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Lot 19
BACK TO THE FUTURE (1985) - Hand-Drawn Ron Cobb Interior DeLorean Time Machine Concept Art - Hand-drawn Ron Cobb interior DeLorean time machine concept art from Robert Zemeckis' Back to the Future. Rendered by Cobb, who served as the film's DeLorean time travel consultant, illustrations such as this were among the earliest designs for Doc Brown's (Christopher Lloyd) stylish time machine.Rendered in mixed media on illustration board, this illustration depicts the interior view from the driver's-side door, with an array of electrical equipment surrounding the driver's seat. It features Cobb's signature in brown ink and is dated "'84." This lot exhibits mild creasing at the corners, and discoloration in the negative space around the illustration. Dimensions: 17" x 13" (43.25 cm x 33 cm)Sold without copyright; see notice in the Buyer's Guide.Estimate: $5,000 - 10,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT 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 Wednesday, March 13th or Thursday, March 14th.
Lot 759
THE MATRIX TRILOGY (1999-2003) - Set of Three Printed Model Concept Design Binders - Three printed model concept design binders from the production of the Wachowskis' The Matrix trilogy. The binders contain print-outs of digital artwork, photographs, and reference imagery regarding the creation of physical sets and models.This lot comes from the collection of The Matrix Reloaded and Revolutions production manager L. Dean Jones, Jr. These three plastic binders with such labels as "Physical Models: APV/Digger," "Physical Models: Sentinel," and "Door," among others, contain 550 pages of paperwork watermarked throughout for Jones. The paperwork exhibits grime from age and production use. Dimensions: (largest) 11.5" x 11.5" x 3.5" (29.25 cm x 29.25 cm x 9 cm)Estimate: $1,000 - 2,000Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT 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 Tuesday, March 12th or Thursday, March 14th.
Lot 1138
BATES MOTEL (T.V. SERIES, 2013 - 2017) - Production-Made Bates Motel Key and Door Sign - A production-made Bates Motel key and door sign from Carlton Cuse, Kerry Ehrin, and Anthony Cipriano's Bates Motel. Jiao (Diana Bang) was held hostage in the Seafarer Motel before the Bates bought it by Deputy Zack Shelby (Mike Vogel) and left a sketchbook about her capture in Room 4 before Shelby moved her to his basement in the Season 1 episode "Nice Town You Picked, Norma. . ." and "What's Wrong With Norman." This lot consists of a brass-color key with a matching key chain engraved "Bates Motel" and "4"; and a blue and white printed cardboard sign with "Please Do Not Disturb" and "Please Make Up The Room" on either side. This lot exhibits a rip in the cardboard, and creasing and bending to the door sign. Dimensions: (largest) 3.5" x 10" (9 cm x 25.5 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT 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 Tuesday, March 12th or Wednesday, March 13th.
Lot 1509
SCANNER DARKLY, A (2006) - Bob Arctor's (Keanu Reeves) Watch and Ring - Bob Arctor's (Keanu Reeves) watch and ring from Richard Linklater's A Scanner Darkly. Arctor wore his ring in a flashback where he bumped his head on a kitchen cabinet door before making popcorn for his wife and daughters. He later wore his watch as he drove on the freeway with James Barris (Robert Downey Jr.) and Ernie Luckman (Woody Harrelson) where their car broke down on a road trip to San Diego.This lot consists of a brown leather and metal Fossil Defender watch labeled "04 Keanu" on the backside; and a gold-color metal ring. This lot exhibits minor discoloration on the leather and grime on the label.This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT 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 Tuesday, March 12th or Wednesday, March 13th.
Lot 470
ALIENS (1986) - Set of Sulaco Docking Bay Model Miniature Components - Sulaco docking bay model miniature components from James Cameron's Aliens. United States Colonial Marines flew the USS Sulaco, a transport ship known for a deadly docking accident, to Acheron to investigate the loss of contact with Hadley's Hope.These components were constructed by the miniature effects unit for the Sulaco's expansive docking bay model set. It consists of three large resin grates with criss-cross patterns painted silver-color; five small resin grates painted gray; and a door panel numbered "082" in two places with additional numbers throughout and painted gray with red and yellow striped caution sign detailing. The panel and larger grates are unpainted on their backs, and the panel exhibits adhesive residue and scratching from production use. Dimensions: (largest) 8.25" x 12.5" x 1.5" (21 cm x 31.75 cm x 4 cm)Estimate: $800 - 1,600Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT 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 Tuesday, March 12th or Thursday, March 14th.
Lot 864
STAR TREK: FRANCHISE - Set of Enterprise-E and Voyager LCARS Door Panels - A set of Enterprise-E and Voyager LCARS door panels from Jonathan Frakes and Stuart Baird's Star Trek: The Next Generation films and the television series Star Trek: Voyager, respectively. Both the Enterprise NCC-1701-E and Voyager NCC-74656 used keypad-like panels throughout the ship to access the computer system, with panels of this size often placed near doorways to open, lock, and request entrance.This lot consists of three black acrylic panels with graphics depicting numbered buttons, two Enterprise-E panels with graphics in yellow and purple and one Voyager panel in beige and light blue. They exhibit scratching throughout the acrylic. Dimensions: (each) 8.75" x 7.5" x 0.25" (22.25 cm x 19.25 cm x 0.5 cm)Estimate: $1,200 - 2,400Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT 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 Tuesday, March 12th or Thursday, March 14th.
Lot 1292
GROWN UPS 2 (2013) - Roxanne Chase-Feder's (Salma Hayek) Bra - Roxanne Chase-Feder's (Salma Hayek) bra from Dennis Dugan's Grown Ups 2. Brecky Feder (Alexys Nycole Sanchez) left the front door open during the night, which allowed a deer to enter the Feder house which her father Lenny Feder (Adam Sandler) tried to deter with laundry, which caused his wife's bra to get stuck on the deer's antler. This three-tier metal clasp bra is made of fuchsia lace front with a mesh lining, elastic band and straps. The bra is underwire without padding. This lot exhibits a sticky patch on the right strap causing the strap to stick to itself and collect grime.This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT 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 Tuesday, March 12th or Wednesday, March 13th.
Lot 307
Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good bold but later impression of the fifth state (of five) on laid paper without watermark, platemark 163 x 127 mm (6 3/8 x 5 in), sheet 184 x 142 mm (6 1/2 x 5 1/8 in), sheet 169 x 134 mm (7 1/4 x 5 1/4 in) (unframed)Literature:Bartsch 176; New Hollstein 243 v/v
Lot 1008
CARTER HOWARD: (1874-1939) English archaeologist and Egyptologist, discovered the Tomb of Tutankhamun in 1923. An excellent group of three typescript manuscripts, unsigned, by Howard Carter, with many annotations, additions and corrections in his hand, being the text for three lectures (two on the discovery of Tutankhamun's tomb and a third on the subject of colour), forty-eight pages (total), small 4to, n.p. (London?), n.d. (c.1924, 1930 & 1934). The first typescript manuscript commences 'We had almost given up in dispair (sic), and would have done, were it not for the fact that in nearing the tomb of Ramses VI (sic) we found a very intriguing buried heap of flint boulders which suggested the proximity of a tomb. Why had they been placed there?......They were of a kind usually selected by the Ancient Egyptians for filling in the entrance of a tomb, but there was nothing of the kind underneath them......In October, 1922, I returned to Luxor to make this final effort.....I set my Egyptian staff to work, about 120 men and boys in all.....When in four days we made the discovery which surpassed our wildest hopes. How well I remember that fourth day. I arrived early in the morning on the scene of the action......the work of clearing continued feverishly throughout the rest of the day......then, with ill-suppressed excitement, I watched the descending steps, one by one, as they were revealed, Our work progressed, and at the level of the twelfth step there was disclosed the upper part of a doorway, blocked, plastered and sealed. It was a thrilling moment for an excavator, alone, save for his native workmen, after years of unproductive labour, on the threshold of what might prove to be a magnificent discovery. Amything, literally anything, might lie beyond that sealed door and it needed all my self control to keep from breaking down the blocking of that doorway, and investigating then and there......I sent a runner into Luxor with a cable telling Lord Carnarvon, then in London, the good news. Little knowing that had I gone a few centimetres deeper in that excavation, the name of Tut.ankh.Amen upon the seals of that doorway would have told me the secret - that almost ephemeral king, Tut.ankh.Amen......had made his grave in the Valley of the Tombs of the Kings' and continues 'The decisive moment had arrived. With almost trembling hands I made a tiny breech in the upper left hand corner.....A lighted candle was then applied, the ever necessary test and precaution against possible foul gasses, and then, widening the hole a little, I inserted the candle and peered in.......gradually ones eyes became accustomed to the dim light, details of the room within emerged slowly, strange animals, statues and gold - everywhere the glint of gold. For the moment - an eternity it must have seemed to others standing by - I was amazed, when Lord Carnarvon, unable to stand the suspense any longer, inquired anxiously, "Can you see anything?" it was [all] I could do to answer, "Yes, wonderful things"'. The second typescript manuscript is entitled The Royal Burial and Innermost Treasury and dated May 1930, and states, in part, 'Our work in the Antechamber was finished.....We were ready at last to penetrate the mystery of the sealed door.....When a hole sufficiently large was made to see in, an astonishing sight was revealed, for there, within a metre of the doorway, stretching as far as one could see, and blocking the entrance of the chamber, stood what to all appearances was a wall of gold. We were at the entrance of the actual Burial Chamber of the King, and that which barred our way was the side of an immense gilt shrine, built to cover and protect the sarcophagus......before us, was one of the Great Golden Shrines beneath which Kings of Egypt were laid.......a surprise awaited us, for an open door, leading eastwards from the Burial Chamber, led to yet another chamber......this proved to be the Innermost Treasury. From where we stood, a glance sufficed to tell us that there within this small chamber lay perhaps the greatest treasures of the tomb'. Interspersed between the text of both manuscripts are a number of pages detailing the slides which Carter used to illustrate his lectures, including images of the Valley of the Tombs of the Kings, the excavations, the discovery of the tomb, the more important objects found in the antechamber (including a painting of a hunting scene, Carter noting in his own hand that 'Such scenes are naturally the works of a Court painter - doing homage to the young monarch. For such a slender youth, un-armed, save for the bow and arrow, to attack a group of fierce lions & lionesses, is hardly tenable'), the coffins, the raising of the lid of the sarcophagus, and much more. The final, third typescript manuscript is for a lecture entitled Colour which Carter delivered at the Victoria and Albert Museum on 17th October 1934 and commences 'The normal visual apparatus of the eye enables us to distinguish not only differences of form of objects looked upon, but difference in character of the light received from them, which we name colour. Form is intellectual; colour emotional. Colour is the property of form, that is to say, only decorative. Colour does not define an object, but it instils a sensation and a feeling. Thus, in art and ornamental design, form is perhaps more important than colour, but excellence in both is the most important' and continues with a fascinating discussion of colour from artistic and scientific perspectives, also making a reference to the Valley of the Kings, and quoting Sir Joshua Reynolds. The manuscripts are contained together within a limp bound ring leaf binder and a few of the pages are loose. A wonderful series of manuscript lectures, particularly for their first-hand accounts of the most famous discovery in the history of Egyptology. Some light staining and minor age wear, otherwise generally VGIn 1924 Howard Carter made a tour of Great Britain, France, Spain and the United States of America, delivering a series of illustrated lectures on the excavation of Tutankhamun's tomb. In New York and other American cities Carter's meetings were attended by large and enthusiastic audiences, sparking American Egyptomania, and President Calvin Coolidge requested a private lecture.
Lot 283
BRUCE NIGEL: (1895-1953) British character actor, remembered for his portrayal of Dr. Watson opposite Basil Rathbone in a series of Sherlock Holmes films. A good vintage signed 8 x 10 photograph of Bruce standing in a full-length pose in costume as Lord Godolphin, before a large wooden door, in a scene from the adventure film Frenchman's Creek (1944) which was adapted from Daphne du Maurier's novel of the same name. Signed by Bruce in dark fountain pen ink to the base of the image, his surname running across a darker area, and also dated 1943 in his hand to the upper white border. An unusual image to find signed. Some minor creasing to the edges and corners of the white borders, VG
Lot 666
DE FUNES LOUIS: (1914-1983) French actor and comedian. An unusual set of eight folio pages (two bifolium) neatly removed from a scrapbook dedicated to De Funes and featuring numerous magazine and newspaper portraits of the actor, many in costume or scenes from his films, signed and inscribed by De Funes to the centre of the first page, in French, sending his good wishes for 1960, further annotated in French by De Funes to two other pages, in one stating that he did not appear in a certain film and in another remarking that his film debut was in La Tentation de Barbizon and that he opened a door. Also featuring various annotations in the hand of the compiler. Some very light, extremely minor age wear, VG
Lot 289
GRIER PAM: (1949- ) American actress. Signed 8 x 10 photograph of Grier standing in a three-quarter length pose, at the door of an apartment, in costume from one of her most famous roles as the female vigilante nurse Flower Child 'Coffy' Coffin from the American blaxploitation film Coffy (1973). Signed by Grier in black ink to a light area of the image and dated April 1996 in her hand. EX
Lot 1105
LE CORBUSIER: (1887-1965) Charles-Edouard Jeanneret. Swiss-French architect, designer and urban planner, a pioneer of modern architecture. An exceptional typescript MS, Le Corbusier, ten pages (separate leaves, typed to the rectos only), 4to, Paris, 1st March 1938 (although the place and date struck through in ink by Le Corbusier), in French. The working manuscript, with many holograph corrections, is titled Un Homme Chez Lui ('A Man at Home') and states, in part, 'C'est ici que la notion de liberte prend toute sa force. Au sein de cette organisation saine de la vie des hommes reunis en societe: "La Ville Radieuse", commandee par une discipline acceptee avec joie, la cellule d'habitation s'ouvre derriere une porte de logis. Et ici, la clef tournee, un homme est chez lui. Il est entre. Que fera-t-il? Ce qu'il voudra! Ce qu'il pourra.......Et il sera maitre de son destin, un un sens limite, bien entendu: celui de la libre expression de son imagination. Et nous trouverons alors, au pied du mur, ce terrible "Francais individualiste" dont les mechantes langues et les decides-a-rien-faire levent les fantomes innombrables a chacune de nos propisitions. J'avais mis en exergue a mon rapport sur l'urbanisation de la Ville de Moscou, en 1930, ceci: Je place comme pierre angulaire de toute urbanisation moderne le respect sacrede la liberte individuelle. On m'en avait voulu. Mais qu'importe!.......Cette gageure qui fut proposee dans "Urbanisme" en 1924 elle a ete meme: "La Ville Radieuse". Il existe desormais une doctrine d'equipement des villes dont la clef de voute est: soleil, espace, verdure, en chaque logis. En chaque logis! Voici donc ce que la societe moderne peut apporter a chacun de ses membres, par l'enterprise des grands travaux de readaptation des villes aux besoins d'une conscience nouvelle.......Une telle transformation dans la coupe du logis est une veritable revolution architecturale. Le logis devient une petite maison. Et que m'importe que ces petites maisons soient a dix, rangees les unes au-dessus des autres et qu'elles s'alignent innombrablement au long d'une "rue interienne": l'homme est entre chez lui, il a ferme la porte. Il a recu le choc de set amenagement architectural: grand et puis intime, et tout ce soleil, cet espace et ces verdures que cette reforme a precisement permis de capter. Je dis que cet homme desormais n'est plus jamais le chien battu qui hante les "boites locatives" de nos villes......cet homme chez lui a perdu le souvenir des lourdes tribulations que lui et sa famille ont vecu depuis toujours. Riche ou miserable, c'etait l'absence pour tous des "joies essentielles". Les "joies essentielles" sont apportees a la societe moderne par les techniques modernes, l'invitation urbanistique et la poesie de l'architecture. Ceci n'est pas d'utopie. Depuis 20 ans, des travaux limites ont ete accomplis, fixant les etapes constructives. Chez nous et ailleurs, par nous et par d'autres. Il existe deja des fragments - des jalons, des preuves - de "Ville Radieuse"......' (Translation: 'This is where the notion of freedom comes into its own. Within this healthy organisation of the life of men gathered in society: "La Ville Radieuse" (The Radiant City), governed by a discipline accepted with joy, the living cell opens behind a door of dwelling. And here, with the key turned, a man is at home. He has entered. What will he do? Whatever he wants! Whatever he can.......And he will be master of his destiny, in a limited sense, of course: that of the free expression of his imagination. And then we'll have that terrible 'individualistic Frenchman' at our heels, whose nasty tongues and decide to do nothing raise countless ghosts at every one of our proprieties. In my report on the urbanisation of the City of Moscow in 1930, I wrote the following: I place as the cornerstone of all modern urban development the sacred respect for individual freedom. People were angry with me. But never mind!.......This challenge, which was proposed in "Urbanisme" in 1924, was even called "La Ville Radieuse". There is now a doctrine for equipping towns and cities, the key to which is sun, space and greenery in every home. In every home! Here, then, is what modern society can bring to each and every one of its members, by undertaking the great work of readapting cities to the needs of a new consciousness......Such a transformation in the cross-section of the dwelling is a real architectural revolution. The dwelling becomes a small house. And it doesn't matter to me that there are ten of these little houses, arranged one above the other and lined up innumerably along an "internal street": the man has entered his home, he has closed the door. He received the shock of the architectural layout: large and then intimate, and all the sun, space and greenery that this reform made it possible to capture. I'm saying that this man will never again be the beaten dog that haunts the 'rental boxes' of our cities.......this man at home has lost all memory of the heavy tribulations that he and his family have always endured. Rich or miserable, it was the absence for all of the "essential joys". These "essential joys" are brought to modern society by modern technology, inviting urban planning and poetic architecture. This is not utopia. Over the last 20 years, a great deal of work has been done to define the constructive stages. Here and elsewhere, by us and by others. There are already fragments - milestones, proof - of the "La Ville Radieuse"......'). A rare manuscript of excellent content. A few minor tears and light creasing to the edges of some pages and the final page with a small area of paper loss to the lower left corner. GVille Radieuse (The Radiant City) was an unrealised urban design project designed by Le Corbusier in 1930. It constitutes one of the most influential and controversial urban design doctrines of European modernism.Le Corbusier's essay Un homme chez lui was published in Les Plans de Paris 1956-1922 in 1956.
Lot 457
Mahogany bowfront wardrobe, blind fret frieze, panelled cupboards, with shelf above a hanging rail, raised on cabriole legs, width 107cm, depth 58cm, height 199cm.Condition report:There are some scratches to the bottom of the left door and some minor chips to the right edge of the frame. There is some wood missing from the top of the bottom right panel. There is rubbing where the doors meet at the bottom. There are some scratches to the base inside. Please see additional uploaded images.
Lot 568
George III mahogany bowfront sideboard, crossbanded outlines, with central drawer above a tambour front compartment, flanked by deep drawers, square tapering supports, width 152cm, depth 60cm, height 89cm.Condition report:The top has some faded patches, scuffs and dark marks from age and use, joins to the crossbanding are visible but sound, small section of veneer loss to the back of the left side, other small veneer repairs, drawers and door are sound but some cracks to and minor loss to crossbanding, tambour handle cracked but present and works, both side have splits, legs are sound.
Lot 511
George III mahogany bracket clock, domed case with brass mounts, pierced vrilles, circular painted dial signed George Edlin, London, double fusee movement striking on a gong, 41cm.Condition report:The dial door/ front is locked and there is no key to open it, so cannot wind to test if working. There is a winder, and pendulum. The dial appears to have enamel loss below numerals V and VI, and between VI and VII. Signature is faded. The case has various patches of replaced veneer, the domed top surface in particular has some splitting to the veneer along grain lines. There are splits to the dial door frame, just below the lock. A section of the moulding to the domed front has been reattached. The brass elements are well tarnished throughout.
Lot 98
Arts and Crafts movement mantel clock, the movement by the Hamburg American Clock Co., striking a gong, shaped oak case mounted with pewter, brass and copper, circular silvered dial cast ith stylised flowers, paper label to movement door 'No 3251'., 30cm.Condition report:There are scratches and minor losses to the wood. The back left support looks different to the back right support. The clock winds but is not working at the present time. Please see additional uploaded images.
Lot 458
Contemporary Art Deco style black lacquered and burr walnut credenza, constructed in three sections, the central section with rectangular glazed door enclosing two adjustable shelves, the curved end sections with curved glazed doors, enclosing three adjustable shelves, width 161cm, depth 45cm, height 141cm.
Lot 79
A pair of continental-style white painted wooden frame elbow chairs each with a padded seat & back, & on turned & fluted tapering legs; together with a teak & woodgrain-effect sideboard fitted three long drawers to the right-hand side with cupboard to centre left-hand side, each enclosed by a panel door, 152.5cm wide x 77cm high x 39.5cm deep.
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