155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Saving Private Ryan (1998) Four prop newspapers used in the Steven Spielberg WWII drama, all dated 1944, each 30 x 39 cm (4). Provenance: Consigned from an individual who works in the industry.

James Bond Skyfall (2012) A sign from the original mould, the signs on the film were made by the vendor and this is one, as seen on the pillar at Skyfall house, It is made out of a very hard but light plaster, 11 x 36 inches. Provenance: Consigned from an individual who works in the industry. Eon kept the original mould and have since made another 13 which one appeared in the Christies Bond sale a few years ago. http://www.christies.com/lotfinder/memorabilia/skyfall-2012-5634743-details.aspx?from=searchresults&intObjectID=5634743&sid=3b833374-2122-4376-a49d-2356318cf53dCondition Report: Weight 14 Kg approx.

Rock / Prog LPs, 60+ albums of mainly classic and progressive rock with artists including Colosseum, Stackridge, Led Zeppelin, David Bowie, Pink Floyd, The Who, Wishbone Ash, Queen, Rush, Frank Zappa, The Moody Blues, Aerosmith, AC/DC, Scorpions, Genesis, Status Quo, Jethro Tull, Ten Years After and more various years and conditions. Condition Report: All well handled and considerable scratches to vinyl of the ones we have checked.

Four Top 50 record shop posters 1967-68, No. 1s being The Monkees, Frank & Nancy Sinatra, The Love Affair & Beach Boys, also featuring hits by Cream, The Who, Beatles, Stones, Small Faces, Prince Buster, The Doors etc, all with some annotations, most unfolded, 11 x 17 inches approx. (4)

The Who - Who was there? Promotional poster, rolled, 40 x 60 inches.

James Bond Aspinal of London Gift Box for "Quantum Of Solace" (2008). This was presented by the Bond producers Barbara Broccoli and Michael G. Wilson to crew/cast members who worked on the film. Included in the box is a document holder, passport cover and luggage tags, all in Fine leather with "007" and "Quantum Of Solace" imprints, plus the original Aspinal sticker and blank gift card. Condition Report: Excellent condition

The Sooty Show / Sooty & Co - Crew clothing given to Peter Jago including seven T Shirts, and three Sweatshirts, most size large (10). Provenance: From the collection of Peter JagoPeter Jago (1946-2016) grew up in West Cornwall. His passion was to be on the stage although he was also a talented artist and musician. On leaving college he was successful in obtaining a place at The Central School of Speech and Dramatic Arts in London. When he left he had a variety of jobs working during the summer seasons in the theatres at Butlins Holiday camps around the country and also in provincial repertory and London theatres. He was employed as production manager at the Raymond Review Bar in Soho for several years and also in the theatres on Fred Olsen cruise ships.Peter was first employed by Mathew Corbett for the Sooty Shows in 1976 as a stage manager, but he also puppeteered, made and repaired sets and created and painted scenery and props. He also wrote a number of scripts, appeared as an extra and composed some of the music for the show. He worked with the Sooty Show for the Thames TV productions and theatre tours around the country. Mathew said Peter was the inspiration behind the idea of the Sooty Show having a theme/story e.g. The House that Sooty Built rather than the show being a series of sketches. He was often Sweeps dad and operated Sweeps voice. His was the voice behind Sweeps rendition of Nessum Dorma in one particular production.Peter left the Sooty Show in 1985 to set up a retail business with a partner in Westhoughton, Lancs. selling toiletries and fancy goods. This ended when his partner unexpectedly died and Peter then moved to Bolton. He had stayed in contact with Mathew and re-started his career with Sooty in 1993. He worked continually with the show with Mathew, who retired in 1998, and then with Richard Cadell who bought the Company circa 2000. Peters role was as stage manger and puppeteer, as required.Peter ceased to be needed for The Sooty Show in the early 2000s although he still retained four of the puppets and could be called upon if required. Peter was in poor health for the last 10 years of his life but he did some pantomimes and developed an interest in gardening. He died at his home in Bolton in July 2016, aged 69. He had never married and had no children.

The Crickets - Thatll Be The Day UK Ace of Hearts 12 inch LP signed to reverse by Crickets Jerry Ivan Allison & Sonny Curtis.The signatures were originally obtained from Tony Barrett of Chigwell Row Essex who attended several of the Buddy Holly Week celebrations, as well as being a former President of the Eddie Cochran Fan Club.

The Sooty Show / Sooty & Co - Stage and television used props including a famous water pistol, plastic saw and a 'Sootletine' glass medicine bottle (3). Provenance: From the collection of Peter JagoPeter Jago (1946-2016) grew up in West Cornwall. His passion was to be on the stage although he was also a talented artist and musician. On leaving college he was successful in obtaining a place at The Central School of Speech and Dramatic Arts in London. When he left he had a variety of jobs working during the summer seasons in the theatres at Butlins Holiday camps around the country and also in provincial repertory and London theatres. He was employed as production manager at the Raymond Review Bar in Soho for several years and also in the theatres on Fred Olsen cruise ships.Peter was first employed by Mathew Corbett for the Sooty Shows in 1976 as a stage manager, but he also puppeteered, made and repaired sets and created and painted scenery and props. He also wrote a number of scripts, appeared as an extra and composed some of the music for the show. He worked with the Sooty Show for the Thames TV productions and theatre tours around the country. Mathew said Peter was the inspiration behind the idea of the Sooty Show having a theme/story e.g. The House that Sooty Built rather than the show being a series of sketches. He was often Sweeps dad and operated Sweeps voice. His was the voice behind Sweeps rendition of Nessum Dorma in one particular production.Peter left the Sooty Show in 1985 to set up a retail business with a partner in Westhoughton, Lancs. selling toiletries and fancy goods. This ended when his partner unexpectedly died and Peter then moved to Bolton. He had stayed in contact with Mathew and re-started his career with Sooty in 1993. He worked continually with the show with Mathew, who retired in 1998, and then with Richard Cadell who bought the Company circa 2000. Peters role was as stage manger and puppeteer, as required.Peter ceased to be needed for The Sooty Show in the early 2000s although he still retained four of the puppets and could be called upon if required. Peter was in poor health for the last 10 years of his life but he did some pantomimes and developed an interest in gardening. He died at his home in Bolton in July 2016, aged 69. He had never married and had no children.

Harry Potter - A Signed & Inscribed Percy Weasley Replica Wand. Boxed, by Noble Collection, signed & inscribed But everyone knows its the dark arts he fancies on the front by Actor Chris Rankin who played Percy Weasley. Provenance: Obtained through Chris Rankins Management in February 2020.

Large Early AC/DC concert flyer, for the 16th Jazz Blues Rock Festival at Reading 1976, this being a very early UK gig for the Australian band who were only 7th on the bill on the closing day 29th Aug, others playing the festival included Gong, Rory Gallagher, Black Oak Arkansas, Van Der Graaf Generator etc, single slight fold, 7.75 x 11.5 inches.

Collection of maritime books, including: The Yachtsman's Annual and Who's Who, 1938-39; Designing Small Boats, by V.B. Crockett; Small Boats, by Philip C. Bolger; and others, contained across two boxes.

KENNETH MORE – ‘REACH FOR THE SKY’, 1956, ‘THE ADMIRABLE CRICHTON’, 1957, ‘SINK THE BISMARK’, 1960 & ‘THE GREENGAGE SUMMER’, 1961 – DIRECTOR’S SCRIPTS, SCRAPBOOKS AND RELATED MATERIAL FOR FOUR FILMS STARRING KENNETH MORE (QTY)Comprising:-ReachFor The Sky, 1956: two director’s scripts, the first comprising 147 pp. of unboundmimeograph typescript, contained within a green hard cover folder, the frontwith cloth labels inscribed in an unknown hand LEWIS GILBERT / “REACH FORTHE SKY’, the title pages inscribed in ballpoint pen in an unknown hand LEWISGILBERT, dated August, 1955, some pages annotated in pencil inGilbert’s hand, some pages with script amendments on pink paper pasted to thepage; the second comprising 146 pp of mimeograph typescript bound in orangecard covers, the front printed REACH FOR THE SKY / Revised Script /27-5-1955, some pages annotated in pencil in Gilbert’s hand; a two-page‘Revised Shooting Schedule’, 4 November 1955, inscribed in an unknown hand inpencil on the first page Lewis Gilbert; an ‘Information Folder’, 103 pp.of mimeograph typescript bound in faded green paper covers, the front coverprinted with the document’s contents, including Who’s Who / PersonalityProfiles, Special Features, the title page annotated in pencil in Gilbert’shand, with a compliments slip from Zena Courtnee, Publicity Division, J. ArthurRank Organisation; a collection of publicity material including two WorldPremiere programmes, Odeon Leicester Square, 5 July 1956, a Gala Performanceprogramme, 19 July 1956, Odeon Brighton; 25 black and white publicity stillswith corresponding typescript paper labels (all detached), majority – 19 x 24cm.; eight black and white Front of House stills, all – 20 x 25 cm.; andrelated material; and two scrap books containing press cuttings, one containingfour black and white stills; a double-sided 12-inch acetate, the green SoundSystem label inscribed in blue ink in an unknown hand Reach For The Sky/ Reel 1 Music / Reel 14 Music (label partially torn on both sides) inoriginal paper cover, and later related material;-TheAdmirable Crichton, 1957: the director’s ‘Shooting Script’, 106 pp. ofmimeograph typescript bound in a red hard cover folder (pages have becomeloose) the front gilt-stamped DIRECTOR, the title page annotated inpencil in various hands with contact information, some pages annotated inpencil and ballpoint by Gilbert; a loose sheet of lined A4 paper attached tothe inside front cover, inscribed with a pencil drawing of a map roughly basedon the island of Grand Bermuda where the film was shot (the island being thebasis for the fictional South Seas island in the plot), the map inscribed withvarious locations including Jungle (Devonshire Marsh), Oyster Creek(Admiralty House Cave) and Bay of Arrival (Grape Bay); and adouble-sided 10-inch acetate, the Stage Sound label with typescriptdetails either side The Admirable Crichton / Music 1 / Music 2 / Music 3;-SinkThe Bismark!, 1960: the director’s ‘1st Draft Screenplay’, 116pp of mimeograph typescript bound in blue card covers, the front cover with typescriptpaper label,“SINK THE BISMARK” / 1st Draft Screenplay by EDMUNDH. NORTH, the title page dated October 24, 1958, unannotated; twosouvenir premiere programmes held inside blue velour hard covers with gold colouredthread, the covers gilt-stamped with the film’s title (gilt faded), thepremiere held in the presence of the Duke of Edinburgh (no date or locationgiven); a scrapbook of press cuttings, and related material; and-TheGreengage Summer, 1961: the director’s copy of the ‘Screenplay’, 146 pp. ofmimeograph typescript bound in black card covers, the front cover withtypescript paper label THE GREENGAGE SUMMER, the title page dated April30th, 1959, a few pages annotated in pencil in Gilbert’s hand; ablack and white still of Lewis and Hylda Gilbert filming with Kenneth More;four 12-inch acetates, variously labelled Titles, Dance 1, Dance 2, Dance 3;and a scrap book  (a lot)PhotographsSold Without CopyrightConditionReport: ReachFor The Sky Script,Aug 1955 – pages loose, edges discoloured and worn some with tears, the ‘to theright side; Script May 1955, overall good, covers worn with small tears;RevisedShooting Schedule: pages are very tatty, the second page with paper loss;Information Folder: overall good, lower right corner of cover missing;Publicity Material: overall very goodTheAdmirable Crichton Script– overall good, pages unbound and worn with age, interior metal binders withsome rusting; acetate: label torn, edges worn on vinyl revealing metal beneathSinkThe Bismark Script– overall good, front cover top right corner missing, some creasing, some rustto metal binding pins; souvenir programmes: the programmes inside the foldersare in very good condition, the folders showing some wear, the gilt on thecovers is faded, and the tassels on the gold string have unwoundGreengageSummerOverallvery goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

‘CARVE HER NAME WITH PRIDE’, 1958 – DIRECTOR’S SHOOTING SCRIPTS AND RELATED MATERIAL (7)Twofilm scripts, one a ‘Shooting Script’, 117 pp. of mimeograph typescript in redcard covers, the front cover printed in black italic script Carve Her NameWith Pride, unannotated; a ‘Final Shooting Script’, 125 pp. of mimeographtypescript bound in red hard covers, the front cover gilt-stamped TOP FLOOR/ DIRECTOR / SCRIPTS LTD; a mimeograph typescript Call Sheet, 15 October57; an illustrated souvenir booklet; a World Premiere programme, LeicesterSquare Theatre, Thursday 20 February, 1958; three tickets to the Press Show, 19February, 1958; a black and white portrait photograph of the Second World Warspy Violette Szabo, signed and inscribed in black ink Violette Szabo. G.C. –21 x 16 cm.; and a scrapbook of press clippings.In his autobiography, All My Flashbacks, Gilbert states that Carve Her Name With Pride “turned out to be one of my favourite films”.  The film tells the true story of Violette Szabo, a spy in the Second World War.  An Englishwoman who married a French man, Violette also had a French mother and spoke the language fluently.  When her husband was killed at El Alamein in 1942, only months after their wedding, Violette channelled the grief at her loss into a determination to help the war effort and was eventually sent to occupied France as a spy. After numerous heroic endeavours, she was captured and interred in Ravensbruck concentration camp where she was tortured and, tragically, died.  In 1946 she was posthumously awarded the George Cross. Violette was played by Virginia McKenna, who received a BAFTA nomination for ‘Best Actress’ for her portrayal of the spy.  After the film came out, Gilbert recalls Alfred Hitchcock telephoning him to see if he could persuade McKenna to consider changing her mind about becoming the next ‘Hitchcock blonde’ (she had already turned him down); Grace Kelly had retired to marry Prince Rainier of Monaco and Hitchcock needed a new leading lady, but McKenna wasn’t interested in stepping into the role as she wanted to devote time to her own young family.Photograph Sold Without CopyrightLiterature: GILBERT, Lewis All My Flashbacks, The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010Bellmans isgrateful to Wallace & Hodgson for their assistance with cataloguing theLewis Gilbert Film Script and Production Archive.

‘ALFIE’, 1966 – DIRECTOR’S SCRIPT, AUTOGRAPH LETTERS AND RELATED MATERIAL (QTY)Including:- A film script, the title page dated 14 April 1965, 122 pp. of mimeographtypescript on white and pale blue paper, 32 pages with minor amendments inGilbert’s hand in either ballpoint pen or pencil, in black paper covers, with amimeograph typescript Unit List, 1 June 1965, 3pp, and a mimeograph typescript‘Shooting Schedule No. 3’, 31 May 1965, 12 pp, all bound in a red leatherpresentation folder, the cover gilt stamped LEWIS GILBERT, the blueleather inside cover gilt stamped SINK THE BISMARK; and a mimeographtypescript script amendment, 13 August 1965 with replacement dialogue betweenAlfie and Carla in scenes 53 and 54, 2pp.;-A copy of the radio play by Bill Naughton, Alfie Elkins and his Little Life,produced by Bill Cleverdon for the BBC Third Programme, 7 January 1962, thiscopy ring bound in pale green card covers, printed in dark green with theplay’s title and author and broadcast date and ITALIA PRIZE 1962 / BBC ENTRY,the 59 pages of typescript mimeograph text in both English and French, thefront end paper inscribed in black felt pen For dear Lewis Gilbert in memoryof Bill Naughton & happy days with Alfie (1965) with love from ErnaNaughton, 20 October 1995 (After 30 years seeing Alfie at the Plaza I’ll beseeing it with you tonight – a little sentimental journey xx)- Two theatre programmes for the play Alfie– one for the Mermaid Theatre, London, 1963, the other for the NottinghamPlayhouse, 1964; and related material  Footnote: LewisGilbert regarded Alfie as his ‘breakthrough’ film.  The chapter devoted to the film in hisautobiography is entitled ‘The Film That Changed My Life’.  In it he recounts how it was his wife Hyldawho, following a chance encounter at her hairdressers with the actress MargaretCourteney (who was appearing in Alfie at the Mermaid Theatre), went tosee the play and immediately realised it would be a great vehicle for afilm.  Gilbert saw the play on thestrength of his wife’s recommendation and recalls…. the subject fascinatedme….because Alfie was a new kind of hero….he had a cockiness and an energy thatwas mirrored in the real life of the 1960s…. Alfiebrokenumerous box office records on its release and was lauded by the critics as aresultthefilm shot Lewis Gilbert and his unknown lead Michael Caine to internationalstardom. Alfie was nominated for 5 Academy Awards including: BestPicture for Lewis Gilbert and Best Actor in a leading role for Michael Caine.It won 3 BAFTAs including Best British Actor for Michael Caine; and wasnominated for 3 others including Best British Film for Lewis Gilbert. At CannesLewis Gilbert won the Jury Special Prize and was nominated for the Palm d’Or.The film also won 4 Golden Globes including Best Director for Lewis Gilbert andBest Actor for Michael Caine and was nominated for 3 others. Ina recent interview for The Guardian  newspaper with Xan Brooks, 18 October 2021,Michael Caine’s remarked: “Alfie is probably the best film I ever made”.Literature: GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010 Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive. 

‘ALFIE’, 1966 – BILL NAUGHTON AUTOGRAPH MANUSCRIPT LETTERS & ‘ALFIE’ CHARACTER NOTES (QTY)An important series of letters between BillNaughton and Lewis Gilbert, comprising five one-page autograph letters fromNaughton to Gilbert, all on Park-Sheraton Hotel New York headed stationery, oneundated, the other four dated from 14 January – 9 February 1965; with two filecopies of replies from Gilbert, dated 22 January and 5 February 1965 – theletters discussing starting work on the screen play and how soon Naughton canreturn from New York where his play All In Good Time was in rehearsal onBroadway; in a letter dated 2 February 1965, probably in response to Gilbert’sletter of 22 January asking him how soon he can return to England ashe needs the screen play completed by end of March latest, Naughton tries toreassure Gilbert….As you know, I work very hard when I start – and you neednever worry about my delivery…Who have you got for Alfie?; in Naughton’sletter dated 7 February, in response to a letter from Gilbert dated 5 Februarysuggesting Naughton and his wife Erna join him and Hylda in St. Lucia, he tellsGilbert that he is working on `Alfie’ and comments on suggested casting: JOHNNEVILLE: at 40 is too old to be just right.  He needs to look as if womenwould long to get in bed with him. / MICHAEL CAINE: could be very good – andcomical. / TERRY STAMP: he is not lovable. But he can be brilliant. (I won’t goon – but suggest you put off casting it until we’ve had a chat.); and atwo-page typescript letter, signed, from Naughton to Gilbert, 16 March 1965….Hereare a few notes about the first part of the first draft…. categoriesinclude DOGS, STORYLINE, OTHER IDEAS, DORA, RUBY, NAT, GILDA on HUMPHREY’SBUS….There are lots of new things to come….I’m looking forward very much to ourworking together and I think Michael Caine will be very good indeed, with ahandwritten post-script, Theme tune: can we get an ALFIE theme tune; and- An important set of handwritten ‘character notes’ for Alfie, written by Bill Naughton and given to Lewis Gilbert it would seem, to assist him with his preparation for the film; the notes largely comprising Naughton’s observations on Alfie’s personality and the delivery of his responses, and including some stage direction, costume and set details; written in blue ballpoint pen on 19 sheets of lined paper taken from a notebook, the first page appears to start halfway through a sentence suggesting that the notes are incomplete, the first page annotated at the foot in black felt pen in an unknown hand 1964; the notes, at times random and often indecipherable, appear to have been written hurriedly in large loose script, observations include:page 1 – Yet he wants OUT/ Alfie never accuses / Never feels emotion / related to his words / Breath out FINGER / ON NOSE / ACT ONE went to / the examination /Alfie monologue is good open to ATTITUDEpage 2 – Harry’s got a photograph / of wife – kids -/ he keeps looking at it / Wheels trolly - /  / carries food in / - Own dressing gown / - Alfie gets Harry’s / fags..page 3 – Alfie would rise / is Detached / [Dying out?] (wrong place / to rise ) - / Our little Charlie? / - a bit of Laughter/ Ave a giggle - / that’s all life / - is – a giggle –page 4 – Sunday:  The rain / killed it / (AFTER the [---?] wolf) / Yeh, [m---?] / his wife he / willpage 5 – Dressing table (WRONG) / He wont sit / ALFIE HAS a certain delicacy of intellect / Alfie a unique / unrelated character. / Only trivial things /  excite / Emotional moments / bring the greatest detachment. / It’s more a [revelation?]page 6 – Alfie even / sighs with boredom / as he talks to you / - I will order / that brown ale / Poncified – me ? / LOOKS IN MIRRORpage 7 – Alfie reels it off / bored . As fast as / he can. No / enthusiasm for anything / -- [--------------?] / eyes with you / (Mrs Smith goes to  / raincoat.page 8 – wot they call / “a moral lapse” / He’s a right [wrong on?]/ he is / Alfie / NO FEELING [at all?] [always?]page 9 –. [?] COLD / Ambulance – police – / the lot - /  He often talks as / thought talking to / a child. He believes / he knows all -- / Pauses only between [disconnected?] / thoughts. No [connection?]page 10 - Alfie, Don’t Forget / If I was to /  marry you /  might gain a / husband – but /  you’d loose a /  bleedin’ good /  friend wouldn’t you, See / wot I meanpage 11 – Alfie / No turn-ups / 16” buttons grey / 16” blue / Very clean fronted / black  trousers / [Semi? Drape?] jacket / turn ups / [h--------?] worsted - / well ,[----?] and mohairpage 12 – Intimacy – is what / Alfie needs / No emphasis [on any?] / word / ALFIE Less expressive / The [perfect? moment?] / is all [---------?]page 13 – [------?] is  feeling / the suit / Top range / to express this pausing / of thought – [Weight?] – more [shock?]page 14 – Needs audience / touch space / Examination – he’s been carried / away by holding / emotion down - / Lightness – keep his / own natural / lightness inpage 15 –  £300 to P.O / Post office Savings / Building Society / Lily never looks / for Alfie. All eyes for Harry / - He’ll be a nut [crossed out] / More like a bleeding nut / casepage 16 – Lily – it was / lovely when he  / was [-----?] / I’d better go  - or / I’ll miss the / bus - / [Bastard?] Alfie / Racing to doorpage 17 – Never call me that / Reproving / Alfie goes / out pulls / [-------? p--g?] / in place / - Pub scene / cut out  2  ‘Alfie’page 18 – [Lofty? surround?]  you / yet [----d?] if Alfie. / [Poncified? Walk?] / very good / - Annie packs / with a certain / inevitable sadness –page 19 – 10 minutes before / he could get / down to it / - [Promises of?] / they  can CAN / HE PUT COAT DOWN; the pages stapled at the top left corner, front page detached – 20 x 16 cm.Condition Report: Footnote: LewisGilbert regarded Alfie as his ‘breakthrough’ film.  The chapter devoted to the film in his autobiographyis entitled ‘The Film That Changed My Life’. In it he recounts how it was his wife Hylda who, following a chanceencounter at her hairdressers with the actress Margaret Courteney (who wasappearing in Alfie at the Mermaid Theatre), went to see the play andimmediately realised it would be a great vehicle for a film.  Gilbert saw the play on the strength of hiswife’s recommendation and recalls…. the subject fascinated me….because Alfiewas a new kind of hero….he had a cockiness and an energy that was mirrored inthe real life of the 1960s…. Alfiebrokenumerous box office records on its release and was lauded by the critics as aresultthefilm shot Lewis Gilbert and his unknown lead Michael Caine to internationalstardom. Alfie was nominated for 5 Academy Awards including: BestPicture for Lewis Gilbert and Best Actor in a leading role for Michael Caine.It won 3 BAFTAs including Best British Actor for Michael Caine; and wasnominated for 3 others including Best British Film for Lewis Gilbert. At CannesLewis Gilbert won the Jury Special Prize and was nominated for the Palm d’Or.The film also won 4 Golden Globes including Best Director for Lewis Gilbert andBest Actor for Michael Caine and was nominated for 3 others. Ina recent interview for The Guardian newspaper with Xan Brooks, 18 October 2021, Michael Caine’s remarked:“Alfie is probably the best film I ever made”.Literature: GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010

‘ALFIE’, 1966 – PRODUCTION RELATED PAPERWORK AND CORRESPONDENCE (QTY)Alarge quantity of production related paperwork, 1963 – 1971, contained withintwo green card filing cabinet hanging files, both files with originaltypescript tabs Alfie, containing letters from various correspondents, majoritytypescript, some signed, contracts, financial statements etc., various subjectsinclude the film rights, casting the main character of Alfie, the film’s themesong, finances and contracts etc., the majority of the earliest correspondencefrom The Lew Grade Organisation, other correspondents include: Romulus Films,Paramount British Pictures, British Film Fund Agency, Paramount Film Service, SonnyRollins and various solicitors, of note:- A file copy of a letter from Gilbert to Lew Grade, 9 April 1964….”the onlyway to make this film is for a daring picture to be made…I don’t think we needa star for this… I think the quality of the play will go by the board unless weplay a real Cockney…” 1p.;- A typescript letter, signed from Grade to Gilbert regarding discussions with‘Jimmy’ Woolf of Romulus Films who suggested casting Laurence Harvey as Alfie,and a subsequent letter, 15 June 1964 in which Grade suggests the Lew GradeOrganisation back out of the project due to disagreements regarding casting andthat Gilbert continue the project with Romulus Films, 2pp; - A two-page agreement, 9 July 1964, between The Grade Organisation Limited andLewis Gilbert setting out the …terms of the agreement reached between usregarding the rights and interests in the copyright in a) A Play entitled“Alfie” and an original radio play entitled “Alfie Elkins and his Little Life”both written by Bill Naughton and b) A Screen Play by Bill Naughton based onsuch Plays;- A four-page agreement (first page missing), 22 July 1964, between ParamountBritish Pictures Limited and Sheldrake Films Limited stating that ThePicture shall star Mr. Terence Stamp;- A typescript letter, signed, from R. Howard Harrison on Paramount BritishPictures Ltd. Stationery, 12 February 1965, to Sheldrake Films Ltd., confirmingthat …we have agreed to substitute Mr. Terence Stamp with Mr. Michael Caine,1p; - A typescript letter, signed, from George Weltner on Paramount PicturesCorporation headed stationery, 6 April 1965, telling Gilbert….There is moreexcitement about ALFIE than I have seen here or felt for a long time….theExhibitors in the United States are beginning to pressure us about thepicture.  As you probably know, Europe isagog… 1p;- An autograph letter, signed, from Sonny Rollins, undated but circa April 1964,on The Windsor Arms Hotel, Toronto, Canada headed stationery, Rollins thankingGilbert for The very fine way in which you treated me throughout our acquaintance…,enquiring after Hylda and telling him….Both you and she have been soimportant to my work and to myself, not only in ‘Alfie’ but you have inspiredwithin me a deep respect and appreciation of a ‘worth while’ life…1p. oneither side of a single sheet; with a file copy of Gilbert’s reply, 4 May 1966,telling him….I cannot say how much your music has contributed to the successof “Alfie”……Of course, in the long run, “Alfie” will be forgotten, but theaffection which I and my family have for you, will be something much morelasting 1p.;- A small collection of material relating to the premiere at the Plaza Theatre,Piccadilly Circus, 24 March 1966 comprising two tickets for the ‘Gala WorldPremiere’, one for the Royal Circle, an invitation for Mrs A. Gilbert and Guestto the after party at The Cockney Pride; a mimeograph typescript list of theguest list for the premiere; and an original black and white press still of theexterior of the Plaza on the night of the premiere, the verso ink-stampedP.I.C PHOTOS LTD.; a Paramount Studios booklet for 1966, the coverfeaturing Alfie, with the news that the film Smashed The Plaza’sAll-Time Weekly Record!;- A telegram from Howard Koch, Vice-President of Paramount Pictures, undated….Ihave just screened “ALFIE” and there are not enough superlatives to tell youhow wonderful the picture is.  MichaelCaine, in my estimation, emerges as a big star and your direction has made thepicture seem like you are living it rather than watching it….;- An autograph letter from Jane Asher, signed, undated, sent from the TheatreRoyal in Bristol, telling Gilbert the film was….beautifullydirected…..Vivien Merchant’s performance…was absolutely BRILLIANT, oneither side of a sheet of paper, with a file copy of Gilbert’s reply, 31January, 1966, and a colour snap-shot of Asher with cast members MichaelCaine, Shelley Winters, Shirley Ann Field and Julia Foster, and another ofAsher with Gilbert’s son John, both – 9 x 13 cm.;- A typescript letter, signed, from John Woolf on Romulus Films Ltd headedstationery, 1 September 1966, sent to Gilbert at the Hilton Hotel in Tokyoduring the filming of You Only Live Twice, congratulating him on thesuccess of Alfie….John [Gilbert] tells me that Paramount sayit will gross ten million dollars at least. What a bit of luck for your Tax Inspector!, the letter also refersto the early discussions regarding the film Oliver!, Woolf tellingGilbert with regard to the casting of Richard Burton as Fagin….I have yourreservations well in mind…..I know how Burton would play the part and you needhave no fear that it would in any way compare with the Guinness Fagin, 1p.with corresponding Air Mail envelope;- A typescript letter, signed, from Dick Van Dyke on personalised stationery, 14November 1966, congratulating Gilbert on the film….A lot of scripts andstories come into my office; perhaps one day I will be lucky enough to find apiece of material like ‘ALFIE’ bearing a ‘Lewis Gilbert’ label….1p.; with afile copy of Gilbert’s reply; - A telegram from Joseph Freidman of Paramount Pictures to Gilbert at the HiltonHotel, Tokyo, undated but circa November 1966, giving news of rave reviews andbox office records; and a folder of material relating to various awards, mostnotably the 1967 Academy Awards, including: two programmes for the 39thAnnual Academy Awards Presentation, Santa Monica Civic Auditorium, April 10,1967; an unused ticket for the ceremony, a used ticket for the Board ofGovernors Ball following the ceremony with corresponding envelope; a seatingplan for the auditorium; two typescript letters on Academy of Motion PictureArts and Sciences headed stationery, one from Executive Director MargaretHerrick, signed, detailing arrangements for the ceremony, the other from thePresident of the Board of Governors regarding restrictions with regard to useof Academy Award symbols; an invitation from Ruth and Howard W. Koch to acocktail party to welcome Hylda and Lewis Gilbert to America for the AcademyAwards; and an elaborate silk-screened card from Hylda to Lewis, signed andinscribed My Personal ‘Oscar’ in all categories, Hylda, withcorresponding envelope inscribed in Hylda’s hand To Lewis Gilbert ‘ALFIE’;and related material  (a lot)With regard to John Woolf’s letter sent to Gilbert in Tokyo, 1 September 1966, discussing the casting of Richard Burton as Fagin, much to Gilbert’s regret, it later transpired that he was unable to direct Oliver! due to other contractual obligations and had instead to direct The Adventurers, which he described in his autobiography as “a big picture but it was a big picture about nothing”.  Richard Burton, amongst other unlikely candidates such as Peter O’Toole and Peter Sellers, had been briefly considered for the role of Fagin, as well as Julie Andrews and Elizabeth Taylor for the role of Nancy. ConditionReport: Overall goodFootnote: Lewis Gilbert regarded Alfie as his ‘breakthrough’ film.  The chapter devoted to the film in his autobiography is entitled ‘The Film That Changed My Life’.  In it he recounts how it was his wife Hylda who, following a...

‘ALFIE’, 1966 – A RARE COLLECTION OF VINTAGE CONTACT SHEETS (70)Animportant collection of 70 black and white contact sheets, majority featuringthe main cast including Michael Caine, Julia Foster, Shelley Winters, EleanorBron, Vivien Merchant and Jane Asher, majority taken on set during filming, someshots 5.5 x 5.5 cm., others 2.5 x 3.5 cm., majority of pages complete, each page– 26 x 20 cm., in contemporary plastic sleeves contained in a red hard backbinder.Sold Without CopyrightConditionReport:Overall very goodFootnote: LewisGilbert regarded Alfie as his ‘breakthrough’ film.  The chapter devoted to the film in hisautobiography is entitled ‘The Film That Changed My Life’.  In it he recounts how it was his wife Hyldawho, following a chance encounter at her hairdressers with the actress MargaretCourteney (who was appearing in Alfie at the Mermaid Theatre), went tosee the play and immediately realised it would be a great vehicle for afilm.  Gilbert saw the play on thestrength of his wife’s recommendation and recalls…. the subject fascinatedme….because Alfie was a new kind of hero….he had a cockiness and an energy thatwas mirrored in the real life of the 1960s…. Alfiebrokenumerous box office records on its release and was lauded by the critics as aresultthefilm shot Lewis Gilbert and his unknown lead Michael Caine to internationalstardom. Alfie was nominated for 5 Academy Awards including: BestPicture for Lewis Gilbert and Best Actor in a leading role for Michael Caine.It won 3 BAFTAs including Best British Actor for Michael Caine; and wasnominated for 3 others including Best British Film for Lewis Gilbert. At CannesLewis Gilbert won the Jury Special Prize and was nominated for the Palm d’Or.The film also won 4 Golden Globes including Best Director for Lewis Gilbert andBest Actor for Michael Caine and was nominated for 3 others. Ina recent interview for The Guardian newspaper with Xan Brooks, 18 October 2021, Michael Caine’s remarked:“Alfie is probably the best film I ever made”. Literature: GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, the verso with handwritten label attached inscribed in anunknown hand Martin Godwin / Guardian Picture Desk…[see also Lot 520] -29.2 x 36.8 cm.  The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus.  It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,some light surface wear; overall very goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – AN EARLY FILM TREATMENT BY RONALD HARDYAnearly mimeographed typescript of Ronald Hardy’s treatment for the screenplay,entitled The Spy Who Loved Me, Ronald Hardy, undated [but pre 5 Nov.1975], 126 pp. [p.121missing] in blue card covers fastened by two circularmetal clips, the cover with white paper typescript label annotated in black inkwith a small arrowhead symbol, 13 pages with annotations in both pencil andballpoint pen, mostly underlining, probably in Gilbert’s hand, giving emphasisto key elements in Hardy’s story; the plot centred on a Soviet threat whichtook the form of a sophisticated electronic tracking device which enabled thevillains to pinpoint and capture enemy nuclear submarines from any distance. Ronald Hardy came approximately second in line in the order of twelve different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me until he got the script he wanted.Hardy’s plot involved a Soviet threat of unprecedented danger to the Western World. The threat took the form of a device called ‘Neptune’ fitted to three small submarines and linked to a reconnaissance satellite which could then lock and hold onto enemies’ nuclear submarines at any distance. M sent 007 and two other 00s, 006 and 008 [the latter who set himself as an intense rival to Bond] to find and neutralise Neptune in the USSR without being detected.  The West had been tipped off about Neptune by a Russian double agent - beautiful prima ballerina Helen Andreyevna who danced for the Kirov State Ballet Company of Leningrad. Helen and Bond’s stories become intertwined with dramatic sequences involving skis and sleds in Kitzbuhel, Troikas in Leningrad, chases and amusing interludes with Bond’s discus-thrower KGB minder, Olga Gunk in Leningrad; undercover episodes on the Island of Kotlin in the Gulf of Finland,  and numerous fights, most notably in an airship above the sea with the main KGB foe Colonel Sukov, when the microfilm of Neptune’s plans obtained by the two Spy Lovers, and housed by Helen in a famous Faberge egg made for the Tsar, falls into the water, and the finale, a savage fight in Helsinki in a sauna room in the Hotel Finlandia-Royal, when 008, who’s been despatched by M to kill 007’s lover double-agent Andreyevna, tries to kill 007 telling Bond: ‘You said I had to kill you first’ 007 prevails over 008 - the mission is over. The story ends with the two Spy Lovers going their separate ways, Helen as a famous ballerina, could not go into hiding, and Bond admits he couldn’t protect her. Helen tells 007  “I love you my James... but I have to dance…So we must go our separate paths...One night I’ll look up from the stage and you’ll be there. You can throw me a rose. A red rose” . She leaves alone on the Stockholm ferry.Thus here, in Hardy’s treatment, the foundations were laid for a few key plot elements that were continued and developed throughout the later re-writes of the screenplay for The Spy Who Loved Me.ConditionReport: Overall good. Blue card cover with small area of paper loss on left hand margin and creased at corners.. A number of inside pages rubbed at corners, some corners folded Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007 series, initiated a number of records for the James Bond franchise. It was Cubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, and he was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to success was beset with numerous difficulties and the screenplay itself went through more adaptations and revisions than any production during the 40-year history of 007 on screen. Problems began with Ian Fleming’s source material for the film’s title. Like the movie, it was Fleming’s tenth Bond novel in order, however it represented a departure from Fleming’s usual 007 format in that it is told from the viewpoint of a young Englishwoman who only meets the famous spy in the last few chapters of the book. For this reason, Fleming never wanted this book to be sold as a film project. His estate, however, gave Broccoli permission to use the novel’s title only. The book and film do also share one significant common element – Jaws,  who is loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth. Nevertheless, the screenplay for The Spy Who Loved Me is considered to be the first Bond film whose story is completely original. After a visit to Russia, Broccoli devised a plot for a  new story which suited the film’s title and focused on a beautiful Russian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…”Literature: RUBIN, Steven Jay Spy Who Loved Me ScriptWars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp.Chicago, 2021GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay SomeKind Of Hero, The Remarkable Story of The James Bond Films, CheltenhamGlouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.comBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – TWO EARLY DIRECTOR’S SCRIPTS BY RICHARD MAIBAUM (2)Twoseparate mimeographed typescripts of Richard Maibaum’s screenplay, bothdifferent versions; one entitled The Spy Who Loved Me, Draft Screenplay,Richard Maibaum and dated Nov.5,1975, 154 pp. in grey card covers,contained in a red imitation leather binder; the other entitled The SpyWho Loved Me, Richard Maibaum, undated, the title page inscribed inblack ink in an unidentified hand Mr Lewis Gilbert and annotated with asmall arrowhead symbol, 129 pp. in buff card covers, contained in a blackimitation leather binder;  Both screenplays share a number of key plot elements woven around a threat to the West from a mysterious evil force with the ability to use satellite technology to detect and capture submerged nuclear submarines; and involving interference with the world’s oil supplies using nuclear submarines, adapted super tankers and oil platforms; in both, a new look SPECTRE, run by a group of young idealists all under the age of 30, are headed by a character called [Elroy] Kronk, who kills ‘Number One’ the old wheelchair-bound SPECTRE leader; then, backed by Jaws and six other International terrorists they overthrow the SPECTRE old guard. Kronk takes control for his own fiendish ends; both scripts feature a dramatic fight finale between Jaws and 007 in which 007 triumphs aided by electro-magnetic assistance; significant characters both scripts share include: steel-teethed-assassin Jaws, beautiful Russian agent Anya Amasova, General Gogol her KGB boss, new SPECTRE ‘Number One’   Kronk; and Gita, a tall beautiful assassin with a lethal butterfly pin brooch;   shared locations include: Sardinia, Geneva and Egypt; Key differences between the two scripts include: the location of the first appearance of Jaws, in the script dated 1975 [red binder] this occurs in Egypt in the ‘City of the Dead’, and in the undated script [black binder] in Prague where a lot of this script’s early action takes place; apart from a number of location and character variations, the most notable difference between the two scripts is that only the undated script [black binder] features the ‘Underwater Car Sub’ over a 20 page action sequence [pp.68-88]. In this script the car is a new model Ford modified by Q and delivered by him to Bond in Oslo.Richard Maibaum was the penultimate writer in the order of twelve different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me until he got the script he wanted. Maibaum worked on all but three of the Bond Films from Dr No (1962) to Licence to Kill (1989), and is the co-author with Christopher Wood of the final draft screenplay for The Spy Who Loved Me. The two scripts in this lot, both early variants of the final script, are a particularly interesting record of the development of this screenplay. It is fascinating to note which elements, included here, were omitted or adapted for use in the final version: -Firstly, the overthrow of SPECTRE’S `Number One’: In both scripts Number One is described as a heavy imposing man seated in a mechanised wheelchair which, in the dated script [red binder], has a mini communication system in its arm. In the undated script [black binder], Number One has a white cat on his lap. The new arch-villain Kronk manipulates Number One’s chair so that it and its occupant (without the cat) plunges to his death out of the window of the high-rise building. It is then that Kronk introduces his young radical supporters, described in the undated script as his ‘family’, and named in both as: Jaws, Gita (tall and beautiful), Marco, Rolz (American), Kazi (Japanese), Turner (a black) and Djabi (Arab terrorist type). Interestingly, in the undated script [black binder] Kronk is a woman disguised as a bald-headed, bespectacled man.  Kronk’s coterie of young idealists are said to have represented members of the Red Brigade, the Baader-Meinhof Gang, the Black September Organization and the Japanese Red Army. Their aim was to form a new SPECTRE no longer interested in blackmail and extortion, but intent on destroying civilization by capturing a nuclear submarine and wiping out the world’s oil fields.  This plot line of Maibaum’s with the young SPECTRE radicals was regarded by Cubby Broccoli as being too politically controversial at the time, and was consequently dropped from the final storyline;- Another significant difference between the two scripts is the appearance of the ‘ Underwater Car Sub’ in one and not the other. Q himself is reportedly killed off in the dated script [red binder] going down with a nuclear sub, an incident recounted to 007 by Moneypenny when, due to Q’s absence, she’s sent to delivers Bond’s reconnaissance kit to him at Oslo airport. In the undated script [black binder], Q himself meets 007 off the Oslo night train and delivers a new model Ford sports car with numerous vital modifications. The cars underwater features are not specified in the dialogue between the two, and become obvious when pursued by SPECTRE hoodlums on a death-defying cliffside rode, Bond with Anya beside him drives off the end of a jetty into the sea; it is during this ‘Underwater Car Sub’ sequence in the undated script that the two agent lovers believe they are going to die as they are trapped deep beneath the sea in the malfunctioning sub with only three hours of oxygen left. Bond removes two miniature bottles of Armagnac ‘27 from inside the car door and they toast each other: “To the spy who loved me”, Anya’s toast to Bond in English, Bond’s to her in perfect Russian. [pp.87-88]. In the dated script, the two agents make the same toast with the same vintage Armagnac following the dramatic action finale at the villain’s oil refinery [p.107]. In both instances they are of course miraculously saved. ConditionReport: Red binder script: Overall very good. Grey card cover has small tear to front edge, and some folding at edges of corners on both front and backBlack binder script: Overall very goodFootnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws,  whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond.  It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film...

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – A STORY OUTLINE DICTATED BY LEWIS GILBERT, PRELIMINARY SET LIST AND TWO DIRECTORS’ SCRIPTS BY CHRISTOPHER WOODAmimeographed typescript of Lewis Gilbert’s dictated summary of the storyentitled The Spy Who Loved Me, Story Outline No:1, (Dictated by LewisGilbert at a meeting on 5.Apr,76.), nine unbound pp. fastened by a staple,the title page labelled at the top in red typescript Lewis Gilbert; anda corresponding Preliminary Set List (Based on Story Outline No:1 datedthe 5th April, 1976), this dated 7 Apr.76, five pp.mimeographed typescript, the title page labelled at the top in red typescript LewisGilbert; the Story Outline is preceded by a note: “The ‘heavy’ willbe referred to as “THE GREEK” – who owns the biggest tanker fleet in theworld..”; the story is broken into 59 numbered scenes, beginning with thecapture of two nuclear submarines, one British, the other Russian; and theintroduction of beautiful Russian special agent Zyk, Major Anya Amasova; theplot focuses on a tracking system, the plans of which a mysterious party, whotranspires to be a SPECTRE traitor [Fetish] in Cairo, has offered to sell tothe British under the watchful eye of the Russians; the Greek’s headquarters isreferred to as SPECTRE HQ an underwater structure which rises from the ocean;Jaws appears in Cairo, when on the Greek’s orders he despatches ‘Fetish’, Gilbertdictates: “ We see [Jaws] pounce on Fetish…and here we use a special soundeffect (e.g. crunching of celery) which we associate with Jaws…”. ; Bond andAnya are ordered to work together against the Greek, who in addition to histracking device runs a North African drug trafficking operation. Drama ensueswith Jaws, Bond and Anya on the night train to a Greek tourist resort. Q meetsthe train and hands over:  “a (Lotus?)car” which, following a dramatic chase involving a helicopter and two pursuingcars, is driven into the sea by Bond and “…changes miraculously into a small submarine: “NEPTUNE”..”;  one of The Greek’s vast tankers, the“Tabriz/Kaonus”, has opening bow doors which swallow up British and Russiannuclear subs. The drama continues on the tanker where Bond and Anya and thecrews of both nuclear subs are captive. Bond with the aid of an explodingpencil, ignites the oil in the hold and frees the British and Russian prisonersbut he can’t find Anya; the drama concludes with Bond returning to the Lotusdriving it into the sea in pursuit of Anya who is the hostage of The Greek andJaws. Bond finds the villain’s under-water city and manages to get inside, hedisposes of Jaws with an electro-magnetic device, and The Greek is killed.  Gilbert concludes; “…the structure starts toturn on its side like “The Poseidon Adventure” – Bond and the Girl escape…”;and- Two separate mimeographed typescripts of Christopher Wood’s screenplay, both identical partial versions of the first draft, both entitled The Spy Who Loved Me, First Draft, Christopher Wood, one dated 12 April 1976, 25 unbound pp. fastened by a paper clip, the title page inscribed in black ink in an unidentified hand Mr Lewis Gilbert; the other dated 22 April 1976, 75 unbound pp. fastened by a large paper clip, the title page initialled in pencil at the top B.C.; in this earlier version, Bond is summoned from his holiday in the Alps, making a dramatic exit on skis from a tryst in an Alpine hut culminating in a leap over a 3000 foot sheer drop using a union Jack parachute, a feature not mentioned in Gilbert’s story outline above; other differences include Jaws’ first victim’s name the SPECTRE traitor, is changed from Fetish to Farwagi; the chief SPECTRE villain ‘The Greek’ is identified as the shipping magnate ‘Markos Stavros’ described by M as: “Arguably the richest man in the world.” owning “..most of the coastline along the Polyphemos peninsular ..” ; a number of  differences to the ‘Story Outline’ described above include: an amusing scene where the British and Russian collaboration of Bond and Anya extends to Q’s boffin counterpart P, the latter introducing a dart firing suspender belt for Anya’s use; Stavros’ mobile underwater lair is called the ‘Aquapolis’, complete with a lethal shark tank. Christopher Wood came last in line in the order of 12 different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me. Wood was brought in at the suggestion of new director Lewis Gilbert who had himself been appointed on 18 December 1975. Gilbert had inherited Richard Maibaum’s script which had at its core a megalomaniac intent on dominating the world. Gilbert described Maibaum’s plot as: “…the good old standby in which the arch villain sets Russia and America at each other’s throats, then steps in to claim the prize. For this one, he had come up with a tanker that swallowed submarines and one of the best henchmen villains ever, the mighty Jaws, whose steel teeth could bite through anything..”. Despite these heady ingredients, Gilbert felt that Maibaum’s script lacked humour, hence his suggestion to bring in Wood. When Wood took the job on he had been unaware that he was following in the footsteps of many writers. In interviews Wood described how the evolution of his plot was very much a collaborative effort. Gilbert and Wood worked together daily in Cubby’s office at Eon. Sometimes they were joined by Cubby, or Ken Adam or Michael Wilson. Wood developed Maibaum’s script and incorporated ideas from the previous writers and drafts and from Broccoli’s original ideas. He wrote on his own and then went back to discuss things with the others, he compared the process to “..putting together a jigsaw puzzle..” The new plot angle, Wood and Gilbert came up with was the idea of a villain obsessed with oceans, whose lair was a palace under the sea. The plot providing marvellous opportunities for Ken Adam’s set design and some of the most eye-catching gadgets in the history of Bond films.Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws,  whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond.  It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13...

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – TWO FILM SCRIPTS BY CHRISTOPHER WOOD, ONE LABELLED ‘MICHAEL WILSON’ (4)Twoseparate mimeographed typescripts of Christopher Wood’s screenplay, bothsimilar versions,  the earlier one of thetwo an incomplete script missing the final 29 pages, entitled The Spy WhoLoved Me, Third Draft, Christopher Wood and dated 25 May,1976, 111unbound pp. fastened with a bull dog clip; the other complete script entitled TheSpy Who Loved Me, Fourth Draft, and dated 3rd June,1976, the title page inscribed at the top in blue ballpoint pen in anunidentified hand Michael Wilson, 140 unbound pp. fastened by a metalclip; the storyline in both scripts is largely the same, a number ofdifferences include:-Inthe 3/6/76 script only a new character wealthy Sheik Hosein is introduced closeto the beginning in a desert oasis in Egypt, an entertaining old Cambridgecolleague of Bond’s who lavishes him with exotic ‘Arabian Nights’ stylehospitality after tipping him off about Fekkesh; in the 25/5/76 script there’san additional fight between Jaws, Bond and Anya at the Temple of Karnak, andthe meeting with M, Moneypenny, Gogul, Bond and Anya at M’s Egyptianheadquarters in the interior of the burial chamber of Tomb of Rameses II atLuxor occurs approximately 50 scenes after the same meeting in the laterscript; -in the 25/5/76 script Bond asks Q if he can have “Wet Nellie” on thisassignment. In the later script, the adapted Lotus is not named, and isdescribed as “ a bright red car – The Lotus Special..”; and-Two separate sheaths of mimeographed typescript pages, both fragments from unidentified versions of The Spy Who Loved Me screenplay, one 49 unbound pages of mostly dialogue script for a scene between Anya and Bond at the Luxor Hotel and Country Club, with a few minor annotations in an unknown hand in black and blue ballpoint pen, fastened by a red paper clip; the other 46 unbound pages showing variations in the storyline and a Bond girl called Hannah not seen in the final version, some pages with a few minor annotations in black ballpoint pen in an unknown hand; fastened by a bulldog clip;Christopher Wood came last in line in the order of 12 different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me. Wood was brought in at the suggestion of new director Lewis Gilbert who had himself been appointed on 18 December 1975. Gilbert had inherited Richard Maibaum’s script which had at its core a megalomaniac intent on dominating the world. Gilbert described Maibaum’s plot as: “…the good old standby in which the arch villain sets Russia and America at each other’s throats, then steps in to claim the prize. For this one, he had come up with a tanker that swallowed submarines and one of the best henchmen villains ever, the mighty Jaws, whose steel teeth could bite through anything..”. Despite these heady ingredients, Gilbert felt that Maibaum’s script lacked humour, hence his suggestion to bring in Wood. When Wood took the job on he had been unaware that he was following in the footsteps of many writers. In interviews Wood described how the evolution of his plot was very much a collaborative effort. Gilbert and Wood worked together daily in Cubby’s office at Eon. Sometimes they were joined by Cubby, or Ken Adam or Michael Wilson. Wood developed Maibaum’s script and incorporated ideas from the previous writers and drafts and from Broccoli’s original ideas. He wrote on his own and then went back to discuss things with the others, he compared the process to “..putting together a jigsaw puzzle..” The new plot angle, Wood and Gilbert came up with was the idea of a villain obsessed with oceans, whose lair was a palace under the sea. The plot providing marvellous opportunities for Ken Adam’s set design and some of the most eye-catching gadgets in the history of Bond films. Michael Wilson, Cubby Broccoli’s stepson held the official title of Special Assistant to the Producer when working on The Spy Who Loved Me. Broccoli had brought him in as a long-term replacement for Harry Saltzman who had sold his share of Eon in 1975. Wilson played an integral part in the film’s success from the outset. Broccoli’s initial task for his stepson was to conduct protracted negotiations with the Fleming estate for the use of the book’s title. And, Lewis Gilbert, recounted in his memoir, that it was Wilson who came up with the idea for the remarkable parachute ski jump used in the film’s opening sequence, another notable feather in Michael Wilson’s The Spy Who Loved Me  cap. [See lot 17]. Footnote:The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007 series, initiated a number of records for the James Bond franchise. It was Cubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, and he was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to success was beset with numerous difficulties and the screenplay itself went through more adaptations and revisions than any production during the 40-year history of 007 on screen. Problems began with Ian Fleming’s source material for the film’s title. Like the movie, it was Fleming’s tenth Bond novel in order, however it represented a departure from Fleming’s usual 007 format in that it is told from the viewpoint of a young Englishwoman who only meets the famous spy in the last few chapters of the book. For this reason, Fleming never wanted this book to be sold as a film project. His estate, however, gave Broccoli permission to use the novel’s title only. The book and film do also share one significant common element – Jaws,  who is loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth. Nevertheless, the screenplay for The Spy Who Loved Me is considered to be the first Bond film whose story is completely original. After a visit to Russia, Broccoli devised a plot for a  new story which suited the film’s title and focused on a beautiful Russian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…”Literature:RUBIN, Steven Jay Spy Who Loved Me Script Wars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp. Chicago, 2021GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay Some Kind Of Hero, The Remarkable Story of The James Bond Films, Cheltenham Glouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.com Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – TWO DIRECTOR’S SHOOTING SCRIPTS AND PRODUCTION PAPERWORK REGARDING THE OPENING SKI PARACHUTE JUMP STUNT (3)Lewis Gilbert’s mimeographed typescriptshooting script entitled The Spy Who Loved Me, Revised Final Shooting Scriptwith copyright details Copyright of Danjaq S.A., dated 23August,1976, the title page inscribed at the top in ballpoint pen with asequence of 10 numbers 2403886804, 133 pp. a few pages annotated inpencil, black and blue ballpoint pen in an unidentified hand; this scriptincluding 60 yellow and pink coloured pages of later script revisions datingbetween 14 September – 6 December 1976, one yellow page dated 20thSeptember 1976 depicting an intimate scene between Bond and Anya on thesleeper train, inscribed at the top in green ink Lewis Gilbert in anunidentified hand, in bright blue card covers, the front cover inscribed LewisGilbert in black felt pen in an unidentified hand and numbered 56 atthe top right; and-Another mimeographed typescript shootingscript entitled The Spy Who Loved Me, Final Shooting Script withcopyright details Copyright of Danjaq S.A, dated 12 July 1976, 142unbound pp. including 56 coloured pages of script revisions dated 30.7.76; and - Lewis Gilbert’s xeroxed copy of amimeographed typescript Memo on Eon Productions Ltd headed stationery, fromJohn Glen to Cubby Broccoli, dated Wed. 4th Aug.76 tellinghim that he’s enclosing a xerox of a letter from Rick Sylvester [stunt skierfor the famous opening ski jump parachute sequence] giving details of skiequipment used, and telling Broccoli that he’d brought back: “ one complete setof skis, poles, bindings and goggles, plus the parachute…and the original skisuit…as a  reference” adding that thesame red ski boots with their sophisticated binding will need to be ordered forRoger Moore” and “a special haversack will have to be made or adapted.”;- The Memo stapled to the enclosed 2pp.xeroxed letter from Rick Sylvester which states: “…I think it would be onlyfair to use the same ski equipment, in the close ups with Roger Moore, that Iused in the actual jump, even though they weren’t photographed closely enoughto reveal the markings and details. Certain personnel at the various companieswent out of their way to get the equipment to me in time for the jump, onrelatively very short notice (unavoidably as the planning so closely precededthe actual filming) and during their off season when their stocks are verylow…I’d guess they would be willing to supply the gear at no charge, as itsappearance in the film would naturally be of promotional value to them…”- A call sheet dated 6 August 1976; and ahandwritten list of timings and actor’s names in black ink in an unidentifiedhand including; “Felicity York – Arab Girl” In his autobiography All My Flashbacks,Gilbert recalled how it was Michael Wilson’s idea to use a dramatic ski jumpsequence in the film. He’d seen an ad in Playboy magazine which had aphoto of a young man skiing off the edge of a mountain over water. They trackedthe skier, Rick Sylvester, down in Canada and invited him to England to discussthis stunt. On arrival Sylvester informed them that the photo they’d seen was afake, he’d been photoshopped in over the sea, however he said he could do itfor real and knew exactly the right mountain for it. The precipice Bond was togo over, had to be dead vertical. The spot Sylvester chose for the stunt wasAsgard Peak on Baffin Island in the Canadian Arctic. The ski chase that lead upto the jump was shot elsewhere in Switzerland. When it was time to leave forCanada in July 1976, it was second unit director John Glen who set off withRick. They had to wait five weeks for the optimum conditions for this immenselydangerous stunt. Even with perfect conditions Sylvester had to reach the rightspeed in order to project himself clear of the precipice. He did and down hefell until, at the last moment, he pulled the cord to a parachute concealed onhis back, which when opened revealed a Union Jack (Christopher Wood’s cleverdetail). Despite the parachute opening successfully, Rick was still in immensedanger, as Gilbert recounts: “As soon as the parachute opened, Rick had tojettison his skis. What he didn’t bargain for was the skis shooting straightupwards. They missed the parachute by a matter of inches. If they had becomeentangled…that would have meant an end to Rick, who was only 24..”. AlthoughRick was contracted to do two jumps, everything that was needed was captured inthe first take, and one of the most memorable openings to any Bond film was inthe can. It’s interesting to note that in both these final versions of the script, the arch-villain’s name has been changed from Stavros. In the Final Shooting Script dated 12 July 1976 it is Markos Landros, a SPECTRE character in previous script versions, who was their chief drug trafficker in north Africa. And in the Revised Final shooting script dated 27 August 1976 it has become Karl Stromberg, the name that was used in the film. Also, in both scripts all references to SPECTRE have also been removed. These amendments were made on the instruction of Cubby Broccoli in order to avoid threatened legal action from Kevin McClory who owned the film rights to Thunderball and was planning a new Bond adaptation of it. Broccoli had insisted that the name Stavros was changed due to its similarity to Ernst Stavro Blofeld’s middle name, and that all references to SPECTRE were taken out. These two elements had been introduced into the Bond universe with Thunderball and by removing them, Cubby hoped to dodge the pending legal issues.  Footnote:The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws,  whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond.  It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18. Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how...

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHIC REPRODUCTION STORYBOARDS FOR THE LOTUS AND MOTORCYCLE SIDECAR MISSILE CHASE SEQUENCEThirteenoriginal photographic reproductions of storyboards for Scenes 176 – 206, thefilm’s most spectacular chase sequence on death-defying coastal roads featuringBond driving Q’s specially adapted Lotus with Anya at his side, being pursuedby Spectre heavies, on a motorcycle equipped with a detachable teleguidedsidecar missile, a car, and in a helicopter overhead, and culminating in Bonddriving the Lotus off a jetty into the sea; each photographic print a life-sizereproduction of six 9 x 14 cm. scene drawings which had been pinned to a boardand annotated with scene number, camera and action details, each print overallmeasurements: 31 x 38 cm.; housed in a green card sleeve inscribed on the frontin black felt pen and ballpoint in an unidentified hand Lewis Gilbert,Storyboard, The Spy Who Loved Me.  Footnote:The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws,  whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond.   It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three two years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18. Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…” Literature: RUBIN, Steven Jay Spy Who Loved Me ScriptWars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp.Chicago, 2021GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay SomeKind Of Hero, The Remarkable Story of The James Bond Films, CheltenhamGlouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.comBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, uncredited but taken by Martin Godwin from the GuardianPicture Desk [see Lot 512] - 29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus.  It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also, an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,crease to lower left corner appox. 14 cm. long; two smaller creases to topedge; small tear to lower edge approx.. 1 cm. long; overall good. Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws,  whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond.  It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…” Literature:RUBIN, Steven Jay Spy Who Loved Me Script Wars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp. Chicago, 2021GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay Some Kind Of Hero, The Remarkable Story of The James Bond Films, Cheltenham Glouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.com  Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – A COLLECTION OF PRODUCTION PAPERWORK AND ASSOCIATED MATERIAL (QTY)Aquantity of Lewis Gilbert’s production paperwork, majority mimeographedtypescript including:- A xeroxed copy of a three-page letter on Eon Productions Ltd. headed stationery,dated 8 April,76 from production manager David Middlemas to Lewis Gilbertconcerning Facilities Required For Shooting On Board And Around The “Tabriz”- A mimeographedtypescript Unit List, dated 21 April 1976 – 21 June 1976, 6pp. - A mimeographed typescript film unit telephone directory dated 6 May 1976, 1p.attached to a corresponding call sheet entitled: Recce No. 5 (Gareloch,Scotland; and a Unit List, dated 21April, 1976, 4pp. majority ofpieces labelled Lewis Gilbert in red typescript;-A typescript letter on Eon Productions The Spy Who Loved Me illustratedheaded stationery, from Derek Coyte to Lewis Gilbert, dated 4 July, 1977,enclosing a running order and a seating plan for rows A and B; attached to amimeographed typescript 2pp. Programme of Timings for The Royal CharityPremiere of “The Spy Who Loved Me” at the Odeon Leicester Square on ThursdayJuly 7th.1977; a corresponding Appendix of Ladies andGentlemen to be presented to HER ROYAL HIGHNESS THE PRINCESS ANNE, LewisGilbert’s name No.20 in the running order of 25, Roger Moore’s name in theultimate position No.25; and the two page seating plan mentioned in the letter;- And two tickets for The Spy Who Loved Me, Royal Charity Premiere in thepresence of H.R.H. The Princess Anne, Mrs. Mark Phillips G.C.V.O onThursday July 7th, at the Odeon Leicester Square WC2, the ticketsfor Stalls seats Nos. 20 & 21; and a corresponding illustrated souvenirprogramme;- A 20-page mimeographed typescript document on Eon Productions The Spy WhoLoved Me illustrated headed stationery, entitled Production Notes,labelled in green felt pen on the 1st page Mr. Lewis Gilbertin an unidentified hand- A Second Draft Schedule, based on Yellow Script 12.July. 76, Covering 1stand 2nd Unit work up to: Sunday, 7th November, 76, 19pp. mimeographed typescript, labelled on the front cover Lewis Gilbert inblack felt pen in an unidentified hand; - Four call sheets, various dates and locations: 2 June 76, Gareloch, Scotland, Clyde Submarine Base, Faslane; 3June, 76 Sardinia And Egypt; 2nd Nov.1976 The AtlantisBoardroom and 15 Nov.1976 Int. Atlantis – Sitting Room;- A folder inscribed ‘The Spy Who Loved Me, General Hopeful Letters For Work’,containing seven letters (some file copy responses from LG) from actors / crewhoping for work, Feb – May 1976 - A red folder titled ‘International Artistes Representation’ – an agency portfolioof actors to be considered for roles with information on seven actors includingLeslie Caron, including their photo and bios - An8x10 in. black and white press still of Roger Moore blowing out candles on a007 cake at a party with Lewis Gilbert’s wife Hylda; and related material.Photographs Sold Without CopyrightFootnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws,  whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond.  It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…”  Literature:RUBIN, Steven Jay Spy Who Loved Me Script Wars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp. Chicago, 2021GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay Some Kind Of Hero, The Remarkable Story of The James Bond Films, Cheltenham Glouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.comBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

JAMES BOND ‘MOONRAKER’, 1979 – DIRECTOR’S SCRIPT (3)A mimeograph typescript director’s script,undated, 160 pp. fastened with hinged metal clasp between brown card covers, notitle page, the first page incorrectly titled For Your Eyes Only,crossed out in pencil and inscribed in an unknown hand in pencil MOONRAKER,seven pages with minor annotations in blue ballpoint pen in Gilbert’s hand, thescript comprising 1-624 numbered scenes, the dialogue beginning on p.6, Scene27: ‘Int. M’s Office. Day”; including five separate pages ofmimeographed typescript entitled: FYEO  Scene Continuity 19/1/76, the firstthree of these pages a breakdown of 33 numbered scenes, the remaining twopages, dated January 23,1978 with scene breakdowns numbers 34-39, thesefive pages apparently a scene breakdown for an early story outline, point 5states: “Informant slain by Butterfly Girl..” [in this script it’s a “beebrooch which “..takes flight…the tiny golden point of the bee’s proboscis sinkinto LEFEVRE’S neck like a hypodermic needle ..”. This motif of the lethalButterfly/Bee pin brooch was used by Maibaum in his Nov.5.1975 draft of thescreenplay [see lot 514].The main female protagonist appears in scene 6, p.1 andis described as: “Major Eve Scott (Holly Goodhead – or similar)”. The finalpoint 49 states: “Continue from here, according to Chris Wood outline, toend..” ; and- A black and white press still of LewisGilbert with Cubby Broccoli, Roger Moore and Lois Chiles posing on a Parisianrooftop in 1978 – 20.5 x 26 cm.; and- An autograph letter, signed, to LewisGilbert from his long-term collaborator, Vernon Harris, dated 8.1.88 enclosingthe revised script for For Your Eyes Only [not present], tellingGilbert: “ I hope you’ll have approved the script – as far as I can see, everychange is exactly what we agreed on at our last meeting at Weybridge..” 1p. Itis interesting to note that the script in this lot had original title had been ForYour Eyes Only as this had been the Bond film publicized to succeed TheSpy Who Loved Me as the eleventh 007 movie in the series. However,shortly after the For Your Eyes Only succession plan announcement in1977 the Star Wars: Episode IV - A New Hope  phenomenon occurred. The Bond producersdecided to cash in on the massive resurgence of interest in the Sci-Fi genreand brought in Moonraker due to its space theme, shelving For YourEyes Only until 1981. The budget for Moonraker was four times thatof Star Wars and is said to have cost nearly as much as the first eightBond films combined. Lewis Gilbert commented: “…I used to make entire featurefilms for less than the Moonraker telephone bill..”  However, it paid off, Moonraker becamethe highest grossing Bond movie until the release of GoldenEye in 1995.VernonHarris’ letter to Gilbert, written in January 1988 and enclosing a script for ForYour Eyes Only is particularly intriguing as it post-dates the film’srelease in 1981. Photograph Sold Without CopyrightConditionReport: Overallvery good Literature:GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay SomeKind Of Hero, The Remarkable Story of The James Bond Films, CheltenhamGlouc.,2015www.IMDB.com Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

‘EDUCATING RITA’, 1980 – 1983 – THEATRE POSTER, FLYER AND SIGNED PAPERBACK (3)An original theatre poster for the LiverpoolPlayhouse for a production of Educating Rita, 5 February – 14 March 1981– 76.5 x 51 cm.; a corresponding flyer for the UK National Tour, 30 August 1982to 12 March 1983; and a paperback book Educating Rita, Stags & Hens AndBlood Brothers, Two Plays and a Musical by Willy Russell, published byMethuen, 1986, signed and inscribed on the title page in blue ballpoint ToLewis + Hilda [sic] Love: Willy.Condition report - Poster:The bottom corners are slightly curled and have folded under.  At some point it has been rolled and then the roll compressed, resulting in marks to the surface and some evenness overall with ‘crinkles’.  There is a scuff to the blue border edge just up from bottom left.Willy Russell’s play Educating Rita was commissioned by the Royal Shakespeare Company and opened at The Warehouse in London in June 1980, moving to The Piccadilly Theatre in September of that year, before opening at the Liverpool Playhouse in February 1981 – Russell directed this production himself, the first time he had directed a play.  The RSC production ran in the West End for two and half years, since when it has never been out of production somewhere in the world.  Russell said of his work “I wanted to make a play which engaged and was relevant to those who considered themselves uneducated, those whose daily language is not the language of the university or the theatre. I wanted to write a play which would attract, and be as valid for, the Ritas in the audience as the Franks." On the strength of the rave reviews, Hylda Gilbert went to see the play whilst it was at the Warehouse, and on her urging, Lewis went to see it shortly afterwards when it opened at the Piccadilly Theatre.  Julie Walters starred as Rita in this original production opposite Mark Kingston as Frank.  In his autobiography, Gilbert recalls …..but up on that stage it was Julie’s show.  I thought it was wonderful and knew I had to get in touch with the author right away. Literature:GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

‘EDUCATING RITA’, 1983 – DIRECTORS SCRIPTS (2)Two director’s scripts of Willy Russell’sScreenplay, both 117 pp. of mimeograph typescript bound in red card covers: thefirst with title page dated 16th June, 1982, annotated in anunidentified hand next to the film’s title in pencil J additionallyannotated top right in pencil 66 and in blue ballpoint 24 Section, withnumerous pages of script amendments inserted on pink paper, the first two pinkpages listing the amendments by page number and scene, one dated 21 July 1982,the other 13 August 1982, further pages of script amendments dated 30 June 1982and 7 August 1982, numerous pages annotated in Gilbert’s hand; the secondscript undated, the title page annotated top right in pencil in an unidentifiedhand Lewis, and a further annotation in a different hand in blueballpoint with contact details for ‘Drew’, the script similarly with numerouspages of script amendments inserted on pink paper, the first pink page listingthe amendments by page number and scene, dated 21 July 1982, this script withfewer inserts than the first, some pages annotated in Gilbert’s hand, but lessthan the first script.Willy Russell’s play Educating Rita was commissioned by the Royal Shakespeare Company and opened at The Warehouse in London in June 1980, moving to The Piccadilly Theatre in September of that year, before opening at the Liverpool Playhouse in February 1981 – Russell directed this production himself, the first time he had directed a play.  The RSC production ran in the West End for two and half years, since when it has never been out of production somewhere in the world.  Russell said of his work “I wanted to make a play which engaged and was relevant to those who considered themselves uneducated, those whose daily language is not the language of the university or the theatre. I wanted to write a play which would attract, and be as valid for, the Ritas in the audience as the Franks." On the strength of the rave reviews, Hylda Gilbert went to see the play whilst it was at the Warehouse, and on her urging, Lewis went to see it shortly afterwards when it opened at the Piccadilly Theatre.  Julie Walters starred as Rita in this original production opposite Mark Kingston as Frank.  In his autobiography, Gilbert recalls …..but up on that stage it was Julie’s show.  I thought it was wonderful and knew I had to get in touch with the author right away.  Literature:GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

Gazbia Sirry (Egypt, born 1925)The Village oi on panel, framedsigned 'Gazbia' in English and Arabic (centre right), executed circa 1970s59.2 x 56.1cm (23 5/16 x 22 1/16in).Footnotes:VISIONS OF EGYPT: WORKS FROM THE COLLECTION OF DR ANGELO GIOE, FORMER ATTACHE OF THE ITALIAN CULTURAL INSTITUTE, CAIROProvenance:Property from the collection of Dr Angelo Gioe, cultural attaché at the Italian Cultural Institute, Cairo 2003-2007Acquired from Mona Hob, wife of the Egyptian artist and illustrator Hilmy El Touny'Notwithstanding the historical significance of her art—and the international recognition that has come with a record of seventy-five-plus one-woman shows across continents— Sirry is surprisingly under-studied, and her art is described predominantly in technical terms centered on 'color.' The quintessence of life and political statements, however, seems to have been ignored, if not entirely missed. Educated in Egypt and Europe, Sirry built one of the most influential careers in twentieth-century modern Arab art.Divided into three overlapping phases, her paintings blur art and politics as they narrate the story of societies vacillating between triumph and defeat, dignity and humiliation, social justice and inequality. Sirry arguably birthed a new identity that makes no distinction between seeing and militancy. As she fluidly moved between styles, this 'childless' grande dame became the national godmother to an entire nation'- Fatenn Mostafa KanafaniGazbia Sirry is one of the many accomplished women artists who have made a mark in the Egyptian arts throughout the twentieth century. She stood out for her dedication to the individual freedom of the Arab woman through her fighting spirit. Sirry's ardent enthusiasm for innovation and her openness to international influences made her a vital contributor to the Contemporary Art Group in Cairo. A prolific painter, she has experimented with a range of styles. Her early works resembled illustrations inspired by children's coloring books. But she soon shifted to an Expressionist style in which her use of heavy impasto, quickly applied and violently scratched, explored a thematic revolving around the artist herself or groups of individuals and couples. Her figures seem to be struggling to emerge from the whirlpool of life, or have gathered together for sheer survival in an urban environment gone astray.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Marcos Grigorian (Iran, 1925-2007)Convergence earth, resin, straw and mixed media on panelsigned, titled and dated on the verso, executed in 1981115 x 116cm (45 1/4 x 45 11/16in).Footnotes:MARCOS GRIGORIAN – UNEARTHED: AN IMPORTANT GROUP OF COMPOSITIONS INCLUDING THE EXCEPTIONAL 1981 EARTHWORK 'CONVERGENCE'Provenance:Property from a private collection, Los AngelesOriginally in the collection of the Armenian sculptor Rafael Petrosyan (1937-)Exhibited:Marcos Grigorian, Gorky Gallery, 1981, New York'Surely not in vainMy substance of the common Earth was takenAnd to this Figure moulded... to be broke,Or trampled back to shapeless Earth again?'- Omar Khayyam'Perhaps I was homesick for the native soil of Iran, or maybe it was just the opposite – a reaction to being obsessed with my past' - Marcos GrigorianBonhams is delighted to present this superlative group of works by pioneering Iranian Armenian artist Marcos Grigorian. Ranging from one of the most monumental, exquisitely rendered, and technically complex examples of his signature Earthworks, to rare painted compositions formerly in the collection of the artists uncle and gallery-owner, the present grouping provides a comprehensive and compelling accounts of Grigorian's oeuvre.'Convergence' is part of Grigorian's acclaimed Earthworks Series. Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.Born to Armenian parents in 1925, Grigorian was brought up in Russia for a short time before emigrating to Iran with his family at the age of five. After studying at Kamal-el-Molk Art School in Tehran, he moved to Rome to complete his studies at the Academia di Bella Arti in the 1950s. His move to Rome allowed him to study the works of classical and modern masters and was a turning point in his career. His subsequent moves to Iran and then to the United States in the later years of his career were to be equally influential to his artistic development. His early abstract style was supplanted by expressionist figurative compositions on his return to Iran in 1954. In 1962 he moved to New York where he began his most famous Earthworks Series.These works are mostly on a square format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of particles and gas. The traces of a convergent movement towards the centre of the canvas evoke the image of the universe forming out of primordial dust - and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art.He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)The Cream Sellers hammered copperexecuted in 195629 x 19.5cm (11 7/16 x 7 11/16in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersExhibited:Fourth exhibition of the Baghdad Modern Art group, April 13 - 19, 1956, Institute of Fine Art, BaghdadPublished:Abbas El-Saraf, Jewad Selim, Baghdad, 1972Jabra Ibrahim Jabra, 'Jawad Salim wa Nasab al-Hurriyya,' Baghdad Ministry of Information, 1974THE CURD SELLERS – THE ONLY RECORDED SCULPTURE IN COPPER RELIEF BY JEWAD SELIM'My heaviest burden is to decide how to divide my energy between painting and sculpture. I think that someday I must give up one of them because my creative ability is split between the two. I am thinking of giving up painting for good.''- Jewad Selim'The Curd Sellers is the only known version of Jewad's sculptures done in the 'hammered copper' technique. What is particularly significant here is that 'hammered copper' was an ancient technique perfected by the Mesopotamians' – Zaineb Selim, the artists daughterAn artist of incredible versatility, Jewad Selim excelled in painting, drawing, sculpture and craftsmanship. Despite turning his hand primarily to sculpture for the latter part of his career, owing to the scarcity of foundries in his native Iraq, he executed his works almost exclusively in wood and plaster; the appearance therefore, of an exquisite, widely published work in metal relief, unique amongst his body of work, provides a single opportunity for a collector to acquire an example of the artist's work which is unmatched in its rarity and importance. One of the main themes that Selim's Baghdad Group of Modern Art focused on, was peasants and Bedouins in different settings; such as the mudhif (guest house), the coffee house, as well as various roles including water carriers, bakers, farmers and so on. The role depicted in this relief is that of the women who sell buffalo curd at dawn in Baghdad, locally termed as العلابات (El-Allabat – translated as the Packers referring to the packs of buffalo curd stacked on their heads or on the ground beside them). Semi-abstracted into interlocking rounded forms articulated by Selim's signature crescent motif, Selim provides a modern interpretation of an ancient and highly acclaimed craft. The Middle East, as one of the foremost centres of metalwork in antiquity was home to some of the most sumptuous and lavish examples of this craft, with standout examples including the magnificent royal Sassanian silver dishes decorated in high relief.In place of the kingly, high flown mythological subject matters of ancient metalwork, Selim brings his focus back onto the common plight of the noble Iraqi peasants and their daily toil, a cunning subversion of what was once seen as a 'courtly craft' in the hands of an artist using it to shine a light on the everyday life of his native people.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Charles Hossein Zenderoudi (Iran, born 1937)DAL+DAL+DAL acrylic on canvas, framedsigned 'Zenderoudi' and dated '70' (lower left) in English and Farsi, executed 1970212 x 124cm (83 7/16 x 48 13/16in).Footnotes:Provenance:Property from a private collection, ParisNotes: This work is accompanied by a certificate of authenticity from the Charles Hossein Zenderoudi archives and will be included in the forthcoming Charles Hussein Zenderoudi catalogue raisonée.'To create a painting, I begin with the preliminary study, which consists of sketches on paper, followed immediately by the painting of letters and colouring on canvas... I am thus able to immediately express my spontaneous feelings on canvas. Sometimes I leave a canvas to work on another, this is like improvisation in music, for I treasure freedom more than anything else. I couldn't be what I am if I didn't have freedom to express my lyricism. I don't believe in teaching painting, since I do not believe that technical training is required to make one a great painter. Painting can be done with any tool or any piece of equipment, I believe all schools of fine art, all over the world, should be shut down'- Charles Hossein Zenderoudi, Midi Libre, No 9401, 9 April 1971Provenance:Property from a private French collectionCharles Hossein Zenderoudi is one of Iran's most accomplished modern artists, as a founding father Iranian neo-traditionalism Zenderoudi is a master of blending traditional Persian motif's within a distinctly avant-garde aesthetic.His choice of subject matter, calligraphy, has historically been the most established mode of formal artistic expression prevalent in Iran, but, by emphasising form over meaning, and by stripping the written word down to its aesthetic, structural, fundaments, Zenderoudi subverts the traditional values of Persian calligraphy. Zenderoudi's text is intentionally illegible and carries no literal meaning, freeing it from the constraint of linguistic limitation, and imbuing it with a sense of universality which rescues the archaic practice of calligraphy from obscurity, giving it renewed relevance in a contemporary context.Zenderoudi's compositions pay homage to centuries of Persian religious imagery and employ a systematic repetition of letter-forms that finds its genesis in the mystical practice of Sufi numerologists, who believed in the spiritual significance of singular letters and worked these principles into hugely intricate talismanic charts. Zenderoudi's methodical compositions, whilst not accurately following the grammar or axioms of numerology, capture the aesthetic and conceptual qualities of its cryptic nature.Zenderoudi's early works focused on dense talismanic imagery, mixing iconography, freehand script and numerals. The density of these compositions sought to capture the visual intensity of popular religious expression in Iran, where banners, standards, altars, murals and mosques exuberantly adorn the urban landscape.Works from the present series, composed in the 1970's, mark a shift towards a more avant-garde, patterned, technical and measured approach to calligraphy. The crowded iconography of the early works is replaced by a greater focus on singular and recurring letter-forms, which exhibit a formal refinement lacking in their earlier counterparts. The present work also marks a conceptual shift away from the more overtly traditional subject matters and more towards a pure, patterned aesthetic which emphasises the meditative and visual elements of letter depiction over their linguistic connotation.Measured but spontaneous, technical yet effuse, Zenderoudi' manipulates Persian calligraphy with effortless ease, boasting a visual scope which faithfully captures the salient elements of Iran's traditional popular religious aesthetic. Rendered with the use of rich and vibrant colours, his canvases replicate the tonal and textural qualities of the votive art so common to the Iranian urban landscape.Almost rhythmic in its grace, balance and composition, the present work is one of the finest examples of Zenderoudi's work from this period.Saleroom noticesThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Dia Azzawi (Iraq, born 1939)Sorrowful Visions oil on canvas, framedsigned 'Dia Azzawi' and dated '67' in Arabic (lower right) and further signed, dated and titled on the verso, executed in 196765 x 96cm (25 9/16 x 37 13/16in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present owners, Exhibited:Dia Al Azzawi, Iraqi Artists Society, Baghdad, 18-28th April 1967, No. 5Published:Published as Sad Remembrance, Exhibition catalogue: Dia Al Azzawi, Iraqi Artists Society, Baghdad, 18-28th April 1967, No. 5'Stylistically, Azzawi's work of the 1960s remained more figurative with stronger ties to mythology and history, which was the thread that maintained his connection to the Baghdad Group of Modern Art as their anticipated inheritor who could further their goals. Equally, Azzawi's use of colour reflected the inspiration of his teacher Faeq Hassan. He was thus able to negotiate two distinct strands of development in modern Iraqi art: the philosophical abstractions of Iraqi Signs and symbols by the Baghdad Group of Modern Art and Faeq Hassan's mastery of technique.'- Saleem Al-BahlolyThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Man and Horse oil on board, framedsigned 'Jewad Selim' and dated '1956' in Arabic (lower right), executed in 195643.9 x 59cm (17 5/16 x 23 1/4in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersExhibited:Fourth exhibition of the Baghdad Modern Art group, April 13 - 19, 1956, Institute of Fine Art, Baghdad.'At the end of each day – Jawad sat in the living room surrounded by our sons, filling sheet after sheet of a small pad of paper with nimble drawings of wild animals in action – tigers, monkeys, crocodiles, elephants and even some imaginary creatures. And as his pencil flew across the paper, he held the children spellbound with tales woven around his jungle beasts. It was his way to relax, and the boys urged him not to stop, even long after their bedtime'Memoirs of Ellen Jawdat, mother of the present owners''You draw on paper, crescents and signs that lead the traveller to your heart, arousing hope in Baghdad, who invited you into her mornings like a woman full of desire. You called your pictures by her name, like a lover who searches in the corners of memory for friendly signs, a square or a rectangle, a suggestion of a palm tree or a coffee pot, or the faces of tired women in love, hovering between al-Risafa and al-Karkh, between the beginning and the end of a dream ?' - Dia Azzawi 'A Homages to Jewad Selim'Painted when Jewad Selim was firmly recognised as one of the leading luminaries of the Iraqi art scene, Arab with Horse is a rare and captivating composition which participated in the landmark fourth exhibition of the Baghdad Modern Art Group in 1956, a demonstration of the remarkable longevity, appeal, and success of the group which Selim himself co-founded. One of Selim's most enthralling works, 'Man and Horse', is a stunning combination of the artistic dexterity and tonal richness of Selim's work, with thematic and aesthetic inspiration drawn from his ever-present subject matter: the rich landscape of urban life in Baghdad . 'Man With Horse', with its free flowing, curvilinear forms, appears to have a lively and spontaneous feel, a trait Lorna Selim attributed to Jewad's creative process, which was to know exactly what he wanted to paint before picking up his brush and often completing works in just a few hours. Jewad's innovation of integration of Iraqi and European ideas creates a work that is a perfect fusion of styles. The two figures meet heads in a tender, thoughtful embrace, they bear round faces with large open eyes and simply delineated noses, not unlike figures of the two European masters Modigliani and Picasso which Selim so admired. Block colours, abstract fauna and shapes fill the ground, curiously blending visual cues both from European Modernism and from the decoration on medieval figural lustre ceramics of the Abbasid era. After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week later on 23rd January 1961 at the age of just forty-one, leaving a wife and two young daughters.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Good and Evil, An Abstraction oil on canvas, framedexecuted circa 195150 x 75cm (19 11/16 x 29 1/2in).Footnotes:'GOOD AND EVIL, AN ABSTRACTION' - A RARE AND MAGNIFICENT 1951 OIL PAINTING BY JEWAD SELIM COMMISSIONED FOR THE IRAQI RED CRESCENT SOCIETYProvenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist, thence by descent to the present ownersNote:The present work is a study for a tile mural planned for the entrance to the Iraqi Red Crescent Society headquarters in Baghdad, a building designed by Nizar and Ellen Jawdat'The ladies of the Women's Red Crescent asked us to design the headquarters for their charitable society. It would occupy a prominent position on a main thoroughfare in the south of the city. In addition to their administrative offices, the project would incorporate their most ambitious charity, an orphanage for about 50 young girls. Fresh from our studies and uncorrupted by caution, we designed a building that provided for their needs in a way that was new to Baghdad —a striking, functional modern design. Jawad Selim, now Iraq's foremost artist, agreed to design a mural in small ceramic, colored tiles that would fill the entrance wall to the offices: He produced an abstract design based on the theme of Good and Evil, which incorporated —appropriately, the symbol of the crescent moon.'- Unpublished Memoirs of Ellen Jawdat'The spectacle of the sky overwhelms me. I am overwhelmed when I see a crescent moon or the sun in an immense sky'- Joan MiroBonham's are proud to present perhaps one of the rarest and most sought-after Iraqi paintings to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Selim painted Good and Evil in 1951 as a study for a mosaic-mural commissioned by the Iraqi Red Crescent society for their Baghdad headquarters, a building designed by the Jawdat's themselves. While the mural itself was never constructed the painting remained in the hands of the family since its composition and its appearance at international auction seventy years later marks an immensely important re-emergence of a major oil painting by Selim Compositionally, Good and Evil is perhaps the archetypal Jewad Selim; painted at the zenith of his career, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which Jewad himself co-founded. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with abstract interpretations of the humorous and extravagant characters encountered in Iraqi everyday life. Light-hearted and boisterous, the Good and Evil is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on the mood and feel of life in Baghdad.The current work is the only known appearance at auction of a Jewad Selim composed with the artists iconic monochromatic silver backdrop, seen most prominently in his superlative painting, Baghdadiyat, now in the collection of the MATHAF: Arab Museum of Modern Art in Qatar. Inspired both by indigenous artistic vocabulary and the great European modernists that Selim studied during his artistic training, Good and Evil seamlessly combines oriental and modernist motif's. The monochromatic background and abstracted line-drawn forms are reminiscent of Spanish modernist Joan Miro, who curiously also had a fascination with crescent forms and used them extensively in his compositions on the constellations. The star and crescent motif itself is a common feature of Sumerian iconography, the crescent usually being associated with the moon god Sin (Nanna) and the star with Ishtar (Inanna), often placed alongside the sun disk of Shamash. In this manner, Selim demonstrates his ability to simultaneously borrow from ancient and modern artistic traditions. Selim's subject matter, an abstract interpretation on the struggle between Good and Evil, is a perennial component of ancient Mesopotamian art and mythology. A slender, horned, devil like figure towers almost comically on the left-hand side of the composition, while more benign winged creatures float on the foreground. The iconography of the ancient Middle East is rife in precisely this kind of abstracted 'dualism', specifically in the ancient Zoroastrian tradition where the universe was characterised as a constant struggle between the forces of Good and Evil. Selim's composition therefore pays homage to a rich artistic legacy in a composition which deftly marries the ancient and the modern in his inimitable style. Jewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week la... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A late 18th / early 19th century Italian carved white marble figure of the Antinous Belvedereprobably Roman, after the antiquethe nude male modelled in contraposto stance with head turned slightly to dexter, his right hand on his hip, drapery held loosely in the crook of his left arm, standing beside a stylised tree stump on oval base, the figure raised on a contemporary ebonised moulded rectangular plinth, the figure 51cm high, 71cm high overall including plinth Footnotes:The antique marble statue of Antinous Belvedere was first recorded in 1543 when it was purchased for one thousand ducats by Pope Paul III for the courtyard of Belvedere garden in the Vatican. By 1545 it was in the statue court, where it remained until 1797. Tentatively attributed to the 4th century Attica sculptor Praxiteles or a close follower it was reproduced in both marble and bronze for the Palace of Versailles in the 1680's by the Baroque sculptor Pierre I Le Gros (French, 1666-1719) and was later admired and praised by the influential German art historian and archaeologist Johann Joachim Winckelmann (1717-1768) who wrote 'our Nature will not easily create a body as perfect as that of the Antinous admirandus'. Copies of the model were hugely popular in the 18th century appearing in the most prestigious collections of Europe as life-size editions or reductions in a variety of mediums such as the offered lot. In 1797 the Belvedere Antinous left Italy when it was ceded to the French as part of the Treaty of Tolentino, arriving in Paris with a triumphal procession a year later before being exhibited at the Musée Central des Arts. It was subsequently returned to Rome in 1816.Related LiteratureF. Haskell and N. Penny, Taste and the Antique, 'The Lure of Classical Sculpture 1500-1900', New Haven/London, 1982, pp. 141-143.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Attributed to Baccio (Bartolommeo) Bandinelli (Italian, 1493-1560): A good mid-16th century Florentine carved white marble oval profile portrait relief of a gentlemanpossibly depicting the Duke Cosimo I de'Medici the sitter with curling hair and beard and elaborate scroll embroidered collar, 34cm high x 26cm wide overallFootnotes:Baccio or Bartolommeo Bandinelli, actually Bartolommeo Brandini (1493-1560) was a Renaissance Italian sculptor, draughtsman, and painter.Comparative literatureVolker Krahn in, Baccio Bandinelli, Scultore e Maestro (1493-1560), exh. cat, ed. Detlef Heikamp and Beatrice Paolozzi Strozzi, Museo Nazionale del Bargello, Florence, 2014, pp. 352-55, nos. 26-27 (the small bronze busts); compare for the large busts of Cosimo in marble and bronze, pp. 304, no 17 and p. 310, no.20); for a 'young' marble bust in New York, p, 582, no. XI; and for a chalk portrait of Cosimo in three-quarters view, pp.42-21, no 53.The imageThis intimately conceived portrait oval is of good quality and is possibly from the world of the great Medicean sculptor and bitter rival of Cellini, Baccio Bandinelli. The chips at the edge of the oval edge suggest it might have been roughly prised out of a tight frame or setting into a wall, perhaps on a Mannerist tomb or mantelpiece.The subject, wearing a contemporary lace-trimmed collar, resembles Cosimo I de' Medici, who was Bandinelli's employer as a court sculptor, though the profile of the nose varies slightly from other marble portraits and small bronze medals commemorating the Duke's reign and principal successes in public architectural and sculptural projects. Bandinelli's career and aspirationsBorn eighteen years after Michelangelo (1475-1564) who was his hero and the target of his emulation and seven years before Cellini (1500-1571) who conversely was his arch-rival, enemy and nemesis in terms of reputation, Bandinelli was a major sculptor of the High Renaissance in Florence and later in Rome. It was however his fate to be overshadowed by the 'divine' and 'terrifying' Michelangelo however hard he tried to match his achievements and to be blackguarded by the jealous Cellini in his autobiography. Bandinelli's and Cellini's professional rivalry and personal animosity famously deteriorated into schoolboy behaviour with the two making rude gestures and shouting insults at one another in the street much to the disapproval of the strait-laced Spanish grandee and Duchess, Eleonora da Toledo. To add to Bandinelli's misfortunes on the public relations front, Giorgio Vasari, painter, impresario of Medici commissions and latterly biographer of Florentine artists, also took against him, on account of his social pretensions and obsession with outdoing their joint hero, Michelangelo. In artistic terms this led him obsessively to produce self-portraits, emphasising his status as a Florentine aristocrat and a Knight of the Order of Santiago.The Identity of the sitterBandinelli's oeuvre in marble is to be found mainly in Florence and Rome, runing to some twenty commissions comprising many individual statues and reliefs (e.g. the 88 panels of the choir enclosure in Florence Cathedral, some of which are signed and dated 1555) as well as several portrait-busts or reliefs of Duke Cosimo made in rivalry with Cellini, and of the Duke and his wife on their tomb in SS, Annunziata, as well as other distinguished, affluent or noted Florentines.The depiction of the gentleman on the present oval for which no very distinguished provenance can be claimed at present closely resembles a similarly small portrait relief of Cosimo that seems to have been cut down into a neat rectangle of even smaller size - 22 x 17.5cm (Fig. 1). The two portraits share the same intense stare which seems to have been a specific feature of the sitters face with the eyes sometimes shown as exophthalmic, perhaps owing to an over-active thyroid. This comparable turned up in the posthumous sale of the distinguished collection of Giorgio Uzielli (1903-1984) after the death of his widow at Sotheby's New York on the 26 January 2012, lot 303. A decade or so later the same relief was subsequently re-offered at Christie's New York, on 22 April 2021 catalogued more positively by Eike Schmidt (Director of the Uffizi Gallery in Florence) and Janet Sisk as 'attributed' to Bandinelli, rather than to 'his workshop'. The unusually bulbous line of the upper forehead (with a shock of hair combed forward over it) rising above a distinct indentation is very close to the Uzielli image. As such if this is also a portrait of the Duke, it could be that the slightly aquiline ridge of the nose here is truer to the sitter in real life with the straighter and thus more flatteringly Grecian and 'ideal' line shown on most of his portrait depictions. Here the chin is strong and firm although perhaps a little less projecting than in the other portraits and the hair of the beard is less closely cropped and more curling.For further information on this lot please visit Bonhams.com

A French late 19th century ormolu mounted mahogany and bois satine parquetry bureau a cylindre or cylinder bureauafter Jean-Henri Riesener and Adam WeisweilerCirca 1880, with lozenge inlaid trelliswork to the front, rear and each end, the pierced guilloche brass gallery above three frieze drawers each mounted with bead-and-reel panelling, over a fall with conforming panel mounts, enclosing a satinwood veneered interior comprising three pigeon holes and three short drawers, flanked by spiral-wrapped floral mounted reeded angles, above a writing slide, with a central secret catch-activated and spring-loaded drawer inset with an ormolu relief plaque depicting music-making putti, flanked by two short deep drawers, on angled ormolu legs each modelled as a herm tapering figural column of the goddess Flora with a basket of flowers balanced upon her head, cast with stylised foliate and tasselled floral pendants, on elongated spiral fluted sabots, with a shaped interlacing stretcher mounted with a central sunflower rosette, 93cm wide x 58cm deep x 112cm high, (36 1/2in wide x 22 1/2in deep x 44in high)Footnotes:The upper part of the present lot is modelled after a magnificent parquetry cylinder bureau inlaid with mother of pearl which was supplied to Marie Antoinette by the renowned cabinet maker, Jean-Henry Riesener (1734-1806). Provided in 1786 for the Chateau de Fontainebleau, this impressive piece of furniture was housed in the Royal boudoir. During the latter part of the 19th century the display of Riesener's original at l'Exposition de l'Union Centrale des Arts Decoratifs prompted a number of copies and variants to be produced by the most prominent ebenistes of the period, including by such figures as Linke, Beuderley and Dasson. The lower section of the offered bureau a cylindre conforms to both the legs and stretcher featuring on an exceptional writing table made by the celebrated cabinet maker, Adam Weisweiler (1744-1820). It was provided in 1784 to the Garde Meuble de la Couronne by the marchand mercier, Dominique Daguerre. Whilst belonging to Marie Antoinette, the bureau plat was located in her Cabinet Interieur at the Chateau de Saint-Cloud, however thereafter it was given by the Queen to her close acquaintance, Madame de Polignac. Following the Revolution this 18th century table was sold, before its rediscovery by the Prince de Beauvau (d. 1864) in a marchand's store on the Quai Voltaire in 1840. Subsequently bought at auction by the Empress Eugenie who kept it in the Salon Bleu at the Tuileries, where she held her various audiences. The Empress, who was famed for her dedication and enthusiasm for collecting Louis XVI furniture and objects, was especially keen to own pieces which had originally belonged to Marie Antoinette. This Weisweiler tour de force is now in the Louvre, Paris.Of special note and interest is the fact that the above is evidently an ingenious fusion of these two aforementioned precursors which is a rare occurrence even in 19th century examples of this type.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A large Italian third quarter 18th century giltwood armchair or throne chairof Venetian originThe frames carved with acanthus, rocaille, flowers, shells, foliate wrapped C- and S-scrolls and a cabochon, surmounted by a Corno Ducale (Doge hat) and flanked to each end by an 'Atlas' putto, above volute scrolled arms, over a shaped seat frame centred by a lambrequin canopy, on 'Atlas' putto figural and C-scroll front legs, with cabriole rear legs terminating in scroll feet, the reverse applied with a small oval metal plate engraved: '7486', re-gilt, significant wear to the leather seat, 105cm wide x 96cm deep x 169cm high, (41in wide x 37 1/2in deep x 66 1/2in high)Footnotes:A related pair of Venetian 18th century giltwood side chairs, made for Paolo Renier (1710-1789), who served as the last Doge of Venice until his death in 1789, sold Christie's, London, 10 June 2004, Important European Furniture, lot 21. Also, a pair of side chairs evidently forming part of the same commission had previously sold Christie's London, 15 December 1994, lot 559.These comparables formed part of a suite of furniture which was originally supplied to Paolo Renier before 1779. This is known because a portrait of Renier dressed in his official robes as the newly appointed Doge, by Ludovico Gallina (now in the Museo Civico, Padua), depicts Renier with a console table and armchairs from this suite, while the painting itself dates to 1779. Both this oil on canvas, as well as two side chairs and one of the armchairs from the Renier suite, are illustrated in A. Gonzalez-Palacios, Il Tempio del Gusto, Le Art Decorative in Italia fra Classicismi e Barocco, Vol. II, fig.s 770-772 & 776, pp.'s 365-368. Of additional interest is another very similar Gallina portrait of Renier, depicted in 'full garb' as Doge, which is set within an elaborate contemporary carved giltwood frame crowned by a 'Corno Ducale' (or Doge's hat), that is very close in terms of its execution and relative size to the one surmounting the offered lot, Ibid, Vol. II fig. 778, p. 369. The Ca'Rezzonico and Cini Collection, both in Venice, house other chairs from this historic suite, whilst additional examples from the set can be seen at the Wallace Collection (illustrated in F.J.B. Watson, Wallace Collection Catalogues: Furniture, 1956, fig. 491-2, pl. 36) and other private collections. A further group of associated armchairs were sold as part of the Donna delle Rose Collection, Venice, 1934, lots 364-371. In this sale catalogue, G. Lorenzetti and L. Planiscig dated the suite to the first quarter of the 18th century and attributed its execution to the sculptor Antonio Corradini (1688-1752) due to the stylistic similarities between this furniture and fragments of the last state barge (Bucintorr), which was also claimed to be by Corradini. However, Alvar González-Palacios suggests that the suite is unlikely to be by Corradini but instead it could be the output of a single anonymous workshop, also dating the work to the third quarter of the 18th Century, by which time Corradini had died, Ibid, Vol. I, fig. LIV, pp.'s 333-341.LiteratureA. Gonzalez-Palacios, Il Tempio del Gusto, Le Art Decorative in Italia fra Classicismi e Barocco, Vol.'s I & II, 1986, Milan.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

MINIATURE FURNITURE - A carved walnut armchairpossibly late 17th/early 18th century in the Charles II styleThe frames carved with scrolled acanthus foliage and flowers, the crest rail and fore rail each carved with a Royal crown, with spiral twist-turned stiles, conforming arm terminals and foliate wrapped scrolled arm supports, on ring turned block-and-baluster legs, stamped several times: 'T.I.', 21cm wide x 23cm deep x 50cm high, (8in wide x 9in deep x 19 1/2in high)Footnotes:The offered lot has featured twice on the renowned BBC television program, 'Antiques Roadshow'. The present chair was first inspected on 15 June 1994 and then also subsequently appeared for a second time on 9 July 2019. Copies of this 'Antiques Roadshow' paperwork are available for inspection upon request. Although chairs of this scale have often been cited erroneously as 'apprentice pieces', the existence of two beech armchairs of this scale in The V&A Museum collection, with their accompanying late 18th century wooden dolls, makes the case for these 'miniature chairs' being intended for use as 'toys' all the more likely. The V&A examples (T.846Y-1974 and T.846V-1974) which accompany the celebrated Lord and Lady Clapham dolls (circa 1690-1700) follow the pattern of full sized chairs of the period. The chairs would almost certainly have been made by a professional chair maker and the construction techniques mirror those found on full sized examples from the period. The scarcity of surviving late 17th century dolls, although many were produced, may well reflect the few surviving miniature chairs. Other surviving period miniature chairs, including one of the 'Clapham' chairs are in poor condition implying the likelihood of them having been played with and hence the few surviving examples.The Lord and Lady Clapham dolls are thought to have belonged to the Cockerell family who were descendants of Samuel Pepys. Pepys' nephew John Jackson married a Cockerell and the dolls were named 'Lord' and 'Lady' of the family home in Clapham. The remarkable condition of the Clapham dolls suggests that in this instance they may have been admired by adults rather than being played with by children and were viewed more as decoration for the home.For further information on this lot please visit Bonhams.com

Registration No: UBP 650Chassis No: AE528MOT: None Supplied new to K.N. Rudd Ltd and then registered to AC Cars LtdOff the road since at least 1978Matching chassis and engine numbersThe subject of much past restoration work including a bodywork refurbishment1 of just 151 AC-engined cars madeA very worthwhile project Introduced in 1954, the AC Aceca fastback was conceived as a more refined alternative to the company's seminal Ace roadster. Developed by Alan Turner and Desmond Stratton, the new model augmented its open-topped sibling's ladder-framed chassis with an elegant square-tube superstructure. Boasting a generous glasshouse, sensuous roofline and practical side-hinged rear hatchback, the Aceca's Grand Touring credentials were more than skin deep as proven by its all-round independent transverse-leaf suspension and four-wheel hydraulic drum brakes. Initially powered by the John Weller designed 1991cc OHC straight-six which had been a staple part of AC production since 1919, the two-seater could later be had with a choice of Bristol 2-litre or Ford 2.6 litre engines (all three variants boasting a 100mph plus top speed). Handbuilt, just 328 Acecas were produced of which 151 were AC-engined.According to its accompanying original buff logbook, chassis AE528 was initially road registered as ‘UBP 650’ on November 4th 1955 to K.N. Rudd Ltd; the company owned by renowned racing driver, tuner and AC concessionaire Ken Rudd. The second keeper is listed as A.C. Cars Ltd, while the first private individual to take possession was J. Orr Esq of Avon House, Keynsham on February 13th 1956. Thereafter, the Aceca passed to Aubin Long Esq, Jas Harrison & Sons Ltd, Geoffrey Hewitt Esq, Anthony Strange Esq, Wilfred Bell Esq and Raymond Harding Esq before being bought by William Charlton Esq in December 1967 who kept it for the next forty-nine years. Last taxed for road use during 1977, the two-seater was dismantled by Mr Charlton pending a restoration that has yet to be completed. Acquiring the project in 2016, the vendor had the chassis and bodywork professionally restored with the latter being finished in Grey Primer. Factory finished in Blue with matching Blue leather upholstery, the AC has also had its speedometer and rev counter refurbished plus numerous new parts bought for it. Sundry chromework has been replated and the four-speed manual gearbox not only rejuvenated but augmented by a Laycock de Normanville overdrive. The original AC 2-litre straight-six engine (number CL2206W) is present but in need of a complete overhaul. The fibreglass mouldings for the front footwells, gearbox cover and rear bulkhead appear basically sound and there are numerous hand drawn paper templates to help reconstruct the interior. An appropriate kit is among the spares should a new owner wish to convert the car to rack and pinion steering. The finned brake drums look to have been rejuvenated and a wiring loom should act as a guide when it comes to reinstating the electrics. The front windscreen and side windows are present as is the plexiglass rear windscreen. The radiator has been reconditioned and the original brass chassis plate retained. It is somewhat indistinct but we thought we could see the number ‘528’ stamped into a bonnet hinge which suggests the component itself is original. We are not aware of any major parts being missing. However, the AC is being sold strictly as seen and as such potential purchasers are urged to carry out their own inspections. Offered for sale with original buff logbook, continuation logbooks, V5C Registration Document and sundry paperwork. Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737

Registration No: CR 9914Chassis No: 930MOT: Exempt One of just twenty-four Bentley 3 Litre cars known to have survived with its original J. Gurney Nutting coachworkMatching chassis, engine, bonnet, steering box, rear axle and gearbox numbers etcRemarkably original with pot joints at both ends of the propshaft plus Gurney Nutting floorboards / fasteners and door furnitureMuch improved during the current ownership by Ewen Getley's Kingsbury Racing Shop including an engine overhaul (£14,797.20), new clutch, replacement exhaust, relined brakes and sundry electrical workA wonderful, imposing and unusually correct Vintage Bentley "It was not the means whereby the 3-Litre Bentley performed, but the manner in which it did it, that endeared the car to sportsmen who took pride in their driving. The engine was remarkably flexible, strong and reliable, the gear ratios admirably chosen, the handling excellent and the quality unremittingly high. So, also, was the price, but an ever-growing reputation, augmented by striking racing victories - including the Le Mans 24 hours of 1924 and 1927 - ensured its success" ('Classic Sports Cars' by Cyril Posthumus and David Hodges).A railway engineering apprentice turned aero engine designer, Walter Owen Bentley previewed his first creation, the immortal 3-Litre, at the October 1919 London Motor Show (though, he would not deem it production ready for another two years). Inspired by a 1914 Humber TT racer, the newcomer's ladder-frame chassis was equipped with all-round semi-elliptic leaf-sprung suspension and rear-wheel drum brakes (four-wheel brakes becoming the norm from 1924 onwards). The car's heart and most advanced feature was its 2996cc engine. A long-stroke four-cylinder (80mm x 149mm) that prioritized torque over top-end power, it boasted a five-bearing crankshaft, shaft-driven overhead camshaft, monobloc construction, twin ignition, four valves per cylinder and aluminium pistons.Developing between 65bhp and 88bhp, the unit was allied to a separate four-speed gate-change gearbox. Supplied in bare chassis guise only, albeit with a choice of wheelbase lengths and engine tune, the 3-Litre remained in production until 1929 by which time some 1,621 are thought to have been made. As well as its two Le Mans victories, the Bentley enjoyed considerable success at Brooklands and even broke the 24-hour world record around Montlhery setting a 95mph average speed.According to the motoring historian and author Tom Clarke, chassis 930 is one of just twenty-four Bentley 3 Litres that are known to have survived to the present day with their original Gurney Nutting coachwork. The car also pleasingly retains its factory-fitted front crossmember (930), engine (914), steering box (926), bonnet (930), gearbox (1498) and rear axle (930 on banjo casing and nose piece). We presume that the front axle is original too but were loath to scrape away the paint. For a WO Bentley to have retained such an unusually high proportion of original components indicates that it has led something of a charmed existence. The floorboards are held in place with nicely crafted, T-headed brass bolts and we suspect the door furniture to have come from Gurney Nutting’s Chelsea workshops too.First registered in Southampton during February 1925 as ‘CR 9914’, the Bentley was built on the Standard (10ft 10in) wheelbase and supplied new to local resident J.B.M. McMeikin Esq. who is the only owner listed on its accompanying copy factory service record. The same document suggests the Open Four-Seater had (a) covered a mere 9,000 miles by the time that its five-year guarantee expired on 28th February 1930 and (b) that it dropped off Cricklewood’s radar some four years later. Surviving World War Two, the 3 Litre belonged to Captain Ivan Forshaw by the late 1940s. Former secretary of the Lagonda Club and proprietor of Aston Service Dorset, Capt Forshaw had a real love of British engineering and indeed there are photographs on file of him tinkering under the bonnet and leaning against one of the twin-mounted spare wheels. It is unknown whether he was responsible for installing the twin SUs which provide more power than the initial Smiths five-jet carburettor. Imported to America by the Rolls-Royce and Bentley dealer Neil McDade of Chattanooga, Tennessee in 1956, chassis 930 passed to famed collector Bernie Goldflies of Dayton, Ohio and near neighbour Richard Fisher before being sold to George Evenson during 1968 who kept it for nigh on thirty years. Enthusiastically evented by Mr Evenson but otherwise stabled in a heated garage, the Open Four-Seater was awarded a series of third, second and first place Certificates of Merit at various RROC regional and national meetings from the 1970s through to the 1990s. Recrossing the Atlantic in 2014, the 3 Litre then spent time in Austria prior to entering the current ownership during 2018. A true Rolls-Royce and Bentley enthusiast, the seller has commissioned renowned marque specialist Ewen Getley’s Kingsbury Racing Shop Ltd to fit a new cone clutch, improve the wiring, restore the bezel switch and overhaul the engine via a rebore, re-magnetised magnetos, new +40 thou pistons, valves and valve guides etc. Interestingly, Mr Getley is understood to have been surprised to find the previous pistons were of the factory ‘hourglass’ type and that the propshaft had both its pot joints. Corresponding invoices total circa £23,000 and also show that the brake linings have been renewed and the carburettors attended to.Blue Label cars may be less fashionable than their Red Label counterparts but it is hard not to be charmed by this one’s originality. Featured in the Johnnie Green book ‘BENTLEY: Fifty Years of the Marque’ and starting readily upon inspection, ‘CR 9914’ is only being offered for sale to free up garage space for another Bentley project. A handsome, well-proportioned WO which could be upgraded to 4½ power or simply enjoyed ‘as is’. Accompanied by a bound ‘Technical Facts of the Vintage Bentley’ manual, the aforementioned Kingsbury Racing Shop Ltd bills, sundry other paperwork and period photographs (including a hand tinted image taken by an Egyptian photographer).

Registration No: UN-Reg Chassis No: 100GS 010193 MOT: ExemptCharming Bertone 850 SpiderFormerly part of the Petitjean collection of StrasbourgPurchased by the vendor directly from the collection and imported to the United KingdomSupplied with scarce hard-top in body colourFiat's perennially pretty 850 Spider emanated from the prolific pen of Giorgetto Giugiaro, was built by Bertone and unveiled at the 1965 Geneva Salon. It was notable for the free-flowing elegance of its lines and the fact the hood could be completely hidden from view below a panel ahead of the rear-mounted engine. Early examples were powered by the same 843cc engine as the Saloon, but in 1968 the Spider's unit was enlarged to 903cc - this version was known as the Sport.Manufactured in 1967 in left-hand drive specification, this Fiat 850 Spider is fitted with the 843cc straight-four engine mated to the four-speed manual transmission. The charming Bertone coachwork is finished in red with a black vinyl interior upholstery and a black hood, the 850 is accompanied by a scarce body-coloured hard-top. With a recorded mileage of c.60,100 km, the Fiat was formerly part of the Petitjean collection based in Strasbourg, of Marcel Petitjean, a former French racing driver who invested his returns from a business empire into rare cars.Sourced for the collection from a French owner who is said to have used the Fiat for many local events, the 850 entered into the collection in 2009 where it remained until 2020. The car was purchased by the vendor directly from the collection and imported into the United Kingdom in 2020. A rarity on British shores, this 850 Spider is an appealing sports car to those searching for something a little different.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762

Registration No: ATO 140K Chassis No: GHD5267412G MOT: ExemptAn original UK right-hand drive car which has been retro-fitted with a Rover V8 engineUnderstood to have been exported from the United Kingdom during the 1990sFormerly part of the Petitjean collection of StrasbourgPurchased by the vendor directly from the collection and repatriated to the United KingdomA more powerful alternative to the MG B came in 1973 with the introduction of the B V8 - a GT-only variant powered by the ubiquitous 3528cc Rover V8 unit. Though inspired by the conversions carried out by independent tuner Ken Costello, the factory V8 cars were somewhat less tuned, producing 137bhp rather than 150bhp – the output was nevertheless sufficient for a sprightly 0-60mph time of around eight seconds and a top speed of 125mph. With only 2,591 genuine factory V8’s manufactured, many B’s have since been uprated with V8 engines.Manufactured in 1972 and supplied new to the United Kingdom, the BGT was first registered on the 13th of January that year. Originally fitted with the 1798cc straight-four B-series engine mated to a four-speed manual transmission, ‘ATO 140K’ has been retro-fitted with a 3.5-litre Rover V8 engine. Finished in Red with Black interior upholstery and Black Webasto roof, the MG was originally presented in Orange with the colour change occurring in 1990, around the time ‘ATO 140K’ is understood to have been restored.Showing five former UK keepers, the MG is thought to have been exported during the 1990s before forming part of the Petitjean collection in Strasbourg of Marcel Petitjean (a former French racing driver who invested his returns from a business empire into rare cars). Entering into the collection in 2007, it remained there until 2020 when it was purchased by the vendor and repatriated into the United Kingdom.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: YSD 457Chassis No: DB4/822/RMOT: Exempt 1 of just 185 'Series IV' cars madeSupplied new by Callanders Garages Ltd of Glasgow to Alexander Whyte Esq of the Whyte & Mackay whisky dynastyMatching chassis and engine numbersPresented in its original colour of Snow Shadow GreyPleasingly retains its original Red leather upholsteryFitted with overdriveOriginal engine uprated to SS (Special Series) / Vantage specificationCurrent ownership for twenty years including a chassis overhaul and engine refresh by marque specialist Excalibur EngineeringLarge history fileA true driver's car with uprated suspension and brakes Arguably the zenith of DB4 evolution, the so-called ‘Series 4’ variant was introduced in September 1961. Some three-and-a-half inches shorter, one-and-a-half inches lower and several hundred pounds lighter than its ‘Series 5’ successor (or indeed the DB5), the ‘Series 4’ sported a revised radiator grille design with seven vertical bars and a sleeker, reprofiled bonnet scoop (both features which endured up until the end of DB6 production). An oil cooler became standard on the DB4’s Tadek Merak designed DOHC straight-six engine which could also be had in ‘Special Series’ tune for the first time. As well as an extra (third) SU carburettor and boxed plenum chamber, the 3670cc unit benefited from an improved inlet manifold, higher compression ratio (9:1), revised distributor advance curve, special pistons, larger inlet / exhaust valves and hotter plugs. Utilising the same ‘big sump’ bottom-end as its lesser siblings, the enhanced powerplant was credited with developing some 266bhp and 255lbft of torque (an increase of 26bhp and 15lbft respectively). Bringing a welcome extra dose of performance, it was allied to four-speed all-synchromesh manual transmission with optional overdrive. Short-lived, just 185 ‘Series 4’ cars are understood to have been made between September 1961 and October 1962 plus a number of Special Series-equipped Vantage models. According to its accompanying copy build record, chassis DB4/822/R was supplied new via Callanders Garages Ltd of Glasgow to Andrew Whyte Esq. of Tudor House, Skelmorlie. A member of the Whyte & MacKay whisky dynasty and a petrolhead to boot who had previously owned WO and Derby Bentleys, Mr Whyte specified the Aston Martin in the handsome combination of Snow Shadow Grey with Red leather upholstery. Fitted with a replacement gearbox, overdrive and 3.77:1 rear axle under warranty when it was six months’ old, the DB4 is understood to have remained in Scotland until the mid-1970s. Reportedly treated to major engine and gearbox overhauls during May 1988 at circa 80,000 miles, the four-seater was purchased from Hexagon of Highgate by Merrick Edwardes the following year. Benefiting from a rear axle rejuvenation and DB5 brake calliper upgrade at an indicated 94,000 and 95,000 miles respectively, the Aston Martin then passed to collector David Duffy in 1998. A keen historic racer not to mention a former Connaught Grand Prix car and Jaguar D-Type custodian, Mr Duffy was keen to enhance the DB4’s performance and roadholding. To this end, he had marque specialist Excalibur Engineering refresh the steering, uprate and lower the suspension all-round (including the fitment of a Harvey Bailey handling kit and Koni shock absorbers) and upgrade the engine to ‘Special Series’ / 4 Litre specification. A friend of Mr Duffy’s since their university days, the vendor became the Series 4’s sixth registered keeper in 2001. As well as enjoying ‘YSD 457’ on the 2003 Scottish Malts and 2004 Irish Trial events organised by HERO, he took it on various Continental sorties including trips to Le Mans and Scandinavia. Progressively improved, the Aston Martin gained a stainless steel exhaust system, full flow oil filter, stainless steel brake calliper pistons and new Turrino 16-inch wire wheels. With Mr Duffy continuing to oversee the DB4’s maintenance, it was again entrusted to Excalibur Engineering for a photographically documented chassis restoration in 2012 (£31,073.72). The same year seeing its headlining renewed and fresh tyres fitted (£3,614.08). Returning to Excalibur Engineering during 2017 for a thorough engine overhaul, the four-seater also benefited from a Borg & Beck clutch conversion, engine bay refurbishment and replacement brake servo (£36,723.36). Having covered a scant 500 miles since this work was completed (the odometer currently shows some (1)18,100 miles), ‘YSD 457’ started readily and sounded decidedly healthy during our recent photography session.Pleasingly retaining its original Red leather upholstery and engine (number 370/847), the still Snow Shadow Grey-hued Aston Martin remains highly presentable. Indeed, when asked to value chassis DB4/822/R in 2018, Alec Slade of Excalibur Engineering commented as follows: 'Due to the exceptional condition of the vehicle including a complete chassis restoration which encompassed the engine compartment; I consider its value to be £350,000'. A true driver’s car, this subtly enhanced Series 4 has some claim to being - revered GT models aside – the ultimate DB4. Offered for sale with V5C Registration Document, copy build record and large history file.Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737

Registration No: YKO 585X Chassis No: XBHND2AD851462 MOT: T.B.COne of just 26 examples manufactured and one of just three for the American marketExhibited at the Los Angeles Motor Show in 1982Supplied new to Wendal ‘Rick’ McBride, the well-renowned photographerAccompanied by registration number ‘FTM 1T’ (Frazer-Tickford Metro 1 Tickford) on a retentionJust c.15,000 kilometers from new and provided with a sizeable history fileOffered from a large private collection with only two owners from newA rare opportunity to acquire Aston Martin’s first foray into compact carsManufactured in 1982, this Metro was ordered from Dutton-Forshaw Maidstone as a 1.3 S in left-hand drive by Wendal 'Rick' Mc Bride, the successful photographer who was the official photographer for Ferrari and said to have been associated with the naming of the De Tomaso Pantera. Supplied to the Aston Martin Tickford department for production to a Frazer-Tickford example which was completed in time for it to be urgently air-freighted and displayed at the Los Angeles Motor Show in 1982. One of just 26 Frazer-Tickford examples produced, this is one of just three manufactured for the American market.Finished in Cairngorm Brown with complementing Saddle leather, piped Chocolate, with Beige Alcantara headlining and Wilton carpets with leather edging with extensive sound-deadening throughout the interior. The rest of the specification includes Uher stack stereo with a graphic equaliser, a full bodykit, four Marchal fog lights, enamel name badges, tinted glass, sunroof, 5 1/2J alloy wheels, electric windows and mirrors and cruise control. The engine was performance-tuned by Aston Martin with a Weber twin-choke carburettor, a hotter camshaft and bigger valves with a gas-flowed cylinder head, producing 80bhp, with an Aston Martin handling pack fitted as well.Costing significantly more than a Porsche 944 when new with a list price of £11,600, ‘YKO 585X’ stayed in Beverly Hills after the Auto Expo 82, residing at Mr. McBride’s home and he is understood to have often been seen in the car and many notable events. Remaining with Rick McBride until his passing in 2013, the Tickford subsequently entered into a large private classic car collection where it has remained since. With only two owners from new (although still registered to the first owner), the Tickford has covered a mere c.15,000 kilometers from new (equating to under 10,000 miles). Supplied with the retention document for registration number ‘FTM 1T’ which is said to stand for ‘Frazer-Tickford Metro, 1 Tickford’.The Tickford was re-commissioned in c.2015 following a short period of storage after Mr. McBride’s passing with a full service, brake overhaul, alloy wheel refurbishment and fitment with new tyres. The Frazer-Tickford has benefitted in 2018 from a new windscreen; an interior refresh including leather re-trim of the steering wheel, gearknob and handbrake gaiter and new alacantara headlining, along with a new rear exhaust system to the cost of approximately £3,000.The aforementioned history file further includes air-freight documents relating to the motor show and subsequent freight trips back and forth from McBrides Kent and Los Angeles homes; Aston Martin Tickford sales invoices and correspondence; Aston Martin build photographs; an Auto Expo 82 official show magazine; original sales literature; book pack; past tax discs and previous MOT certificates. A surely unique opportunity to acquire a scarce example of Aston Martin’s first foray into compact cars with both interesting history and low mileage and ownership.Surely a worthy addition to any collection!Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: XWV 967AChassis No: AR383180MOT: ExemptUK supplied Right Hand Drive Alfa Romeo Giulia Spider in current ownership for the last 17 years, purchased through ourselves in 2004Restored for circuit use in 1999 and features Veloce specification engine tuned by Jim Evansaccompanied with invoices totalling just short of £10,000 and a mileage log detailing previous journeys, vehicle mileage and the amount of fuel added to the car. Sporting elegant coachwork designed and built by Pininfarina, the Giulietta Spider was a huge success and continued virtually unchanged in 1.6-litre Giulia guise when the latter joined the Alfa line-up in 1962. Launched at the Monza Autodrome on 27th June that year, the Giulia range was the work of a design team headed by one of the greatest of Italian automobile engineers, Dr Orazio Satta Puliga, who had been responsible for all the post-war Alfa Romeos. The capacity increase boosted maximum power of Alfa's classic twin-cam four from 80 to 92bhp and the car's top speed to 109mph. Reliability was likewise enhanced and the larger engine was noticeably smoother and less fussy. A five-speed gearbox was standard on the Giulia 1600 Spider, which remained in production until 1966. The Giulia Spider is certainly one of the most attractive Alfa Romeos of its day and remains highly regarded now.This right-hand drive Alfa Romeo Guilia Spider originally left the Milanese factory and came to the UK in 1963. In 1999, the car was ‘bare metal’ restored for circuit racing by a previous owner, Jim Avis. Side windows and winder mechanisms were removed, interior stripped and open bodywork sprayed in Ferrari Giallo Fly. The Veloce specification included twin Webers, tubular exhaust manifold, front disc brakes and aluminium fuel tank. Original steel wheels were retained.After just one event though, the racer was acquired by the previous owner in November 1999. 2000 pre-race prep and tuning was entrusted to Tank Barrett of Bewdley, Worcs, and the car was successfully driven to and from six races during the season, at the end of which pre-winter Waxoyl treatment was carried out by Worcester Classic Cars. The engine was in receipt of a 2001-2002 Supercharger Services (Wolverhampton) overhaul with forged pistons, reground crank, ported and polished head, and Jim Evans race/rally cams. In addition, roll-over bar and fire extinguisher were renewed and electric fan fitted. At Donington in 2002, this car beat the near identical ex-Justin Murphy HSCC series winning spider. The calipers were overhauled before the car was sold to the current owner early in 2004. Preparation was undertaken at the Castle Coombe racetrack by Glyn of Circuit Motors Ltd who optimised the Weber twin 40s for road use using a rolling road.XWV 967A was purchased by its current owner in February of 2004 though H&H Classics Stoneleigh Park sale, who enjoyed several road trips, including drives to Switzerland and the the Isle of Man for the 99th anniversary of the TT races. However it has seen very little use in recent years, and is now offered for sale as the owner finds himself with nine points on his driving licence and would like to exchange the car for something more sedate.XWV 967A is offered as somewhat of a ‘rolling restoration project’ following an MOT failure (although exempt) on 01 October 2021. The vendor rates the condition of the paintwork as ‘Poor’, the bodywork, electrical equipment and interior trim as ‘Average’ and the engine, transmission and gearbox as ‘Good’. XWV 967A comes accompanied with an original italian workshop manual, invoices totalling just short of £10,000, a number of previous MOTs dating back to the year 2000 and a mileage log detailing previous journeys, vehicle mileage and the amount of fuel added to the car.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762

Registration No: RA 333Chassis No: GUK-71MOT: May 2022Pop Larkin’s (David Jason) Beloved Rolls-Royce 20hp Park Ward Laundalette that starred in ITV’s ‘The Darling Buds of May’Purchased by its current keeper in 2019 for £100,000, and its previous keeper beforehand for the same sumOffered with an MOT Certificate valid until 05 May 2022 1926 Rolls-Royce 20hp Landaulette by Park WardUnveiled in 1922, the 20HP was a second string to the Rolls-Royce bow - a shorter, more economical sibling to the Silver Ghost which broadened the marque’s reach to span both the very rich and seriously wealthy. Instantly distinguished by its horizontal radiator shutters, the newcomer was constructed around a ladder-frame chassis with a 129-inch wheelbase. Power came from a 3,127cc straight-six, OHV monobloc engine mated to a three-speed manual gearbox. Suspension was by semi-elliptic leaf springs all-round. Braking was initially on the rear wheels alone, while steering was by worm and nut. Progressively updated to feature a four-speed gearbox and servo-assisted all-wheel braking, the ‘baby’ Rolls remained in production until 1929, by when some 2,885 examples had vacated the company’s Derby factory. Lighter and more responsive than the Silver Ghost, the 20HP was capable of exceeding 60mph.Supplied new on 20th August 1926 via Huskinson & Ashwell Ltd of Nottingham to F.R Claye Esq, chassis GUK-71 featured Landaulette coachwork by Park Ward and was finished high-varnished in Purple Blue with fine white coachline and matching blue upholstery. Importantly, this particular example featured the much improved four-speed gearbox, which it retains to this day. GUK-71 remained in F.R Claye’s ownership for 10 years, before being passed on to a Mrs Hannah Claye for a further 19 years. In 1955, the car was sold to a Richard Edward Derington-Fenning of the Royal Hotel, Ashby-de-la-Zouch who owned the car for 38 years, during which time, this Rolls-Royce 20hp Landaulette would gain the admiration it has to this day.The car retains its registration ‘RA 333’ and is arguably the most famous 20hp in existence; being the car used throughout ITV’s adaptation of H.E Bates’ ‘Darling Buds of May’, starring David Jason as Pop Larkin. Pop’s beloved Rolls-Royce instantly became an icon of the show, with die-cast models of the car widely available.RA 333 was purchased by its current keeper in 2019 for the sum of £100,000. Currently stored in a Carcoon within a dehumidified unit it has been lovingly maintained, even being offered for sale with a current MoT valid until 5 May 2022. Offered with this famous 20hp is a comprehensive folder featuring rarely seen documents, including the original order confirmation letter, bill of sale and specification sheet from 1926. In addition, copies of pre-delivery inspections are included, as well as the original logbook, a copy of the original guarantee and an instruction manual. Additional documentation includes previous MoT certificates and invoices including a printed summary of maintenance post-1992, and of course, photographs and press information relating to the Darling Buds of May series. Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762

Registration No: F227 JYJChassis No: SCC082910JHD13367MOT: TBAPresented in Blue with contrasting gold wheels and cream interiorFeatures power windows, central locking, electric heated mirrors, removable glass roof panel, glass engine cover, factory air conditioning and moreRecently subject to a cambelt service and comes accompanied with the service book, a number of previous invoices and the V5 document In 1987, the Esprit was restyled by British designer Peter Stevens. Stevens, who would later go on to design the McLaren F1, produced a less angular, more rounded Esprit. Giugiaro is said to have liked the new shape, claiming it was perhaps too close to his original design. The exterior changes were accompanied by a redesign of the interior that gave more space to the occupants. The revised Esprit was not given a new "Series" number but is often called by its project code of X180.Panels for the body were produced using a new process called VARI (Vacuum Assisted Resin Injection). This method, which was patented by Lotus, offered advantages over the previous hand lay-up process. Kevlar reinforcement was added to the roof and sides for roll-over protection. This also increased the Esprit's torsional rigidity by 22%.Manufactured in 1988 and presented in blue with contrasting gold wheels and cream interior, F227 JYJ is powered by a Lotus 2.2-litre ‘Chargecooler’ engine and features power windows, central locking, electric heated mirrors, removable glass roof panel, glass engine cover, factory air conditioning and more. Subject to a front brake upgrade and OZ Route wheels, the car was recently subject to a top end overhaul including replacement head and head gasket. Currently displaying 71,541 miles, it is accompanied by a service book including 8 stamps, a number of previous invoices totalling approximately £15,000 and a V5 document. The vendor now rates the condition of the interior trim as “good”, with the bodywork, engine, electrical equipment, paintwork and transmission being described as “very good”.Please note: F227 JYJ was subject to a replacement speedometer on 15 November 1990 at 12,528 miles.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762

Registration No: ETV 795Chassis No: 812692593MOT: Exempt1 of just circa 80 examples producedCurrent ownership since 1979 and displaying a credible 104,600 milesOriginal sales brochure, collection of old MOTs, invoices plus Brown logbookA rare and exciting opportunity for all lovers of pre-war performance cars One of just circa eighty examples produced, ETV 795 with its Big Six engine wears attractive drophead coupe coachwork by W C Atcherley of Birmingham and has been in the current ownership since 1979. Currently displaying a credible 104,600 miles on its odometer, the first owner is believed to have been a Mrs Minnie Sheriff, a lady friend of Brough’s. Originally acquired by the vendor in an Alexandra Palace auction, the car has been enjoyed on numerous events including Continental tours to most European countries. Repainted some thirty years ago it has also benefited from a gearbox overhaul by Jeff Moor, carburettor overhaul in 2007, engine overhaul in 2005 and a complete rewire. A stainless-steel exhaust, Kenlowe fan and backup electric fuel pump are fitted and we understand a quantity of spares are available by separate negotiation. Offered with an original sales brochure, VSCC eligibility document, collection of old MOTs back to 1980, V5C, assorted invoices plus brown logbook this finely engineered drophead coupe represents a rare and exciting opportunity for lovers of pre-war performance cars.The Brough name is better known in relation to motorcycles than cars, as the company produced over 3,000 two-wheelers between 1919 and 1940. Dubbed the `Rolls-Royce of Motorcycles', they were prestige machines that attracted a discerning clientele, and among the many famous Brough owners were George Bernard Shaw and T E Lawrence (`Lawrence of Arabia') who had no less than eight and, of course, famously lost his life on one. The firm's car production was miniscule by comparison and limited to circa eighty-five examples, but they echoed their two-wheeled cousins in terms of quality. Three models were designed but only two made it into series production - the 4-Litre straight-eight manufactured in 1935/36 and the ensuing 3.5-Litre straight six which produced 107bhp giving 0-60 in 12 seconds and a top speed of 90mph. Most Broughs sported striking Drophead Coupe bodies, which were produced by W C Atcherley of Birmingham.Footnote: For more information, please contact:James McWilliamjames.mcwilliam@handh.co.uk07943 584760

Registration No: FPK 28JChassis No: 01950MOT: ExemptCurrent family ownership since 1975Just 50,000 miles from newA rare UK-supplied, Series M example complete with five-bolt Cromodora alloy wheels and 'Dino' badgingA stunning looking Dino coming to market for the first time in forty-six years! Heavily influenced by the Dino 206 GT Berlinetta Speciale concept car (a thinly disguised 206 S sports racer) which Pininfarina had unveiled at the 1965 Paris Salon, the roadgoing Dino 206 GT debuted in Turin two years later. Compellingly curvaceous and bodied in aluminium over a tubular steel chassis frame, it seemed a fitting tribute to Enzo Ferrari's late beloved son Alfredino. Boasting all-round, independent double-wishbone suspension, Koni shock absorbers, anti-roll bars and four-wheel disc brakes, the newcomer was the first Maranello production design to feature either rack-and-pinion steering or a mid-mounted engine. Although, the 1987cc 'quad-cam' unit in question was the work of Franco Rocchi, its inspiration came via Alfredino and the legendary Vittorio Jano (who between them had convinced Enzo Ferrari of the inherent engineering merits behind a compact V6 as early as 1956). Developing a quoted 180bhp at 8,000rpm, the free-revving powerplant was allied to five-speed manual transmission and promised a 140mph plus top speed.However, despite sensational looks and inspired, race-bred handling, the announcement of an even faster variant at the March 1969 Geneva Motor Show saw 206 GT production cease in August 1969 after just 152 cars. Thankfully, its successor - christened the 246 GT on account of its larger 2418cc engine - retained the same sublime Pininfarina styling (albeit draped over a 60mm longer wheelbase). With a quoted 195bhp and 166lbft of torque on tap, it was reputedly capable of 151mph and 0-60mph in 6.8 seconds. To ease manufacture, the revised two-seater utilized a cast-iron cylinder block and steel bodywork. Inheriting its forebear's cabin architecture complete with steeply raked bucket seats, aluminium fascia, suede-topped dashboard and 'chrome fingered' transmission gate, the model evolved through ‘L’, ‘M’ and ‘E’ Series. Regardless of Series / Tipo designations, just 488 right-hand drive 246 GTs are thought to have been UK supplied.According to Tony Willis of The Maranello Concessionaires Archive, chassis 01950 was one of just forty-eight, ‘Series M’ Dino 246 GT cars produced by Ferrari SpA for the UK market. Specified in Argento Auteil 106-E-1 with Black 161 Plastica upholstery, Black carpets and electric windows, Order D/41 cost first owner – F. Tydeman Esq of Greystone Garage, Swanage – some £5,210.75. Copy correspondence on file between Mr Tydeman and Mike Salmon of Maranello Concessionaires reveals that the former initially planned to collect the two-seater from the factory and asked (unsuccessfully) if it could be fitted with a wood-rimmed Daytona steering wheel.In the end he took delivery of the newly registered ‘FPK 28J’ from Maranello Concessionaires’ Egham premises on 27th May 1971. The Dino 246 GT changed hands twice more before being bought by the vendor’s late husband and his brother on 3rd June 1975. Both fully apprenticed toolmakers, the siblings became enthusiastic members of the Ferrari Owners’ Club of Great Britain but restricted usage of their treasured Dino to select social trips and FOC outings.Despite being kept garaged, time caught up with the 246 GT and what the brothers thought would be a cosmetic refresh when they embarked up on it in 1991 soon turned into an extensive, ‘ground up’ restoration. The body was stripped out and all surface rust removed from the chassis. Corroded bodywork was replaced at Moto Technique of Chertsey. The front valance and sections around the rear wings were replaced. The car was painted by Spray Tech of Cirencester. All the suspension was checked and stove enamelled. The shock absorbers were refurbished by Koni. The engine was found to be in very good condition. However, as a precautionary measure the valves and seats were replaced (Nimonic) as it was alleged at the time that high mileage engines could suffer valve breakage. All the ancillary parts were renovated, some made in stainless steel. The exhaust was replaced by a new one in stainless steel. The car has been kept as original as possible with the exception of the red paint finish, leather interior and the paint finish on the camshaft covers. Even the headlights were dismantled, re-silvered and refitted.Completed during 1995, the restoration was met with much acclaim. Sadly, the vendor’s husband died thereafter prompting the 246 GT to be laid-up. Having taken the decision to return the two-seater to the road, the family entrusted it to Peter Chambers Automotive of Tewkesbury in early 2019. Recommissioned at a cost of £7,719.55, ‘FPK 28J’ remains highly presentable some two years later. Showing just 50,400 miles to its odometer and coming to market for the first time in forty-six years, this decidedly rare UK-supplied Series M Dino is worthy of close inspection.Footnote: For more information, please contact:Mike Davismike.davis@handh.co.uk07718 584217

Registration No: SV 6617Chassis No: 123692MOT: ExemptSubject to an extensive restorationOverhauled engine and fitted with water pumpOffered with V5c documentThis notably early UK registered Tin Lizzie has been the subject of a chassis up restoration which included a full engine overhaul and features a Clam Shell back axle plus is fitted with a water pump, spare wheel carrier and new hood. Offered with a V5c document, its unsurprisingly that the vendor now describes the bodywork, black paintwork, engine, transmission and black interior as all being in “very good” condition.The world long since ran out of new things to say about the Model T (or `Tin Lizzie' as it was affectionately known). Ford was already progressing impressively before the launch of the T in the autumn of 1908, but it was the model which really set the company, and the world, on the move. The statistics are staggering: it was the first car to be mass produced and the first to be manufactured in several countries simultaneously. Production ran for nineteen years, during which time some 16.5 million examples were built. The timing of the T was perfect. It came to market just as motorcars were gaining in interest and acceptance and sold for less than a wagon and team of horses. It mobilised people the world over and for the first sixteen years of production accounted for no less than 40 percent of all car sales in America - small wonder that it was voted `The World's Most Influential Car Of The 20th Century'. At launch the T was powered by a sidevalve 2.9-litre four-cylinder engine producing some 20hp. It was among the first to have its cylinders cast in one block and the first of all to have a detachable cylinder head. The epicyclic transmission had two forward speeds and a reverse and was controlled by a combination of three foot pedals and lever - a real test for drivers who cut their teeth on modern cars!Footnote: For more information, please contact:James McWilliamjames.mcwilliam@handh.co.uk07943 584760

Registration No: OKV 421Chassis No: 1E50175MOT: ExemptL77-4, the third Lynx D-Type completed and supplied new to Blair Hamilton who was a friend of the company founder, Guy BlackInitially built to long nose, high tail 1955 specification and subsequently updated by Lynx to Works 1956 trim complete with a wraparound windscreen and two doorsAluminum body crafted by Williams and PritchardRaced in Canada, Europe, and the UK but since converted to fast road specificationThe first Lynx D-Type to be fitted with dry sump lubrication Founded by Guy Black and Roger Ludgate in 1968, Lynx soon became renowned for their Jaguar C-Type, D-Type and XKSS expertise (even working on the Coventry manufacturer’s own heritage fleet). Launched at the London Racing Car Show in 1974, the Lynx D-Type was a highly convincing Evocation. Typically employing a Jaguar E-Type donor, it featured an authentic alloy monocoque and aluminium bodywork by Williams & Pritchard. According to an accompanying dossier from The Lynx Register, ‘OKV 421’ was the third Lynx D-Type completed. Commissioned by Blair Hamilton of Classic & Thoroughbred Motors Ltd in Vancouver, who was a friend of Guy Black, it was built to 1955 specification complete with a long nose, high tailfin and single screen. Raced at Club level and the subject of an article in the Vancouver Sun newspaper on 25th January 1978, the D-Type was repatriated some two years later. Reportedly passing through the hands of Victor Gauntlet, Casper McDonald Hall and John Baynes thereafter, the latter had a slight off at Brands Hatch which saw the two-seater returned to Lynx for minor repairs. Bought by Barry Eastick during 1983, not long after it had graced the front cover of Sporting Cars magazine, ‘OKV 421’ resumed its competition career the following decade at the Nurburgring, Silverstone and Spa-Francorchamps etc (having been the first Lynx D-Type converted to dry-sump lubrication). Looked after by John Pearson and Martin Greaves from 1989 onwards, the two-seater entered the current ownership in May 1997 for £69,000. Preferring to enjoy ‘OKV 421’ as a fast road car, the vendor tasked Lynx with reconfiguring it to Works 1956 specification (hence the addition of a passenger door and full-width wraparound windscreen). Taken off the road with an electrical issue some ten years ago, the two-seater has remained garaged ever since. Still registered under its Jaguar E-Type donor identity, this fabulous Lynx D-Type has the makings of a very worthwhile project. Offered for sale with a large history file dating back to 1976.Footnote: For more information, please contact:Mike Davismike.davis@handh.co.uk07718 584217

Registration No: XBV 227 Chassis No: GPW138179 MOT: ExemptFormerly the property of Oscar-winning actor Rex HarrisonUnderstood to have served with the 6th Armoured Division in World War 2Pleasingly retaining many genuine WW2 partsSubject to a full service and mechanical fettling in July 2021Arguably more iconic than a Sherman Tank or P-51 Mustang, the Jeep is for many the definitive WW2 vehicle. Equipped with a torquey L-headed 2.2-litre engine driving all four wheels via a three-speed manual box and two-speed transfer case, the tough, go-anywhere four-seater did its job exceptionally well. By the end of the war, 647,870 Jeeps had been produced - 281,448 of which were manufactured by Ford.This 1943 example of the Ford GPW is thought to have served with the 6th Armoured Division during the Second World War before residing in Italy after the end of the war, being registered ‘GE 62652’. The Jeep is subsequently understood to have been painted in Green over the original paintwork, which is being carefully removed in areas and revealing the original wartime painted decals. Entering into the ownership Rex Harrison, the Oscar-winning film star who played Professor Henry Higgins in ‘My Fair Lady’ (Lerner and Loewe's great musical masterpiece) and Dr John Dolittle in ‘Doctor Do Little’.The Ford GPW still retains many of its genuine WW2 features including the body-tub, front bumper, early bonnet, combat wheels shod with Firestone Bargrip tyres, very scarce lubrication bags, rare USA shovel and the canvas and frame are thought to be original too. Fitted with a period Willys MB unit (with engines commonly changed during WW2), the GPW has been subject to a 12-volt conversion. Miscorrectly declared as manufactured in 1947 by the DVLA, ‘XBV 227’ will be supplied with a letter from the IMPS (Invicta Military Preservation Society) and MVT (Military Vehicle Trust) stating the correct date of manufacture as 1943 for the DVLA rectification.Imported into the UK in 2015, the Ford GPW is accompanied by a UK-plates which will be fitted in time for sale, copies of Italian paperwork relating to Rex Harrison's ownership, two images with Rex Harrison in the Jeep including one depicting himself and Rita Hayworth and a current V5C. Subject to much mechanical fettling in July 2021 including engine and ignition system service, a new master cylinder, fuel system flush and new points, plugs and condenser. Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: ENP 597JChassis No: GCD17040GMOT: Nov 2022Originally finished in Snowberry White with Black upholstery and supplied new via dealer Lex Tillotson of KidderminsterOwned by an engineer and MG Club member for twenty-two years (1990-2012) who treated it to a 600 hour restorationUprated with a 12-volt battery conversion, Maniflow tubular exhaust manifold and electronic distributor Intended as a flagship sportscar to replace the Austin-Healey 3000, the MGC was introduced in autumn 1967. Based around the same two-door monocoque bodyshell as the humble MGB (albeit with a substantially altered engine bay and floorpan), the newcomer was powered by a 2912cc OHV straight-six engine and promised a 120mph top speed. Too readily confused with its four-cylinder sibling to be a sales success, the MGC was dropped in 1969 after just 4544 Roadsters and 4458 GTs had allegedly been made.According to its accompanying Heritage Certificate, chassis GCD17040G was originally finished in Snowberry White with Black upholstery and despatched from the Abingdon works to dealer Lex Tillotson of Kidderminster in October 1969. Not road registered as ‘ENP 597J’ for another twelve months, the C GT was sold to third owner Alan Davies as a restoration project by Bromsgrove MG Spares on 16th January 1990. The associated invoice for £3,400 remains on file and clearly states: ‘Please Note: Stored 15 years. Mileage: 16,572 from new’. A trained engineer and MG Club member, Mr Davies proceeded to renovate the Coupe over the next seven years. The project was photographically documented and reportedly consumed some 600 hours. Sold on by Mr Davies’ estate in 2012, ‘ENP 597J’ was further improved by its next keeper who fitted a new core plug, fuel pump, brake servo, electronic distributor and front wheel bearings not to mention renewing the foam in the front seats and replacing the front wings. Other works are understood to have seen the engine benefit from a top-end overhaul and the installation of a new exhaust system complete with tubular Maniflow manifold. Converted from twin 6-volt batteries to a single 12-volt item, the MG also boasts an auxiliary power socket for a phone charger or sat-nav etc. Currently displaying 22,000 miles to its odometer, this appealing C GT is offered for sale with V5C Registration Document, fresh MOT certificate and history file.PLEASE NOTE: This lot is fitted with power steering and possesses a MOT certificate valid until November 2022Footnote: PLEASE NOTE: This lot is fitted with power steering and possesses a MOT certificate valid until November 2022

Registration No: BF 7219Chassis No: A4201822MOT: ExemptOne of the rarest and most desirable Model A’s produced, presented in Washington Blue with Riviera Blue beltline and Tacoma Cream strip and wheelsSubject to engine overhaul in June of 2020 at a cost of £2,037In current ownership for the last 6 years as part of a private collectionThe Model A’s introduction was a highly anticipated event, as Ford proved that it had perfected the art of effective product placement in one of the most successful new product launches in automotive history. The Ford Model A was manufactured between 1928 and 1931 and was the second huge success for Ford after its predecessor. The Model A was offered in a wide variety of body styles and was the first Ford to incorporate the standard set of driver controls with a conventional clutch, brake pedal, accelerator and gearshift. The engine was a water cooled in-line four cylinder arrangement with a capacity of 3.3 litres. With a conventional three speed gearbox, (plus reverse), the top speed was around 65mph. Stopping was by four wheel drum brakes operated by rods. Manufactured in the final two years of the Model A’s Production, the Deluxe Phaeton represented the top of the line and offered the pinnacle in sporting design, with an even lower roofline. Perhaps one of the most desirable Model A variants, out of the 4,858,644 Model A’s manufactured, only 2,229 were manufactured in the final year. To put into perspective, these cars are one in 2180, or as a percentage, these cars represented 0.00046% of model A’s. Nowadays, it is believed just a handful remain worldwide.Presented in Washington Blue with Riviera Blue beltline and Tacoma Cream strip and wheels, BF 7219 was restored to a very high standard some 45 years ago. As the story goes, the car was transported from concours event to event over a 30 year period covering a mere 200 miles (presumably just positioning the car). It was then sold to the next enthusiastic owner in River Falls, Wisconsin and he covered around 700 miles before it headed to the UK in 2015 for the pricely sum of $65,000 where it spent the summer receiving numerous awards on the show field before being purchased by its current owner that year, who has since kept the vehicle as part of a private collection. In June last year, BF 7219 was subject to an engine overhaul at the cost of £2,037, and comes accompanied with a folder including the v5 document, previous receipts, import paperwork and more.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762

A French silver gilt and enamel Art Deco style cigarette case, having stepped design to both sides in black, brick red and white enamel, and with central oval crest, by Gustav Keller, Paris, 9.8cm wide.This cigarette case, bearing the Astley family crest, was the gift of actress Gertrude Lawrence to Colonel Philip Astley, who went on to marry Madeleine Carroll, the star of Hitchcox' 'The 39 Steps'.

WILLY RIZZO (ITALIAN, 1928-2013): Marlene Dietrich at the Paris Hotel,1956, printed 2007,silver gelatin print, signed and numbered 4/8 on the back, framed and glazed in a Rizzo designed and made metal frame, overall 39 1/4in x 45 1/4in (100cm x 115cm)Footnotes:Willy Rizzo (1928-2013) was an Italian photographer and designer who started his career as a photographer in Paris very early in the 40s.Provenance:Purchased by the vendor from Mallett.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com