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Lot 467
An amusing freshwater pearl brooch by Geoffrey Rowlanson, entitled 'Cat and Mouse Game', the baroque pearls representing the cat's head and mouse, with diamond eyes and diamond-set crescent moon, the lower half of the brooch designed as a brick wall in 18ct gold, signed, London marks for 2015, 5.5cm wide, fitted case
Lot 501
LEWIS GILBERT – A LARGE COLLECTION OF DIRECTOR’ SCRIPTS AND RELATED MATERIAL 1947 - 2002 (QTY)-TheLittle Ballerina, 1947: 39 black and white stills comprising 16 vintagestills, two of which feature Margot Fonteyn and 23 later prints, seven of whichfeature Fonteyn, in original brown paper envelope, with typescript `NationalFilm Theatre Programme Notes’, 1p., and a small quantity of related material;-ManWith A Gun, circa 1940s [?]: an original typescript screenplay treatment byVernon Harris based on a story by Alan Stranks, 24 pp, and a few pages ofunidentified script;-ScarletThread, 1951: a mimeograph typescript film script in blue paper covers witha few annotations; and a small quantity of related production paperwork;-JohnnyOn The Run, 1953: an original typescript ‘Shooting Script’ dated June 1952,77 pp with a few annotations in Gilbert’s hand, the card cover dated on thefront 1 August 1952 with Gilbert’s name inscribed top right in pencil in anunidentified hand, the film was made for The Children’s Film Foundation;-CoshBoy / Black Jack Hoodlums [U.S. title The Slasher], 1953:a British half-sheet cinema poster with the UK title Cosh Boy paintedover with the U.S. title Black Jack Hoodlums, this poster used forcinemas in Canada – 55 x 72cm., a U.K. Campaign Book for Cosh Boy and a correspondingblack and white still featuring a teenage Joan Collins - 25.4 x 20.3cm;-TheGood Die Young, 1954: a Belgian poster and an acetate recording of the filmsoundtrack;-FerryTo Hong Kong, 1959: a mimeograph typescript film script in red card covers,heavily annotated in Gilbert’s hand bound in red card covers, a scrapbook ofpress cuttings, a Gala World Premiere Programme; and a small quantity ofrelated material;-LightUp The Sky, 1960: a mimeograph typescript ‘Draft Screenplay’ titled TouchIt Light the working title for Light Up The Sky with a fewannotations in Gilbert’s hand; a printed ‘Information Folder’ booklet for theproduction, a scrapbook of press clippings, and a 10-inch acetate Touch ItLight Version 1 / Touch It Light Version 2;-TheAdventurers, 1970: a mimeograph typescript film script dated 22 July 1968with a few annotations in Gilbert’s hand, bound in black hard covers withGilbert’s name and the film’s title on the cover; a slim file of productionpaperwork, an acetate recording of the soundtrack, an extra-large scrapbook ofpress clippings and related material; -Friends,1971: a large file of paperwork and correspondence relating to theproduction including financial statements and photocopies of agreements, aJapanese double-panel cinema poster, the top half of a Japanese double-panelposter, a British quad poster, a British double crown poster and two large photocopiesof other cinema posters, a collection of press clippings and related material – the sound track for this film is by Elton John, whowas suggested to Gilbert by his son John Gilbert, Lewis had listened to Elton’seponymous LP released in April 1970 and knew that he would be the perfectperson to do the sound track;-PaulAnd Michelle, 1974: five mimeograph typescript film scripts: one an undated‘1st Draft Screenplay’, unannotated, one dated 25 November 1969 withthe working title Young And Lonely, two with the working title TheIntimate Game, both dated 31 March 1970, and Gilbert’s annotated shootingscript bound in hard covers, with his name on the front, and related material;-OperationDaybreak, 1975: three mimeograph typescript film scripts, all with theworking title 7 Men At Daybreak, dated 23 December 1973, 1 September1974 and 19 September 1974, two black and white stills, a quantity of press clippingsand related material;-7Nights In Japan, 1976: four mimeograph typescript film scripts, two datedMarch and June 1975, unannotated in red card covers, and two dated 18 June1975, one heavily annotated in Gilbert’s hand with pink script revision pagesinserted, the other with Gilbert’s name inside, also annotated, both with bluecovers, and a small quantity of related material;-NotQuite Jerusalem / Not Quite Paradise, 1985: four mimeographtypescript film scripts, two dated September and December 1983, unannotated indark blue and red covers, and two dated February and March 1984, with a fewannotations, in pale blue and yellow covers, a page of script notes inGilbert’s hand, a photo album and a slim file of press cuttings and productionpaperwork;-SteppingOut, 1991: two mimeograph typescript film scripts comprising a ‘1stDraft Script’ dated 19 January 1990 in blue hard covers, and a ‘3rdDraft Script’ dated 2 February 1990 in illustrated paper covers, both unannotated; a black and white photographof the cast signed in black felt pen by Liza Minnelli, Julie Walters and sevenothers – 28 x 35 cm.; a file of production paperwork and correspondence, ascrap book containing press cuttings and correspondence, 35 colour photographstaken at the Royal Gala Premiere, subjects include: Diana, Princess of Wales withLewis Gilbert (6), and with Gilbert and Liza Minnelli (1), and with othersubjects (9), Lewis Gilbert and family (6), Michael Caine with Bruce Forsyth(1), Michael Winner with Jenny Seagrove (1) and one other, all – 25.4 x 20.3 cm., and 11 corresponding black andwhite contact sheets, all 51 x 41 cm. (rolled); a folder of photographscomprising: 128 stills, the majority black and white, subjects include Gilbertwith Liza Minnelli, Julie Walters and others (50 plus, six in colour); Liza Minnelliwith others (24), Liza Minnelli on her own (24) and other cast members (24),seven colour slides in Paramount card mounts of Gilbert on location, andapproximately 77 colour snapshots of Gilbert and others taken on location andelsewhere, and related material;-Haunted,1995: three mimeograph typescript film scripts comprising two revised scriptsand a shooting script, all unannotated, an album of location photos, a file ofproduction paperwork, and related material;-UnmadeProduction – an original typescript treatment for an unmade project, unbound ina card folder inscribed in an unidentified hand, “Josephine Baker” / DianaRoss wanted Lewis to do this. They met. – Gilbert recalls in hisautobiography that he met Ross the day after the BAFTA ceremony in 1990 atwhich she had presented him with an award. Ross wanted him to make a biopic ofJosephine Baker, but the project failed to materialise;-BeforeYou Go, 2001 [working title: Memory Of Water]: five mimeographtypescript film scripts including Gilbert’s Shooting Script, revised 11 June2001, with a few annotations, bound in blue hard covers, and an Isle of ManFilm Commission Locations booklet;-JamesBond Publications, comprising: The James Bond Archives, ed. Paul Duncan,Taschen, 2012, with original strip of Dr.No 35 mm film attached inside,a mimeograph typescript film script for GoldenEye, in red covers,unannotated, dated 28 November 1994, 143 pp including pink script revisionpages, James Bond Movie Posters The Official 007 Collection, TonyNourmand, Boxtree, 2001, Some Kind Of Hero – The Remarkable Story Of TheJames Bond Films, Matthew Field and Ajay Chowdhury, History Press, 2015,signed on the title page in black felt pen by the authors, and three otherpublications.PhotographsSold Without CopyrightBellmans isgrateful to Wallace and Hodgson for their assistance with cataloguing theLewis Gilbert Film Script and Production Archive.
Lot 30
A charming Aubusson verdure tapestrylate 18th centurythe idyllic landscape with verdant foliage and prunus to the foreground, a winding river in the middle distance -disappearing into a dusky landscape, a charming lime -green parrot in the tree to the right with red plumage and game bird to the bottom left, the elaborate border with foliate spray to each corner,320cm x 257cm (the outer border possibly reduced at some point)Footnotes:Provenance: Acquired by the present collector from Keshishians of London, 2011.France in the late 17th century saw an explosion in tapestry production. The 1660s marked a turning point where France became the new centre of tapestry weaving in Europe. Most notably Louis XIV's great minister Jean -Baptiste Colbert set up three main centres -each with a specific type of buyer in mind. The Gobelins in Paris was set up to furnish the Royal Palaces, Beauvais for discerning wealthy clients and Aubusson for less affluent buyers. While Gobelins and Beauvais had a number of notable designers leading a team of weavers, Aubusson's set up was slightly simpler. The weavers produced pieces which followed the fashions of the day -these could extend to not just hangings but upholstery, curtains and cushion covers.The weavers of Aubusson focussed on more 'low warp' work which meant a simpler type of tapestry could be created, and quite quickly. These types of tapestries, like the present lot, were characterised by the popular romantic landscapes and verdures. While many said it simplified the process of weaving and were, in some ways, less fluid, they were attractive and meant that a large portion of the population could imitate the grandeur of the Sun King in their own homes.LiteratureBarty Phillips, 'Tapestry,' Phaidon, London, 1994Edith Appleton Standen, 'Renaissance to Modern Tapestries in the Metropolitan Museum of Art,' The Metropolitan Museum of Art Bulletin/Spring 1987This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 119
James Bond: An A-Frame Clapperboard used in Never Say Never Again,Warner Bros, 1983,dated 10th February 1983, the production title inscribed beneath the clapper, director field marked Irvin Kershner, camera field indistinctly marked Douglas Slocombe, slate SN 397, take 21, the reverse marked 32 FPS, together with two text stamps reading NEVER SAY NEVER AGAIN, and a letter of provenance, 8in x 10in (20.5cm x 25.5cm)Footnotes:Provenance:Gifted to the vendor by sound and film editor, Kant Pan.Pan was the assistant film editor for Never Say Never Again and also David Cronenberg's The Fly. He also worked as a sound editor on Wish You Were Here, Dangerous Liaisons and We're No Angels. He then was nominated for an Oscar® for his editing on The Crying Game (1992).Never Say Never Again was released in October 1983, and remains the only James Bond film not produced by Eon Productions. The film sought to compete with Octopussy, which had been released two months prior.For further information on this lot please visit Bonhams.com
Lot 132
Diana Rigg: A Group of Trading Cards of Characters Portrayed by Diana Rigg,20th century,comprising nine trading cards depicting Diana Rigg in film and television roles, including five James Bond cards (as Tracy di Vicenzo, On Her Majesty's Secret Service, 1969), three Avengers cards (as Emma Peel, 1965-1968), and one Game of Thrones card (as Olenna Tyrell, 2013-2017), accompanied by a provenance certificate, the largest 6in x 4in (15.5cm x 10cm) (9)For further information on this lot please visit Bonhams.com
Lot 171
Diana Rigg: An Invitation to the 85th Academy Awards® Ceremony,2013,in burgundy envelope addressed to Diana Rigg, with Oscars® award patterned interior, the reverse with the Oscars® symbol embossed and printed THE OSCARS, Academy of Motion Picture Arts and Sciences, enclosed is a burgundy and gold card in Oscars®-branded slip, which 'cordially invites you and a guest to the 85th Annual Academy Awards, Sunday, February 24, 2013', together with an RSVP card, accompanied by a provenance certificate, 6 1/4in x 8 3/4in (16cm x 22.5cm)Footnotes:The timing of the Oscars® ceremony invitation corresponds with Diana Rigg's first appearance as Lady Olenna Tyrell in the third season of Game Of Thrones - her first major on-screen role since 2006.For further information on this lot please visit Bonhams.com
Lot 175
Diana Rigg: A velvet full length dress coat and sequined top, worn at a Game of Thrones premiere,2014,the dress coat custom-made of black velvet by Bruce Oldfield of London, label to inside neck, the green sequined top by Madeleine, label to inside neck, accompanied by a provenance certificate, dress coat 61in long; top 28in (71cm) long (2)Footnotes:Diana Rigg attended the Game Of Thrones Season 4 US premiere wearing the present coat and top, held at Avery Fisher Hall, Lincoln Center, New York on March 18, 2014.For further information on this lot please visit Bonhams.com
Lot 265
Status Quo: An Acetate Recording Of When I Awake/Nothing At All,1969,the 45rpm EMI-disc with typewritten recording details, each label signed in black ballpoint by Francis Rossi and Alan Lancaster respectively; together with a Gene Pitney Show tour programme, 1968, with Status Quo as support, an inside page signed and inscribed in blue ballpoint by Pitney, To Alan, it's been a pleasure to tour with you! You are definitely the best cheat I've met! See you soon Gene (a reference to a card game regularly played on the tour bus), the programme also signed and inscribed by various members of Amen Corner, Simon Dupree and the Big Sound, Lucas and The Mike Cotton Sound and Tony Brandon; and a Status Quo sticker, (3)Footnotes:Provenance: Property of Alan Lancaster (1949-2021). Best known as a founding member of the rock band Status Quo.Both tracks on this acetate appeared on Quo's second studio album, Spare Parts, released in September 1969, with Alan sharing writing credits for each.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 71
Kant Pan: A Collection of Scripts and Printed Production Material,1970's-2010's,Comprising: a screenplay for The Sandcastle written by Kant Pan, 1976; a screenplay for Wet Dreams, 'a film about land yachting' written by Daniel Flanagan, 1980; a screenplay for Les Liaisons Dangereuses by Christopher Hampton, 1988; a screenplay and editor's breakdown for Venus Peter written by Christopher Rush and Ian Sellar, 1988; an untitled shooting script adapted from Lord Of The Flies by Jay Presson Allen, 1988; a screenplay and looping schedule for We're No Angels written by David Mamet, 1989; a screenplay for The Soldier's Wife written by Neil Jordan, 1991; a screenplay, editor's breakdown and 'Library FX' record book for The Hawk written by Peter Ransley, 1992; together with a collection of short stories by Kant Pan, largest 3in x 10 1/2in (33cm x 26.5cm), (Qty)Footnotes:Provenance:Gifted to the vendor by Oscar®-nominee sound and film editor, Kant Pan.Kant Pan began his career working as an assistant film editor for Giro City, Never Say Never Again and also David Cronenberg's The Fly. Later, working from London, UK, he worked as a sound editor on Wish You Were Here, Dangerous Liaisons (Stephen Frears) and We're No Angels (Neil Jordan). He then was nominated for an Academy Award® for his editing on Neil Jordan's The Crying Game (1992)For further information on this lot please visit Bonhams.com
Lot 778
A good DB 14 bore percussion sporting gun by Ross of Edinburgh, 45½" overall, nicely re-browned twist barrels 29¾", the broad top rib engraved in gothic script "Rofs. Edinburgh", the underside of the breeches Birmingham proved and numbered "360", the breech tang engraved with pheasants and scrolls and inset with a small silver escutcheon; back action locks engraved with wavy borders, game dog in woodland setting, and pheasants, and signed "Rofs" in gothic script; nicely figured walnut halfstock with chequered wrist and engraved steel mounts, the bronze tipped wooden ramrod having concealed worm extractor. GWO & good clean condition, the bores excellent. The vendor has owned this gun for many years, has shot it regularly, and states that it is an excellent shooter. £500-550
Lot 4
Aerial Race Game. “Flip-O-Hoy” a rare boxed parlour game, circa1920, having large three-fold game-board with lithographed decoration and boxed slush-cast painted lead biplane counters with propeller-spinner game-controller, the large box with highly decorative colour-lithographed cover depicting WWI Spad fighter biplane with printed rules of play applied to inside cover, complete good original condition overall with minor older repairs to boxesQty: (1)
Lot 3446
ROYAL WORCESTER VITREOUS; an eleven piece part dessert service signed by Johnson, each with painted centres depicting various game including pheasant, ducks, etc, inside a moulded open leaf border, diameter 23cm.Additional InformationLight wear to the centres, one of the plates with small firing fault/crack to the reverse.
Lot 3469
ROYAL WORCESTER; a fifteen piece hand painted part dessert service, decorated with game in landscape, inside gilt scrolling detail, on a lime coloured ground, by C. Johnson and A. Shuck, puce factory mark to the underside.Additional InformationA number of examples with light scratches to the decoration and with crazing to the glaze. One of the plates with faint hairline crack to the body.
Lot 10
NAM JUNE PAIK (Seoul, 1932 - Miami, 2006).Untitled, 1992, from the "Suite Olympic Centennial".Lithograph on 270 grams Velin d'Arches paper, copy 58/250.Signed and justified by hand.Measurements: 63 x 90 cm.The Olympic Suite is composed of 50 lithographs and serigraphs chosen to represent various contemporary artistic trends. Edited to commemorate the first centenary of modern Olympism, the chosen artists are defined by diverse pictorial movements and trends.Nam June Paik worked throughout his career as a music composer, but also as a video artist, painter and printmaker. He received his musical training at the University of Tokyo, where he also studied Art History. He later traveled to Germany in the mid-1950s to study music theory in Munich, Cologne and Freiburg. He worked in the electronic music research laboratory of Radio Cologne, and participated in the artistic research groups Happening and Fluxus. In this and other lithographs he investigates the graphic possibilities from the serialization of elements close to the aesthetics of the video game and even the "emoticon".
Lot 96
CELSO LAGAR ARROYO (Ciudad Rodrigo, León, 1891 - Seville, 1966)."Female nude".Oil on canvas.Signed in the upper right corner.Attached certificate issued by the Lagar Archive.Measurements: 68 x 50 cm; 78 x 60 cm (frame).Celso Lagar offers us in this canvas a female nude captured from life. For it he uses an energetic language that seeks above all to capture the volumetry and the geometric game, although he maintains descriptive details that avoid the loss of realism. The woman shows the viewer practically her entire naked body, since only the lower part of her legs remains outside the perimeter of the support.Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He developed a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric center. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).
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