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Click here to subscribeBlackadder (BBC Sitcom 1983-1989 by Richard Curtis and Ben Elton) - Blackadder Goes Forth (Series 4) - an original production used script for the episode ' Captain Cook ' (originally titled 'War Artist'). 67pp, plus cover, and cast list pages. On white stock, complete script. Dated 20th August 1989. Production used copy of a camera script.
From The Estate Of Tom Owen (1949-2022) - The Freewheelers & Wreckers At Dead Eye - Tom Owen's personal scrapbook from October 1969 to June 1970 covering his work on Freewheelers and Wreckers At Dead Eye. The album is filled with both candid behind-the-scenes photographs (taken with Tom's own camera), as well as official stills and professional images from both productions. The previously unseen on-set images include: views of various locations, photographs of Tom and other cast members on set or filming, cast eating meals between takes, etc. An official 'Freewheelers' Southern Television folder is included and features several official stills from the production. A unique scrapbook / photograph album from Tom Owen's career.
The Morecambe And Wise Show (BBC & ITV 1968-1977) - an original production used camera script for the 1973 Christmas Special with guest stars Vanessa Redgrave, Hannah Gordon, The New Seekers and John Hanson. 83pp plus cover, running order and recording schedule pages, on yellow stock, with a loose white sheet giving details of studio audience ticket holders. The script was once owned and used by Felix Bowness the studio-audience warm-up comedian and features notes in his hand to the cover.
Blackadder / The Black Adder (BBC Sitcom 1983-1989 by Richard Curtis and Rowan Atkinson) - The Black Adder (Series 1) - an original production script for the episode ' The Queen Of Spain's Beard ' (originally titled 'The Infanta'). 87pp, plus cover, cast list, supporting artists, and running order pages. On white stock, complete script. Noted as 'Final Transmission Script' to cover, and dated 6.7.83. Production used copy of a camera script.
Yes Minister (BBC Sitcom 1980) - an original production used camera script for the episode 'No Jobs For The Boys'. Dated 3rd February 1980. 57pp plus cover and running order pages. Once owned by actor Robert Goodman, the script has been signed to the cover and to the first page by him. The cover also autographed by Derek Fowlds (Sir Bernard). Complete script on yellow paper. Cover loose.
The Life Of Brian (1979) - Monty Python - an original production used script for the film, used and owned by camera operator John Stanier. Housed in a red card binder, the script features various pages of different colours and some pages feature markings in ink. Along with an original vintage 8x10" black and white on-set photograph showing the cast and crew on location in Tunisia. Named to the binder ' John Stanier ' and his name is noted to some pages.
From The Estate Of Tom Owen (1949-2022) - a collection of items from Owen's estate, all relating to Last Of The Summer Wine, comprising: a collection of x5 assorted production scripts from the sitcom - three from the 2009 series, one from the 2008 episode 'Variations On A Theme Of Father's Day,' and the other from 2005 episode 'Who's That Merry Man With Billy, Then?' Also included is a two-page section of original camera script from Bill Owen's episode of 'This Is Your Life,' featuring dialogue for Tom Owen and Eamon Andrews, an accompanying letter from Thames Television telling of the broadcast date (7th January 1981), a book: 'The Best Scenes, Jokes & One-Liners from Last Of The Summer Wine' presentation copy from the author Richard Webber to Tom Owen signed and dedicated to the title page, '30 Years Of Last Of The Summer Wine,' presentation book signed 'To Tom, the only one who could fill Compo's wellie-boots... Robert Ross,' and a hardcover book 'Summer Wine Country,' signed to Tom's family 'For my dearest Marg, James & William - with my love forever.'
IT'S A MAD MAD MAD MAD WORLDCinerama One-Sheet (27" x 41")Fine+ on Linen; Artist Jack Davis United Artists, 1693This Cinerama one-sheet appropriately touts the large screen format for the comedy that was itself filmed in Ultra Panavision 70 and was one of the earliest single-camera Cinerama features produced.Now linen-backed, this poster has had restoration to previous issues, including corner pinholes and sporadic chipping, especially in the upper and lower center borders. There have also been touch-ups to the fold lines including the upper center point cross fold, as well as to World in the film title and some airbrushing just above the upper credits in the background on the left. The images themselves are bright and the poster now displays handsomely.Sporting a notable cast from all eras and shot on Cinerama Super Panavision 70, Stanley Kramer's madcap romp is a comedy classic.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.
THE TELEGRAPH TRAILCGC Graded Lobby Cards (2) (11" x 14")Very Fine+ Warner Bros., 1933Offered here are two magnificent CGC-graded lobby cards, the glorious title card, featuring a full figure portrait of a young John Wayne, and a great scene card, in which Wayne is the very embodiment of the white-hatted cowboy, both in full color and in excellent condition. This CGC graded pair of two cards are both 9.0, which is Very Fine +. A remake of The Glorious Trail (1928), this classic 1933 Western is about a devious badman who stirs up trouble among the local Indian tribes when he tells them that the white man intends to eliminate all the natives to bring a new telegraph line through their territory. This was the second time that John Wayne had worked with renowned stuntman Yakima Canutt. Beginning with this film, the two would begin to rewrite the rules of Western fight scenes by experimenting with camera angles and developing new fist-fighting techniques. This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
WONDER WOMANReplica Lasso of Hestia Display Given to Members of the Hollywood Foreign Press, Limited Edition 28/100 (14" x 13.5")Near Mint Warner Bros., 2017This promo item was given to the members of the Hollywood Foreign Press to coincide with the 2017 release of Wonder Woman. The box opens to a display of the replica Wonder Woman Lasso of Hestia encased with a plastic box top display. The top of the cardboard box has the Warner Bros. logo on the inside, and the display is numbered 2017 - Limited Edition 28/100. The plastic display has some minor imperfections along the edges, plus the outside box shows light wear, but otherwise, the item and display are in excellent condition.As a feature film, Wonder Woman solidified female powerhouses Gal Gadot on screen as the titular character and helmer Patty Jenkins behind the camera. It was the highest-grossing film by a solo female director at that time, making over $822 million worldwide.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.
DARK PASSAGEInsert (14" x 36")Very Fine- Rolled Warner Bros., 1947Many collectors consider this insert the preferable format for this classic film noir. The color and layout seem to outshine the one sheet layout.An insert on paper has had the borders airbrushed but otherwise is in excellent condition. Note this poster was never folded.The third in the series of four films to feature the dynamic duo of Bogart and Becall, Dark Passage was released in late 1947. Besides being a thrilling mystery, the film is notably known for the use of a dramatic device called the subjective camera, where the action is viewed from the perspective of the male lead's point of view.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
DARK PASSAGEOne-Sheet (27" x 41")Fine+ Folded Warner Bros., 1947This captivating folded poster has staple marks in all four corners, light sporadic creasing and fold line wear, and some small smudging in the lower area and in the upper left corner. There is also minor separation in the upper and lower cross-fold center points and some faint lower credit bleed over into the upper area from being folded that is barely noticeable and does not affect the overall presentation. Some light stamp bleed from the verso and an embossed NSS stamp in the right-hand corner.The third in the series of four films to feature the dynamic duo of Bogart and Becall, Dark Passage was released in late 1947. Besides being a thrilling mystery, the film is notably known for the use of a dramatic device called the subjective camera, where the action is viewed from the perspective of the male lead's point of view.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.
GREENWICH - [?Margaret MASKELYNE (1785-1858)]. A fine watercolour study of the Royal Observatory at Greenwich, 362 x 470mm., unframed; with another of Greenwich Park [?]by the same artist; and another initialled "J.W." (3)GREENWICH - [?Margaret MASKELYNE (1785-1858)]. A fine watercolour study of the Royal Observatory at Greenwich, with a distant prospect of the Thames crowded with shipping, and London beyond, including the dome of St Paul's, 362 x 470mm., unframed. Provenance: inscribed on the verso in old pencil, "Royal Observatory Greenwich as it was in 1794 drawn by [illegible name]." With another watercolour study of Greenwich Park by the same artist, with figures of deer, inscribed on the verso "Greenwich Park, [?]M. M.", 320 x 485mm., unframed; together with a third watercolour of the Greenwich Observatory initialed "J. W." and inscribed on the verso, "Flamstead [sic] House, Greenwich Park, Kent, J. W. delin. - March 7th 1805." Born in Flamsteed House, the oldest part of Greenwich Observatory, Margaret Maskelyne was the only child of the Astronomer Royal, the Reverend Nevil Maskelyne (1732-1811) and his wife Sophia Rose (1752-1821). From an early age she was a gifted artist. The architectural accuracy of the few surviving sketches which are held at Greenwich may have been due to her use of the camera obscura which her father had installed in the north-west turret of Flamsteed House. (3)
A rare personal collection of items relating to Florence Nightingale, originally belonging to Eliza Francis “Fanny” Pettit, her companion in later life, comprising: two small original sepia photographs taken by Fanny Pettit of Miss Nightingale seated on an armchair, c.1910, 5.9 x 5.9cm; three prescriptions written for Miss Nightingale, addressed to Miss Nightingale's Maid, comprising a medical prescription from Squire and Sons chemist of 413 Oxford Street, London in an envelope, inscribed One tablespoonful in a little water, three times a day immediately after meals, dated 16th November 1907; an optician's prescription from 13 Upper Berkeley Street, Portman Square, London, inscribed Glasses (For all near work), dated 13th November 1907; and another optician's prescription, inscribed To be applied to the margins of the eyelids as directed once a day, dated 22nd November 1907; five handwritten letters addressed to Fanny Pettit from Miss Nightingale's cousins and one from her housekeeper Elizabeth Bosanquet recounting the last hours of Miss Nightingale's life; a hat pin that belonged to Miss Nightingale, late 19th century; a small rectangular silver plated tea caddy, by Leopold Oudry, late 19th century, marked L. Oudry dp Editeur, 7.5cm high, 9cm wide, 7.5cm deep; a Chinese export famille rose travelling teapot, early 20th century, in wicker carrying case, 14cm high; two sepia photographs of Lea Hurst, Derbyshire, the childhood home of Miss Nightingale; postcards to Fanny Pettit from the family and housekeeper of Miss Nightingale; an entry ticket and order of service for Miss Nightingale’s memorial service at St Paul’s Cathedral in 1910; a fundraising pamphlet for the Hospital for Invalid Gentlewomen; a framed photograph of Miss Nightingale in bed originally by Lizzie Caswall Smith in 1910; a collection of contemporary newspaper cuttings collected by Fanny Pettit relating to the life of Miss Nightingale; and a studio portrait photograph of Fanny Pettit taken c.1909 (lot) Provenance: From Eliza Francis "Fanny" Pettit and then by descent. Footnotes: Note: Florence Nightingale, 1820-1910, known as the “The Lady of the Lamp”, was a British nurse, social reformer and statistician who is best remembered as the founder of modern nursing. Her experiences as a nurse during the Crimean War were foundational in her views about sanitation. She established St. Thomas’s Hospital and the Nightingale Training School for Nurses in 1860. She is recognised as one the greatest Victorians and a female icon in her own lifetime. This highly personal collection has been passed down through four generations of the vendor's family from Eliza Francis “Fanny” Pettit (later Gibbs), who was Florence Nightingale's lady companion for two years in 1906 and 1907 and lived with Miss Nightingale at 10 South Street, Park Lane, London.When Fanny left Miss Nightingale’s employ, she was gifted two personal items by the great lady as a personal thank you for her service, a travelling teapot and a silver plated tea caddy.By all accounts, Fanny was highly regarded by both Miss Nightingale and her family and after leaving Miss Nightingale's employment at the end of 1907 to get married, she was subsequently invited with her new husband to spend their honeymoon at the family’s country estate, Lea Hurst, in Derbyshire, where Miss Nightingale grew up.Fanny's daughter, Eileen, was christened with the middle name Florence, in honour of Miss Nightingale, on the day that Fanny was informed by letter that Florence Nightingale had passed away. In perhaps the most poignant item in the collection, this letter recounts Miss Nightingale’s final moments and how she was invited, by Elizabeth Bosanquet the housekeeper at South Street, to see Miss Nightingale at rest. The letter, as transcribed below, is a moving reflection of the high regard Fanny was held in. Dear Fanny,This is sad news for you to have heard on the day of your little baby's christening.I know how deeply you will feel it but I hope you will bear up for the baby's sake.If you return in time and can manage to come round, I think you would like to look on Miss Nightingale's peaceful face. She passed away quietly at 2pm yesterday resting on her pillows just as she had been placed the night before.A change came during the night and we had to send for the doctor and knew it was grave and sent to the relations.It was very peaceful and merciful and one is so thankful she slept away with no suffering. We shall all be the better for her wonderful influence.Yours faithfullyElizabeth Bosanquet. Fanny was subsequently invited to Miss Nightingale's memorial service in St. Paul's Cathedral which was held one week after her death on 20th August 1910.The two photographs are informal snapshots of Miss Nightingale. They are thought to be the last images of the nurse taken in her old age at her house at 10 South Street, Park Lane by Fanny using her Brownie camera and have never been published. They were exhibited in “Nightingale In 200 Objects, People & Places”, at the Florence Nightingale Museum in London, 8 March 2020 - 7 March 2021, celebrating the bicentenary of Florence Nightingale’s birth.The three prescriptions were also on loan in the same exhibition at the Florence Nightingale Museum and were displayed as “Item 130”. During the Crimean War Miss Nightingale contracted brucellosis, a bacterial infection which causes fever, joint pain, extreme fatigue, and depression. The infection became chronic and as a result Miss Nightingale experienced recurring episodes of illness for the rest of her life. She spent most of her later years at her home in South Street. Towards the end of her life Miss Nightingale was supported by Fanny Pettit, who helped Nightingale with daily tasks such as taking her medications. Fanny kept these prescriptions as a keepsake when Miss Nightingale passed away.
Corgi Group of Racing & Commer TV Service Van - including 479 Commer TV Service Van "Samuelson Film Service Limited" - blue, white complete with cameraman and camera Good Playworn unboxed; 152s BRM Formula 1 Grand Prix Racing Car - turquoise body, silver trim and interior without figure driver, Union Jack and racing number 7 bonnet decals - Good Plus with a few chips in Fair creased box; 150s Vanwall Formula 1 Grand Prix - red, with driver, racing number 25 - Excellent unboxed. (3)
ASSORTED CAMERAS comprising a Paillard-Bolex B8 cine camera, with Yvar 1:1,9 f=13mm and Dallmeyer Popular f=1 1/2' lenses; an Asahi Tele-Takumar 1:5.6/200 lens; Sankyo Kohki W-Komura f=28mm 1:3.5 lens; Asahi Pentax-M 1:2.8 28mm lens; Asahi Pentax-M 1:1.7 50mm lens; Canon EF 50mm 1:1.8 lens; and three Pentax cameras, with lenses.
Giovanni Antonio Canal, auch genannt „Canaletto“, 1697 Venedig – 1768 ebenda, Umkreis desBLICK VOM UFER DEGLI SCHIAVONI AUF DIE KIRCHE SAN GIORGIO MAGGIOREÖl auf Leinwand.40,6 x 64 cm.Beigegeben eine Expertise von Dario Succi, Gorizia.Das nicht allzu große Gemälde ist in betontem Breitformat gehalten, womit nahezu ein Panoramablick geboten wird. Von der Riva degli Schiavoni, auf der mehrere Figuren flanieren, führt der Blick über anliegende Lastschiffe und Gondeln hinweg auf die gegenüber liegende Seite des Kanals, mit der im Licht stehenden Fassade der San Giorgio Maggiore Kirche. Wie ein geschlossener Block stehen sämtliche Gebäude eng zusammen am Kanalausgang zur Lagune. Das Kirchendach wird von der großen Kuppel überragt, links steht der Campanile als weiterer Blickfang über der Insel, die dem Becken von San Marco vorgelagert ist. Der Stolz der Insel ist die Kirche, die von dem berühmten Andrea Palladio mit ihrer bedeutenden Fassade im Komplex des aus dem 10. Jahrhundert stammenden Benediktinerklosters ab 1565 neugestaltet wurde. Der Campanile, ein Werk des 18. Jahrhunderts, geht auf die Gestaltung des Campanile San Marco zurück, und war also zur Zeit des Malers eine neue Errungenschaft Venedigs.Giovanni Antonio Canal (1696-1768), der unter dem Namen Canaletto berühmt geworden ist, war der Sohn von Bernardo Canal, der aus der Bühnenmalerei hervorging. Doch wie der Vater, hatte sich auch Antonio sich unter dem Einfluss des Zeitgenossen aus Udine, Luca Carlevaris (1663-1730) der einträglicheren Vedutenmalerei zugewandt. Zusammen haben die beiden die Venezianische Vedutenmalerei eigentlich zum bedeutenden, eigenständigen und gefragten Sujet erhoben. Canaletto, in Europa längst bekannt, wurde am 11. September 1763 in die 1750 gegründete venezianische Akademie aufgenommen, und hatte dazu ein Beispiel seines Könnens eingereicht, das sich heute in der Galleria dell‘Accademia in Venedig befindet. Der englische Konsul Joseph Smith, einer der ersten Mäzene und Förderer des Malers, hat auch ein Stichwerk durch Antonio Visentini veranlasst, wodurch das europaweite Interesse an Venedigveduten beflügelt wurde. Die Werke des Antonio Canal sind zu unterscheiden von denen seines Neffen Bernardo Bellotto (1722-1780), der sich ebenfalls Canaletto nannte. Doch sind die Unterschiede in der Malweise deutlich. Die Bilder Antonio Canals sind heller, meist heiterer und lichtvoller als die von Bellotto. Dies zeigt sich auch in dem hier vorliegenden Werk. A.R.Literatur: Vgl. Dorothea Terpitz, Giovanni Antonio Canal, genannt Canaletto. 1697-1768, Köln 1998.William George Constable, Canaletto. Giovanni Antonio Canal 1697-1768, Oxford, 1962. Vgl. Dario Succi, Capricci Veneziani del Settecento, Ausstellungskatalog, Gorizia, 1988.Vgl. Jane Martineau and Andrew Robison (Hrsg.), The Glory of Venice: Art in the Eighteenth Century, Ausstellungskatalog, London/ Washington, D.C., 1994-1995.Vgl. Andreas Henning, Axel Börner, Andreas Dehmer (Hrsg.), Canaletto. Ansichten vom Canal Grande in Venedig. Kabinettausstellung anlässlich der Restaurierung zweier Gemälde von Giovanni Antonio Canal, genannt Canaletto (= Das restaurierte Meisterwerk, Bd. 5), Dresden 2008.Vgl. Egon Grund, Canalettos Veduten als Wirklichkeitskonstruktion unter besonderer Berücksichtigung der Frage: Benutzung der Camera obscura? Dissertation, Univ. Göttingen 2008. (1370319) (11) (†)Giovanni Antonio Canal, also known as „Canaletto“, 1697 Venice – 1768 ibid., circle ofVIEW OF THE RIVA DEGLI SCHIAVONI WATERFRONT TO THE CHURCH OF SAN GIORGIO MAGGIORE Oil on canvas. 40.6 x 64 cm.Accompanied by an expert's report by Dario Succi, Gorizia.
Larisch-Moennich, Count Franz von -- "Tropische Wolkenpracht". Circa 1910. Vintage platinum print flush-mounted to cardboard. 31,5 x 41,5 cm (40 x 50 cm). Signed, titled and annotated by the photographer in ink on mount verso; annotated by another hand in pencil on verso. Franz Count of Larisch-Moennich's captivating seascapes originated from his extensive journeys across the Atlantic, Indian, and Pacific oceans from 1909 to 1914, during which he meticulously studied the ocean's dynamics. Count Larisch embraced substantial challenges, navigating even the most turbulent waters and engineering a specialized waterproof housing for his camera to shield it from the relentless waves. These resulting photographs, like this tranquil tropical ocean vista, captivated not only the artistic community but also marine experts, intriguing them with his unique perspective on the sea's movement. – Some very light scuff marks and small spots in upper sky area, a few stains and foxing on verso of mount, otherwise a fine tonal print in very good condition.
David Hockney (b.1937)New Work with a Camera, 1984for Andre Emmerich Gallery, New Yorksigned in ink (lower right)off-set lithograph99 x 63cm, unframed. Fading or sun staining to pink outer edges. Three corners slightly scuffed. Dotted black mark to right edge. Left corner a bigger crease, about 20-30cms. White line mark near the word 'Emmerich'. Light surface dirt to pink colour and other faint handling marks. The composition with man and camera is a good condition.Light finger marks top left corner.See new condition report photos.
David Hockney (b.1937)Drawing with a Camera 1984for Andre Emmerich Gallery, New Yorksigned in ink (lower right)off-set lithograph100 x 69cm, unframed. Scuffs to corners and edges and upon close inspection surface scratches, dents, marks, and discolouration to cream border.Reverse with time staining predominately around the edges.See photos.
A collection of Rollei photography equipment, to include a prism finder for TLR camera in leather pouch, a Rollei Beta 2 automatic electronic flash, a Rollei tripod quick coupling, uv-filter and hood, a Roleikin film adapter kit, two boxed Rolleiflex 2,8F leather case, a polaroid adapter for Rolleiflex SLX, and other
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