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JASON X (2001) - Mario Kirner Collection: Uber Jason (Kane Hodder) Contact LensesUber Jason (Kane Hodder) contact lenses from Jim Isaac's slasher sequel Jason X. Hodder wore red-and-yellow contact lenses as Uber Jason, the cyborg killing machine created with nanites. These lenses originate from Hodder's personal collection, and each is held in a cylindrical container that is not from the production. However, one of the containers features an original production label with the expiration date "08/03". The lot is accompanied by a spare container and lid and the contact lenses should not be worn.Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £400 - 800 Ω View all lots from JASON X (2001)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FREDDY VS. JASON (2003) - Mario Kirner Collection: Autographed "Jason" Boxing Robe and "Death Match" PassesAn autographed "Jason" boxing robe and "Death Match" passes from the promotion of Ronny Yu's horror crossover Freddy vs. Jason.Actors Ken Kirzinger (Jason) and Robert Englund (Freddy) took part in a promotional boxing-conference-style event in Las Vegas. The robe is autographed by both actors and has "Jason" stitched on the left breast. The robe is accompanied by six laminated passes for the event, one of which is also signed by the actors. Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £600 - 1,200 Ω View all lots from FREDDY VS. JASON (2003)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FREDDY VS. JASON (2003) - Mario Kirner Collection: Promotional ShirtsFive promotional shirts from the production of Ronny Yu's horror crossover Freddy vs. Jason. Included in this lot are five white promotional t-shirts all labelled size "XL". Two are based on the camp counsellor tops worn in the film and display the camp's name and logo printed on the front, "Camp Counselor" printed on the back and the film's title on the left sleeve. One has "Freddy's Back" printed in red across its back and the remaining three feature a Freddy Kreuger (Robert Englund) graphic beside a character profile which includes his victim death toll and the number of times resurrected. Some of the tops exhibit minor stains.Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £400 - 800 Ω View all lots from FREDDY VS. JASON (2003)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FREDDY VS. JASON (2003) - Mario Kirner Collection: Trailer ReelA movie trailer reel from the promotion of Ronny Yu's horror crossover Freddy vs. Jason. This 35mm reel features a strip of tape adhered to the exterior, labelled "Trailer #1 Freddy VS. Jason SCOPE 1:08". The film reel comes uncased and rolled with minor scuffs to the exterior. Dimensions: 8.5 cm x 8.5 cm x 3.5 cm (3 1/2" x 3 1/2" x 1 1/4")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £50,50 - 100 Ω View all lots from FREDDY VS. JASON (2003)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FRIDAY THE 13TH (2009) - Mario Kirner Collection: Hand-drawn and Printed StoryboardsA set of storyboards from the production of Marcus Nispel's horror reboot Friday the 13th. Numbering 46 in total, the mini-storyboards depict various scenes, including Clay Miller's (Jared Padalecki) search for his sister Whitney (Amanda Righetti), Donnie's (Kyle Davis) death at the hands of Jason Voorhees (Derek Mears), and the climactic fight between Clay and Jason. Also depicted are some scenes that did not make the final cut of the film.Supplied by the film's storyboard artist Doug Brode, the paper storyboards feature mostly hand-drawn illustrations, with a few printed photocopies. Many storyboards also feature script excerpts, printed annotations and handwritten notes. Some storyboards exhibit creases and stains from production use. Dimensions: 14 cm x 14 cm x 2.5 cm (5 1/2" x 5 1/2" x 1")Sold without copyright; see copyright notice in the Buyer's Guide.Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £1,000 - 2,000 Ω View all lots from FRIDAY THE 13TH (2009)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FRIDAY THE 13TH (2009) - Mario Kirner Collection: Jason Voorhees (Derek Mears) and Lawrence's (Arlen Escarpeta) Hero PokerJason Voorhees' (Derek Mears) hero fireplace poker from Marcus Nispel's horror reboot Friday the 13th. Jason impaled Sheriff Bracke (Richard Burgi) through the eye with a poker when Bracke knocked on Trent's (Travis Van Winkle) cabin door. In one swift thrust, Jason penetrated Bracke's skull and pinned him to the door, poker-faced. It was also used by Lawrence (Arlen Escarpeta) to defend himself against Jason.The metal poker is painted black and features an engraved pommel handle, a rigid shaft and a hook at its tip. Supplied by the film's prop master Koen Wooten, the poker has a weighty and robust feel. Dimensions: 68 cm x 5 cm x 3 cm (26 3/4 " x 2" x 1 1/2")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £700 - 1,400 Ω View all lots from FRIDAY THE 13TH (2009)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FRIDAY THE 13TH (2009) - Mario Kirner Collection: Camp Crystal Lake LifebeltA lifebelt from Marcus Nispel's horror reboot Friday the 13th. A lifebelt hung from a tree trunk at the entrance to the pier at Crystal Lake, and featured in the scene where Chelsea (Willa Ford) and Nolan (Ryan Hansen) went wakeboarding on the lake. The ring-shaped lifebelt has four brown canvas straps wrapped around it with white rope, and features the words "Camp Crystal" printed in orange. The lot exhibits substantial signs of wear, including cracks, divots, faded lettering and general discolouration. Dimensions: 64 cm x 64 cm x 10 cm (21 1/2" x 21 1/2" x 4")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £600 - 1,200 Ω View all lots from FRIDAY THE 13TH (2009)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FRIDAY THE 13TH (2009) - Mario Kirner Collection: Jason Voorhees (Derek Mears) ManaclesManacles from Marcus Nispel's horror reboot Friday the 13th. Jason Voorhees (Derek Mears) used the wrist manacles to shackle Whitney Miller (Amanda Righetti) to a wall in the basement of his lair. Miller later broke free of the manacles with the help of her brother Clay (Jared Padalecki). Made of metal and resin, the manacles feature a long chain connecting dual cuffs, onto each of which a spring-loaded hinge and clasp has been screwed. A foam layer has been attached to the inside of each cuff to mitigate Righetti's discomfort during filming. Rust-coloured paint has been applied to the manacles to create a weathered effect. Dimensions: 130 cm x 15 cm x 9 cm (511/4" x 6" x 3 1/2")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £600 - 1,200 Ω View all lots from FRIDAY THE 13TH (2009)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

FRIDAY THE 13TH (2009) - Mario Kirner Collection: Jason Voorhees' (Derek Mears) Ice Hockey StickA hockey stick from Marcus Nispel's horror reboot Friday the 13th. Chewie (Aaron Yoo) discovered a hockey stick while exploring a tool shed adjacent to Trent's (Travis Van Winkle) cabin. Made of wood, the hockey stick has a blue and red stripe along its shaft and a textured heel. The handle and blade of the hockey stick are wrapped in black tape. The lot exhibits minor signs of wear, including scuffs and chips to the wood. In the original script, Jason Voorhees' (Derek Mears) killed Chewie with a hockey stick, but this was changed to a screwdriver on the day of the shoot. Dimensions: 164 x 29 x 3.5 cm (65 x 12 x 1 3/4")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £400 - 800 Ω View all lots from FRIDAY THE 13TH (2009)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

GAME OF THRONES (TV SERIES, 2011-2019) - Three-eyed Raven Cave Skull, Arrowhead, Dragonglass Pieces, Season 5 Clapperboard and Crew ScarfA skull from the Three-eyed Raven's cave and other assorted props and crew items from fantasy TV series Game of Thrones. The skull is made of resin and hand-painted to look ancient; the arrowhead is also made of resin and designed to look like dragonglass (obsidian); two dragonglass pieces made of hard rubber; a production clapperboard from a Season 5 episode directed by Miguel Sapochnik, with handwritten production information; and a black woollen crew scarf with "GOT VII" stitched in red at one end. The clapperboard has wear from production use, most notably along the clapper, and it has several pieces of tape adhered to the reverse. Dimensions (clapperboard): 4 cm x 28 cm x 24 cm (1 1/4" x 11" x 9 1/2")Estimate: £3,000 - 6,000 M View all lots from GAME OF THRONES (2011-2019)Bidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

JAMES BOND: DR. NO (1962) - Le Cercle Casino Chip CollectionA Le Cercle casino chip collection from Terence Young's Bond movie Dr. No. Gaming plaques and chips were used at Le Cercle casino, where Agent 007 (Sean Connery) memorably introduced himself with the immortal line, "Bond, James Bond." The production used original plaques loaned by Le Cercle casino at Les Ambassadeurs Club. The chips and plaques are made of plastic and have pearlescent finishes. Each chip has "Le Cercle", "Les Ambassadeurs Club" and the chip's value on both sides. The plaques have "Le Cercle" and their value on one side, with "Les Ambassadeurs Club" and a black picture of the club itself on the other. As it is not possible to screen-match these chips and plaques among the many that were required on set, we are unable to verify if these particular props were used for filming. The nine items in the lot come with eight clear plastic display stands. Dimensions (largest plaque): 8 cm x 11.5 cm x 0.5 cm (3 1/4" x 4 1/2" x 1/4")Estimate: £4,000 - 8,000 M View all lots from JAMES BOND: DR. NO (1962)View all lots from JAMES BOND - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

JURASSIC PARK III (2001) - Raptor EggA raptor egg from Joe Johnston's sci-fi action sequel Jurassic Park III. Billy (Alessandro Nivola) stole two raptor eggs from their nest during the group's search for lost boy Eric (Trevor Morgan).The egg is made of cast resin and finished in a cream colour with hand-painted brown and black speckles. Accompanying it is a Universal Pictures and Premier Props certificate of authenticity. The egg exhibits faint dirt marks from production use. Dimensions: 14.5 cm x 8 cm x 8 cm (5 3/4" x 3 1/4" x 3 1/4")Estimate: £2,000 - 4,000 Ω View all lots from JURASSIC PARK III (2001)View all lots from JURASSIC PARK FRANCHISE (1993 - 2022)Bidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

FRIDAY THE 13TH PART VI: JASON LIVES (1986) - Mario Kirner Collection: Jason Voorhees' (C.J. Graham) Stunt Hockey MaskJason Voorhees' (C.J. Graham) stunt hockey mask from Tom McLoughlin's slasher sequel Friday the 13th Part VI: Jason Lives. Jason wore his mask throughout the film as he terrorised teenagers and the police at Camp Forest Green. As the budget for the film was larger than previous entries, a total of 12 masks were made: 11 for filming and one for the post-production intro shot of Jason. This vacuum-formed plastic mask was made for stunt work and distance shots, and was also later used in the production of Friday the 13th The Game (2017), when it was scanned for reference and colour matching.The mask has been intentionally distressed, with remnants of stage blood on the front, and features "9" handwritten on its interior, which is also autographed by Graham in black ink. This mask originated from Graham's collection and is accompanied by a certificate of authenticity signed by the actor, as well as behind-the-scenes photos of the masks on set. Dimensions: 25.5 cm x 22 cm x 11.5 cm (10" x 8 3/4" x 4 1/2")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £15,000 - 30,000 Ω View all lots from FRIDAY THE 13TH PART VI: JASON LIVES (1986)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN (1989) - Mario Kirner Collection: Jason Voorhees' (Kane Hodder) ShirtJason Voorhees' (Kane Hodder) shirt from Rob Hedden's slasher sequel Friday the 13th Part VIII: Jason Takes Manhattan. After being accidentally resurrected from the bottom of Crystal Lake, Jason wore his shirt throughout the film as part of his slime-drenched costume, while hunting a group of high-school graduates on a cruise ship to New York. This example is one of three shirts worn by Kane Hodder during the production. It screen-matches to an episode of The Arsenio Hall Show in July 1989, when Jason appeared as a silent guest to promote the film. It matches through the intentional distress and markings on the collar and pockets.The Levi's chambray grey cotton shirt is marked as a size "XXL" and displays heavy intentional distressing with several rips and holes. The colour has faded over time, creating a washed-out appearance.Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £3,500 - 7,000 Ω View all lots from FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN (1989)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

JASON GOES TO HELL: THE FINAL FRIDAY (1993) - Mario Kirner Collection: Jason Voorhees' (Kane Hodder) Screen-matched Costume and BodysuitJason Voorhees' (Kane Hodder) screen-matched costume and bodysuit from Adam Marcus' horror sequel Jason Goes to Hell: The Final Friday. Jason wore his costume at the beginning of the film as he was ambushed by the FBI and killed, and at the end of the film when he was reborn, mask and all. It screen-matches to the beginning of the film, just before he is blown up, through the placement of the bullet holes, and the bodysuit matches behind-the-scenes photos through the paintwork. The costume originally came from the personal collection of actor Kane Hodder.This lot comprises a grey shirt; a pair of black trousers; a black leather belt with a metal buckle; a pair of leather boots; and a prosthetic skin bodysuit. The bodysuit is made of foam latex over spandex and is designed to look like Jason's mottled, discoloured and scarred skin. It features a hole in the chest, where Jessica (Kari Keegan) stabbed Jason with the demon dagger. The head prosthetic is separate from the main body and attached with Velcro. Jason's iconic mask was attached to the head prosthetic with metal poppers, distinguishing it from previous iterations which featured leather head straps. This allowed actor Kane Hodder to more easily remove the mask on set.Each item is intentionally distressed with dirt, stage blood, rips and bullet holes. The foam latex on the bodysuit has become dry and flaky, and it remains in a fragile condition. The costume and bodysuit come on a custom-made mannequin. Dimensions (on mannequin): 187 cm x 55 cm x 30 cm (73 1/2" x 21 3/4" x 11 3/4") Additional Provenance: This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £50,000 - 100,000 Ω View all lots from JASON GOES TO HELL: THE FINAL FRIDAY (1993)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

JASON X (2001) - Jason Voorhees' (Kane Hodder) Screen-matched Hockey MaskJason Voorhees' (Kane Hodder) screen-matched hockey mask from James Isaac's slasher sequel Jason X. Four hundred and fifty-five years after being captured and cryogenically frozen by the US government, Jason was discovered by a group of students on a scientific field trip. Jason wore his mask while hunting down the students one by one, after awakening on their spaceship. This mask matches the one seen on screen for the majority of the film, through the positioning of its slashes, scratches and markings. The tenth instalment in the Friday The 13th series marked the first time the mask design had no direct lineage to the previous masks. This version has a more angular appearance and was made from fibreglass rather than the vacuum-formed plastic technique used for previous iterations. The hockey mask features leather straps made from repurposed belts and has remnants of foam padding on the interior. It is spray-painted yellow, with a red triangle emblem painted on the forehead, and features intentional distressing, including a deep slash across the forehead and damage to the edge of the mask near the left cheek. There are remnants of glue on the interior, while the metal buckle on the leather straps exhibits rusting due to age. Dimensions: 31 cm x 21 cm x 17 cm (12 1/4" x 8 1/4" x 6 3/4")Additional Provenance: This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.DescriptionA wrist communicator from Nicholas Meyer's sci-fi sequel Star Trek II: The Wrath of Khan. Chekov (Walter Koenig) and Captain Terrell (Paul Winfield) used communicators to talk to Khan (Ricardo Montalban) after they were forced to betray Kirk (William Shatner) on Regula.This resin communicator is painted black and attached to a black leather strap that fastens via sewn-on strips of Velcro®. The body features speaker holes, fake switches on the side and four solid buttons on the top with a strip of paper above indicating their functions. It exhibits wear from production use, including scuffs, a white scratch on the strap and glue residue on the back between the resin body and the leather strap. Dimensions: 26.5cm x 7.5cm x 2.5cm (10 1/2" x 3" x 1")Estimate?This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £25,000 - 50,000 Ω View all lots from JASON X (2001)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

JASON X (2001) - Mario Kirner Collection: Uber Jason's (Kane Hodder) Screen-matched MaskUber Jason's (Kane Hodder) screen-matched mask from Jim Isaac's slasher sequel Jason X. After Jason was shot to pieces by Kay-Em 14 (Lisa Ryder), he was rebuilt with nanites and became the cyborg killing machine Uber Jason. This mask matches the one seen on screen through various markings, most notably a chip at the bridge of the nose. Made of fibreglass, the mask was designed and crafted by make-up effects supervisor Stephan Dupuis. It is painted silver with blue and grey accents to give the appearance of a chrome finish. The inside of the mask has "#1" handwritten on the forehead and "Kane's Baby" handwritten on the chin. Several small metal rods protrude from the sides of the mask to fix it to the rest of Jason's make-up. Dimensions: 19 cm x 20 cm x 22 cm (7 1/2" 7 3/4" x 8 3/4") Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £25,000 - 50,000 Ω View all lots from JASON X (2001)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

JASON X (2001) - Mario Kirner Collection: Jason's (Kane Hodder) Screen-matched Costume and Screen-matched Neck ShackleJasons (Kane Hodder) screen-matched costume from James Isaacs sci-fi slasher sequel Jason X. A group of students discovered and accidentally awoke the cryogenically frozen Jason during a school field trip to Earth. Jasons costume became gradually more distressed as he slaughtered and tormented the teens on their spaceship. The jacket matches the one seen on screen for much of the film through the stitching down the left shoulder. During filming, his hockey mask rubbed against his neck shackle, scratching away the paint in places. This pattern of wear matches the lot to the shackle seen both on screen, after Jason electrocuted Crutch (Philip Williams), and on the films official poster.Around 40 different sets of shirts and trousers were made for Jason during the production, each featuring different levels of distress and bullet holes. Designed by Maxyne Baker, this costume includes a heavily torn and distressed brown leather straitjacket, which is labelled "130 HERO" and features a rubber shoulder attachment made to appear like metal. Sewn to the right wrist are some Velcro® patches, which were used to secure Jasons hand shackles in place. The costume also comprises a grey shirt, which is labelled "Jason Sc. 45 D" and features numerous bullet holes, with hand-painted latex wounds and Velcro® patches on the left wrist; a pair of similarly distressed grey trousers labelled "Jason Sc. 45 C, D"; a pair of black leather fingerless gloves; a pair of black Landrover leather boots; a rubber-and-metal neck shackle; and a rubber hand shackle. It is accompanied by a certificate of authentication from New Line Cinemas.Additional Provenance: This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £15,000 - 30,000 Ω View all lots from JASON X (2001)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

JASON X (2001) - Mario Kirner Collection: Jason Voorhees' (Kane Hodder) Screen-matched Bullet-hole ShirtJason Vorhees' (Kane Hodder) bullet-hole shirt from Jim Isaac's slasher sequel Jason X. Jason wore his shirt throughout the film, and it was gradually riddled with bullets, culminating in Kay-Em 14 (Lisa Ryder) shooting Jason's arm off and blowing a hole in his chest. It matches to the scene when Kay-Em kicks him through the wall via the placement of the bullet holes and wounds. The grey shirt has been intentionally distressed with multiple bullet holes, tears, stage blood, prosthetic wounds and a missing right arm. The shirt has "Sc 45D" handwritten on the label.Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £3,500 - 7,000 Ω View all lots from JASON X (2001)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

JASON X (2001) - Mario Kirner Collection: Jason Voorhees' (Kane Hodder) MacheteJason Voorhees' (Kane Hodder) machete from James Isaac's horror sequel Jason X. Jason used his iconic machete throughout the film, and this one features scratches and stage blood from the scene where the invincible killer stabbed Rowan (Lexa Doig) through the cryo chamber door. The machete features a steel blade and wooden handle, and it has been intentionally distressed to appear rusty and scratched. There are remnants of stage blood between the teeth of the blade. Dimensions: 60 cm x 2.5 cm x 7 cm (23 1/2" x 1" x 2 3/4") Additional Provenance: This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £3,500 - 7,000 Ω View all lots from JASON X (2001)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

FREDDY VS. JASON (2003) - Mario Kirner Collection: Jason Voorhees' (Ken Kirzinger) Screen-matched ''Flying'' SFX MacheteJason's (Ken Kirzinger) screen-matched "flying" SFX machete from Ronny Yu's horror crossover Freddy vs. Jason. Jason used his machete throughout the film as he terrorised teenagers and fought Freddy Krueger (Robert Englund). This SFX machete was made for scenes in which Jason threw it, such as when he impales a steam pipe during his dream battle with Freddy. It screen-matches to this scene when Freddy propels it from the steam pipe into Jason's chest through markings along the blade. The top of the blade and the handle have a thin groove and guide bushings, through which a cable would have run, allowing the knife to travel as if thrown. The blade is made of aluminium, and the handle is made of resin, with a piece of tape on which "Boiler Rm Sc./Tree Impalement Sc." is handwritten. The end of the blade features two deep nicks and there is some paint wear along the blade. Dimensions: 76 cm x 2.5 cm x 11.5 cm (30" x 1" x 4 1/2")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £6,000 - 12,000 Ω View all lots from FREDDY VS. JASON (2003)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

FREDDY VS. JASON (2003) - Jason's (Ken Kirzinger) Hero Bloody MacheteJason's (Ken Kirzinger) hero bloody machete from Ronny Yu's horror crossover Freddy vs. Jason. Jason used his machete throughout the film, while cutting down teenagers and fighting Freddy Krueger (Robert Englund). At one point, Freddy even turned the machete against him. Production designer John Willett designed the film's machetes, and many were made for a variety of different gags. The machete's blade is made of aluminium, with a resin handle that's wrapped in white tape. The blade's surface was designed to be slightly rough so liquids better adhered to it, and it is covered in stage blood. The machete has been intentionally distressed to appear well used, and the crossguard is slightly loose. It is accompanied by a certificate of authenticity from New Line Cinema. Dimensions: 76 cm x 2.5 cm x 11.5 cm (30" x 1" x 4 1/2")Additional Provenance: This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner.This lot comes from the Friday the 13th Props Museum collection of Mario Kirner. The Museum was created as a private collection that showcased not only Jason's iconic hockey mask, but also a number of other movie props, costumes and additional materials that were used during the production of the Friday the 13th movies. An avid contributor in the screen-used prop and costume collecting field for more than 20 years, Mario Kirner has been a dedicated in his work and efforts to help to transform what was once a niche hobby into an popular culture phenomenon. Mario is not just a collector, but a true historian and curator of all things Jason Voorhees and Friday the 13th, also publishing a book dedicated to showcasing the museum's content and their stories. Estimate: £3,500 - 7,000 Ω View all lots from FREDDY VS. JASON (2003)View all lots from FRIDAY THE 13TH - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

SLING BLADE (1996) - Karl Childers' (Billy Bob Thornton) Screen-matched Lawnmower Blade and Book with Millsburg Police Magnet and LocketKarl Childers' (Billy Bob Thornton) screen-matched lawnmower blade and book with a Millsburg Police magnet and locket from Thornton's Sling Blade. After years spent in a mental hospital with only three books, including a copy of Charles Dickens' A Christmas Carol, Childers returned to Millsburg, Arkansas and befriended Frank Wheatley (Lucas Black), whose mother (Natalie Canerday) was terrorised by Doyle Hargraves (Dwight Yoakam). Markings on the blade screen-match to when Childers took it to kill Doyle.This lot consists of a metal blade with three holes painted to appear rusty and a copy of Charles Dickens' A Christmas Carol. Also included are a black-and-white Millsburg Police magnet and a gold-colour heart-shaped locket containing a colour picture of Wheatley, neither of which is seen onscreen; a 20-page packet of production notes; including schedules, props, and picture vehicles needed; a copy of a Letter of Authenticity from prop master Dwayne Grady. The paperwork and book exhibit tearing and creasing throughout from production. Dimensions: (largest) 56 cm x 31.75 cm x 4 cm (22" x 12.5" x 1.5")Blade was dulled by production.Estimate: £2,000 - 4,000 Ω View all lots from SLING BLADE (1996)Bidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

STAR WARS: THE FORCE AWAKENS (2015) - Propshop FN-2187 Stormtrooper Helmet ReplicaA Propshop replica of the FN-2187 stormtrooper helmet from J.J. Abrams' Star Wars: The Force Awakens. Before joining the Resistance, Finn (John Boyega) was a stormtrooper with the designation FN-2187. A dying stormtrooper wiped blood across Finn's helmet during their raid on a village on the planet Jakku.Propshop, the industry prop and set decoration fabricator that created many props for The Force Awakens, released only 500 made-to-order, 3D-printed replicas of the FN-2187 helmet in partnership with Disney and Lucasfilm. This helmet is number 49/500.Made from original 3D scan data from the production to ensure accuracy, this black-and-white helmet is constructed of a range of proprietary synthetic materials, and features detailed distressing as well as the red bloodied finger-swipes across the face. Also included is a display stand with a plaque, a certificate of authenticity, a bronze-colour authenticity medallion, a cleaning cloth, its original box, and its original crate. The box and crate exhibit minimal wear from handling. Dimensions: 56 cm x 30.5 cm x 58.5 cm (22" x 12" x 23")Estimate: £3,500 - 7,000 US View all lots from STAR WARS: THE FORCE AWAKENS (2015)View all lots from STAR WARS - ALL ITEMSBidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

STAR WARS: THE FORCE AWAKENS (2015) - Propshop Poe Dameron X-wing Helmet ReplicaA Propshop replica of Poe Dameron's X-wing helmet from J.J. Abrams' Star Wars: The Force Awakens. Poe Dameron (Oscar Isaac) wore his helmet while piloting his X-wing starfighter in battle.Propshop, the industry prop and set decoration fabricator that created many props for The Force Awakens, released a limited number of made-to-order, 3D-printed replicas of Dameron's helmet in partnership with Disney and Lucasfilm.Made from original 3D scan data from the production to ensure accuracy, this helmet is constructed of a range of proprietary synthetic materials, airbrushed in black, grey, and red, with detailed distressing, a yellow acrylic visor, and adhesive decals including the iconic insignia of the Resistance. Also included is a display stand with a plaque, a certificate of authenticity, a metallic-grey authenticity medallion, a cleaning cloth, its original box, and its original crate. The box and crate exhibit minimal wear from handling. Dimensions: 56 cm x 30.5 cm x 43.25 cm (22" x 12" x 17")Estimate: £3,500 - 7,000 US View all lots from STAR WARS: THE FORCE AWAKENS (2015)View all lots from STAR WARS - ALL ITEMSBidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

STAR WARS: THE FORCE AWAKENS (2015) - Propshop Melted Darth Vader Helmet ReplicaA Propshop replica of the melted Darth Vader helmet from J.J. Abrams' Star Wars: The Force Awakens. In the film, Kylo Ren (Adam Driver) brooded over the charred remains of Lord Vader's (David Prowse) helmet.Propshop, the industry prop and set decoration fabricator who created many props for The Force Awakens, released only 500 made-to-order, 3D-printed replicas of the melted helmet in partnership with Disney and Lucasfilm.Made from original 3-D scan data from the production to ensure accuracy, this helmet is constructed of a range of proprietary synthetic materials, hand-painted in Vader's signature charcoal-black, sanded and affixed with metal details near the damaged breathing apparatus. Also included is a display stand with a plaque. Dimensions (displayed): 47 cm x 30 cm x 41 cm (18 1/2" x 11 3/4" x 16 1/4")Estimate: £800 - 1,600 †Δ View all lots from STAR WARS: THE FORCE AWAKENS (2015)View all lots from STAR WARS - ALL ITEMSBidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

STAR WARS: THE FORCE AWAKENS (2015) - Propshop Kylo Ren Lightsaber ReplicaA Propshop replica of Kylo Ren's (Adam Driver) lightsaber from J.J. Abrams's Star Wars: The Force Awakens. Propshop, the industry prop and set decoration fabricator who created many props for The Force Awakens, released made-to-order, limited edition replicas in partnership with Disney and Lucasfilm. The pieces were made from original 3D scan data from the production to ensure the utmost accuracy. This crossguard lightsaber hilt is made of aluminium expertly hand-painted to appear weathered, with metal and high-density resin elements. Also included is a display stand with a plaque featuring the film's title artwork. Dimensions (displayed): 20.5 cm x 15 cm x 30 cm (8" x 6" x 11 3/4")Estimate: £500 - 1,000 †Δ View all lots from STAR WARS: THE FORCE AWAKENS (2015)View all lots from STAR WARS - ALL ITEMSBidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

STAR WARS: THE FORCE AWAKENS (2015) - Propshop Kylo Ren Helmet ReplicaA Propshop replica of Kylo Ren's (Adam Driver) helmet from J.J. Abrams's Star Wars: The Force Awakens. Propshop, the industry prop and set decoration fabricator who created many props for The Force Awakens, released made-to-order, 3D-printed helmet replicas in partnership with Disney and Lucasfilm. The pieces were made from original 3D scan data from the production to ensure the utmost accuracy, and this helmet is constructed of a range of proprietary synthetic materials. It has a padded lining and a black mesh insert inside the visor. The helmet has been expertly hand-painted, with silver-coloured inlay detailing and intentional weathering applied. The lot comes with a black plastic display stand with a plaque bearing the film's title artwork. Dimensions (displayed): 34 cm x 23.5 cm x 50 cm (13 1/2" x 9 1/4" x 19 3/4")Estimate: £600 - 1,200 †Δ View all lots from STAR WARS: THE FORCE AWAKENS (2015)View all lots from STAR WARS - ALL ITEMSBidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

SUPERMAN (VARIOUS PRODUCTIONS) - Superman Shooting Script; Superman III Storyboards, Satellite Artwork and Three Prop Cheques; Supergirl DragonflyA script, storyboards, blueprint and props from various Superman productions. The shooting script for Richard Donner's Superman is dated "14th March, 1978" and bound with a metal fastener between red card covers. The printed storyboards detail the opening scene of Richard Lester's Superman III, while the blueprint is of the Vulcan satellite, and the prop checks are from Ross Webster's (Robert Vaughn) company Webscoe. The dragonfly was created by Kara (Helen Slater) using Zaltar's (Peter O'Toole) wand in Jeannot Szwarc's Supergirl. It is made of resin and covered in green pearlescent foil, and it no longer has any wings. Dimensions (script): 30.5 cm x 21.5 cm x 2.5 cm (12" x 8 1/2" x 1")Estimate: £1,000 - 2,000 M View all lots from SUPERMAN (VARIOUS PRODUCTIONS)View all lots from SUPERMAN - ALL ITEMSBidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

TITANIC (1997) - J. Peterman Replica Rose DeWitt Bukater's (Kate Winslet) Boarding CostumeA J. Peterman replica Rose DeWitt Bukater's (Kate Winslet) boarding costume from James Cameron's Titanic. Rose wore her costume while she boarded the Titanic.In the spring of 1998, the J. Peterman Company released its own line of Titanic memorabilia that replicated props and costumes from the film. This lot consists of a replica costume consisting of a cream wool jacket with purple velvet trim (US size 4); a black silk charmeuse tie; a cream cotton shirt with lace trim (US size 6); and a cream wool skirt (US size 4). The interior of the jacket, shirt, and skirt feature a J. Peterman tag. Also included are four extra covered buttons attached to the jacket's inner tag. This replica costume exhibits minor discolouration on the skirt and loose button threads.Estimate: £3,000 - 6,000 Ω View all lots from TITANIC (1997)Bidding for this lot will end on Sunday, November 12th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Saturday, November 11th.

I DREAM OF JEANNIE (1965-1970) - Jeannie's (Barbara Eden) Season 1 BottleJeannie's (Barbara Eden) bottle from Season 1 of the fantasy sitcom television series I Dream of Jeannie. Jeannie was released from 2,000 years of imprisonment when her bottle was uncorked by astronaut Anthony Nelson (Larry Hagman) after his space capsule strayed off course and marooned him on a desert island. This bottle is seen in a photograph displayed in Stephen Cox's "Dreaming of Jeannie: TV's Primetime in a Box" book. Jeannie's magical bottle was not a prop created for the show but instead a repurposed special Christmas edition Jim Beam whisky decanter. Although there have been several claims as to who discovered the decanter over the years, director Gene Nelson asserted he noticed it whilst passing the window of a liquor store and was so taken by the bottle that he brought it to the show's producer, Sidney Sheldon, and it was later painted by the props department. This style of bottle was used throughout the show's five seasons, although when the series transitioned into colour for Season 2, the bottle was updated to a brighter colour scheme so it would be more distinctive on camera.This teardrop-shaped bottle is made from smoke-green tinted glass and features a tapered neck, a bulbous base and the markings "D-334 119 64 1" embossed on the bottom. It displays hand-painted gold-coloured accents and an ornate leaf design. The glass stopper has a cork end. Although the bottle stopper was only briefly seen in the first episode (misplaced on the beach as part of the storyline), it was used for publicity shots. Accompanying this bottle is a copy of the "Dreaming of Jeannie: TV's Primetime in a Bottle" book, two promotional photographs; one depicting the bottle posed against sand, the other a still of Eden and Hagman with their respective autographs signed in black pen, and a custom clear acrylic display case featuring "I Dream of Jeannie, 1965" applied in white vinyl on its black-painted wooden base. The bottle exhibits areas of wear to its paintwork and remnants of blue paint on the cork stopper. Dimensions: (bottle) 13 cm x 13 cm x 28 cm (5 1/4" x 5 1/4" x 11"); (display case) 23 cm x 23 cm x 59 cm (9" x 9" x 23 1/2")Additional Provenance:This lot was originally sold by Profiles in History in the Hollywood Auction 40 in June 2010.Estimate: £40,000 - 80,000 M View all lots from I DREAM OF JEANNIE (1965-1970)Bidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

THE SHAWSHANK REDEMPTION (1994) - Andy Dufresne's (Tim Robbins) Letter to Ellis "Red" Redding (Morgan Freeman)Andy Dufesne's (Tim Robbins) letter to Ellis "Red" Redding (Morgan Freeman) from Frank Darabont's prison drama The Shawshank Redemption. When Red was finally released from Shawshank Prison near the end of the film, he found Andy's letter under a stone wall by a tree. The letter begins "Dear Red, If you're reading this, you've gotten out. And if you've come this far, maybe you're willing to come a little further." Handwritten in black ink, it goes on to invite Red to Zihuatanejo in Mexico, where he finds Andy during the film's final scene. The lot includes a certificate of authenticity, which states that the letter was obtained from Michael Marcus, who designed and produced all the printed props used for the film. Dimensions: 28 cm x 22 cm (11" x 8 1/2")Estimate: £5,000 - 10,000 M View all lots from SHAWSHANK REDEMPTION, THE (1994)Bidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

STAR WARS: A NEW HOPE (1977) - Anthony Daniels Collection: Screen-matched Light-up C-3PO (Anthony Daniels) HeadA screen-matched light-up C-3PO (Anthony Daniels) head from George Lucas' Star Wars: A New Hope. C-3PO voiced the first on-screen dialogue in A New Hope and is one of the only characters to appear in all 9 films of the Star Wars saga, making Threepio one of the most memorable robots in cinema history. This head is dented on the forehead, chin and left eyebrow as a result of the attack on C-3PO, Luke (Mark Hamill) and Artoo (Kenny Baker) by Tusken Raiders. While at least two damaged-style Threepio costumes heads were made for the film, the crushing and denting effect on each was sculpted by hand and therefore unique. This piece screen-matches to the scenes where C-3PO is on the comm link with Luke, Leia (Carrie Fisher) and Han (Harrison Ford) in the trash compactor, and to the climactic medal ceremony at the end of the film. This is the only complete C-3PO helmet from A New Hope currently in a private collection and it is offered directly from Anthony Daniels.Daniels, who played C-3PO within the costume as well as providing the voice, is the only actor to have featured in all Star Wars theatrical releases. C-3PO's enduring popularity is a testament to Daniels' fantastic performances. The golden robot was originally designed by legendary concept artist Ralph McQuarrie, and Daniels instantly fell in love with the character when he saw McQuarrie's concepts. The initial designs were based on Walter Schulze-Mittendorff's Maschinenmensch "Maria" robot from Fritz Lang's 1927 German expressionist sci-fi film Metropolis. After being cast as Threepio, Daniels went through a lengthy process of moulding his face, torso and limbs to create the costume. Several different versions of the head were sculpted by Liz Moore, and George Lucas chose the now-iconic design. The body of the C-3PO costume was realised through the work of art director Norman Reynolds, pattern maker Brian Archer and carpenter Jim Kerr, amongst others, who converted McQuarrie's designs into a wearable (although not always comfortable) costume. Due to the challenge of aligning and fitting the costume head onto Daniels, it was often left in place on the actor for long durations between camera setups. During this time, Daniels' vision and hearing were limited and his only source of fresh air was the small mouth hole. The costume's illuminating "photoreceptor" eyes were designed in such a way as to keep them from blinding Daniels when illuminated; a black material was installed behind the lights to shield Daniels' eyes, leaving only small ports through which the performer could see. Daniels was aided on the first film by a member of the props department, primarily Phil "Maxie" McDonald, who would help him dress in the costume, move around set, and repair the costume when necessary. The costume head is comprised of three major components: a backplate, faceplate (with installed eyes), and a neck-ring which are fixed together with two neck-bolts and the forehead antennae. Several physical characteristics of this head's construction are unique to the original film, A New Hope. The costume head features aluminium details that were machined and individually-installed at the back of the head and the mouth of the faceplate; these were cast into the fiberglass in later films. The fittings that hold the two halves of the head together were also updated as the films progressed; the neck bolts and forehead antennae are threaded connectors on this piece as opposed to the more advanced quarter-turn versions used later. The head is made of very thin fibreglass to be as close-fitting and lightweight as possible.The eyes are not original to A New Hope but are from The Empire Strikes Back or Return of the Jedi, as indicated by the shape of their prismatic detailing, which changed after the original film. These eyes were fitted at some point after A New Hope wrapped. They are currently tacked in with tape (not original to production) and retain their original wiring, which is connected to a more recently installed battery pack and switch. The helmet's faceplate also has a channel installed at the interior forehead, likely for routing the eye wires to the back of the head; this feature is believed to be unique to the construction of A New Hope heads.The costume head is one of the few mementoes Daniels kept from the production of A New Hope and it has been in his possession ever since. He used the piece for touring, publicity and other events to promote the film and it became progressively more tarnished. After that time, the original surface was restored with a new vacuum-metallised finish, giving it a fresh, high-polish appearance. This restored aesthetic matches closely to the finish in the climactic medal ceremony scene in which this exact helmet was worn. This specific piece also features prominently on the cover of Daniels' memoir I Am C-3PO - The Inside Story.The costume head's eyes illuminate when an internal switch is activated, and it is presented on a custom-made display stand. It is also accompanied by several stills from the film showing the head and a letter of authenticity from Daniels.Threepio stands as one of the most recognizable cinema designs of all time. This screen-matched C-3PO costume head, with direct provenance to the production, is one of the most significant artifacts from the original Star Wars film to come to market. Dimensions: 25 cm x 20 cm x 32 cm (9 3/4" x 7 3/4" x 12 1/2") Contains electronics; see electronics notice in the Buyer's Guide.Special shipping required; see special shipping notice in the Buyer's Guide.Additional Provenance: This lot comes from the personal collection of actor Anthony Daniels. Daniels plays loyal protocol droid C-3PO in the Star Wars saga. He first appeared in the role in 1977 and is the only actor to appear in all Star Wars feature films to date.Estimate: £500,000 - 1,000,000 M View all lots from STAR WARS: A NEW HOPE (1977)View all lots from STAR WARS - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

BACK TO THE FUTURE PART II (1989)/BACK TO THE FUTURE PART III (1990) - Marty McFly's (Michael J Fox) "Mattel" HoverboardMarty McFly's (Michael J. Fox) hoverboard from Robert Zemeckis' sci-fi adventure sequels Back to the Future: Part II and Part III. McFly first obtained his hoverboard from a young girl in the year 2015 to escape from Griff Tannen (Thomas F. Wilson) and his gang, and continued to use it throughout both films. The hoverboard became McFly's signature item and remains one of the franchise's most beloved props.Two primary styles of hoverboard were made for production: wooden boards for effects work, including shots of the performer riding the board, and lightweight foam boards typically used for shots of the board being carried. This hoverboard is of the latter kind, constructed primarily of rigid lightweight foam, painted pink and given a photo-print finish on both sides (as opposed to the lenticular print used on some boards). The top of the board features the word "HOVERBOARD," with Mattel logos, a foot-pad, zig-zagging pink-and-green fastening strips, a hole where the handle was once attached, and a fuzzy pink foot strap (these are frequently missing from the Mattel board props). The bottom features plastic detailing, including two silver-coloured hover pads.This hoverboard exhibits wear from use and age, including adhesive residue around the fastening strips, cracks and dents in the foam, and paint chipping throughout, most extensively around the hover pads. It is accompanied by a letter of authenticity from Bruce Moriarty, second unit first AD; two printed copies of the hoverboard concept art; and a printed photograph of Michael J. Fox with a hoverboard. Dimensions: 71.25 cm x 21.75 cm x 6.5 cm (28" x 8 1/2" x 2 1/2")Estimate: £70,000 - 140,000 Ω View all lots from BACK TO THE FUTURE PART II (1989)/BACK TO THE FUTURE PART III (1990)View all lots from BACK TO THE FUTURE - ALL ITEMSBidding for this lot will end on Thursday, November 9th. The auction will begin at 3:00PM BST 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 Friday, November 10th, Saturday, November 11th or Sunday, November 12th.

BATMAN FOREVER (1995) - Fifteen Production Photo PrintsA collection of 15 production prints from Tim Burton's superhero sequel Batman Returns. This lot consists of one black-and-white and 14 colour prints of concept designs for the film.The prints exhibit highly intricate renderings of props, buildings and skylines, most of which later appeared in the film. Several prints are signed by concept artists J.F. Griffith and Matt Codd and one is signed by the film's art director Brent Boates. Amongst the images depicted are the Batwing (Codd); the Riddler's lair (Codd); the gothic gates of Arkham Asylum (Griffith); the Hippodrome exterior (Griffith); Claw Island (Boates); and several Gotham City cityscapes.Some prints exhibit minor frays at their edges but the lot is in good condition. Dimensions: (largest) 72 cm x 55 cm x 0.5 (28 1/4" x 21 3/4" x 1/4")Estimate: £600 - 1,200 †Δ View all lots from BATMAN FOREVER (1995)View all lots from BATMAN - ALL ITEMSBidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

BLADE RUNNER (1982) - Geoff Hutchins Collection: Collection of Replica PropsA collection of replica props relating to Ridley Scott's sci-fi classic Blade Runner. This lot comes from the family of Blade Runner archivist Geoff Hutchins.The lot includes four replica Rick Deckard (Harrison Ford) blasters; a prop model kit for Leon's (Brion James) pistol; resin police badges and cloth police decals; an Arnolfo di Cambio® glass tumbler; two shot glasses; a replica Smirnoff de Czar vodka bottle; an empty whisky bottle; police reports on the replicants; Deckard's police record; and several items ostensibly from Deckard's apartment, including two boxes of Snake Pit matches, phone cards and a silver-foil origami unicorn. One of the blasters requires repair and some items display signs of wear, but most are in good condition. Dimensions: 33 cm x 25 cm x 14 cm (13" x 10" x 5 1/2")Estimate: £1,000 - 2,000 M View all lots from BLADE RUNNER (1982)Bidding for this lot will end on Saturday, November 11th. The auction will begin at 3:00PM BST 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 Thursday, November 9th, Friday, November 10th or Sunday, November 12th.

Jacek Malczewski (Polish, 1854-1929)Self Portrait with Black Cap, 1925signed and dated 'J. Malczewski, 1925' (upper left)oil on canvas mounted on paperboard64.8 x 36.2 cm (25 1/2 x 14 1/4 in).framed 71.0 x 42.5 x 4.3 cm (28 x 16 3/4 x 1 5/7 in).Footnotes:ProvenanceAlfred and Maria Tarski, Berkeley, California; then by family descent to the Estate of Eva Kristina Ehrenfeucht.N.B.A painter and illustrator, Jacek Malczewski was born in Radom in 1854 and was educated at the Krakow School of Fine Arts as well as the Paris École des Beaux Arts from 1876-1877. Malczewski is credited for the rise in popularity of symbolism in late 19th- and early 20th-century Poland. Through his use of symbolic motifs and allegories, Malczewski provided a lens to the political turmoil that he experienced leading up to and following Poland's 1863 uprising. This event became a persistent theme in his works, through which he expressed ideas of independence and nationalism. Malczewski was fond of self-portraits and often used his own likeness as reference for allegorical figures. This is especially true with his later works, such as in his series My Life (1914-1920). This particular self-portrait depicts the interior of the Luslawice Mansion where Malczewski's sisters lived, and where he visited often towards the end of his life. The black cap and elongated format of this portrait resemble styles and props used in other works by the artist, such as his 1926 Autoportret We Wnętrzu.Along with his wife, Maria, Jewish-American logician and mathematician Alfred Tarski was an avid collector of Polish art and amassed an impressive collection of works from some of Poland's most influential artists. Like many artists in their collection, Mr. Tarski was born in Warsaw, Poland to Jewish parents in 1901. Mr. Tarski was educated in Poland at the University of Warsaw and became a member of the Lwów–Warsaw School, one of the most important schools of Polish logic and philosophy, and of the Warsaw School of Mathematics. In 1929 he married Maria Witkowska and they began collecting art. Maria worked as a courier for the army in the Polish–Soviet War. They had two children together, and in 1939 the family immigrated to the United States where Mr. Tarski taught and carried out research in mathematics at the University of California, Berkeley until his death in 1983.For further information on this lot please visit Bonhams.com

Television / Film props a set of five Roman shields of oval form painted red and a sword

GOBER, ROBERT1954 Wallingford, CT/USATitel: Ohne Titel (für Parkett 27). Untertitel: Vorzugsausgabe. Datierung: 1991. Technik: Lithografie auf Zeitungspapier (gefaltet), in Parkett-Ausgabe eingelegt. Darstellungsmaß: 56,5 x 35,5cm. Bezeichnung: Signiert, datiert und nummeriert. Herausgeber: Parkett-Verlag, Zürich (Hrsg.). Exemplar: 67/75. Zustand:Vereinzelt minimale Knickspuren (werkimmanent?). Ansonsten befindet sich das Werk in einem sehr guten Zustand.Mit Parkett-Magazin."As assemblages of props, costumes, and sets, Gober's installations of domestic dreamscapes pose as sites for the unfolding of narrative sequences; each element serves as a silent accoutrement to the human drama awaiting to be enacted therein. in this potent mise-en-scène we are implicated as participants. Gober's fabricated, home-like spaces are uncanny in the truest sense of the word."Nancy Spector, Parkett Nr. 27, 1991.Artikel zu Werk und Künstler aus Parkett Edition Nr. 27. Robert Gober Post-Pop Art Grafik 1990er Mensch Druckgrafik Lithografie SchriftErläuterungen zum Katalog

Scalextric - a LARGE collection of original vintage Triang / Hornby Scalextric slot car racing trackside accessories, buildings, props, cars for spares / repairs and original (empty) boxes. Models to include; Time Keepers Hut, Event Board Hut, First Aid Hut, Control Tower, Pit Stop Garage, Grand Stand, Crash Barriers, Petrol Pumps, Spectator Figures, Mechanics and more.

A Qajar grisaille painting of a bear, Zand or Qajar Iran, late 18th century, pen and ink on lacquered paper, a bear, his tongue lolling from his mouth, props himself up against a leafless branch, slight staining, laid down between various gold and polychrome borders on a wide green card margin with polychrome gul-o-bulbul illumination, mounted, painting 17.2 x 12cm.; folio 33.1 x 20.6cm.Provenance: Christie’s, Art of the Islamic and Indian Worlds, 10th April 2014, Lot 22

A selection of props to include heads and eyes

A very well-made kit build model of a UREKA XIII Radio Controlled Tug, titled Smit Rusland, still active today, model is built to a god standard and is fitted with twin can motors powering twin props, fitted with rudder servo and removable superstructure to reveal electronic and internal components, length 58cm, model is supplied with a wooden carry case and hand setVery well built but some rigging needs attention. Paintwork is excellent. Looks very attractive.We have no means of confirming if it is in good working order.

A collection of The Movie Reliquary Screen used Doctor Who props encased in acrylic cases to include a piece from an original Ice Warrior head, seen in episodes of Doctor Who between 1967 and 1974, a section of screen used special effects cat hair from Survival, a section of Kandyman screen used in the Happiness Patrol, together with a section of screen used 1972 Sea Devil, all examples are signed with certificate of authenticity from Matthew Doe, and housed in the original boxes

The Man with the Golden Gun (1974) . Original British poster . Artist: Robert E. McGinnis (b.1926). . Unframed: 30 x 40 in. (76 x 102 cm). . Unfolded and linen backed. . The vast majority of these posters were distributed folded. This is a rare unfolded example.. . This was the ninth film in the series produced by Eon Productions. It was the second time that Roger Moore played James Bond, and the fourth and final time that Guy Hamilton would direct a Bond film. Christopher Lee plays the villain Francisco Scaramanga, whose golden gun is one of the most memorable Bond film props. The golden gun was made from Scaramanga's fountain pen, cigarette lighter, cigarette lighter and cufflinks - all made of gold. This film was loosely based on Ian Fleming's novel, published in 1965.. . Excellent condition, colours remaining very bright, very minor wear to the centre top edge of the poster.. . Material of piece: Paper, backed on linen. . LITERATURE:. . The Official 007 Collection James Bond Movie Posters, Boxtree, 2001, p. 96/97 (this publication features posters from Eon Productions' archive) and James Bond 50 Years of Movie Posters, Dorling Kindersley, 2012, p. 152/153 

Robert Benard (French 1734-1777): Rural Economy - Method to Make Clogs and Props and Moulders, set three engravings pub. Diderot's Encyclopedia c1751; English School (18th century): 'To Face Electricity', engraving pub. New Royal and Universal Dictionary of Arts and Sciences c1860 (4) (unframed)

Sean Bean autograph, on a 10" x 8" photograph print of Sean Bean and Pierce Brosnan in "James Bond 007: Goldeneye", with Certificate of Authenticity by b'bc 007 Autographs and Props. 

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE WEST OF IRELAND - 1928 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 12cm x 14.5cm (4.75in x 5.75in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE PRINTS: ANAIS; YOLANDE (FLORENCE LAYZELL, MRS HENRY RUSHBURY); HEAD OF A GIRL - 1944 Etching, signed in pencil to marginYOLANDE, Etching, signed in plate, signed in pencil to marginHEAD OF A GIRL, Lithograph, signed with initials in print, signed and dated in pencil Dimensions:plate sizes 14cm x 11cm (5.5in x 4.25in); 11.5cm x 8.5cm (4.5in x 3.5in) 29.5cm x 22cm (11.5in x 8.75in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) MEDITATION Signed lower left, conté and charcoal Dimensions:32.5cm x 26cm (12.75in x 10.25in) Provenance:Provenance: Private British collection Note: Exhibited: Sheffield City Art Galleries, 'A Dream of Fair Women,' 13 December - 1 February 1987, cat. no. 55. Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) UNA - 1929 Etching, signed in pencil to margin Dimensions:plate size 22cm x 16cm (8.75in x 6.25in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) YOUNG WOMANHOOD - 1931 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 23cm x 17.5cm (9in x 7in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) CYPRIANO - 1927 Etching, signed in plate, signed in pencil to margin Dimensions:plate size 16cm x 9.25cm (6.25in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: THE BLACK CLOAK (MRS PAUL MELLON) - 1943; PHEMIE; AGLAIA Etching, signed and dated in plate, signed in pencil to marginPHEMIE, Etching, signed in plate, signed in pencil to marginAGLAIA, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 25cm x 20cm (10in x 8in); 10cm x 7.5cm (4in x 3in); 12.5cm x 9cm (5in x 3.5in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) PORTRAIT OF JAMES MCBEY - 1931 Etching, signed, dated and inscribed in plate, signed in pencil to margin Dimensions:plate size 27cm x 19cm (10.5in x 7.5in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE BLACK SILK DRESS - 1927 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 22cm x 15.5cm (8.75in x 6.25in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THE MIRROR Etching, signed in plate, signed in pencil to margin Dimensions:plate size 14.25cm x 10cm (5.5in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: IN THE WOODS; THE THREE SISTERS; NOEMIE Etching, signed in plate, signed in pencil to marginTHE THREE SISTERS, Etching, signed in plate, signed in pencil to marginNOEMIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 12.5cm x 15cm (5in x 6in); 10cm x 12.5cm (4in x 5in); 18cm x 10.5cm (7.25in x 4.25in), each unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) VIBA - 1929 Etching, signed and dated in plate, signed in pencil to margin Dimensions:plate size 21.5cm x 17cm (8.5in x 6.75in), unframed Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.

§ GERALD LESLIE BROCKHURST R.A. (BRITISH 1890-1978) THREE ETCHINGS: FABIAN (THE IDEAL HEAD); CASPER - 1933; FABIAN; CLYTIE Etching, signed in plate, signed in pencil to marginCASPER, Etching, signed with initials in plate, signed in pencil to marginCLYTIE, Etching, signed in plate, signed in pencil to margin Dimensions:plate sizes 19.75cm x 14.5cm (7.75in x 5.75in), 17cm x 12.5cm (6.75in x 5in), 12cm x 10cm (4.75in x 4in) Provenance:Provenance: Private British collection Note: Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.