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Lot 284
An Arts & Crafts Copper Twin Light Wall Sconce, with embossed decoration, mounted on an ebonised back, unmarked, 61.5cm high, and An Arts & Crafts Copper Charger, mounted with Ruskin cabochons, unmarked, 39cm diameter (2)Wall sconce is worn, one replacement screw, two holes behind the candle holders. Wear to the ebonised wood. Residual paint. The charger is very worn, missing a cabochon. Label mark to the front.
Lot 317
Hammersley China: a quantity of Lady Patricia pattern wares, including tureen cover and stand, teawares (qty)Some light scratches to the tureen stand. The tureen with adhesive residue where the cover has been stuck down with tape, some mild rubbing here also. Adhesive residue to the cover also. The cover is signed F Howard. Cream jug with a chip to the top where it meets the handle. The teapot and the cream jug are also signed. All items with very mild crazing. Generally good order throughout.
Lot 359
Weir (Harrison) Our Poultry, Hutchinson, two quarto vols, colour plates, original cloth with nine others; Ornithology, Poultry, Richard Watson's, Poems and Songs of Teesdale, and Barclays Dictionary (not collated) (11)Our Poultry (Two Volumes) - these books have not been collated and do not appear to have a publication date. There is a section on the "Lincolnshire Buffs" in volume two, going from pages 464-468. Some light foxing to the edges of the pages. The front board and back boards are a little loose. The binding with creases, wear and bubbling.
Lot 1192
Barbara Jeppe (1921-1999) South African Mockertail Swallowtail: Killie Campbell Signed and dated 1980, pencil and gouache, 66cm by 46cm together with another work by the same hand "African Flame Tree" signed, inscribed and dated 1980, pencil and gouache, 66cm by 46cm (2)Provenance: The Tryon Gallery, LondonMockertail Swallowtail: Killie Campbell - In a broadly good state of preservation, some light time staining across the sheet with some possible reduction to overall colour. Two tiny dark spots to sheet immediately above the top of the arrangement approx 3cm away from the flowers. There is a variation to tone / possible surface of the sheet within the lower 50% of right-hand side and extending into the lower right-hand corner which presents as series of pale grey splashes or specks. It is not possible to determine if this is integral to the paper or possibly light-coloured transferred pigment. Images can be supplied upon request and is evident to a lesser degree in other parts of the sheet. No evidence of cockling. Not examined out of the frame. African Flame Tree - An amount of brown-coloured small-sized spalshes to the exterior of the frame. of the glazing which do not appear to be integral to the sheet. Some minor relatively light time staining across paper presenting a creamy hue overall. Colour depth mostly clean and bright possily with some light fading to the greens presenting slightly blue? No evidence of cockling, not examined out of the frame. In an overall good state of preservation.
Lot 1295
A Reproduction Crossbanded Mahogany Triple Pillar Dining Table, with three additional leaves, 410cm by 123cm by 74cmEstimate £500-700. Some re-polishing. The central leaf is slightly darker than the rest of the table. A few light scuffs and scratches throughout. The edges with come knocks and bruises from chairs. This is solid mahogany.
Lot 1324
Heriz Carpet, North West Iran, circa 1940, the pale terracotta field of angular vines centered by an indigo medallion framed by spandrels and indigo Samovar motifs flanked by outer carnation guard stripes, 350cm by 242cmBoth ends with characteristic minor losses. Selvedges original but some fraying. Pile fair/light wear in several areas. Two old re-weaves and old (inactive) moth on the reverse side.
Lot 1615
An earlier 20th c. Mahogany Bureau of small dimensions having light and darkwood beading, the slope with an inlaid depiction of an urn, opening to reveal an interior with two drawers and seven pigeon holes, the base unit with three long drawers, with brass swan-neck drop handles, 29 1/4'' wide x 16'' deep x 35 3/8'' high.
Lot 39
Josef Albers, Becher (Beaker)Sandgestrahltes Überfangglas 29 x 37 cm. Gerahmt. Rückseitig auf der Rahmenrückwand auf einem Papieraufkleber monogrammiert und gewidmet 'Für Eugen Gomringer JA'. - Mit geringfügigen Altersspuren.Die vorliegende Arbeit ist in The Anni and Josef Albers Foundation, Bethany, Connecticut, registriert. Wir danken Jeannette Redensek für weiterführende Informationen.ProvenienzEugen Gomringer (Geschenk des Künstler, ca. 1955-1960); Privatsammlung, Schweiz (ca. 1960)AusstellungenLe Cateau-Cambrésis 2008 (Musée Matisse), Josef Albers, Vitraux, Dessins, Gravures, Typographies, Meubles, Ausst.Kat.Nr.30, S.149 mit Farbabb. London 2006 (Tate Modern), Bielefeld (Kunsthalle), New York (Whitney Museum of American Art), Albers and Moholy-Nagy, From the Bauhaus to the New World, Ausst.Kat., S.42 mit Abb.53New York 1994 (Solomon R. Guggenheim Museum), Josef Albers, Glass, Color, and Light, Ausst.Kat.Nr.32, o.S. mit Farbabb.Amsterdam 1961 (Stedelijk Museum), Josef AlbersHagen 1957 (Karl-Ernst-Osthaus-Museum), Josef Albers, Ausst.Kat.Nr.19Basel 1929 (Kunstgewerbemuseum), Dresden (Kunstgenossenschaft), Breslau (Sonderabteilung der Werkbundausstellung), Dessau 1929/1930 (Bauhaus), Essen 1930 (Folkwang Museum), Mannheim (Städtische Kunsthalle), Zürich (Kunsthalle und Kunstgewerbemuseum), Bauhaus Dessau, 10 Jahre BauhausLiteraturIrving Leonard Finkelstein, The Life and Art of Josef Albers, Ann Arbor 1979Will Grohmann, Josef Albers, in: Museum Journal, Otterlo 1961, Nr. 9-10, S.212 ff., S.232f.Das Medium Glas begleitet Josef Albers Zeit seines Lebens und steht im Zentrum seines künstlerischen Schaffens bis zu seiner Emigration in die USA. Seiner Ansicht nach wirkt in der Glasmalerei die Farbe als direktes Licht. Bereits während seiner Kindheit in einem streng katholischen Elternhaus ist er fasziniert von der Lichtfülle farbiger Kirchenfenster. Von seinem Vater, einem vielseitig tätigen Malermeister, erlernt er als Jugendlicher die technische Fertigkeit, Glas zu ätzen und zu bemalen. Diese Grundlagen bringt Albers mit, als er 1920 Student des Bauhauses wird; beide Aspekte - die visuelle Qualität von Farbe und Licht und die Wertschätzung handwerklicher Prozesse – werden bestimmend für sein künstlerisches Schaffen. Am Bauhaus befasst er sich mit dem Medium Glas im Eigenstudium. Noch als Geselle wird er Werkmeister in der Glasmalereiwerkstatt, 1923 Lehrer für den obligatorischen Vorkurs und 1926 von Walter Gropius zum Meister berufen. Albers strebt stets danach, eine universale, von subjektiven und emotionalen Gehalten befreite Bildsprache zu nutzen, um zu einer höheren geistigen Aussagekraft zu gelangen. Klarheit und Leuchtkraft sollen die Kunst beherrschen. Seine sandgestrahlten Glasarbeiten, die ab 1925 in der Dessauer Bauhaus-Zeit entstehen, entsprechen diesen Anforderungen vollkommen. Mit dieser innovativen, selbstentwickelten Technik schafft der Künstler einen völlig neuen Typus von Glasbildern. Bei der Umsetzung greift Albers auf das Können der Meisterhandwerker der Vereinigten Werkstätten für Mosaik und Glasmalerei Puhl & Wagner – Gottfried Heinersdorff, Berlin-Rixdorf, zurück. Genutzt wird dabei ein Sandstrahlgerät als Werkzeug, um die durch Schablonen vorbereitete Darstellung in opakes farbiges Überfangglas einzugravieren. Durch die unterschiedliche Dauer und Intensität der Sandbestrahlung wird der glänzende farbige Glasüberfang entweder vollständig entfernt, so dass das darunterliegende weiße Milchglas zum Vorschein kommt, oder die Oberfläche nur leicht mattiert. „Durch die Verwendung von opakem Glas und nur einer Scheibe habe ich die Beweglichkeit eines kleinen Staffeleibildes erreicht, das man an eine Wand hängen oder als festen Bestandteil der Architektur in eine Wand, im Innen- wie im Außenraum, einbauen kann. […] Doch die ungewöhnliche Farbintensität, das reinste Weiß und tiefste Schwarz, und die erforderliche Präzision und die Flächigkeit der Gestaltungselemente bieten eine ungewöhnliche und besondere Material- und Formwirkung“, so erläutert Josef Albers selbst (zit. nach: Josef Albers, Interaction, Ausst.Kat. Villa Hügel, Essen 2018, S.88).Aus den zumeist von Gitterstrukturen bestimmten Sandstrahlarbeiten der späten 1920er Jahre, die oft zusätzlich mit Glasmalfarbe mehrfarbig gestaltet sind, tritt das hier angebotene „Becher (Beaker)“ durch seine puristische und harmonische Farb- und Formgebung hervor. Der kühle Farbkontrast aus Blau und Weiß erzeugt eine außergewöhnliche Leuchtkraft und Frische und bringt die Rundungen der stilisiert dargestellten Becherwandungen prägnant zur Geltung.Das eindrucksvolle Glasbild wird von Josef Albers in Deutschland zurückgelassen, als er gemeinsam mit seiner Frau 1933 in die USA emigriert, und zunächst bei Trunck & Co. in Berlin, der Möbelwerkstatt von Siegfried Fleischmann, dem Vater von Anni Albers, eingelagert. Vor Siegfried Fleischmanns eigener Emigration wird es zusammen mit anderen eingelagerten Werke 1936-37 von Berlin in das Bottroper Haus von Lorenz Albers, dem Vater von Josef Albers, gebracht. Nach dessen Tod im Jahr 1944 gelangen die Werke in das Bottroper Haus von Elisabeth und Rudolf Marx, Albers' Schwester und Schwager. Der Künstler übereignet es später dem Schriftsteller Eugen Gomringer, mit dem er seit Mitte der 1950er Jahre befreundet ist und der 1968 die umfangreiche Monographie „Josef Albers, Das Werk des Malers und Bauhausmeisters als Beitrag zur visuellen Gestaltung im 20. Jahrhundert“ veröffentlicht. „Becher“ ist das einzige erhaltene Werk mit farbigem Überfangglas in der Sandstrahl-Technik, die Albers in der Zeit zwischen 1929 und 1931 ansonsten nur für Glasarbeiten in Schwarz, Weiß und Grau verwendete.
Lot 652
Nick Brandt, Giraffes in Evening Light, Masai MaraArchival Pigment-Print. 37,4 x 76,5 cm (50,8 x 80,5 cm). Im unteren Bildrand rechts mit Bleistift signiert und datiert, links nummeriert. Exemplar 8/25. - Unter Passepartout montiert.ProvenienzPrivatsammlung, USALiteraturNick Brandt, A Shadow Falls, New York 2009, S. 60f. mit Abb.
Lot 26
A FINE LACQUER SUZURIBAKO DEPICTING A PAIR OF PIGEONSJapan, early to mid-19th century, Edo period (1615-1868)Of unusual oval form, the cover finely decorated in gold and silver takamaki-e depicting two pigeons, their feet and beaks inlaid in stained horn, the eyes inlaid in glass. The interior embellished with shida wakaba ferns in gold takamaki-e and with a silver patinated metal character 申 which is pronounced Shin and represents 神 (Kami). The detachable baseboard with a suzuri (ink-grinding stone) and a cloisonné enamel suiteki (water dropper) in the form of a teapot with a fitted silver mount.SIZE 24.1 x 20.3 x 4.6 cmCondition: Very good condition, minor wear, discoloration to the lacquer, minor losses to the inlays and rims, light surface scratches.Provenance: British private collection. Two old labels to the silver mount of the suiteki.
Lot 90
ISHIDA KAZUMASA: A FINE BRONZE 'TOAD AND HYOTAN' VASEBy Ishida Kazumasa (Issei), signed KazumasaJapan, Meiji period (1868-1912)Finely cast as a toad struggling to hold up a large double gourd, the frog's skin naturalistically modeled, its eyes of gilt with shakudo pupils, the dark bronze patination of the frog providing an appealing contrast to the lighter bronze patina of the gourd. Signed in a recessed reserve KAZUMASA.HEIGHT 28.8 cm WEIGHT 2,688 gCondition: Very good condition, minor wear, light surface scratches, small casting flaws.Ishida Kazumasa (Issei), given name Seiji, studied metal art in Takaoka, Toyama Prefecture. In the mid-Meiji Period, he went to Tokyo (Shimogaya district, Kamigyo, Tokyo) and worked in the metal art industry as a member of the Tokyo Chukin Kai (Tokyo Cast Metal Association). Ishida Kazumasa belongs to the Otake Norukuni line of metal crafting in Tokyo.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 103
A RARE NANBAN SIX-PANEL BYOBU SCREEN DEPICTING THE ARRIVAL OF A PORTUGUESE SHIPJapan, 18th-19th century, Edo period (1615-1868)Finely painted in ink, watercolors, and gold on paper to depict a Portuguese ship arriving at the port of Nagasaki. The ship is filled with passengers and sailors, some of which perform acrobatic feats as they prepare to dock. A number of smaller boats are approaching land as well, while two boats which are heavily filled with goods are departing. A group of Portuguese men are carrying large boxes and leading a spotted deer toward a bridge, one of the men appears to shrug as he tries to communicate with two Japanese men. The two rightmost panels show a chaotic scene of numerous Japanese and Portuguese men carrying goods in all directions, as well as a fenced terrace with Portuguese noblemen seated at a table and enjoying tea and wine. The screen is further decorated with thick, gold-sprinkled clouds.SIZE (when opened) 88 x 259 cm Condition: Good condition with some wear, minor soiling, occasional light scratches, and few small losses.The scene presents a narrative of the dynamic conflation of East and West around 1600. Portuguese traders reached Japan in 1543, and by 1570 they had selected the Bay of Nagasaki as the ideal natural harbor for the center of their commerce, which was conducted with little or no restriction. The Portuguese nau do trato was known to the Japanese as the kurofune (black ship) or nanban bune, ship of the Nanban, or Southern Barbarians, so called because these foreigners arrive from the south. (The term originated in China, where all foreigners were regarded as barbarians.)The Portuguese made large profits selling Chinese silk to the Japanese in exchange for silver. Some European goods were traded, but for the most part the Iberians served as middlemen between the Chinese and Japanese. The great ship was a three-deck carrack of up to 1,600 tons, and its enormous size and exotic crew and cargo were the cause of much wonder and excitement.The earliest screen of this type is thought to date from the 1590s and is attributed to Kano Mitsunobu (1561/5–1608), who was called from Kyoto to decorate Hideyoshi's Nagoya Castle in northern Kyushu. Mitsunobu may have traveled to Nagasaki to observe the “Southern Barbarians” first hand. The fad for Nanban screens continued into the second quarter of the seventeenth century. The novel subject fascinated the Japanese, and the Kano-school atelier as well as other professional painting studios in Kyoto made numerous versions in the early seventeenth century for clientele prepared to enjoy the strange costumes and odd physiognomy of these tall, hairy and long-nosed Southern Barbarians, a throwback to the outlandish imagery familiar from the iconography of Daoist immortals.Museum comparison:Compare to a related pair of Nanban screens, dated to the first quarter of the 17th century, in the Metropolitan Museum of Art, New York, accession no. 2015.300.109.1, .2.Auction comparison:Compare to a related important Namban screen, dated to the 17th century, sold at Christie's, European Courts Encounter Japan, 11 May 2015, London, lot 8 (sold for 818,500 GBP).
Lot 1
A LARGE RIMPA STYLE LACQUERED AND INLAID PAULOWNIA WOOD HIBACHI (BRAZIER) WITH LUNAR HARESJapan, second half of 19th century, late Edo period (1615-1868) to early Meiji period (1868-1912)The wood ground finely decorated in gold and colored takamaki-e with aogai inlays to depict two moon rabbits in a densely grown field with flowers, leaves, and grasses, under a pewter-lacquered moon. The hollowed interior with a copper liner.DIAMETER 62 cmCondition: Good condition with some wear and traces of use, minor nicks, light scratches, minor losses to lacquer and inlays. The copper liner with some malachite encrustations.Provenance: Dutch collection.The hibachi (lit. fire bowl) is a traditional Japanese heating device. It is a brazier which is either round, cylindrical, or box-shaped, open-topped container, made from or lined with a heatproof material and designed to hold burning charcoal. It is believed hibachi date back to the Heian period. It is filled with incombustible ash, and charcoal sits in the center of the ash. To handle the charcoal, a pair of metal chopsticks called hibashi (lit. 'fire chopsticks') is used in a way similar to Western fire irons or tongs. Hibachi were used for heating, not for cooking. It heats by radiation, and is too weak to warm a whole room, often disappointing foreigners who expected such power. Sometimes, people placed a tetsubin (iron kettle) over the hibachi to boil water for tea. Later, by the 1900s, some cooking was also done over the hibachi.This popular motif originates in China, where the rabbit is often portrayed as a companion of the Moon goddess Chang'e, constantly pounding the elixir of life for her.Auction comparison:Compare a related paulownia wood hibachi, dated late 19th century, Meiji period, 89 cm long, at Bonhams, Fine Japanese Works of Art, 17 September 2013, New York, lot 3118 (sold for USD 4,375).
Lot 133
SUKEHIRO: A KATANA IN SHIRASAYABy Sukehiro, signed Echizen no kami SukehiroJapan, Edo period (1615-1868)The slender, gently curved blade with shinogi-zukuri and iori mune. The hamon is choji midare in nioi-deki with ashi, ending in an omaru boshi. The copper double habaki is partly gilt and decorated with diagonal file marks. The nakago with one mekugi-ana and kuri jiri, the mei reads Echizen no kami SUKEHIRO.With a registration certificate issued on firearms and swords (Juho token rui torokusho) by the Committee of the Protection of Cultural Properties (Bunkazai hogo iin kai), no. 7695 in Gunma Prefecture, on 31 August 1963 (Showa 38), noting a nagasa of 2-shaku 1-sun 2-bu, a sori of 4-bu (ca. 1.21 cm), confirming the reading of the signature above, with seal Bunkazai Hozon Iin Kai.NAGASA 64.2 cm, LENGTH 87 cmCondition: Good condition with wear, fukure, blisters, light scratches.Provenance: Hungarian private collection.
Lot 56
AN IMPRESSIVE BRONZE OF TWO ONI HOLDING A CRYSTAL BALL, ATTRIBUTED TO SANO TAKACHIKAAttributed to Sano Takachika, unsignedJapan, late 19th century, Meiji period (1868-1912)The two grinning demons executed in parcel-gilt bronze and supporting a large crystal ball. One oni has a copper-brown patina while the other is crafted from shakudo. Both wear gilt bracelets at their feet and arms as well as loincloths embellished with gilt details. With an associated burlwood base.HEIGHT 21.7 cm (incl. crystal ball), HEIGHT 13.5 cm (the bronze only), HEIGHT 24.3 cm (total) WEIGHT 2,292 gCondition: Very good condition, minor wear, few light surface scratches.Literature comparison: Compare a near-identical bronze okimono of a single oni holding a crystal ball by Sano Takachika, illustrated in The Nasser D. Khalili Collection of Japanese Art - Treasures of Imperial Japan, Metalwork Part II, 1995, no. 123.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 76
A FINE INLAID BRONZE VASE WITH QUAIL AND AUTUMN GRASSESJapan, Meiji period (1868-1912)The baluster body supported on a spreading foot and rising to a waisted neck with a broad everted rim, the sides finely decorated in iro-e takazogan to depict a quail perched on the subtly incised ground amid autumn grasses and leaves.HEIGHT 18 cmWEIGHT 700 gCondition: Good condition with minor wear, minuscule nicks, and light surface scratches. Provenance: Austrian private collection.
Lot 66
MIYAO: A RARE AND FINE PARCEL GILT BRONZE OKIMONO OF A DRUNKEN SHOJOBy Miyao Eisuke of Yokohama, signed Miyao sei koreJapan, Meiji period (1868-1912)The visibly drunken Shojo kneeling with a large sake cup in its hands, the inebriated facial expression masterfully crafted, the mouth agape ready to take a large gulp of the silver-inlaid sake, the long hair neatly incised and falling down the back, dressed in a robe richly decorated with gilt flowers and wave patterns, signed within a gold plaque underneath MIYAO sei kore. With an associated lobed base embellished in gold takamaki-e with water dragons amid crashing waves.HEIGHT 19 cm WEIGHT 3,774 gCondition: Excellent condition with minor surface wear, some light surface scratches, tiny nicks. Provenance: British collection. The Miyao workshop was founded in the mid-19th century by Miyao Eisuke of Yokohama and is renowned for its powerful portrayals of legendary and historical figures made of bronze, often decorated with gilt and silver.A Shojo is a Japanese sea spirit with similarities to a ghost but differing from the latter in the fact that Shojo are tangible. It enjoys drinking alcohol, especially sake. Legend has it that workers at breweries in Japan have seen Shojo lurking about after indulging in their products.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 169
SUKEYUKI: A FINE WOOD OKIMONO OF A SNAKE WINDING THROUGH A ROCKBy Sukeyuki, signed Sentei Sukeyuki zoJapan, Hida province, Takayama, late 19th century, Meiji period (1868-1912)Finely carved in openwork as a tall rock with scattered grasses, bamboo leaves, and reishi fungi, a sinuous serpent writhing through the holes in the rock, the eyes double inlaid with pale translucent and dark horn, the scaled body neatly incised, the rock's porous texture detailed with fine stippling. Signed underneath Sentei SUKEYUKI zo [made by Sentei Sukeyuki].HEIGHT 7.7 cmCondition: Good condition with minor wear, few minuscule age cracks, the base with few tiny nicks and light scratches, one inlaid eye is replaced.Provenance: British collection.Museum comparison: Compare a closely related wood okimono by Sukeyuki, 9.7 cm high, in the collection of the British Museum, purchased from Sydney Moss Ltd., registration number 1980,1016.2.Auction comparison: Compare a related wood netsuke of a snake and skull by Sukeyuki, 3.5 cm high, at Zacke, Fine Netsuke & Sagemono, 16 April 2021, Vienna, lot 151 (sold for 17,696 EUR), and a related wood okimono of a snake and skull by Sukeyuki, 12 cm high, at Zacke, Fine Japanese Art, 28 October 2020, Vienna, lot 188 (sold for 17,696 EUR).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
Lot 31
A SHIBAYAMA INLAID AND LACQUERED WOOD PANEL DEPICTING ANTHROPOMORPHIC FROGSJapan, Meiji period (1868-1912)The wood ground finely decorated in gold takamaki-e and hiramaki-e and neatly inlaid with mother-of-pearl, bone, some of which is stained green, and horn to depict two frogs by a stream amid blossoming flowers under the crescent moon partly obscured by thick clouds. One of the frogs is holding a chrysanthemum stem as if he was playing the flute, while the other approaches dragging another floral stem as if it was a club, about to strike the provocateur. SIZE 23 x 22.5 cm (the panel) and 36.4 x 35.7 cm (incl. frame)Condition: Good condition with minor wear, occasional light scratches, few losses to inlays. Provenance: French private collection. With an old gilt wood frame with velvet padding. The depiction of the frogs on the present panel is reminiscent of the Choju-jinbutsu-giga scrolls from the 12th and 13th centuries. This famous set of four emakimono belonging to Kozan-ji temple in Kyoto are also referred to as Scrolls of Frolicking Animals in English and feature many anthropomorphic frogs.
Lot 119
Estate Of John Challis - The Only Fools & Horses Story (1998 Hardcover) - Challis' personally owned copy of the book by Steve Clark. Autographed with a large signature in black ink to the title page by Challis. Some light wear from use. Unique piece of Only Fools memorabilia, owned by a key cast member.A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).
Lot 150
Only Fools & Horses - an iconic piece of British television history - an original screen used prop 'Del's Cigar Jar' from the series. Del's cigar jar - originally a made as a biscuit barrel - appeared in every single series of the sitcom, and could very often be seen atop the bar at the back of the Trotter Flat. This jar was obtained after filming commenced on the final episode in 2003, directly from the Only Fools Production Department. The underside of the lid has been autographed by Sir David Jason (Del), Director Tony Dow and Writer John Sullivan (1946-2011) in black ink. To the base and under the lid is marked 'Props Room 211'. The ceramic barrel survives in excellent original condition with no damage, some crazing in places and light wear from production use. This very jar can be seen on screen in many episodes, and featured nicely in the UKTV 'Story Of Only Fools & Horses' documentary in which David Jason can be seen talking about it and inspecting it. Supplied with a full letter of authenticity from the Only Fools & Horses Appreciation Society. A unique, iconic, and important piece of British Comedy history. A clip of Sir David Jason being shown and discussing this very cigar jar, can be viewed here: https://youtu.be/WDsJmZ-oLGA
Lot 167
Estate Of John Challis - Only Fools & Horses - Challis' personally owned and used event / convention banner. Dual autographed by both Challis and Sue Holderness (Marlene), and features a montage of images from his career. Paper, stuck to a Creed Conventions laminated blank poster. Rolled, light wear from use. Total size 43cm tall. A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).
Lot 171
Estate Of John Challis - Fan Artwork - two autographed 8x12" prints of a stylised Boycie from Only Fools & Horses. Artist C. Shanks. Hand signed by Challis in black ink to light areas. A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).
Lot 181
Estate Of John Challis - Only Fools & Horses - Challis' personally owned mock posters, each based on a theme from a particular Boycie episode; 'Boycie's Cottage' and 'Wanted'. Both autographed by Challis to a light area. Each measures approx; 42cm x 29cm.A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).
Lot 225
Only Fools & Horses - Mother Nature's Son (1992 Christmas Special) - a collection of original production used items from the classic episode, comprising; an original screen used bottle of 'Peckham Spring' water, being a sealed glass bottle with custom production-made label 'From An Ancient Natural Source'. The bottle label has been autographed by Sir David Jason in blue ink, and is believed to be the only signed bottle in private ownership. Accompanying the bottle is an original used studio audience ticket from the episode, and the original printed programme as given to the audience members upon arrival. The bottle measures 32cm tall and is still sealed, as per production. This bottle was given to a lucky audience member once filming had finished. The bottle is accompanied by a special light-up base (new) that can be used to allow the bottle to 'glow' (and rotate) as per the ending of the episode. Supplied with a full letter of authenticity from the Only Fools & Horses Appreciation Society. A very special piece of British comedy memorabilia, with a key prop from one of the series' best loved and most recognisable episodes.A video of the bottle 'glowing' can be viewed here: https://youtube.com/shorts/S5OTRD0v50c?feature=share
Lot 29
From the collection of Michael Jayston (Raquel's Dad 'James' in Only Fools & Horses) - a 16x12" replica 'Peckham Echo' poster featuring images and text from the 1996 special 'Time On Our Hands'. Signed by Jayston in black ink to a light area. Jayston's personally owned poster. Some wear, would frame well.
Lot 32
Only Fools & Horses - Three Men, A Woman & A Baby - triple autographed 8x10" colour photograph from the episode, signed by Sir David Jason (Del), Tessa Peake-Jones (Raquel) and Ken Drury (Doctor McCallum). All signed in black ink to a light area. Supplied with a COA from the Only Fools and Horses Appreciation Society.
Lot 38
Estate Of John Challis - Only Fools & Horses - An Evening With Boycie & Marlene - Challis' personally owned and used script, notes and other paperwork from the 2009 tour of shows he did with co-star Sue Holderness. Comprising; a seven page script / prompt notes for the show, a page of handwritten notes in Challis' hand, several other pages of script, a typed history of Only Fools & Horses, and various Only Fools facts and figures, a letter to Challis from Sue Holderness making arrangements for OFAH clips, a printed email from Sue regarding timings for the show etc. An autographed 8x10" colour photograph of Challis alongside Sue Holderness is also included, signed by Challis in black ink to a light area. A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).
Lot 41
Estate Of John Challis - Only Fools & Horses - Challis' personally owned collection of mock posters, each based on a theme from a particular Boycie episode; 'Boycie's Cottage', 'Boyce Automobiles & Car Hire,' and 'Wanted'. All autographed by Challis to a light area. Each measures approx; 42cm x 29cm. A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).
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