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Lot 508
‘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...
Lot 19
Pietro Bazzanti (Italian, 1825-1895): A carved white marble bust of the Venus de'Mediciafter the antiquelooking to sinister and signed signed and inscribed to the rear shoulders P. Bazzanti, Florence, on turned verde antico marble circular socle, 49cm highFootnotes:The relatively recent discovery of the sculptor Willem van Tetrode's bronze reduction of the Venus de'Medici when it was reunited with other sculptures from the lost cabinet at the Rijksmuseum in Amsterdam and the Frick Collection in New York in 2003 confirmed that this renown antique marble depicting the Goddess of love was known as early as the mid-16th century. Originally recorded as being located in the Villa Medici in Rome by 1638 which was the year the bust acquired its iconic title, it had by 1677 been subsequently sent to Florence where it was was installed in the Tribuna of the Uffizi where it remains today (although it was briefly replaced by Antonio Canova's Venus Italica when the bust travelled to France between 1803 and 1815 after Napoleon's occupation of Italy in 1799. Thought to be a Graeco-Roman adaptation of the fabled Aphrodite of Knidos by Praxiteles, the Venus de'Medici is perhaps one of the most celebrated and perhaps controversial sculptures from antiquity. Prized by Lord Byron and criticised by the Duke of Shrewsbury it is one the most famous of several ancient marble sculptures depicting the goddess Venus in an alluring 'pudica' pose. The statue's renown beauty inspired countless copies throughout the 17th, 18th and 19th centuries including plaster casts, full-size marbles, reductions in bronze, and bust versions such as the offered lot.Related LiteratureF. Haskell and N. Penny, Taste and the Antique, 'The Lure of Classical Sculpture 1500-1900', New Haven/London, 1982, pp. 325-328This 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
Lot 25
An Italian 17th century ebony and ivory table cabinetInlaid with an architectural disposition of tablets centred by classical figures including Mars and Minerva, the tablets variously engraved and decorated with elephants, stags, deer, horses, rustic figures, hunters, fruit and ribbon-tied martial and musical trophies, the figures set within rural landscapes with towns in the background, the pair of doors enclosing nine short ripple moulded drawers, with a central ripple moulded door inlaid with St Michael holding a violin together with a bow and arrows, enclosing five drawers and one secret drawer, on later sprial-fluted bun feet, 73cm wide x 35cm deep x 56cm high, (28 1/2in wide x 13 1/2in deep x 22in high)This lot is subject to the following lot symbols: TP Y ФTP 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 29
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
Lot 45
A French late 19th century/early 20th century ormolu mounted bois satine, fruitwood and stained sycamore marquetry commodeafter the original commode by Jean-Henri RiesenerOf breakfront D-shaped outline, the moulded marble top above two long triple panelled drawers, the central panel inlaid sans traverse with a Neoclassical ewer, a basket overflowing with fruit, flowers and ribbon-tied garden implements and an urn, flanked by two smaller flowerhead-embedded trelliswork panels inlaid sans traverse, the panels mounted with one putto emblematic of Justice and the other putto emblematic of Temperance, surmounted by a ribbon-tied entwined laurel branch and sunburst mount centred with an Apollo mask, over an apron mounted with a central globe with three fleur du lys, interspersed by four ormolu caryatids modelled as Mars, Hercules, Prudence and Temperance, each bowed end door with rosette embedded trelliswork inlay and each mounted with ribbon-tied floral swags and two different military trophies, enclosing two shelves, on four stiff-leaf and acanthus mounted tapering supports and sabots, 207cm wide x 79cm deep x 99cm high, (81in wide x 31in deep x 38 1/2in high)Footnotes:The design of the offered lot closely follows a commode supplied in 1775 by Jean-Henri Riesener (1734-1806) to Louis XVI and Marie Antoinette. This original was made for the Chambre de Roi at Versailles and was intended to replace a model executed by Antoine-Robert Gaudreaux (1680-1746) and Jaques Caffieri (1678-1755) in 1739, the latter having been previously provided for the Royal Bedchamber during the reign of Louis XV. The central panel on Riesener's commode was inlaid with the cyphers of Louis XVI and Marie Antoinette which, following the start of the Revolution in 1789, was replaced with a pastoral scene, also evident on the present example. This highly important and influential piece of 18th century cabinet making is now housed in the Musee Conde, Chateau de Chantilly.A number of virtually identical commodes to the offered lot have sold at auction. Most notably these include; a pair which sold Christie's, London, 22 March 2001, The 19th Century Interior, lot 283; one Christie's, London, 1 October 2002, 19th Century Furniture, lot 7; an example sold Christie's, London, 20 March 2003, Important 19th Century Furniture, lot 91; another pair Sotheby's, London, 27 April 2010, Fine Furniture, lot 151; a single comparable was purchased Christie's, New York, 17 & 18 October 2012, 500 Years Decorative Arts Europe, lot 159; and a further model sold Bonhams, San Francisco, 18 May 2015, The Collector's Cabinet; European Furniture and Decorative Arts, lot 1357. More recently a commode of this type sold Bonhams, New Bond Street, 16 October 2019, The Contents of a 19th Century Baltic Villa, lot 12.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
Lot 265
A Charlotte Horstmann Hong Kong hardwood three-piece sideboard. The left section has two doors and one lower linen drawer bearing Charlotte Horstmann, Hong Kong tag. The right section has a top-opening drinks cabinet, ice bucket, two doors and six sliding trays. With burr veneer top, metal mounts and fittings. Height 92 x width 185 x depth 52 cm.Purchased in Hong Kong, circa 1974.
Lot 158
A 20th century teak G-plan display cabinet, a pair of glazed doors enclosing shelves, the projecting base with one long drawer and a pair of cupboard doors, 201cm high, 84cm wide, 46cm deep; a 20th century teak G-plan cupboard, rectangular top above one long drawer and a pair of cupboard doors, 70cm high, 84cm wide, 46cm deep.
Lot 58
the swan neck pediment with pierced Gothic fretwork above a crenellated and arcaded frieze, over a pair of astragal glazed doors enclosing shelves; the projecting base with a pair of circular panel doors outlined with bead moulding and enclosing shelves, on a plinth152cm wide, 285cm high, 61cm deepProvenance: Purchased Sotheby's, 19 November 2008, lot 233Footnote: Note: A similar secretaire bookcase attributed to William Brodie, formerly at Yester House, is illustrated in Francis Bamford, A Dictionary of Edinburgh Furniture Makers, 1983, pl. 26. The Yester House example has the same distinctive pediment as the present lot, however some stylistic differences indicate an earlier date for the present lot and keeps it more consistent with the designs promoted by Chippendale and followers. It therefore seems likely that this cabinet would have been produced whilst William Brodie was still in partnership with his father.William Brodie, son and partner of Francis Brodie from 1767 and possibly as early as 1764, inherited the business in 1782. William pursued a less reputable life after his father's death and his demise was brought about on Ist October 1788 when he was hanged for his involvement in a robbery at the Excise Office. The very few items of documented furniture by him include a mahogany clothes press in the National Museum of Antiquities of Scotland (see Bamford op. cit., pl. 27) and a suite of bookcases at Divinity Hall, Old College, Edinburgh.
Lot 75
the grey painted frame carved with flowerheads, leaf tips, and outlined with beading, covered in blue floral silk brocade167cm wide, 92cm high, seat 61cm deepFootnote: Note: The French émigré chair maker François Hervé worked as a cabinet-maker and chairmaker between 1781-96 and is recorded as working for the Prince of Wales, the Duke of Devonshire and Earl Spencer. His premises were recorded at 32 John Street, close to Tottenham Court Road.
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