NEVERENDING STORY, THE - Pair of Printed Storyboard SequencesA pair of printed storyboard sequences from Wolfgang Petersen's fantasy film The Neverending Story. These storyboards depict sequences where Atreyu (Noah Hathaway) met Morla the Ancient One and passed through the Sphinx Gate.This lot consists of two stapled packets of black-and-white printed storyboard sequences with the German title "Die Unendliche Geschichte" at the top and information in English throughout. The pages exhibit some corner creasing and staining, most notably around the staples. Dimensions (each): 8.5" x 11.5" x 0.25" (21.75 cm x 29.25 cm x 0.75 cm) Estimate: $800 - 1,200This lot will be auctioned on Thursday, June 23rd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Friday, June 24th.
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STAR TREK IV: THE VOYAGE HOME - Hand-Painted Vulcan Night and United Federation of Planets Matte Painting Concept ArtHand-painted Vulcan night and United Federation of Planets matte painting concept art from the production of Leonard Nimoy's sci-fi sequel Star Trek IV: The Voyage Home. Industrial Light & Magic (ILM) created concept art in planning matte paintings portraying the Vulcan night sky and the United Federation of Planets building in San Francisco.One illustration board-mounted concept of the green Vulcan night sky is labeled "55-1", another depicts the United Federation of Planets building near the Golden Gate Bridge. They exhibit discoloration and stray paint marks. Dimensions: (largest) 6.75" x 11"(17.25 cm x 28 cm); (smallest): 5" x 8" (12.75 cm x 20.5 cm)Sold without copyright; see notice in the Buyer's Guide. Estimate: $1,000 - 1,500This lot will be auctioned on Thursday, June 23rd. The auction will begin at 8:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, June 21st; Wednesday, June 22nd; or Friday, June 24th.
A 9ct yellow gold gate link bracelet with padlock clasp, together with a 9ct yellow gold eternity ring set with glass stones, size L, yellow metal curb link necklace stamped 375, yellow metal articulated clown figure set with coloured stones, 9ct yellow gold creole earring, 9ct crucifix pendant, yellow metal chain, pair of earrings and further earring, combined weight 24.5g.
CHARLES; a lady's 9ct gold cased wristwatch, the circular dial set with Arabic numerals, diameter excluding winding crown 18mm, on a 9ct chain, with a lady's Accurist yellow metal cased wristwatch, shaped dial set with batons, width excluding winding crown 18mm, also a 9ct gold gate link bracelet with padlock clasp, weighable 20.7g Additional InformationThe Accurist lady's watch is not weighed, the dial is pitted and in poor condition, neither of the watches are currently functioning, the bracelet is dented/misshapen.
DAVID WYNNE OBE (1926-2014); A BRONZE PORTRAIT BUST OF LORD BADEN-POWELLCast with a signature DAVID WYNNE and numbered 6/6, mounted on a tapering black marble plinth, engraved ‘CHIEF SCOUT OF THE WORLD’ and to the opposing side ‘LORD BADEN-POWELL OF GILWELL’, 91cm highDuring his prodigious career as a sculptor, David Wynne attracted a number of prestigious patrons, from The Beatles to Prince Charles, together with notable landmark sculptures, including the Boy with a Dolphin (1974) on the Chelsea Embankment to the central section of the Queen Elizabeth Gate, Hyde Park, made to commemorate the Queen Mother’s 90th birthday in 1990. Robert Baden-Powell (1857-1941), was the the founder of the Scout Movement, having become a national hero during in the Boer War 1899-1900 and writing the Guide to Scouting for the military. This was later published in 1908 and the inspirational force for young boys and later girls. Condition report: A few small chips to the bottom edges of the base. Some verdi gris in areas to the patinated neck tie - as can be seen from the images. Recesses with dirt and dust, as to be expected.
A GEORGE III MARQUETRY INLAID DEMI-LUNE FOLD OVER CARD TABLE90cm wide; 44cm deep; 74cm highCondition report: The marquetry is probably 19th Century but still a decorative piece Various elements are missing and raised up. Spliced repair to the top of the hinged gate leg. Small patch repair to the front of the frieze - a small corner beneath the front edge. . The rounded edges with a darker stain which has now worn. Minor slight shrinkage between joints as to be expected. General small inevitable scuffs, scratches, dents, small chips and marks commensurate with wear, use and age.
signed and inscribed 'Trial Proof' in pencil and embossed with the Artist's Proof Studio chopmark in the marginaquatint etchingsheet size: 67 by 86cm; 81,5 by 99,5cm including framing While discussing his lifelong association with printmaking at a conference held in Cape Town in 2003, William Kentridge related a nostalgic account about a print of a cat from his childhood. This was a print gifted to him by renowned artist, Cecil Skotnes. Kentridge detailed how this print hung on his wall, and in many ways, the moustache-like whiskers and cat-like eyes looked to him like a self-portrait of Skotnes. This ignited a spark and interest in the way an animal or object could take on human qualities, and anthropomorphism is a theme seen throughout Kentridge’s extensive and prolific oeuvre. Cats, in particular, are an important and recurring motif in Kentridge’s work, and metal cats even stand guard at the artist’s front gate and above his studio door. Kentridge maintains that this recognisable and meaningful symbol is indebted to that gifted Skotnes cat. Lot 528, titled Another Cat, is an energetic and dynamic work, where subtle postural nuances, such as the arch in the cat’s back, make the work come alive with a taught yet playful feline energy. Berman states, “The origin of this powerful image is derived from an etching plate begun with Malcolm Christian at Caversham Press over 15 years ago and reminiscent of the famous “Scribble Cat” published by David Krut Studio in 2010. The Kentridge studio found the plate stored away on a shelf, with a single state proof. Interested in breathing it back to life, Kentridge suggested it be continued as a collaboration with APS [Artist Proof Studio]. In response to seeing the trial proof of two plates printed in two different densities of etching ink, Kentridge has added two more layers to each plate; one with energetic drypoint lines and the second with his painterly wash strokes characteristic of the more experimental use of coffee lift. The resulting image embodies both the creative energy of the artist and poised tension of a cat.” (Berman 2020).- A.C Berman, K. 2020. Notes on another cat, Creative Feel [O]: https://creativefeel.co.za/2020/02/notes-on-another-cat/ Accessed 7 May 2022Williamson, S. 2003. Artthrob [O]: https://artthrob.co.za/03sept/diary.html Accessed 7 May 2022
HARDY, THOMAS: TIME'S LAUGHINGSTOCKS AND OTHER VERSES London, Macmillan & Co., 1909FIRST EDITION, with 4pp. publisher's advertisements at end. PRESENTATION COPY INSCRIBED BY THE AUTHOR TO EDMUND GOSSE IN THE MONTH OF PUBLICATION. 8vo., original olive-green cloth with TH monogram medallion blocked in gilt on upper cover, later green cloth chemise and full green morocco box by Sangorski & Sutcliffe.WITH THREE SIGNED LETTERS BY HARDY TO EDMUND GOSSE, ISAAC LEVINE & HARRY POUNCY tipped-in or inserted loose together with a copy of a letter to Levine:1) ALS to Gosse, (Athenaeum, [undated but in Collected Letters as 20 May 2011], 2pp. with envelope) commenting “we have taken no place of our own this year, fearing the ‘Coronation Circus’…I am up here by myself”.2) ALS to Isaac Levine, American composer and pianist, (Max Gate, 7 February 1911, 1pp.) granting him permission “to set the poem ‘To Life’ to music, & another from the same volume or from the…collection of verses entitled ‘Times Laughingstocks’…in which there are several intended for music”.3) TLS to Mr Pouncy (Max Gate, 21 November 1913, 1pp.) suggesting to Pouncy that his poem “The Rash Bride’ would lend itself to public reading “owing to its peculiar rhythm” and which he feels Pouncy would do justice “as an experienced platform reciter and lecturer”.Pouncy was a journalist and lecturer who worked for the Dorset Country Chronicle but Frederick Adams, who owned this copy, states, incorrectly, in an inserted pencil note that “this letter is undoubtedly to T. Pouncy of the Dorchester Debating and Dramatic Society”.The letters are published in Collected Letters, IV, pp. 152, 138, 323. Provenance: Edmund Gosse – the sale of his library, Sotheby’s 30/07/1928, lot 69; Frederick B. Adams – the sale of his library, Sotheby’s 7/11/01.Reference: Purdy, pp, 138-150 – noting this as one of 6 recorded inscribed presentation copies
HARDY, THOMAS: THE FAMOUS TRAGEDY OF THE QUEEN OF CORNWALL AT TINTAGEL IN LYONNESSE. London, Macmillan & Co., 1923FIRST EDITION. ASSOCIATION COPY, formerly owned by H.A. Martin, President of the 'Hardy Players' who first performed the play and member of the original cast. Initialled AUTOGRAPH NOTE BY HARDY tipped onto first blank and a long explanatory note by Martin tipped-in facing half-title. Frontispiece and one illustration reproduced from drawings by Hardy. 8vo., original green cloth, blocked in blind and gilt, original dust jacket. Lower half of dust jacket torn away and repairs to edges, a little browning to endpapers. Hardy’s note concerns a couplet used for the half-title of the original programme – “Correct the notes on half-title to the above – please”. Martin explains in his own note that he drafted the programme one Sunday evening at Hardy’s home Max Gate with Hardy approving every word before it went to the printer. The play was first performed at the Corn Exchange, Dorchester on 28th November 1923 with H.A. Martin as one of the cast. Reference: Purdy, p.227-231
THOMAS HARDY (1840-1928): A SIGNED LETTER ADDRESSED TO 'MY DEAR MOULE' thought to be Henry Joseph Moule (1825-1904) relating to the artist's stay at Max Gate, dated May 20th 1903, 'and signed 'Yours T. Hardy', double sided on paper 18cm x 22.5cmHenry Joseph Moule was a watercolour artist and close friend of Thomas Hardy for over fifty years. In 1883 he was appointed the first curator of the Dorset County Museum, a post he held until his death on 13 March 1904
An early 20th century 9ct gold textured and polished gate bracelet, with heart-shape padlock clasp, stamped 9ct, length 21cm, 35.8gCondition- Overall good to fair condition- A few links bent- Width (at widest) approximately 2.1cm- For enquiries about this lot please contact David Pregun at david@kinghamsauctioneers.com
◆ FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) IONA, EAST BAY - THE LITTLE Signed, signed, titled and inscribed verso, oil on board(38cm x 45cm (15in x 17.75in))Provenance: Given by the artist to Miss Jessie Service and thence by descent Sotheby's Gleneagles, 5 September 2001, lot 1385, from where acquired by the present ownerThis idyllic sun-lit scene shows a view of the White Strand at the north-east of Iona, which was one of the artist's favourite places to work. Looking north, we can see Cows Rock, the Strait of Storm between Iona and the small island of Eilean Annraidh and beyond to Mull. Cadell revels in the textures and weathering of the exposed and seaweed-strewn rocks in the foreground, which emerge from the pure white sand for which Iona is celebrated. The eye is led along the curve of the bay and across the sea in which Cadell captures tones of turquoise and emerald depending on the depth of the water. His preferred high horizon is crowned by a sky which hints at the fast-changing Hebridean weather, about which Philip MacLeod Coupe has explained: 'The low-lying terrain of Iona is often bathed in bright sunshine when the weather is stormy over the high mountains of Mull...In these conditions the colour of the sea is generated by sunlight reflected from the white sandy base of the shallow waters of the Sound and is independent of the dark sky. This effect is surprising and very beautiful.' (Philip MacLeod Coupe, Paintings of Iona: Cadell and Peploe, privately published, Malvern, 2014, p.79). Cadell gave this painting to Miss Jessie Service, a sister of his great patron, the ship-owner George W. Service, who summered with his family on Iona. The men met during Cadell's first visit to the island in 1912, with Service eventually acquiring some 150 of his works and donning 'his tartan dress jacket for the big night when he had his annual buying spree' (as related by Jessica Christian and Charles Stiller, Iona Portrayed: The Island through Artists' Eyes 1760-1960, The New Iona Press, Inverness, p. 62). Jessie herself came to purchase paintings by Cadell and appears in his 'Register of Pictures', which he maintained between 1907 and 1930 to record works which he sold or gave away. The entries numbered 49 to 51 in October 1924 are described as '3 Oils 18" x 15" Iona (£25 each) £75 Miss Jessie G. Service, 11 Kensington Gate, Kelvinside, Glasgow' (the register is on loan to the National Galleries of Scotland from a private collection).
A 19th century satinwood cased white and green hardstone and gilt metal-mounted photograph frame modelled as a five-bar gate, hinged and opening from the right to reveal a photograph frame (the gate with applied green hardstone ivy/holly (some damage), the gilt easel-style back marked for the retailer 'Moore, Oxford St.' (21.75cm highest x 16.5cm wide)
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