it off, rigorously. You were very wrong not to come here. If you don't feel like working, again, you mustn't hide away.........Stir yourself, travel, go from one to the other. You know that the house here is yours. Why don't you come and spend a few days?......Come. We'll talk about Monet; we'll do the article together. That's not going well either, is it? Well, we'll try to make it work. I have a powerful friend in the government, a man who may become Napoleon... he'll help us. Come now, my dear Monet, I beg you, rediscover your wonderful energy of the good times. Make fun of that idiot Wolff. He will not prevent you from being a great artist, and your success from slowing down. For you have passed through the difficult doors, and you are in full view. This is mathematical. Nothing can make you lose the positions you have conquered, only your discouragement and your inertia´). Mirbeau encourages Monet to write to him soon and let him know that he is feeling better, and also writes of his own current work, ´Mon roman se poursuit; le temps ne me derange guère, et cést stupide ce que je fais. Mais je crois que je deviens philosophe. Je regrette de ne pas faire mieux; mais puisque je ne peux pas, je me fais à la place, une raison. Vous verrez ca bientot, en effet; ce que je vous demanderai, ce sera de ne pas trop me blaguer. Il y avait un péril très grand dans mon livre, c´etait de tomber dans l´enfantillage. Or j´y suis tombé, naturellement´ (Translation: ´My novel is continuing; time doesn't bother me much, and what I'm doing is stupid. But I think I'm becoming philosophical. I regret not doing better; but since I can't, I'll make myself a reason instead. You'll see that soon enough; what I'll ask of you is not to joke too much with me. There was a very great danger in my book, which was to fall into childishness. Well, I fell into it, naturally´) and concludes his letter by again writing with positivity, ´Ce que je vous dis est la vérité pure. Mde. Hoschedé a du vous le dire certainement. Le seul danger, c´est de vous laisser aller à des découragements, que vous n´avez pas le droit d´avoir. Voyons, quand venez-vous? Toute de suite, hein! Je vous embrasse tendrement; me femme qui vient de lire ma lettre, dit qu´elle est illisible, et écrite betement; mais, tout de meme, elle l´approuve. Merci encore, mon cher ami, de votre superbe et trop magnifique don, merci de votre photographie. Et méditez ce que je vous raconte dans ma lettre, qui est, en effet, stupidement tournée, mais qui est, tout de meme, un che f´oeuvre de raison´ (Translation: ´What I'm telling you is the absolute truth. Mrs Hoschedé must have told you that. The only danger is that you will become discouraged, which you have no right to do. Come on, when are you coming? Right away, eh! I send you my warmest regards; my wife, who has just read my letter, says it is illegible and badly written, but she approves it all the same. Thank you again, my dear friend, for your superb and magnificent gift, thank you for your photograph. And meditate on what I tell you in my letter, which is, indeed, stupidly worded, but which is, all the same, a masterpiece of reason´). A letter of excellent content and association from Mirbeau to Monet, the artist whom he sang the praises of. VGMirbeau´s mention of Napoleon in the present letter is evidently a reference to Georges Clemenceau (1841-1929) French Prime Minister 1906-09, 1917-20. Clemenceau was a long-time friend and supporter of the impressionist painter, writing a short biography on the artist, and was also instrumental in persuading Monet to have a cataract operation in 1923.The source of Monet´s apparent depression may well have been the French writer and art critic Albert Wolff (1825-1891), mentioned in the present letter. Wolff strongly opposed Impressionism and an 1876 Impressionist Exhibition (at which Monet displayed eighteen paintings).
WILDER GENE: (1933-2016) American comedy actor. Signed 8 x 10 photograph of Wilder standing in a half-length pose, smoking a cigarette, in costume as Rudy Valentine, mimicking silent star Rudolph Valentino's character of Julio Desnoyers from The Four Horsemen of the Apocalypse, in a publicity portrait for the American parody film The World's Greatest Lover (1977) which was also directed and written by Wilder. Signed in black fountain pen ink with his name alone to a clear area of the image. EX
BRANDO MARLON: (1924-2004) American actor, Academy Award winner for Best Actor in 1954 for his role as Terry Malloy in On the Waterfront, and again in 1972 for his role as Don Vito Corleone in The Godfather. An excellent vintage signed and inscribed 8 x 10 photograph, the original Paramount Pictures publicity portrait dating from 1958 and depicting the young, handsome Brando in a broody head and shoulders pose. Photograph by Bud Fraker and bearing his credit stamp to the verso. Signed by Brando in blue ink to a light area at the head of the image, 'For Susan, Regards, Marlon Brando'. A few very light, extremely minor surface creases, VG
LEE GYPSY ROSE: (1911-1970) American burlesque entertainer, famous for her striptease act. Lee's memoir of 1957 was adapted into the stage musical Gypsy (1959). T.L.S., Gypsy & Erik (also on behalf of her son, Erik Lee Preminger), to the inside of her personal printed 12mo folding notelet card, 153 East 63rd Street (New York), 23rd May 1957, to Vera. Lee expresses her happiness at the news of her correspondent´s forthcoming marriage and also thanks her for the invitation, remarking ´I am so unhappy to miss it but I shall be lecturing in Chicago. John is a darling and I am sure he´ll make a very good husband´. Together with an unsigned vintage candid 5 x 3.5 photograph of Lee seated outdoors in a full-length pose accompanied by two men (identified to the verso in an unidentified hand as John and Iggie, in Havana, 1956), and also including a vintage unsigned 8 x 10 publicity portrait of Lee standing in a three-quarter length pose in costume as Belle De Valle on the set of the film Belle of the Yukon (1944). Some slight surface and corner creasing, generally VG, 3
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