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Click here to subscribe007 James Bond movie Octopussy 8x10 photo signed by Vera Fossett who played a juggling girl in the film. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Yesterday Script and Poster A poster and a copy of the script for the 2018 film Yesterday, signed by Richard Curtis. His annotation explains that the film was finally called Yesterday despite the working title of the "Jack and Ellie Project". Artist: Emma Freudhttps://suffolkartists.co.uk/index.cgi?choice=painter&pid=4910 Measurements: A4 & A0 posterWeight: 1kg
Yesterdog Yesterdog is a nod to the film ‘Yesterday’ which was partly filmed in Suffolk. The design includes the ‘Fab Four’ and has a flower power and sixties theme and Suffolk Libraries patron Emma Freud co-produced the film. Artist: Anne-Marie Byrnehttps://www.suffolklibraries.co.uk/whats-on/annual-events/paws-itivity/meet-the-pack Measurements (cm) : 60 x 90 x 80Weight: 8kg
WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s. The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory. He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career. Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'. (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work.
FUTURA 2000 (B. 1955)Untitled 1982 tagged twicespray paint on canvas121 by 304.3 cm.47 5/8 by 119 13/16 in.This work was executed in 1982. Footnotes:ProvenanceAcquired directly from the artist by the present owner in 1982Exuding an exhilarating new aesthetic while reigning supreme in its expansive scale, Untitled from 1982 emerges as an extraordinary and iconic masterpiece created by one of the most important graffiti artists of our time. Made in one of the most experimental years of the artist's career, the present work, alongside other remarkable works from 'New York City Rap' tour gained notability due to an enduring collaboration between American graffiti artists Futura 2000 and Dondi. Works like these identified by their distinct visual language, played a pivotal role in not only shaping visual aesthetics in popular culture but also in elevating graffiti art from the fringes of subculture to the forefront of mainstream consciousness. In Untitled, the sprayed striking primary colours overlayer a black tag, reminiscent of graffiti on a street wall, but created on a white canvas instead, the artist elevates it to the permanent, to the realm of high art. Monumental and expressive in its appearance, Futura used his whole body to create these vast works. Executed next to Dondi in the vibrant heart of Paris, the present work was a backdrop to hip-hop performers during 'New York City Rap' tour and exudes a distinct blend of abstract elements and textual nuances. Tagged twice and marked with the letters 'CC' symbolising the initials of his former wife, who he met in Paris on the tour, Untitled 1982 is brimming with personal significance, marking a pivotal and prolific chapter in the artist's oeuvre. These thoughtfully crafted components encapsulate the very essence of its place of origin, rendering it an unmistakable creation within the 'New York Rap City' paintings. Futura 2000's works from the 1980s are by far the most highly sought-after within the artist's market. This era not only witnessed the peak of his artistic productivity but also marked a surge of creativity and innovation in his work, whilst boldly challenges established artistic norms of the time. Drawing direct inspiration from the revolutionary political climate of the 1960s, Futura 2000 embarked on excursions with friends in the early 70s, equipped with spray paint and an inclination for the cutting edge. These expeditions into the cityscape became acts of reinvention, transforming mundane public fixtures into vibrant canvases that brought art directly to the people. With each stroke, he redefined the conventional canvas, making art accessible to everyone in New York. His signature abstract forms and dynamic lines demonstrated in the present work, resonated with the spirit of the times. Graffiti art emerged as an unapologetic voice of rebellion and self-expression, artists painted their unique identities on break trains and public fixtures through 'tagging,' a crucial act in a country where public graffiti was prohibited, rendering them anonymous pioneers of urban expression. It was precisely this fascination with the concept of identity that beckoned Leonard Hilton McGurr into the realm of street art. Amidst the apex of advertising and consumer culture, he forged his artistic persona as Futura 2000, taking direct inspiration from the film '2001: A Space Odyssey,'.Weathering challenges and unforeseen detours, he eventually found himself embracing an unexpected interlude in the Navy, a compelling twist that would soon enrich the captivating tapestry of his artistic journey. Upon his return the very landscape he once embellished had transformed, streets pulsated with a new artistic rhythm. The early 80s emerged as a turning point for Futura's work, fostering his unique style and refining his technical expertise. In this incubator of creativity, he gathered valuable wisdom from his avant-garde comrades, figures like Jean-Michel Basquiat, Keith Haring, and Fab 5 Freddy. A group of audacious visionaries, they formed a pioneering ensemble reshaping artistic boundaries, their creations igniting cities globally with the electric vibrancy of artistic expression.In 1981, Futura's career started to gain traction after a celebrated collaboration with the legendary band 'The Clash'. An electrifying fusion of art and sound, this collaboration not only redefined the concert experience but also transcended creative realms, leaving an enduring mark on both music and visual expression. Furthermore, it shattered the conventions of traditional stage design, replacing static backdrops with a living, breathing masterpiece that evolved with every performance. This groundbreaking event was an innovation serving as a unique platform that united artists and performers, celebrating the vibrant culture of hip-pop. Futura's work brims with stories of rebellion, identity, and the city's beating heart. His art captures the pulse of a generation, reflecting the socio-political climate and the human experience within it. The artist's encounters with likeminded innovators of the graffiti movement infused his work with a sense of camaraderie and collective spirit, elevating his creations beyond the canvas and into the realm of cultural conversation. Futura's contribution to the street art movement is not limited to the streets alone. His journey from subway cars to gallery walls signifies the evolution of an art form once considered subversive. He not only navigated this transition but also flourished within it, bringing the energy of the streets into spaces traditionally reserved for 'high art'. Untitled 1982 is an electrifying fusion of creativity and urban dynamism. It captures the essence of a moment, a movement, and a mindset. His style transcends medium and canvas, reaching deep into the collective subconscious of a city, a generation, and an art world transformed by his style.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
F.C. NANTES, EUROPEAN CUP 2ND ROUND JERSEY NOVEMBER/DECEMBER 1966 vs. Celtic F.C., stitched number 8 verso, long sleevedNote: Originally believed to be the shirt of Bernard Blanchet, the programme for this fixture lists him in the no. 11 position, whilst Vladica Kovačević is listed as no. 8. Swapped with Bertie Auld; The Bertie Auld Collection.Presented here is another jersey from the legendary 1967 European Cup run. It is believed to have been worn by either Bernard Blanchet or Vladica Kovačević of Nantes.Both men were capped internationals, Blanchet receiving 17 for France between 1966 and 1972, Kovačević 13 for Yugoslavia between 1960 and 1965. Their club careers differed, the Frenchman making 356 league appearances for Nantes over eleven seasons. Kovačević would play just one season for the club, signing from Partizan Belgrade in 1966, just after having lost the European Cup final to Real Madrid.Nantes were fated for a short run in the 1966/67 competition.First round victories vs. Iceland’s Reykjavík didn’t belie a slump in domestic form, the team going four games without a win in the lead up to the 1st leg vs. Celtic.This match was played in France, the home side perhaps thinking their form had returned when, in the 17th minute, Francis Magny capitalised on a Tommy Gemmell mistake to give them an early lead.Celtic did settle however, Joe McBride pushing forward to score the equaliser just seven minutes later. Now it was time to put Nantes to the sword. Goals from Bobby Lennox and Stevie Chalmers in the second half secured a 3-1 victory. Praise for Stein from the French press was resounding, the influential journal L’Equipe dubbing Jimmy Johnstone ‘the flying flea’, whilst McBride was as classy as the film star ‘Marlon Brando’.Though demoralised, Nantes persevered in the return leg at Parkhead. A goal from Johnstone in the 13th minute didn’t stop their attempts, with a 36th minute equaliser from Gérard Géorgin perhaps giving them hope. Another second half masterclass awaited though, Celtic matching the first scoreline to secure a 6-2 aggregate victory.These masterful displays by the eventual Lisbon Lions impressed the French side so much that one player, Jacques Simon, would tip Celtic to win the tournament.
A Belgian colour lithographic film poster, 1930s with Earle Douglas in "Doug ... à la Rescousse/ Doug ... Ter Hulp" ("Doug to the Rescue" in French and Dutch), depicting 2 men fighting, printed by the Co-operative Union, Liège; a few edge nicks in places circa 61 x 86cmAn American actor called both Earle and Earl Douglas (1903-1964) starred in silent films in the 1920s and in sound films in the 1930s. There appears to be no record of a film with the name on the poster, nor indeed of this particular poster. What could be significant, however, is a 1936 film called "The Amazing Exploits of the Clutching Hand" - the violent image in the poster shows one man's hand gripping the mouth and jaw of the other actor. Earle Douglas is not credited in this American film, though (not uncommon, as he was not always credited in his films, often playing henchmen rather than leading roles)
WOOLF (Virginia) Walter Sickert a Conversation, Hogarth press, 1934, pictorial cover; NABOKOV (V) Lolita, 1st edition 1959, dust jacket, ex. library marks; BOLL (Heinrich) Acquainted With the Night, 1st edition 1955, inscribed by the author, dust jacket; various by G K Cheserton; Folio Society boxed set of Buchan's works in slip case; Readers Library cheap paper film books in dust jackets and similar popular editions; etc
An Accumulation of over forty Great Britain first day covers in an album and some loose, a small quantity of mint presentation packs and prestige booklets. Also include a 'Royal Events' album featuring stamps of The Queen Mother, four cycling PHQ's (framed), three part-filled 'film star' cigarette albums and one complete, plus ten international university society publications.
TWO TRU-VUE PICTURE VIEWERSin Bakelite with a selection of film rolls including Golden Gate Exposition 1,2,3 and 4, New York Worlds Fair 1,2,3,4,5,6,7 and 8, New York City 1,3 and 4, Santa Catalina 1,2 and 3, Switzerland of America 2 and 3, Petrified Forest and Painted Desert, Ney York Zoo and Niagara Falls
EIGHTEEN CARAT GOLD MINI SUCCESS NECKLACE BY FREDthe openwork geometric pendant set with sixteen diamonds, marked Fred and numbered 1018485, approximately 2.7 gramsNote: Fred Samuel (1908-2006) established his jewellery brand in 1936 in Paris. Fred became famous for jewels designed by Jean Cocteau and for its famous clients, such as Marlène Dietrich and the royal family of Monaco. Fred Paris designed the iconic 23 heart-cut ruby necklace interlaced with diamonds, which was gifted to Julia Roberts by Richard Gere in the film Pretty Woman. The last major film for which Fred Paris provided jewellery was Casino Royale
Bauhaus.: Vierteljahr-Zeitschrift für Gestaltung. Hrsg.: Hannes Meyer. Schriftleitung: Ernst Kallai. Jg. 3 in 4 Heften. Dessau 1929. 4°. Mit zahlr. Abb. Jwls. 32 S. Illustr. Obrosch. (Tls. etw. fleckig, tls. Rckn. leicht beschäd.). Fleischmann, S. 191. Wingler, S. 163 f. - Das erste Heft des Jahrgangs 1929 enthält Hannes Meyers programmatischen Text "bauhaus und gesellschaft". Darin heißt es u.a.: "Zu guter Letzt ist alle Gestaltung schicksalsbedingt durch die Landschaft: Dem Sesshaften ist sie einzig und einmalig. Sein Werk ist persönlich und lokalisiert. Fehlt flottantem Volk dieser Heimatkomplex, ist das Werk leichthin typisch und Standard. Ein bewusstes Erleben der Landschaft ist Bauen als Schicksalsbestimmung. Als Gestalter erfüllen wir das Geschick der Landschaft". Einen Schwerpunkt des zweiten Heftes bildet das Thema 'Film'. Die Beiträge "filmrhythmus, filmgestaltung", "malerei und film", "augendemokratie und dergleichen" werden illustriert von Fotoarbeiten von Lotte Gerson, Andreas Feininger, Werner Feist, Naftali Rubinstein, Walter Peterhans, Walter Funkel und Fritz Kuhr. Erst 1929 war die Fotoklasse am Bauhaus unter der Leitung von Walter Peterhans gegründet worden. Weitere wichtige Beiträge im zweiten Heft stammen von Ludwig Hilberseimer (Kleinstwohnungen. Größe, Grundriss u. städtebauliche Anordnung/Handwerk und Industrie). Das dritte Heft beschäftigt sich einerseits mit Reklame und Werbegestaltung (Ausstellungskoje Junkers auf der Ausstellung "Gas und Wasser", Berlin, gestaltet von Schawinsky, J. Schmidt u. J. Niegeman), andererseits mit Kunstpädagogik in Kindergarten und Schule. Das vierte Heft ist Oskar Schlemmer gewidmet, der 1929 nach Breslau an die Staatl. Akademie für Kunst und Kunstgewerbe berufen wurde. Darin von Schlemmer der Beitrag "analyse eines bildes und anderer dinge" sowie Aufsätze von Le Corbusier (Die Geometrie), Willi Baumeister (Bildbau), Albert Renger-Patzsch (Hochkonjunktur); zur Architektur Aufsätze von Hubert Hoffmann (Mietshaus oder Siedlungshaus?) u.a. - Heftklammern angerostet, tls. leicht fleckig.
Filmprogramme.: Sammlung von ca. 800 Heften, versch. Formate. Lose. Enthält u.a. Hefte aus den Reihen Illustr. Film-Bühne, Das neue Film-Programm, Filmpost, etc. Darunter auch einige frühe Nummern der Film Bühne: Nr. 48 Arche Nora (1947); Nr. 69 Film ohne Titel (1948). - Gebrauchsspuren, tls. Randlochung, nicht eingehend kollat. - Dabei 2 Sammelbilderalben.
Kim Novak signed colour 10 x 8 inch photo to Sam. American retired film and television actress and painter. Her contributions to cinema have been honoured with two Golden Globe Awards, an Honorary Golden Bear, and a star on the Hollywood Walk of Fame. Novak began her career in 1954 after signing a contract with Columbia Pictures, and quickly became one of Hollywood's top box office stars, appearing in Picnic (1955), The Man with the Golden Arm (1955), and Pal Joey (1957). She gained prominence for her performance in Alfred Hitchcock's thriller Vertigo (1958), which is recognized as one of the greatest films ever made. Other notable films include Bell, Book and Candle (1958), Strangers When We Meet (1960), and Of Human Bondage (1964). Although still relatively young, Novak withdrew from acting by 1966 and has only sporadically worked in films since. She appeared in The Mirror Crack'd (1980) and had a regular role on the primetime series Falcon Crest (1986-1987). Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Vintage TV Film signed collection of eight 6 x 4 photos. Includes Tommy Cooper (little creased), Tommy Handley, Clint Walker, Brian Aherne, Kathleen Ryan, Virigina Cherrill, Jean Simmons, Lousi Jourdan. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Ken Russell British Film Director Signed 1984 'Crimes Of Passion' 8x10 Promo Photo. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Pierre Molinier (1900-1976)Ensemble de 10 panneaux peints par Molinier pour le film 'Molinier' réalisé par Raymond Borde - 'Trois passions. La peinture, les filles et le pistolet' - Le Centre d'Histoire du Cinéma présente- Pierre Molinier, avec son blason - Texte André Breton- Deux mois plus tard- Images de Pierre Marty- Dit par Charles Chaboud- Un film de Raymond Borde- Collections : Yves Amon – Raymond Aribaut – Raymond Borde – André Breton – Henri Boëner – Simone Collinet – Louis Laharrague – Joyce Mansour – Francis Merville – Odette Nobécour – Claude Richard – Etienne Tabuteau- 'Fin'.- 'Three passions. The paint, the girls and the gun'- The Center for the History of Cinema presents- Pierre Molinier, with his coat of arms- Text by André Breton- Two months later- Images of Pierre Marty- Said by Charles Chaboud- A film by Raymond Borde- Collections : Yves Amon - Raymond Aribaut – Raymond Borde – André Breton - Henri Boëner – Simone Collinet - Louis Laharrague – Joyce Mansour - Francis Merville - Odette Nobécour - Claude Richard – Etienne Tabuteau- 'End'.22 x 27 cm à 28 x 35 cm.Footnotes:ProvenanceCollection particulière, FranceThis 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
Pierre Molinier (1900-1976)MARAYAT ROLLET-ANDRIANE dit EMMANUELLE ARSAN (1932-2005) - PIERRE MOLINIER (1900-1976) - LOUIS-JACQUES ROLLET-ANDRIANE (1923-2009) Correspondances - Courrier d'Emmanuelle Arsan adressé à Pierre Molinier, 7 juillet 1964. Feuille dactylographiée avec signature autographe. Cette feuille, usée à force d'être lue, a été restaurée au scotch par Molinier. - 1964. 7 lettres dont 6 manuscrites et 1 dactylographiée, et facsimilés de télégrammes et lettres. Les lettres sont rédigées par Louis-Jacques Rollet-Andriane qui signe Marayat. - 4 août 1964, Marayat à Molinier : '... Jamais peinture plus souveraine de l'orgasme n'a été peinte que la vôtre... Vous êtes aussi fou que l'ange de lumière, mais avec tellement plus de goût !'.- 4 septembre 1964 : 'L'hermaphrodite est un de nos rêves préférés, à Marayat et moi, incarnation de la bisexualité que nous adorons et pratiquons... '- Décembre : Marayat envoie ses gants à Molinier 'Ils se sont usés de s'être frottés à sa peau. Je vous les envoie pour que vous les frottiez à la vôtre'. Marayat indique les parfums qu'elle utilise : 'Calèche d'Hermès, Vent vert de Balmain et Joy de Patou'. Marayat demande à Molinier 'Peignez d'autres chefs-d'œuvre pour moi !'.- facsimilé d'un Télégramme, 15 décembre 1964 : 'Votre merveilleux tableau vos délicieuses œuvres d'amour et de rêve vos lettres vos photos vos documents vos cadeaux votre pensée et le souvenir de vous sont avec moi et ne me quitteront plus je suis folle de joie d'admiration et de gratitude je vous aime vous embrasse et vais vous écrire Emmanuelle'. - Facsimilé d'une lettre du même jour, Marayat utilise les trois olisbos envoyés par Molinier : 'Et je me sers d'eux pour aimer comme il faut vos tableaux qui sont tous deux devant mes yeux'.La contemplation esthétique selon Marayat-Louis-Jacques...- Pli du 24 décembre, Marayat remercie des 'dessins originaux du 'Temps de la Mort' et 'Ce qui est solennel' et les gravures qui ont servi à concevoir 'Les Dames aux Pistolets' ... Merci aussi pour les gants chauds... J'ai aussitôt utilisé aussi les gants de jersey fin pour caresser Louis-Jacques. Nous avons tous deux pensé beaucoup à vous, Je vous embrasse. Marayat'.- 1965. 1 lettre dactylographiée, 2 plis dactylographiés, 1 lettre manuscrite et 3 cartes postales manuscrites.- 8 janvier 1965 : carte envoyée de Kyoto par Louis-Jacques à Molinier : 'Vos olisbos nous font l'amour chaque nuit ! L-J'- 13 janvier 1965 : carte envoyée de Hong-Kong par le couple, adressée à Pierre Molinier à Grenoble ! (la poste fera suivre à Bordeaux).- 28 mai 1965 : Lettre de Bangkok signée Emmanuelle envoyé à Molinier. 3 longues pages de déclaration enflammée sur leur amour partagé illustré par ce chef-d'œuvre qu'est 'Oh ! Marie, mère de dieu' : 'Vous qui êtes un autre moi-même ... créateur de ce tableau 'le plus sacrilège, le plus divin'. ... Je proclame partout votre nom et je découvre à tous ceux qui ne la connaissent pas encore votre peinture qui est mon image. Je suis, à cet autre bout du monde, comme une antenne aventurée de vos 'sens fabuleux', je suis vos doigts soyeux, vos jambes gainées, vos seins aux pointes gorgées, votre sexe ouvert et votre sexe pénétré, je suis votre corps qui jouit et je suis l'amour de votre amour, je suis votre esprit. Emmanuelle'.- 13 juin 1965 : lettre sur papier à en-tête University of Karachi postée de Bangkok signée Louis-Jacques.- 18 juillet 1965 : pli cacheté signé Louis-Jacques avec adresse et nom de l'expéditeur (rare) 'Je n'ai jamais su clairement quel mauvais tour vous avait joué l'Américain et pourquoi il vous a payé d'ingratitude pour la collection merveilleuse qu'il a pu amasser sur votre dos. ... Marayat ne se rend pas compte qu'en acceptant vos offres follement généreuses, elle vous met à la misère. ... Elle a une admiration mystique, vous considérant comme son incarnation sous une autre forme'.- 19 septembre 1965 : pli cacheté signé 'Votre ami', sans adresse d'expéditeur :'Mon cher génie ... Je crois vous avoir dit que nous partageons avec vous la passion de l'hermaphrodite, de l'androgyne et qu'il ne nous parait y avoir rien de plus désirable et de plus beau que la combinaison des sexes physiques mâles et femelles en une seule étreinte ... nous tentons d'ordinaire de créer l'illusion de l'androgyne en associant un garçon et une fille en même temps à nos enlacements ... Marayat aime à se faire traiter en même temps comme une femme et comme un garçon par deux hommes la possédant ensemble'.- 26 octobre 1965 : carte de l'hôtel Plaza, New York, signée Marayat, prévoit une escale à Paris pour voir l'original de 'Oh ! Marie, mère de dieu'.- 1966. 4 plis dont 1 manuscrit et 3 dactylographiés.- 24 janvier 1966 : Plis signé Louis-Jacques qui s'inquiète d'être sans nouvelles. Marayat est à Formose où elle tourne un film. Cachet de l'expéditeur 'Rollet-Andriane, Director of Central Services. SEATO, PO Box 517, Bangkok'.- 31 janvier 1966 : Louis-Jacques suggère à Molinier une idée de tableau susceptible d'enchanter Marayat : 'Elle aimerait que vous la peigniez pénétrée par trois hommes à la fois, mais surtout suçant avec adoration une queue très grosse », etc.- 6 mars 1966 : pli dactylographié en rouge, signé L-J, décrit leur intérieur, 'un vrai musée Molinier'.- 11 juin 1966 : pli dactylographié sans adresse d'expéditeur, signé L.J. Parle de leur grand ami diplomate, Philippe Baude, 'l'homme qui a le plus baisé Marayat dans sa vie : au moins deux fois par jour tous les jours pendant trois ans ... une fois dans le vagin, une fois dans la bouche, une fois dans l'anus ... Marayat se masturbe tout le temps, en voiture et en avion et jamais un voyage sans se faire baiser par un passager'.Cette scène sera reprise dans le film. La lettre nous apprend que c'est elle qui fournit la matière des romans à son mari.- 1967. 2 lettres manuscrites et 1 pli dactylographié.- jeudi 27 de Londres, signée 'Vos amants L.J et M'
Pierre Molinier (1900-1976)Autoportraits préparatoires pour photomontages dont photomontage par superposition Installation des jambes de la grande poupée sur le lit durant le tournage du film de Borde, installation avec les jambes de plâtre, portraits d'Hanel, portraits rehaussés, tirages en négatif. 27 tirages argentiques d'époque, certains avec découpe de la silhouette, collages, photomontages.Installation of the legs of the big doll on the bed during the filming of the Border film, installation with the plaster legs, portraits of Hanel, enhanced portraits, negative prints.27 gelatin silver prints, some with silhouette cutouts, collages, photomontages.3.5 x 3.5 cm à 17.5 x 12.5 cm.Footnotes:ProvenanceCollection particulière, FranceThis 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
Pierre Molinier (1900-1976)Script du film 'Pierre Molinier' réalisé par Raymond Borde Images de Pierre Marty, texte d'André Breton dit par Charles Chaboud, 1964 : Générique, synopsis, séquences, reproductions des tableaux de Pierre Molinier, photographies de la Poupée, Autoportrait, le toit avec silhouette dessinée de Molinier-Sorcier, textes, schémas, plan de la chambre.2 classeurs comprenant respectivement 20 et 14 tirages argentiques d'époque de Pierre Molinier, 20 et 19 feuilles manuscrites de Raymond Borde et 2 pages dactylographiées. Titres de certains tableaux reproduits avec les noms des propriétaires dont André Breton, Joyce Mansour, Lo Duca : - Holocauste oui, Holocauste non- Les amoureuses angoissées- La fleur du paradis- Les seins étoilés- Le pas de quatre- Les jumelles continuent d'être amoureuses- Cosmac- L'étoile scellée- Succube- Comtesse Midralgar- Enanus- Les Trois Grâces- Les dames voilées- Les curieuse- Le Christ puni- L'angoisse révoltée- Culminante- La flèche amoureuse- Les dames au pistolet- Le temps de la mort- Succube 2- Susinella- Le réveil de l'angeImages by Pierre Marty, text by André Breton said by Charles Chaboud, 1964: Credits, synopsis, sequences, reproductions of Pierre Molinier's paintings, photographs of the Doll, Self-portrait, the roof with a drawn silhouette of Molinier-Sorcerer, texts, diagrams, plan of the room.2 binders comprising respectively 20 and 14 vintage silver prints by Pierre Molinier, 20 and 19 handwritten sheets by Raymond Borde and 2 typed pages.Formats tirages : 6,5 x 7,5 cm à 18 x 13 cm ; feuilles : 27 x 21 cm ; classeurs : 32 x 26 cm.Footnotes:ProvenanceCollection particulière, FranceBibliographieJean-Luc Mercié 'Pierre Molinier', Les presses du réel Kamel Mennour, 2010, p.268 à 275This 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
Pierre Molinier (1900-1976)Correspondances de Pierre Molinier à Claude Richard. 6 lettres manuscrites de Pierre Molinier à Claude Richard :- 24 septembre 1960. Lettre manuscrite signée par Molinier. Adresse de l'expéditeur : Pierre Molinier Prison du Fort du Hâ sur la lettre et l'enveloppe conservée. Cachet de la prison sur cette missive remise ouverte à l'autorité carcérale. A l'intérieur de l'enveloppe le n° d'écrou :'Pierre Molinier 7218'.'Cher Claude Richard, Vous devez être un peu surpris de ma longue absence, je suis actuellement incarcéré à la prison du Fort du Hâ, donc ne soyez pas inquiet pour les ouvrages que je vous avais demandé de me procurer, je les prendrais sitôt remis en liberté'. En PS : 'Je me promène deux fois par jour dans la cour où le grand Van Gogh faisait la ronde...'- 18 février 1964. Lettre manuscrite signée par Molinier. 2 pages.Molinier évoque le financement de l'achat par Richard du tableau 'Fleur du Paradis'. Le prix consenti doit rester secret, Richard lui doit encore 295.000 anciens francs.- 26 février 1964. Lettre manuscrite signée par Molinier. 2 pages. Molinier évoque l'expédition du fameux tableau 'Fleur du Paradis'. Le film de Borde a été présenté en petit comité avec succès, et sera présenté à Paris. Suit la négociation sur le règlement : 'J'ai déjà touché pas mal de fonds par les banques, montant qui dépasse mon plafond de revenus par rapport au fisc, donc je vous serais très obligé si vous voulez bien donner le montant du chèque en 'liquide' à mon vieil ami, Etienne Tabuteau'.- 12 avril 1964. Lettre manuscrite d'une autre main et signée par Molinier. 2 pages. Molinier avait recourt parfois à ses amis, secrétaires bénévoles. Molinier évoque la naissance de la fille de Richard. Il prépare la caisse pour l'envoi du tableau avec ceux destinés à Bob Walker.- 16 mars 1966. Lettre manuscrite, signée par Molinier. 2 pages. Molinier est en manque d'argent : 'Je suis bien heureux que vous puissiez me régler définitivement, mon état financier est des plus précaire ... depuis l'affaire Walker je n'ai vendu qu'un seul tableau et d'un petit format donc d'un petit prix ... à la librairie (de Dilou) il y a une nouvelle petite employée d'un aspect des plus séduisant, moitié allemande et demi française, qui a une paire de fesses admirable malgré (ses) quatorze ans et demi et Dilou m'a 'cassé la baraque' avec elle malgré mes promesses de mariage'.- 4 juin 1966. Lettre manuscrite, signée par Molinier.En exergue au-dessus de la date : 'Les Dieux sont des crapules. Tous adorateurs, séides, prêtres ou autres des Dieux sont les complices inconscients ou conscients, sinon profiteur de leur CRAPULERIE.'Molinier adresse à Richard, l'ambassadeur de la maison JJ Pauvert, 'une dame charmante, mais, ne vous énervez pas, elle est dans un état intéressant.' Il s'agit de Régine Deforges, qui est enceinte, et songe à rééditer les volumes 'Emmanuelle'.6 handwritten letters from Pierre Molinier to Claude Richard.Footnotes:ProvenanceArchives Claude RichardCollection particulière, FranceCourtier en assurances maritimes, Claude Richard est un passionné de littérature, compagnon de la libraire Odile Canouet et proche des Surréalistes. En 1958, il fait la connaissance de Molinier à qui il achètera le tableau 'La Fleur de Paradis' à l'issue de l'exposition 'Eros'.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
Pierre Molinier (1900-1976)Correspondance de Pierre Molinier à Raymond Borde - 1962. 19 lettres manuscrites signées dont un poème.Ces lettres retracent la genèse de son film et l'histoire de leur relation amicale.L'année 1962 est une période douloureuse pour Molinier : 'Je suis en plein dans le cirage vésiculaire'.- 1963. 9 lettres dont 7 manuscrites et 2 dactylographiées, signées.La maquette du chaman est terminée. Molinier travaille la peinture. Il cite 'L'Extricable', le livre de Borde : 'J'ai lu et relu. Il exprime admirablement notre angoisse en présence de l'absurde actuel qui s'apparente... à la fosse septique, les microbes se détruisent eux-mêmes, mais notre temps, lui, détruit ce que l'on peut appeler : l'esprit... C'est tragique'.- 1964. 12 lettres dont 9 manuscrites et 3 dactylographiées, signées ; 1 photocopie d'une lettre d'Emmanuelle Arsan du 4 août 1964 ; 1 préface d'Emmanuelle Arsan recopiée par Molinier pour la monographie qui ne paraîtra chez Pauvert qu'en 1969.Molinier raconte la projection du film de Borde par Molinier à l'Office du Cinéma de Bordeaux devant trente personnes : 'Je crois pouvoir vous affirmer que le succès a été complet'.- 1965. 3 lettres dont 2 manuscrites et 1 dactylographiée, signées.7 mai, Molinier parle du dessin de 'Oh ! Marie, mère de Dieu' :'Ce simple plan-dessin commence à indigner les imbéciles. J'espère que ce tableau achèvera de me débarrasser une fois pour toutes, définitivement, des quelques andouilles qui s'entêtent encore à graviter autour de moi'.Le 3 septembre, le tableau est terminé : 'Je le destine si le groupe surréaliste l'accepte à la prochaine exposition qui aura lieu à Paris le 15 octobre 1965'.Le 6 novembre, Molinier revient sur le pamphlet de Borde 'L'Extricable' qu'il juge 'exceptionnel' :'Vous faites plus que marcher sur la croix, vous chiez allégrement sur toutes les conneries conventionnelles'.- 1966 et 1967. 3 lettres manuscrites signées. Molinier se relève de son opération de la vésicule. Le film a été projeté avec succès. Jean-Pierre Bouyxou aimerait rencontrer Borde. 22 novembre : 'Je ne comprends pas l'attitude d'Élisa Breton. Dans mon livre, les lettres d'André Breton étaient une présence vivante de l'homme pour lequel j'avais la plus grande admiration. Je suppose quelques tiraillements au sein du groupe surréaliste. Tout le monde veut sans doute remplacer celui qui est irremplaçable'. - 1969-1972. 8 lettres dont 5 manuscrites et 3 dactylographiées, signées. 2 lettres sont rédigées par un 'secrétaire'. Molinier mal rétabli de son opération de la vésicule dicte son courrier.Dans ces lettres, Molinier évoque Michel Simon, Pauvert, Hanel Koeck. Il parle de ses photomontages : 'Je travaille à les parfaire'. Hanel demande une copie du film pour l'Allemagne que Borde ne fera pas.Molinier se plaint de l'écriture illisible d'Hanel. Molinier transcrit entre les lignes ce qu'il comprend, ce qu'il parvient à déchiffrer. Leur correspondance forme ainsi un savoureux palimpseste.26 juin 1969 : Molinier est furieux du livre qui vient de paraître chez Pauvert. Il a été abusivement simplifié par l'éditeur et le texte de Breton sacrifié. C'est une trahison.1er août 1969 : Hanel et Gorsen songent à faire paraître le 'Chaman et ses créatures' en Allemagne.24 février 1970 : Si le film de Borde connaissait un succès commercial, Molinier 'serait heureux de participer aux bénéfices' (sic).8 décembre 1972 : 'Oui, le livre édité en Allemagne me donne entièrement satisfaction pour les illustrations'. Molinier espère faire paraître le 'Chaman' grâce à Hanel et Peter Gorsen.24 décembre 1972 : Molinier tire une gravure 'Susinella', tirage 50, prix 420 francs.Critique de cinéma au Temps Modernes, membre du comité de rédaction de Positif, Raymond Borde (1920-2004) fonde en 1964 la Cinémathèque de Toulouse et consacre sa vie au service du patrimoine photographique. Proche du mouvement surréaliste, il est partisan d'un cinéma engagé. En 1964, il réalise le film « Pierre Molinier » avec les textes d'André Breton et publie une monographie sur ce court-métrage éditée aux éditions Le Terrain Vague d'Éric Losfeld. - 1962. 19 signed handwritten letters including a poem.These letters trace the genesis of his film and the history of their friendly relationship.The year 1962 is a painful period for Molinier: 'I am in the middle of the vesicular shoe polish'.- 1963. 9 letters, 7 of which are handwritten and 2 typed, signed.The model of the shaman is finished. Molinier works with painting. He quotes 'The Extricable', Borde's book: 'I have read and reread. He admirably expresses our anguish in the presence of the current absurd which is akin ... to the septic tank, the microbes destroy themselves, but our time, it destroys what can be called: the mind ... It's tragic'.- 1964. 12 letters, 9 of which are handwritten and 3 typed, signed; 1 photocopy of a letter from Emmanuelle Arsan dated August 4, 1964; 1 preface by Emmanuelle Arsan copied by Molinier for the monograph which will not be published by Pauvert until 1969.Molinier recounts the screening of the film of Borde by Molinier at the Bordeaux Film Office in front of thirty people: 'I think I can tell you that the success was complete'.- 1965. 3 letters, 2 handwritten and 1 typed, signed.may 7, Molinier talks about the drawing of 'Oh! Mary, Mother of God' :'This simple plan-drawing begins to outrage fools. I hope that this painting will finish getting rid of me once and for all, definitively, of the few idiots who still persist in gravitating around me'.On September 3, the painting was finished: 'I intend it if the surrealist group accepts it for the next exhibition which will take place in Paris on October 15, 1965'.On November 6, Molinier returns to Borde's pamphlet 'The Extricable' which he considers 'exceptional': 'You do more than walk on the cross, you cheerfully shit on all conventional bullshit'.- 1966 and 1967. 3 signed handwritten letters.Molinier is recovering from his bladder operation. The film was successfully screened. Jean-Pierre Bouyxou would like to meet Borde. november 22: 'I don't understand Beth Breton's attitude. In my book, André Breton's letters were a living presence of the man for whom I had the greatest admiration. I suppose some tension within the surrealist group. Everyone probably wants to replace the irreplaceable one'.- 1969-1972. 8 letters, 5 handwritten and 3 typed, signed. 2 letters are written by a 'secretary'. Molinier, poorly recovered from his bladder operation, dictates his mail.Footnotes:ProvenanceCollection particulière, FranceThis 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
Pierre Molinier (1900-1976)PIERRE MOLINIER (1900-1976) – JOSEPH-MARIE LO DUCA (1910-2004) Correspondance de Molinier à Lo Duca - 6 mars 1959. Lettre manuscrite à l'encre de Chine.Lettre capitale où Molinier définit sa position à part dans le surréalisme, son credo, son art poétique :'Je ne crois pas dépasser tous les peintres surréalistes mais être très différent d'eux. Me traiter de surréaliste est bien risqué et je comprends votre embarras.Tanguy était essentiellement surréaliste. Un surréaliste qui, sans être peintre, s'exprimait avec de la peinture et son message sans grande discussion passait à travers lui (phénomène médiumnique). Pour ma part, le message passe à travers moi, je suis peintre et ma vie intime, mon univers le modifient à un point tel qu'il devient 'moi', l'empreinte est indélébile. La peinture, le moulage, la photographie, tous les moyens me sont bons, mais quelles sont les fins ? La magie, sans doute. ... Je ne me reconnais pas la qualité essentielle de surréaliste puisque magicien ... André Breton, tout en admettant des affinités l'a bien compris, il le laisse entendre par sa dédicace « A PM, qui peut être seul aujourd'hui, a notion de ce que pourrait être, au vrai sens du terme, l'Art Magique et sait ce qu'il est nécessaire d'y engager... La magie est opérative et il semble en effet que le surréalisme serait spéculatif. »- décembre 1960. Lettre manuscrite et 3 tirages argentiques d'époque dont 2 photomontages. Hermaphrodite homme ; Hermaphrodite femme ; Déshabillé en bas des seins très aguichant.En exergue en haut de la page : 'L'Amour est la plus tragique des illusions. L'Érotisme est sa réalité.'Molinier remercie Lo Duca de ses deux magnifiques volumes sur l'érotisme et s'excuse d'avoir tardé à l'en remercier : 'J'ai des circonstances atténuantes, vous n'êtes pas sans ignorer mes ennuis, jugement pour le fameux coup de pistolet (en direction de son épouse), divorce, enfin toutes sortes d'emmerdements'. (seuls 3 des 5 tirages annoncés ont été conservés) - 30 novembre 1966. Lettre manuscrite, 2 pages.'Je suis heureux de ce que votre lettre m'annonce. Je pense que personne d'autre que vous ne saurait exprimer par l'écriture, dans cette manière qui vous ait particulière, je veux dire percutante, ce que l'ambiguïté de mes peintures peut susciter de problèmes. Il y a surtout le CHAMANIQUE sur lequel on peut développer ce qui a rapport avec le phénomène de l'androgyne ... La maquette est terminée'.- 30 septembre 1967. Lettre manuscrite.'J'attends toujours la préface que vous deviez faire pour mon livre – ouvrage qui est à même d'être édité chez J.J. Pauvert.' ... Le texte pourra paraître dans 'une seconde édition (de luxe) qui serait illustrée (en plus de mon œuvre peinte) par des photographies et surtout des photomontages' (allusion au futur 'Chaman et ses créatures' qui ne paraîtra qu'après la mort de Molinier). En PS 'Ma santé, plutôt médiocre, je me survie lamentablement'.- 5 juin 1974. Lettre dactylographiée signée par Molinier avec joint document dactylographié 'Liste des amateurs de tableaux' détenteurs parisiens des tableaux de Molinier.- 24 juillet 1974. Lettre dactylographiée signée par Molinier.Christian Baudet à Bordeaux prépare les pierres pour les lithos inspirées des tableaux. Il a demandé une épreuve pour l'imprimeur, une pour lui, une pour Emmanuelle. Pour le lithographe personnellement, Molinier joint des 'photographies de Hanel crucifiée' et des photos de lui 'bandant (un masque sur le visage) les seins pincés par le 'Vampire'.' Les tirages annoncés n'ont pas été conservés.- Correspondance d'Emmanuelle Arsan à Lo Duca de Rome, 30 juillet 1974. Lettre dactylographiée signée Emmanuelle Arsan. Le ton n'est pas commode. Elle évoque l'édition d''Emmanuelle' avec Tchou : 'J'espère que les passages 'exaltés' dont vous faites mention ne signifient pas que le texte de mon livre a été modifié ?' Si Losfeld 'avait abusé de votre bonne foi (celle de Lo Duca) les 'poursuites seraient immédiates'. Elle recommande de se rapprocher de son agent littéraire à Paris Aurelio Luca Staletti. - Correspondance d'Emmanuelle Arsan à Lo Duca de Rome, 10 août 1974. Lettre dactylographiée signée Emmanuelle Arsan. Elle s'excuse du ton un peu vif de sa dernière lettre. Elle informe Lo Duca qu'elle a mis 'un huissier aux trousses' de Losfeld.- 1974. 4 lettres dactylographiées signées par Molinier, 11 septembre, 12 septembre et 12 octobre (deux lettres signées ce même jour). Copie de la lettre adressée à l'éditeur japonais de Tokyo auquel il offre tous les documents qu'il lui envoie (photomontages, lithographies, gravures). Dans celle du 12 octobre à Lo Duca, Molinier signale en PS : 'J'ai inspiré un film (voir ZOOM) 'GRANDEUR NATURE' de Luis Berlanger avec Michel PICCOLI'.On joint : Faire part du décès de Molinier, adressé par Françoise Molinier à Lo Duca le 8 mars 1976.- Correspondance d'Emmanuelle Arsan à Lo Duca de Rome, 22 février 1977. Lettre dactylographiée signée Marayat Rollet-Andriane, où elle remercie Lo Duca pour son livre sur Casanova, 'Ne sommes-nous pas, par une heureuse coïncidence, en période de carnaval.' Provenance : Archives Joseph-Marie Lo Duca.Joseph-Marie Lo Duca (1910-2004) est un écrivain et critique de cinéma franco-italien. Il est l'un des fondateurs des Cahiers du cinéma. Auteur de nombreux ouvrages comme « L'érotisme au cinéma » et « Histoire de l'érotisme » publiés chez Jean-Jacques Pauvert dont il dirige la collection « Bibliothèque internationale de l'érotologie ».Correspondance between Pierre Molinier and Lo Duca.Footnotes:ProvenanceCollection particulière, FranceThis 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
Pierre Molinier (1900-1976)Appareils photos de Pierre Moliniers - Appareil photo FED 3, série JOD.Accompagné d'une boite de pellicule annotée 'Lumière du Jour' et d'une bobine de film.- Appareil photo VREDEBORCH Felicetta BL35- FED 3 camera, JOD series.Accompanied by a box of film annotated 'Daylight' and a reel of film.- VREDEBORCH Felicetta BL35 CameraFootnotes:ProvenanceCollection particulière, FranceThis 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
Pierre Molinier (1900-1976)Photographies réalisées pendant le tournage du film 'Molinier' par Raymond Borde 34 tirages argentiques d'époque, certains annotés au dos.- La poupée- Pierre Molinier en train de peindre- La palette de Pierre Molinier- L'atelier- L'escalier- Silhouette sur le toit34 gelatin silver prints, some annotated on the back.- The doll- Pierre Molinier painting- The palette of Pierre Molinier- The workshop- The staircase- Silhouette on the roof4.5 x 6 cm à 13 x 18 cm. On joint :- courrier dactylographié de Pierre Molinier adressé à Raymond Borde le 7 juin 1962 concernant les collectionneurs des tableaux présentés dans le film.- Texte dactylographié : Premier canevas du film. 2 feuilles.- Texte dactylographié : Présentation du film avec les passages tirés de la préface d'André Breton. 5 feuilles.Footnotes:ProvenanceCollection particulière, FranceThis 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
Pierre Molinier (1900-1976)Correspondance de Pierre Molinier à André Breton - 11 mars 1961 : Reproduction de l'œuvre 'Baphomet'. Tirage argentique d'époque, annoté au crayon au dos. Accompagné de l'enveloppe adressée par Molinier à André Breton affranchie à la date du 11/3/61. Image : 26 x 20,5 cm ; feuille : 30 x 24 cm ; enveloppe : 25 x 31 cm- 17 mai 1961 : Reproduction de l'œuvre 'Corbillard' N°6 1962.Tirage argentique d'époque, 6 tampons encrés au dos. Accompagné de l'enveloppe adressée par Molinier à André Breton, affranchie à la date du 17/5/1961. Image 15 x 21,8 cm ; feuille : 18 x 24 cm ; enveloppe : 24 x 32 cmTexte au dos : 'Pour bien connaître une œuvre d'art, il faut la regarder sur toutes ses forces. La sculpture se prête à cet examen. J'insiste particulièrement pour le tableau : afin de bien le connaître, le pénétrer, communier intimement avec lui, il faut le voir sur tous ses aplombs, c'est-à-dire relativement au sol, l'examiner sens dessus dessous posé sur les côtés, en un mot le faire tourner. Pierre Molinier'.- 4 février 1962 : Reproduction de l'œuvre 'Les jumelles amoureuses dans l'œuf oblong' avec lettre manuscrite signée de Molinier à Breton au dos.Tirage argentique d'époque, tampon titré au dos. Accompagné de l'ektachrome du tableau (9 x 12 cm), de l'enveloppe adressée par Molinier à André Breton affranchie à la date du 5-2-1962. Image : 15,5 x 22 cm ; feuille : 30 x 24 cm ; enveloppe : 31 x 24 cmOn joint : Reproduction de l'œuvre 'Corbillard n°3' mentionnée dans la lettre. Tirage argentique d'époque annoté au crayon au dos. Accompagné de l'ektachrome du tableau (6 x 9 cm). Image : 7,5 x 9 cm ; feuille : 8,5 x 11 cm- 8 mai 1962 : Reproductions des œuvres 'La mère-fille' et 'Dame du Septième Jour'.2 tirages argentiques d'époque annotés au crayon au dos. Accompagnés de l'enveloppe adressée par Molinier à André Breton affranchie à la date du 8-5-62. Images : 25 x 9,7 cm ; feuilles : 30 x 12 cm ; enveloppe : 22,5 x 32,5 cm- 16 février (?) 1962 : Reproduction de l'œuvre 'Les amoureuses angoissées' 1962.Tirage argentique d'époque, tampon encré du titre et envoi manuscrit signé par Molinier 'Avec mes hommes à Madame, croyez-moi très cher André Breton. Toujours vôtre. Pierre Molinier. Salut fraternel à nos amis' au dos. Marques de manipulation. Accompagné de l'ektachrome du tableau (4 x 5,5 cm) et de l'enveloppe adressée par Molinier à André Breton affranchie à la date du 16-2(?)-1962. Image : 20 x 16 cm ; feuille : 30 x 24 cm ; enveloppe : 22,5 x 28,5 cm- Reproduction de l'œuvre 'Les jumelles continuent d'être Amoureuses'. Tirage argentique d'époque, cachet de l'atelier, titré à l'encre et suivi d'un P.S. manuscrit adressé par Molinier à Breton 'Comme vous le savez, Raymond Borde a fait un film-couleur sur mon œuvre picturale, il paraît que la réalisation est des plus réussie. Je dois de vous remercier puisque à la fabrication du générique (travail exécuté dans mon atelier) j'ai su que les paroles étaient de vous' au dos. 24 x 18 cm- 14 novembre 1966 : Reproduction de l'œuvre 'Les Amoureuses' 1965-1966.Tirage argentique d'époque, 4 cachets encrés de l'atelier, du titre et textes 'Créer n'est pas se répéter sans cesse, mais bien se renouveler indéfiniment. PM' et 'L'œuvre d'art ne peut s'expliquer que par le dialogue qui s'établit entre elle et le spectateur. P. Molinier' au dos. Accompagné de : 1 carte de visite de Pierre Molinier avec texte manuscrit 'Très cher André breton, je viens d'être opéré et ma santé est plutôt déficiente. Je vous prie de me croire toujours vôtre - Mes hommages à Madame André Breton. Mon salut fraternel au groupe surréaliste' et 1 enveloppe adressée par Molinier à André Breton affranchie à la date du 14-11-66. Image : 11 x 13,5 cm ; feuille : 12,7 x 18 cm ; enveloppe : 19 x 24,5 cm- Reproduction de l'œuvre 'La fleur du Paradis'.Tirage argentique d'époque, tampons encrés 'P. Molinier : 'La fleur du Paradis' et 'Exposition Internationale du Surréalisme Paris 1959-1960' au dos. Image : 17,5 x 23,5 cm ; feuille : 24 x 30 cm- Reproduction de l'œuvre 'Le Temps de la mort', tirage argentique d'époque. Image : 20,5 x 26,3 cm ; feuille : 22 x 28,5 cmExceptionnel ensemble où Molinier utilise ses tirages originaux comme papier à lettres.- march 11, 1961: Reproduction of the work 'Baphomet'.Vintage silver print, annotated with pencil on the back. Accompanied by the envelope addressed by Molinier to André Breton stamped on the date of 11/3/61. Image: 26 x 20.5 cm; sheet: 30 x 24 cm; envelope: 25 x 31 cm- May 17, 1961: Reproduction of the work 'Hearse' N° 6 1962.Vintage silver print, 6 inked stamps on the back. Accompanied by the envelope addressed by Molinier to André Breton, stamped on the date of 5/17/1961. Image 15 x 21.8 cm; sheet: 18 x 24 cm; envelope: 24 x 32 cmText on the back: 'To know a work of art well, you have to look at it with all your might. The sculpture lends itself to this examination. I particularly insist on the painting: in order to get to know it well, to penetrate it, to commune intimately with it, it must be seen on all its plumb lines, that is to say relatively to the ground, to examine it upside down placed on the sides, in a word to rotate it. Peter Molinier'.- february 4, 1962: Reproduction of the work 'The amorous twins in the oblong egg' with a handwritten letter signed from Molinier to Breton on the back.Vintage silver print, titled stamp on the back. Accompanied by the ektachrome of the painting (9 x 12 cm), the envelope addressed by Molinier to André Breton stamped with the date of 5-2-1962. Image: 15.5 x 22 cm; sheet: 30 x 24 cm; envelope: 31 x 24 cmAttached: Reproduction of the work 'Hearse n ° 3' mentioned in the letter. Vintage silver print annotated with pencil on the back. Accompanied by the ektachrome of the painting (6 x 9 cm). Image: 7.5 x 9 cm; sheet: 8.5 x 11 cm- may 8, 1962: Reproductions of the works 'The mother-daughter' and 'Lady of the Seventh Day'.2 vintage silver prints annotated with pencil on the back. Accompanied by the envelope addressed by Molinier to André Breton stamped on the date of 8-5-62. Images : 25 x 9.7 cm; sheets: 30 x 12 cm; envelope: 22.5 x 32.5 cm- february 16 (?) 1962
Pierre Molinier (1900-1976)'La Communion d'amour', Bangkok, ca. 1971 MARAYAT ROLLET-ANDRIANE dit EMMANUELLE ARSAN (1932-2005) - PIERRE MOLINIER (1900-1976) - LOUIS-JACQUES ROLLET-ANDRIANE (1923-2009)Chez Emmanuelle Arsan, deux jeunes femmes s'embrassent sur la bouche. L'une à genoux est Marayat, l'autre, blonde, complète le ménage à trois, avec Louis-Jacques. Cette scène se déroule sous le regard de Molinier dont l'autoportrait peint orne le mur.Tirage couleur d'époque annotée 'Les amoureuses sous le regard de Pierre. Tendrement, Emmanuelle'. 'The Communion of Love', Bangkok, ca. 1971. At Emmanuelle Arsan's, two young women kiss on the mouth. One on her knees is Marayat, the other, blonde, completes the threesome, with Louis-Jacques. This scene takes place under the gaze of Molinier whose painted self-portrait adorns the wall.Annotated period color print 'The lovers under the gaze of Pierre. Tenderly, Emmanuelle'.12.5 x 9 cm.On joint : Oeuvre inspirée de cette scène : Tirage argentique d'époque, tampons titrés 'P. Molinier 'La Communion d'amour' 1968-1971. Créer n'est pas se répéter sans cesse, mais bien se renouveler indéfiniment' au dos. D'origine thaïlandaise, Marayat Bibidh (1932-2005) est une romancière connue sous le pseudonyme d'Emmanuelle Arsan. Elle est l'auteur du roman érotique « Emmanuelle » édité clandestinement en 1959 par Éric Losfeld et rapidement interdit de publicité. Actrice dans le film de Robert Wise « la Canonnière du Yang-Tse » aux côtés de Steve McQueen en 1966, elle joue sous le nom de Marayat Andriane du nom de son mari le diplomate et écrivain Louis-Jacques Rollet-Andriane. Tous deux ont entretenu une correspondance riche et longue avec Pierre Molinier. Les échanges de cadeaux, de photographies et de pensées montrent la complicité qui existait entre eux sans qu'il soit confirmé qu'ils se soient rencontrés.Footnotes:ProvenanceCollection particulière, FranceThis 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
Pierre Molinier (1900-1976)Série 'La poupée' Important ensemble sur les poupées, têtes, corps, avec voilette, carte postale, la poupée de l'hommage à la Marguerite, les jambes, Pierre Molinier avec la poupée sur les genoux, sur le lit devant le miroir, sur le tournage du film de Raymond Borde dont 3 photographiées par ce dernier.45 tirages argentiques d'époque, certains avec indications de prise de vue au crayon au dos.De l'aveu de Borde, la poupée en situation était 'très troublante'.Important set on the dolls, heads, bodies, with veil, postcard, the doll of the tribute to the Daisy, the legs, Pierre Molinier with the doll on his knees, on the bed in front of the mirror, on the set of Raymond Borde's film, 3 of which photographed by the latter.45 gelatin silver prints, some with pencil shooting indications on verso.10 x 8 cm à 17.5 x 12.5 cm.Footnotes:ProvenanceCollection particulière, FranceThis 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
LESLIE MARR (BRITISH 1922-2021) Leslie Marr (lots 66-75) Introduction Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him. On his return to London he enrolled in art school in Pimlico. Uninspired by the conventional approach the school offered, however, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London. Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926 -2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr. After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957. Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include Stiper Stones, Shropshire (lot 67); Scotland (lots 73 & 74) and Exmoor, Devon (lots 68 & 70) where he lived for a number of years. But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Venice (lot 69), which combines a massing of architectural elements with an unnerving air of instability. A later influence in Marr’s work was Chaim Soutine, as evident in the two still-lifes in the sale (lots 72 & 75).LESLIE MARR (BRITISH 1922-2021)RECLINING NUDEsigned Marr lower left; dated 19 Nov.'71 lower rightwatercolour55 x 75cm; 21 1/2 x 29 1/2 in77.5 x 98cm; 30 1/2 x 38 1/2in (framed)ARR may apply
MADONNA, THREE SETS OF COSTUME JEWELLERY SCREEN WORN IN THE 1996 FILM EVITA EX-SARATOGA TRUNK, GLASGOW comprising a matching necklace and pair of earrings with floral motif in green and amber, a matching necklace and pair of clip-on earrings in pink and diamonte, and a matching necklace and brooch in pink, all set in gilt metal, housed in two branded boxes and a pouchPurchased from Saratoga Trunk Yesteryear Costume and Textiles, 57 West Regent St Glasgow in 1997While we don't have any stills of Madonna wearing the jewellery, scans of both receipts pertaining to this have been added for information (photographed so as to avoid including buyer's name at this stage)
A BRONZE FIGURE OF A BUDDHA, CHINA, FIVE DYNASTIES - NORTHERN SONG DYNASTY (907-1126)Expert's note: The closely related buddha, listed below in the auction result comparison and published in Saburo Matsubara's book Chogoku Bukkyo Chokokushi Kenkyu (History Chinese Buddhist Sculpture), Tokyo, 1961, holds unique similarities to the present figure. For one, the hair of both Buddha curl in an identical manner around the central ushnisha, which is slightly recessed. The robes also are configured similarly, tied at the waist in a similar pattern and folding below the feet in a near identical fashion. This comparison places the present figure firmly within the 10th century.Finely cast seated in dhyanasana, his left hand raised in a rare mudra with the ring finger bent and the others extended, his right hand resting on his knee. He is wearing loose-fitting robes opening at the chest. His serene face with heavy-lidded eyes below arched brows as well as full lips flanked by long pendulous earlobes. His hair arranged in deeply incised wavy locks over the high ushnisha.Provenance: From the private collection of Michael Phillips, acquired through the Japanese trade. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age, showing expected old wear overall. Signs of weathering and erosion, remnants of gilding, small nicks here and there. The naturally grown dark patina with cuprite and malachite encrustations. Aureole and lotus base (see auction result comparison below) are lost.Weight: 185 g Dimensions: 8.2 cm This figure may belong to a group of Buddhist votive figures produced in Zhejiang during the Wuyue kingdom (AD 907-978), four of which are illustrated in Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections, vol. 6, Beijing, 2005, pls. 1234-37: one in the Seikado Bunko Art Museum, Japan (pl. 1234); two in the Harvard University Art Museum, Arthur M. Sackler Museum, Cambridge, (pls. 1235 and 1236); and one in The Metropolitan Museum of Art, New York, pl. 1237; all dated to the 10th century. Of these four, only the figure in the Seikado Bunko Art Museum represents Buddha, while the other three represent bodhisattvas. All of these figures, including the present lot, have similar, distinctive facial features.The bodhisattva in The Metropolitan Museum of Art is also illustrated by D. Leidy and D. Strahan in Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, New York, 2010, p. 110-12, no. 22, where the authors ascribe the figure to Zhejiang province, which during the 10th century was the center of the Wuyue kingdom (AD 907-978). They note that the "kingdom was ruled by members of the Qian family, noted for their devotion to Buddhism and their patronage of the arts".Auction result comparison: Type: Closely related Auction: Christie's New York, 14 September 2017, lot 838 Price: USD 468,500 or approx. EUR 534,000 converted and adjusted for inflation at the time of writing Description: A rare bronze seated figure of Buddha, Five Dynasties-Northern Song dynasty (AD 907-1126), 10th century Expert remark: Note the closely related buddha figure, retaining its original aureole and lotus pedestal, which are both missing on the present lot. Note the total size (16.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 五代至北宋佛陀銅像由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A GILT-BRONZE FIGURE OF AVALOKITESHVARA, LIAO DYNASTY, CHINA, 907-1125Two Scientific Analysis Reports: A technical examination was conducted by Podany Conservation Services, LLC, Los Angeles. The report concludes: “The bronze casting (Figure 1) exhibits no clear evidence of modern origin/manufacture." A copy of the signed examination report, dated 4 March 2021, accompanies this lot. A metal alloy analysis was conducted by Antiques Analytics, Institute for Scientific Authenticity Testing, Dr. Robert Neunteufel, Germany. The report concludes: “The results of the metal analysis are not in contradiction to a manufacture within the Liao Dynasty." A copy of the signed examination report, dated 19 May 2023, accompanies this lot.Superbly cast, seated on a lotus pedestal atop a stepped lobed base, the right hand held in vitarka mudra and the left in avakasha mudra, the bodhisattva clad in cascading loose robes falling in voluminous folds. The serene face with heavy-lidded almond-shaped eyes and lips rendered in a gentle smile, flanked by a pair of pendulous earlobes, all below an elaborate headdress with an incised miniature Amitabha enclosing a high chignon with tresses falling on the shoulders.Provenance: From the collection of Michael Phillips (*1943), the Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition with expected wear to gilt and some casting irregularities as expected. Small dents and losses, shallow surface scratches, a very minor old repair to the back. Naturally grown patina overall, with some distinct and solid malachite encrustations. To the base, a small hole drilled for metal sampling.Weight: 744.1 gDimensions: 18.4 cm Avalokiteshvara is the successor of Buddha Amitabha and will continue to deliver living beings from sufferings when Amitabha attains nirvana. The crown with the miniature Amitabha, like the one shown here, is a key feature of Avalokiteshvara iconography.This free-seated image is an example of classic Liao style, and the modeling of the body is voluminous. The figure has an oval face, refined features, and a solemn expression. The hair, crown, and jewelry are rich with minute detailing. Sumptuous attire and a lotus throne with thick petals are often seen in Liao dynasty statutes. The torso is elongated, and the meandering design of the drapery forms linear patterns.Literature comparison:Compare a closely related smaller figure of Avalokiteshvara in the Museum of East Asian Art, Bath, dated to the Liao dynasty, accession no. BATEA: 277. Also compare a closely related Liao dynasty Avalokiteshvara illustrated in 'Imprints of Buddha: Buddhist Art in the National Palace Museum Collection', in the National Palace Museum Taipei, pp. 148-149, no. 62. Compare a related gilt-bronze figure of Liao dynasty Avalokiteshvara seated on a lotus pedestal, in the Palace Museum, Beijing, published in Classics of the Forbidden City: Guanyin in the Collection of The Palace Museum, Beijing, 2012, pl. 26. Also compare related Avalokiteshvara in the Rijksmuseum, Amsterdam, published in Hai-Wai Yi-Chen: Chinese Art in Overseas Collections, Buddhist Sculpture I, Taipei, 1998, pl. 146.Auction result comparison:Type: Closely relatedAuction: Sotheby's Hong Kong, 1 April 2019, lot 3104Estimate: HKD 300,000 or approx. EUR 37,500 converted and adjusted for inflation at the time of writingDescription: A rare gilt-bronze figure of Avalokiteshvara Liao DynastyExpert remark: Compare the closely related form. Note the similar size (19 cm). Also note the almost complete loss of gilt.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 17 September 2008, lot 392Estimate: USD 74,500 or approx. EUR 97,000 converted and adjusted for inflation at the time of writingDescription: A Rare Small Gilt-Bronze Figure of Buddha, Liao Dynasty (907-1125)Expert remark: Compare the closely related form, casting, incision work, and the naturally grown patina overall. Note the smaller size (14 cm). Also note that the gilt is worn off, most similarly as on the present lot.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 18 March 2016, lot 1408Estimate: USD 81,250 or approx. EUR 86,000 converted and adjusted for inflation at the time of writingDescription: A Small Gilt-Bronze Figure of Buddha Vairochana, Liao Dynasty (AD 907-1125)Expert remark: Compare the closely related form. Note the much smaller size (9 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 遼代銅鎏金觀音坐蓮像觀音銅鑄鎏金由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A SILVER-INLAID BRONZE FIGURE OF BUDDHA VAIROCANA, SWAT-VALLEY, 7TH-8TH CENTURYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 1 September 2020, based on sample number N120d91, confirms the object is “consistent with the suggested period of manufacture." A copy of the report, issued by Oxford Authentication, accompanies this lot.Depicted in the sambhogakaya form, Vairocana holds his hands in the bodhyagrimudra while sitting atop a pedestal supported by two anthropomorphic Buddhist lions. The lions have humanized faces, silver-inlaid eyes, snail-curled hair, and are standing atop a lotus base. The Vairocana wears an ornate crown, tied on both sides with ribbons which drape down around his arms and hang from the pedestal. His face is serene, set with almond-shaped eyes with silver inlays to the pupils and central urna. The back with a tang for attachment to a temple structure.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Very good condition, commensurate with age. Expected signs of wear, corrosion and weathering with only small remnants of gilt remaining. The naturally grown patina has distinct malachite and cuprite encrustations and was at some point coated with a layer of varnish or wax for conservation purposes. Some losses, dents and scattered nicks.Weight: 3,090 g Dimensions: Height 26.3 cm The Swat Valley is located along the upper stream of the Indus in the heartland of the Gandhara region. It was a melting pot of various people and arts and served as a link between India and Central Asia and further eastwards for a constant flow of Buddhist pilgrims. The earlier Gandhara style is still echoed in the art of many icons of the Swat Valley, as visible in the present example. The Buddha's parallel folds as well as the protuberance on top of his head can be traced back to Gandhara Buddha figures. However, the V-shaped pleats around his neck are associated with Kashmiri prototypes, as is the use of silver inlay. His face reflects a Gupta idiom, with its small mouth and incised eyebrows. The lotus base on which he sits is typical for Swat Valley images. Thus, this fine bronze Buddha figure perfectly embodies the aforementioned melting pot of various styles.The iconography of the crowned Buddha Vairocana has been a subject of dispute amongst scholars due to the lack of clear lines of interpretation within the imagery. Many conclude the crown is intended to denote Sakyamuni as a cakravartin or universal Buddha while some suggest it represents a sambhogakaya Buddha in Mahayana Buddhism. In her 2018 article Images of the Crowned Buddha along the Silk Road, Rebecca Twist examines the iconography of Silk Road crowned Buddhas and concludes the recurring evidence points to the crowned Buddha as sambhogakaya as an early esoteric meditational construct. Many of the Buddha Vairocana that Twist examines are closely related to the present lot. According to Twist, these similar figures which appear from various locations along the Silk Road “demonstrate a systematic form of transmission and religious syncretism in both iconography and ideology." The present lot is a part of the clear pattern of deliberate core iconographic elements which recur in crowned Buddha Vairocana figures along the Silk Road. These elements included the sambhogakaya form, the embodiment of dharmakaya, the bodhyagrimudra, and the similarly styled crown.Auction result comparison: Type: Related Auction: Bonhams New York, 16 March 2021, lot 306 Price: USD 50,312 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of a Bodhisattva, Swat Valley, circa 8th century Expert remark: Note the similar patina, the roves with a single narrow sash across the chest, the silver inlaid eyes and urna, and the closely related crown. Note the much smaller size (13 cm).Auction result comparison: Type: Closely related Auction: Bonhams New York, 19 March 2018, lot 3009 Estimate: USD 450,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing Description: A silver inlaid copper alloy figure of Vairocana, Swat Valley, 8th/9th century Expert remark: Note the closely related pose, the similar crown and garments, the Buddhist lions which support the Vairocana atop the lotus pedestal, and the single ring molded to the back of the figure for mounting. Note the size (17.8 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 七至八世紀斯瓦特谷銅錯銀毘盧遮那佛毘盧佛施智拳印，全跏趺坐。半圓形台座正面有毘盧佛的坐騎--兩頭獅子（立姿）。毘盧佛頭戴華麗王冠，兩側飾有絲帶，從他的手臂上垂下，並懸掛在底座上。面容安詳，瞳孔鑲銀，雙眉之間有白毫。背面有支腳，用於固定到寺廟結構上。 科學檢測報告：牛津認證公司於 2020 年 9 月 1 日出具了一份基於樣品編號 N120d91 的熱釋光分析報告確認該造像“與建議的製作日期一致"。該拍品隨附一份報告副本。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A FINE PAINTING OF A BODHISATTVA OF THE DIAMOND REALM, TABO STYLE, 10TH CENTURYExpert's note: The present lot was once a part of an illuminated manuscript, likely from a Prajnaparamita sutra. This has been confirmed by Tibetologist Dr. Amy Heller, who points towards several comparable works, all dating from the 10th century, and all originating from related manuscripts from this region.To receive a PDF copy of this dossier, please refer to the department. Northern India, Himachal Pradesh. Watercolors and ink on paper. Depicting a Mahabodhisattva seated in dhyanasana upon a cushioned lotus-petaled throne with the hands held in dharmachakra mudra, the palms and soles stained red, wearing a five-pointed crown, and adorned with elaborate jewelry. The figure with an hour-glass shaped torso, surrounded by flowing celestial scarves, and backed by a flaming halo. Provenance: From the collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine art, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme D'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Good condition, commensurate with age. Extensive wear, loss to margins, soiling, minimal fading to colors, small tears to edges.Scientific Analysis Report: An “Initial Condition Survey" with a microscopic and UV-light examination was conducted by Podany Conservation Services, USA. The examination report concludes: “Given the lack of modern materials there appears to be no clear evidence that this object is an intentional modern forgery or copy." A copy of the signed examination report, dated 18 May 2021, accompanies this lot.Dimensions: Image size 17.3 x 16.4 cm, Size incl. frame 34 x 33.8 cm Framed behind glass. (2) Constructed in 996, the Tabo Monastery was built by the Buddhist king Yeshe-OE (c. 959-1040), who was a descendant of ancient Tibetan nobility that expanded into the Spiti Valley when connecting trade routes between Ladakh and Mustang. The monastery was part of the dynasty's successful political effort to reintroduce Mahayana Buddhism throughout the region, and thus was once richly decorated with paintings and sculptures. While some of the monastery's paintings date to around 1040, we know that there have been restoration campaigns over the centuries. Prajnaparamita refers to an enlightened means of seeing the nature of reality and it is part of the Mahayana scriptures or sutras which discusses this form of transcendental knowledge. It consists of several sutra, the earliest of which is the Aṣṭasahasrika Prajnaparamita Sutra or 'Perfection of Wisdom in 8,000 Lines.' The Prajnaparamita sutras were first brought to Tibet during the reign of Trisong Detsen (742-796) by scholars Jinamitra and Silendrabodhi and the translator Ye shes De. A key theme of the Prajnaparamita sutras is the Bodhisattva, the 'awakening-being,' which is defined in the 8,000-line Prajnaparamita sutra as, “One who trains in all dharmas without obstruction, and knows all dharmas as they really are." The paintings which illuminate these manuscripts had a meditative purpose, delivering illumination through the images. Literature comparison: Compare a related 11th century wall painting in the assembly hall of the Tabo Monastery in the Spiti Valley of Himachal Pradesh. The two paintings are so similar that the present lot possibly served as an inspiration for the Tabo Monastery painting. Compare several paintings of bodhisattvas inside Tabo Monastery, depicted within identical roundels and with similar iconography. The painting also bears a close resemblance to a painting at the White Temple of Tsaparang, which belongs to the Guge style of Western Tibet. Auction result comparison: Type: Related Auction: Bonhams, New York, 27 September 2020, lot 505 Price: USD 16,325 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: An illuminated sutra page with Buddha underneath the bodhi tree, Kashmir or West Tibet, 12th/13th century Expert remark: From Kashmir or neighboring Western Tibet, this comparable is one of a small number of paintings on the market that have a large undecorated section around the central scene, possibly suggesting a similar use for the current lot. The comparable also shares the same vibrant use of color.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A BRONZE GARLIC-HEAD BOTTLE, SUANTOUHU, HAN DYNASTYChina, 206 BC-220 AD. Finely cast, the compressed globular body raised on a short spreading foot and surmounted by a long waisted neck with a bulbous mouth and tall rim. The recessed base with a raised cross-hatched design. The dark bronze with a rich, naturally grown patina with azurite, malachite, and cuprite encrustations.Provenance: Collection of Anthony Powell, by repute acquired at Christie's London circa 1999. Nicholas Pitcher, London, acquired from the above. Anthony Powell (1935-2021) was a British costume designer who brought deep research to his work in both theater and film. His costume designs for John Gielgud's production of The School for Scandal (1963) earned him a Tony Award. Powell collaborated on movies with Steven Spielberg and Roman Polanski and won three Academy Awards for Best Costume Design, including 1978's Death on the Nile. He was an avid collector of fabrics and trimmings as well as Chinese, Indian, and Southeast Asian works of art.Condition: Good condition, commensurate with age, and as expected with wear, encrustation, minor casting flaws and dents, and a fine naturally grown patina overall.Weight: 1,688 g Dimensions: Height 24.8 cm Auction result comparison: Type: Closely related Auction: Christie's London, 15 May 2018, lot 41 Price: GBP 5,000 or approx. EUR 7,500 converted and adjusted for inflation at the time of writing Description: A Bronze Garlic-Head Bottle, Hu, Han Dynasty (3rd Century BC - 2nd Century AD) Expert remark: Compare the closely related form and metal alloy, resulting in a quite similar patina. Note the size (35.6 cm). 漢代銅蒜頭壺中國，西元前 206 年-西元220年。長頸，削肩，圓腹，圈足，瓶口似蒜頭。深青銅色，有包漿並紅藍色結殼。 來源：英國倫敦Anthony Powell收藏，據説購於倫敦佳士得，約1999年；倫敦Nicholas Pitcher購於上述收藏。Anthony Powell (1935-2021年年) 是一位英國服裝設計師，他對戲劇和電影作品進行了深入研究。他為 John Gielgud 製作的The School for Scandal(醜聞學校 ,1963) 設計的服裝為他贏得了托尼獎。Powell與史蒂文斯皮爾伯格和羅曼波蘭斯基合作拍攝電影，並獲得三項奧斯卡最佳服裝設計獎，包括 1978 年的《尼羅河之死》。他熱衷於收藏織物和飾物以及中國、印度和東南亞的藝術品。 品相：狀況良好，有磨損、結殼、輕微鑄造缺陷和凹痕，通體有精美的自然包漿。 重量：1,688 克 尺寸：高 24.8 釐米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2018年5月15日，lot 41 價格：GBP 5,000（相當於今日EUR 7,500） 描述：漢青銅蒜頭壺 專家評論：比較非常相近的外形、金屬合金，相似包漿。請注意尺寸 (35.6 釐米)。
A GILT-BRONZE VOTIVE PLAQUE DEPICTING THE MAITREYA, JIN DYNASTY, CHINA, 5TH CENTURYScientific Analysis Reports: 1.A technical examination was conducted by Podany Conservation Services, USA. The examination report concludes: “The characteristics observed by visual examination only of the corrosion patina and the encrustation, as well as the relationship between them and the base metal, as well as the remains of gilding and pigment suggest that the object is ancient." A copy of the signed examination report, dated 15 May 2021, accompanies this lot. 2.A scientific and technical examination was conducted by John Twilley, art conservation scientist. The report concludes that “The results of these tests show that the disk retains its as-cast microstructure and consists of a simple leaded tin bronze…Considering two likely origins, Korea or China, Buddhist sculptures from Korea have been noted to often be cast from unalloyed copper or leaded copper with minimal tin content, making a Korean origin somewhat less likely for the disk." A copy of the examination report, dated 29 December 2021, accompanies this lot. 3.An expert report was conducted by Antiques Analytics at the Institute for Scientific Authenticity Testing, Professor Robert Neunteufel. The examination concluded, “The results of the metal analysis are not in contradiction to a manufacture within the 5th" A signed copy of the report, dated 19 May 2023, accompanies this lot.The circular plaque is molded with a central Buddha Maitreya, seated on a lotus in dhyanasana with his hands raised in the abhayamudra and flanked by a flaming mandorla. The robed buddha is surrounded by a pair of acolytes at his feet, bodhisattva to his left and right, and two apsara flying above him. The surrounding figures are accompanied by two small rosettes and scrolling clouds. The remnants of three iron nail heads remain along the rim of the plaque.Provenance: From the private collection of Michael Phillips. Michael Phillips (born 1943) is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind.Condition: Very good condition, commensurate with age. Expected signs of weathering and erosion, soiling, flaking, dents, losses from corrosion, casting irregularities, remnants of red pigment, and loss to the gilding. The naturally grown patina has vibrant malachite and cuprite encrustations.Weight: 5,030 gDimension: Diameter 41.3 cmMaitreya, also known as the Buddha of the Future, may be considered as a Bodhisattva according to the sutras, or a Buddha according to the tantras. In Tibet, when represented as a Bodhisattva, he may be depicted standing or seated in European style with the feet resting on a small lotus throne, as in the present lot. The princely seated appearance of the figure, as in the present lot, is one of the most popular manifestations of Maitreya.Merchants trading in Silk Road goods, South and Central Asian Buddhist proselytizers, and pilgrims who had traveled to India to study Buddhism at its source brought countless paintings, scriptures, and small bronze sculptures and plaques to China and Tibet. These later served as the inspirations for works commissioned by local patrons. Few early Chinese and Tibetan bronze plaques survive, as later generations melted them down to make coins, weapons, or new icons.Literature comparison:Compare a closely related plaque depicting Maitreya surrounded by acolytes, bodhisattva, and apsaras, 17.2 cm high, dated to 460 AD through an inscription left by the devotee Faliang, in the Asian Art Museum of San Francisco, accession number B60B643. Compare a later related plaque depicting Maitreya similarly surrounded by acolytes, bodhisattva, and apsaras, 15.2 cm high, dated to the Sui dynasty (518-618), in the Harvard Art Museums, accession number 1943.53.74.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 晉代銅鎏金彌勒佛鎏金銅許願牌由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A SANDSTONE HEAD OF BUDDHA SHAKYAMUNI, MON-DVARAVATI PERIODThailand, 7th-9th century. Sensitively carved with heavy-lidded downcast eyes and finely incised pupils, thick ridged brows, a narrow nose, elongated earlobes, and full lips forming a calm smile, the hair in snail-shell curls.Provenance: The Phillips Family Collection, Lawrence and Shirley Phillips, and thence by descent to Michael Phillips (born 1943), who is an Academy Award-winning film producer. Born in Brooklyn, New York, his parents were Lawrence and Shirley Phillips, noted New York dealers in Asian fine arts, selling to the Met, the LACMA, the Chicago Art Institute, and the British Museum among others. Michael Phillips is a collector of Asian art himself, particularly Indian, Southeast Asian, and Himalayan sculpture. His most important films include The Sting (winning the Academy Award for Best Picture in 1973), Taxi Driver (winning the Palme d'Or at the 1976 Cannes Film Festival), and Steven Spielberg's Close Encounters of the Third Kind. Condition: Good condition, commensurate with age. Old wear, losses, nicks, scratches, signs of weathering and erosion, encrustations, cracks. Very minor old fills. Fine, naturally grown patina overall.Weight: 1,772.1 g (incl. stand) Dimensions: Height 18.7 cm (incl. stand), 12.5 cm (excl. stand)Mounted on an associated stand. (2)While there is great variation within the Mon-Dvaravati tradition, the sensitivity paid to the modeling of these facial features is in keeping with the period's focus on the purity and fluidity of form. As expressed by Jean Boisselier in The Heritage of Thai Sculpture, 1975, page 73, “The school of Dvaravati may stand alongside the great Buddhist artistic traditions of India, so enduring were its innovations and so persuasive its influence on most of the art of Southeast Asia."Literature comparison:Compare a closely related sandstone head of Buddha in the National Museum Bangkok, dated 8th-10th century, with nearly identical facial features. Compare a related head of a Buddha, 19.5 cm high, dated to the 8th century, in the Metropolitan Museum of Art, accession number 1983.13.Auction result comparison: Type: Related Auction: Bonhams New York, 19 March 2019, lot 874 Price: USD 43,825 or approx. EUR 46,500 converted and adjusted for inflation at the time of writing Description: A Blackstone head of Buddha, Central Thailand, Dvaravati period, circa 8th century Expert remark: Note the related facial features and hair style. Also note the slightly larger size (23.5 cm).Auction result comparison: Type: Related Auction: Christie's New York, 15 March 2016, lot 318 Price: USD 25,000 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A gray sandstone head of Buddha, Thailand, Mon-Dvaravati period, 9th century Expert remark: Compare the related facial features and material. Note the slightly larger size (24 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A COLLECTION OF HORSE RACING MEMORABILIA INCLUDING FIVE PHOTOGRAPHS (14)Depicting Psidium 1964, Saraca 1966, Henbit, winner of the Epsom Derby 1980, and two of Sassafras; a BBC Television Film Unit film reel of the The Derby 1961; two oils on board of Saraca and Sassafras by B.K Reilly (one in framed); Together Including four enamel pill boxes depicting Derby winners, by Halcyon Days; a cast relief bronze medal of a mare and foal, detailing NAPAJEDLA, 8cm diameter; a water glass with enamel decoration of a jockey in Esterhazay colours on horsebackProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zyCondition report: The box depicting ‘Diamond Jubilee’ with a chipped section missing from the border and related loss. See extra images. Otherwise general rubbing, discolouration and general dirt commensurate with use and age. Diamond Jubilee - limited edition 42/500Hyperion - limited edition 23/500Nijinsky - limited edition 23/500Bahram - limited edition 42/500All boxes are undated.
FILM & POP MEMORABILIA: A FRAMED GOLD DISC FOR ‘HEY JUDE’, A QUANTITY OF MARLON BRANDO MEMORABILIA AND A FILM POSTER (QTY)The gold disc mounted above a plaque stating its presentation for selling ‘Over One Million Copies’ of the ‘Hey Jude’ single by RIAA Certified Sales Award, frame 44cm high; Cool Hand Luke - U.S one sheet film poster, 1967, art work by James Bama, folded, 69 X 103cm;Together with a kaftan apparently worn personally by Brando and in the 1996 film, The Island of Dr. Moreau; Together with four biro and pencil sketches or doodles, on paper, noted on a separate sheet, ‘Marlon’s Drawing. For his “retreat’ here tree houses, teepees Lake etc’; copy of Marlon Brando’s reissued of his birth certificate; a pencil sketch reputedly of Marlon Brando’s father, various accompanying typed letters from JoAn Corrales and certificates of authenticity from RR Auction, USA
Graham Crowden Late Great James Bond Film Actor 6x4 inch signed photo. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Collection of 8 mixed TV, Film and Music unsigned coloured pictures, varied sizes. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
John Hodge signed A Life Less Ordinary first edition paperback book about the film including its background, script. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Collection of 8 Swiss Family Robinson 10x8 inch Film Colour Lobby Photo Cards. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Collection of 8 Mary Poppins 10x8 inch Film Colour Lobby Photo Cards. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Collection of 8 Mary Poppins 10x8 inch Film Colour Lobby Photo Cards. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Collection of 8 The Sundowners 10x8 inch Film Colour Lobby Photo Cards. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
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