STAR WARS: THE PHANTOM MENACE (1999)/STAR WARS: ATTACK OF THE CLONES (2002) - Plo Koon (Matt Sloan) Dueling Lightsaber Hilt - A Plo Koon (Matt Sloan) dueling lightsaber hilt from George Lucas' Star Wars: The Phantom Menace and Star Wars: Attack of the Clones. Designed and built by the production's props department for background Jedi seen in The Phantom Menace, this style of hilt became specifically associated with Plo Koon, a Kel Dor Jedi Master on the Jedi High Council, in Attack of the Clones.This hilt features a resin and metal handgrip with a tapered pommel cap inset with a threaded rod. It is painted silver-color, black, and red to simulate a metallic finish. The threaded rod allowed for installation of aluminum blades that were used for dueling sequences and replaced frequently as they were damaged on set. The resin exhibits scuffs and cracks throughout from production use, with a small ridge piece broken off near the blade end. Dimensions: 14.25" x 2.75" x 2.25" (36.25 cm x 7 cm x 5.75 cm)Estimate: $8,000 - 16,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.
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STAR WARS: THE FORCE AWAKENS (2015) - Rey's (Daisy Ridley) Promotional Prop Staff - A promotional prop of Rey's (Daisy Ridley) staff from J.J. Abrams' Star Wars: The Force Awakens. Propshop, the industry prop and set decoration fabricator that created many props for The Force Awakens, released limited-edition prop replicas in partnership with Disney and Lucasfilm. The pieces were made from original 3-D scan data from the production to ensure utmost accuracy. Used in marketing events, the 3-D-printed staff is painted gray to resemble aged metal and features linen and leather wraps that have been distressed to simulate age and a brown woven cotton strap. The staff exhibits some scuffing to its finish. Dimensions: 72" x 3" x 3" (183 cm x 7.75 cm x 7.75 cm)Special shipping required; see notice in the Buyer's Guide.Estimate: $4,000 - 8,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.
THE THING (1982) - Norris (Charles Hallahan) Spider Head-Thing - A Norris (Charles Hallahan) Spider Head-Thing from John Carpenter's sci-fi horror film The Thing. After R.J. MacReady (Kurt Russell) burned the Norris-Thing, Norris' head detached from the body to survive the fire and transformed into a spider-like monster. The primary mechanical spider-head puppet seen in the film was burned on camera, but a few static props were also made during production.Designed by special effects makeup artist Rob Bottin, this static version of the Spider Head-Thing was gifted by Bottin to Henry Alvarez, a sculptor who worked on the film, at the time filming wrapped. This piece is very similar to the one seen on the cover of a special double issue of Cinefantastique for "The Incredible Effects of The Thing," though the legs on the Cinefantastique prop had added spikes that were never seen in the film versions.Originally obtained from the family of Alvarez, the head is made of dense latex and foam based on a sculpture bearing Charles Hallahn's likeness with life-like resin eyes. It features welded metal armatures inside the six spider-like legs; the armatures are covered with latex skins. A replica lace wig with synthetic hair has been added for display. Also included is a copy of the referenced Cinefantastique magazine. The Thing was not a critical success upon its release, but has been reevaluated over time and is now widely considered a staple title in the horror genre. Rob Bottin's effects work, especially on The Thing, is regularly lauded as an amazing practical effects achievement even by today's standard. Bottin won a Special Achievement Academy Award in 1991 for Total Recall, and later withdrew from the film industry. Original Bottin pieces in the collecting world are both scarce and sought after. This is one of the most significant Rob Bottin effects pieces ever offered at public auction.The head has had minor restoration and stabilization work done. This lot exhibits discoloration, cracked and fragile latex from age; exposed foam and metal around the head; and lifted adhesive from age. Dimensions: 48" x 36" x 48" (122 cm x 91.5 cm x 122 cm)Estimate: $100,000 - 200,000Bidding for this lot will end on Wednesday, June 28th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, June 29th or Friday, June 30th.
BETTER CALL SAUL (T.V. SERIES, 2015 - 2022) - Kim Wexler (as played by Rhea Seehorn) and Saul Goodman's (as played by Bob Odenkirk) Revenge on Hamlin Components - Kim Wexler (as played by Rhea Seehorn) and Saul Goodman's (as played by Bob Odenkirk) components for their revenge on Hamlin from Vince Gilligan and Peter Gould's prequel series Better Call Saul. Wexler and Goodman used various components, props, and costumes to end Howard Hamlin's (as played by Patrick Fabian) career and get the Sandpiper case to settle.This lot consists of 51 colored sticky notes with drawings and key words, and a navy cloth and white nylon arm sling with fastening strips. This lot exhibits creases and notable loss of adhesion on the sticky notes. Dimensions: (notes) 3" x 3" (7.75 cm x 7.75 cm)Sony Pictures Television will be donating a portion of the sales proceeds from this lot to the Assistance League of Albuquerque and ABQ Mutual Aid of the SouthWest Organizing Project, two local charities located in Albuquerque, New Mexico where Better Call Saul was filmed.Estimate: $800 - 1,600Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
CATCH ME IF YOU CAN (2002) - Set of Annotated Continuity Photos - 459 annotated continuity photos from the production of Steven Spielberg's biographical crime caper Catch Me If You Can. These photos depicted Frank Abagnale, Jr. (Leonardo DiCaprio), Carl Hanratty (Tom Hanks), and other key characters, costumes, props, and sets replete with hand-marked annotations denoting scene numbers and other continuity notes in the margins. The photos are hung on three metal binder rings. The set exhibits creasing, bending, edge wear, discoloration, and color fade. Dimensions: 4" x 4" x 5.5" (10.25 cm x 10.25 cm x 14 cm)Estimate: $1,500 - 3,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
INDIANA JONES AND THE TEMPLE OF DOOM (1984) - Continuity Photo and Notes - A continuity photo and notes from the production of Steven Spielberg's action-adventure prequel Indiana Jones and the Temple of Doom. This set originated with script supervisor Pamela Mann, who used the materials to track the appearance and placement of various costumes, props, and set dressing.This lot consists of one color photograph of Lao Che (Roy Chiao) and his men; one printed "Bridge squence [sic]" continuity page with numbers written throughout; and an A5 size notebook of handwritten continuity notes. The photo exhibits staining around the edges, the paper exhibits corner creasing, and the notebook's cover exhibits scuffing. Dimensions: (largest) 8.5" x 11" (21.75 cm x 28 cm)Estimate: $600 - 1,200Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
DR. NO (1962) - Set of Six Le Cercle Casino Plaques - Six Le Cercle casino plaques from Terence Young's Bond film Dr. No. MI6 agent 007 (Sean Connery) first uttered his name - "Bond, James Bond" - as he played baccarat chemin-de-fer against Sylvia Trench (Eunice Gayson) at Ken Adams' set based on the Le Cercle casino inside London's Les Ambassadeurs club. Le Cercle casino loaned £35,000 of its house plaques to EON Productions for the film under the supervision of two security guards. This lot consists of four £10, one £50, and one £100 plaques manufactured of glossy plastic composites engraved "Le Cercle" with serial numbers hot-stamped by the casino. £10 plaques of this style were later used in Richard Lester's A Hard Day's Night. Also included are b'bc 007 Autographs and Props Certificates of Authenticity for each plaque. The set exhibits some bubbling, bending, and discoloration along the edges. Dimensions: (largest) 4.5" x 3" x 0.5" (11.5 cm x 7.75 cm x 1.5 cm)Estimate: $4,000 - 8,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.
OCEAN'S ELEVEN (2001) - Set of Continuity Photos - Continuity photos from Steven Soderbergh's heist comedy Ocean's Eleven. Danny Ocean (George Clooney) violated his parole to meet his friend and partner in crime Rusty Ryan (Brad Pitt) for a heist that set the rest of the events in motion.This set consists of three binder rings with 403 behind-the-scenes photographs featuring photos of cast members in costume and makeup, locations, set pieces, and props. Their borders are hand-marked with scene numbers and other continuity information in black, blue, and red ink. They exhibit some minor staining on the borders and bending on the hole-punched corner. Dimensions: (each) 4" x 4" x 5.5" (10 cm x 10 cm x 15 cm)Estimate: $1,500 - 3,000Bidding for this lot will end on Friday, June 30th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Thursday, June 29th.
The lure shown is in a beautiful rainbow color pattern with blue eye shadow and back stripe. This antique wooden minnow has haunting glass eyes as shown. The lure has forward, and rear marked props and the lure is designed to swim on its side replicating a fish in distress and has both a mid and rear hanging treble hooks. Issued: 1929-1933Dimensions: 3.25"LManufacturer: South Bend Bait Co.Country of Origin: Indiana, USACondition: Age related wear. Fair, pointers and chips.
MINKO: AN INLAID WOOD TONKOTSU WITH NOH AND KYOGEN MASKSBy Tanaka Juntoku Minko (1735-1816), signed Minko 岷江Japan, Tsu, early 19th century, Edo period (1615-1868)Of oval section and slightly tapering form, decorated with dark wood inlays depicting various masks comprising Okame, Hyottoko, Oni, Okina, Beshimi, and Shojo. The cord holes to the top of the cover are ringed in stained bone. One side of the box with a wood-inlaid rectangular reserve signed MINKO.WIDTH 8.3 cmCondition: Very good condition, minor wear, few small nicks, few light surface scratches.Noh is a major form of classical Japanese dance-drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Noh is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, deities, and demons.Kyogen is a form of traditional Japanese comic theater. It developed alongside Noh, was performed along with Noh as an intermission of sorts between Noh acts on the same stage, and retains close links to Noh in the modern day. Its contents are nevertheless not at all similar to the formal, symbolic, and solemn Noh theater; kyogen is a comic form, and its primary goal is to make its audience laugh.Auction comparison: Compare a related wood tonkotsu with wood inlay by Minko at Galerie Zacke, Fine Japanese Art, 27 May 2022, Vienna, lot 156 (sold for 5,056 EUR). Another related tonkotsu by Minko was sold at Bonhams, Japanese Works of Art, 19 September 2008, New York, lot 5041 (sold for 4,800 USD).
◆ FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) STILL LIFE WITH TULIPS Signed, inscribed verso, oil on canvasDimensions:51cm x 61cm (20in x 24in)Provenance:Provenance: Acquired in 1943 from Dowell’s Ltd, Edinburgh and thence by descent to the Executors of the Late Mrs Anne WalkerNote: Note: F. C. B. Cadell, like his fellow Scottish Colourist and close friend S. J. Peploe, was a master of the still life genre. As seen in Still Life (The Tulip) and Still Life with Tulips, he created images of arresting beauty by way of carefully chosen, arranged and depicted props, including favoured and highly-coloured flowers, fruit and ceramics.These paintings illustrate the significant development in Cadell’s practice after demobilisation and moving to 6 Ainslie Place in Edinburgh’s Georgian New Town in 1920. Moreover, it was with works from this period that he established his reputation as one of Scotland’s most important artists of the twentieth century. Cadell decorated and furnished his magnificent quarters with aplomb and celebrated its interiors and objects d’art in images characterised by a new firmer technique, flatter rendering of form and use of saturated colour.As Alice Strang has explained:This marked change is thought to have been encouraged by Cadell’s new surroundings, by his close collaboration with Peploe immediately after the war, by his interest in the Art Deco movement, and possibly in response to the squalor of the trenches. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.40)Cadell and Peploe had met in Edinburgh by 1909 and these two paintings pay testament to the closeness of their friendship, especially in the early 1920s; Peploe lived a short distance away from Ainslie Place, in India Street. At this time both were drawn to the visual possibilities of tulips, the only flower which continues to grow after being cut. This phenomenon gives rise to the graceful arabesques of their stems which Cadell depicted so deftly. The forms of the flower heads, the layering of their petals and the dense colouring of their leaves also provided an inspiring source of silhouette, colour and mark-making.Still Life with Tulips bears a price of £65 on its reverse and overflows with Cadell’s confidence and sophistication. He now revels in the reflective glaze and voluptuous qualities of the blue jug, this time set against the lilac walls of the first floor at Ainslie Place. A tablecloth and black fan with winding ribbon (a prop which Peploe also favoured) add to a sense of a cultured lifestyle. Spatial layering is complex and successful, from the cropping of the lemon in the foreground suggesting the wider space existing beyond the confines of the canvas, to the progression of green tea bowl, to lemon to blue and white oriental vase. Tulip heads are seen straight on and in profile, stems and petals overlap each other and their companions, whilst shadow is subtly implied by way of clearly visible brushstrokes. The lighting is soft, the palette combines gentle tones with pure brilliance and each item contributes to an overall sense of balance.
◆ FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) STILL LIFE (THE TULIP) Signed, signed and inscribed verso, oil on boardDimensions:36cm x 43cm (14in x 17in)Provenance:Provenance: Acquired by Mrs R A Workman from the 1923 Leicester Galleries exhibitionPortland Gallery, LondonPrivate Collection, U.K.Exhibited: The Leicester Galleries, London, Paintings by S. J. Peploe, F. C. B. Cadell and Leslie Hunter, January 1923, no.38 (as 'Tulips')Note: Note: F. C. B. Cadell, like his fellow Scottish Colourist and close friend S. J. Peploe, was a master of the still life genre. As seen in Still Life (The Tulip) and Still Life with Tulips, he created images of arresting beauty by way of carefully chosen, arranged and depicted props, including favoured and highly-coloured flowers, fruit and ceramics.These paintings illustrate the significant development in Cadell’s practice after demobilisation and moving to 6 Ainslie Place in Edinburgh’s Georgian New Town in 1920. Moreover, it was with works from this period that he established his reputation as one of Scotland’s most important artists of the twentieth century. Cadell decorated and furnished his magnificent quarters with aplomb and celebrated its interiors and objects d’art in images characterised by a new firmer technique, flatter rendering of form and use of saturated colour.As Alice Strang has explained:This marked change is thought to have been encouraged by Cadell’s new surroundings, by his close collaboration with Peploe immediately after the war, by his interest in the Art Deco movement, and possibly in response to the squalor of the trenches. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.40)Cadell and Peploe had met in Edinburgh by 1909 and these two paintings pay testament to the closeness of their friendship, especially in the early 1920s; Peploe lived a short distance away from Ainslie Place, in India Street. At this time both were drawn to the visual possibilities of tulips, the only flower which continues to grow after being cut. This phenomenon gives rise to the graceful arabesques of their stems which Cadell depicted so deftly. The forms of the flower heads, the layering of their petals and the dense colouring of their leaves also provided an inspiring source of silhouette, colour and mark-making.Still Life (The Tulip) is an image of extraordinary modernity; its tight handling, brilliant palette and suppression of volume embody the Art Deco style before the exhibition from which that term was derived was mounted in Paris in 1925. It may be set before a wall on the ground floor of Ainslie Place, which Cadell is known to have painted dark blue, green and brown above a light grey floor. The internal framing device around the jug is believed to be an empty white frame, of the type which Cadell often used for the presentation of his work. The cropped, asymmetric composition sets up a striking relationship between tulip head and fruit, whose brilliant colour stands out against the dark background and tabletop.As Strang has continued:There are precedents in Art Deco painting and the lacquer work of Jean Dunand, but these still lifes are really Cadell’s own creation and count among the most remarkable paintings in British art of the period. (Strang, op.cit., p.41)A label on its reverse reveals that Still Life (The Tulip) was included in the key exhibition, Paintings by S. J. Peploe, F. C. B. Cadell and Leslie Hunter (working title Three Scottish Artists) held at the Leicester Galleries in London in 1923. It was organised by A. J. McNeill Reid, son of the Glasgow-based dealer Alexander Reid and did much to secure the artists’ standing in the English art world. Cadell showed thirty works, of which he recorded the sale of five, for a total of £180, all to Alexander Reid, in his Register of Pictures (1923 no.s 8-12, Private Collection on long-loan to the National Galleries of Scotland).
ZHUAN ZHU ASSASSINATES KING LIAO', BY GUAN LIANG (1900-1986), DATED 1980 China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting the theatric scene of the assassin Zhuan Zhu offering a fish to King Liao of Wu, who is standing in the back dressed in a yellow robe and wearing the Lingzi, a headdress with pheasant tails. The dagger with which Zhuan eventually killed the king is hidden inside the fish.Inscriptions: Bottom left, inscribed 'Zhuan Zhu stabs King Liao of Wu', dated 'in October of the Year of Gengshen' (corresponding to 1980), signed 'Guan Liang'. One seal 'Guan Liang'. Top right, one seal of the artist, 'Nanting'. Provenance: From a private collection, acquired shortly after 1980, and thence by descent. British trade, by repute acquired from the above. Condition: Excellent condition with only minor wear, little foxing, and few small stains.Dimensions: Image size 107 x 55.3 cm, Size incl. mounting 124 x 65.7 cmGuan Liang (1900-1986) was a Chinese painter born in Guandong Province. He studied art in Japan and specialized in Chinese oil painting. Guan was a fine arts educator, professor at the Zhejiang Academy of Fine Arts in Zhejiang, China, and the director of the Shanghai branch of the Chinese Artists Association. Guan once mentioned that Paul Gauguin, Vincent van Gogh, and Henri Matisse had left a deep impression and a lasting influence on him, and that in his work he sought to merge Western techniques with Chinese themes.Guan Liang developed a passion for Chinese opera from a young age, having grown up attending performances with his father. He was captivated by performing arts and became deeply involved in Beijing opera by acting and learning the art of theater from an opera singer, as well as acquiring costumes and props. In his opera ink paintings, Guan captures the spirit of each character by depicting their facial expressions and the emotions in their eyes.The painting depicts the theater scene where Zhuan Zhu kills King Liao of Wu. Zhuan Zhu was an assassin who lived in the Spring and Autumn period. He was recruited by Prince Guang, who wanted to kill the king in order to take the throne himself. Zhuan Zhu finally managed to kill the king during a party with a dagger hidden in a fish.Auction result comparison:Type: RelatedAuction: China Guardian, Hong Kong, 9 October 2022, lot 73Price: HKD 86,400 or approx. EUR 10,500 converted at the time of writingDescription: Zhuan Zhu Assassinates King Liao, Guan Liang (1900-1986)Expert remark: Compare the closely related motif. Note the significantly smaller size (32.8 x 43.5 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2012, lot 2911 Price: HKD 250,000 or approx. EUR 39,500 converted and adjusted for inflation at the time of writing Description: Guan Liang, Opera Figures - Farewell My ConcubineExpert remark: Compare the related motif. Note the smaller size (67.5 x 44 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 26 November 2013, lot 1431Price: HKD 1,000,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writingDescription: Opera Figures Expert remark: Note the related size (101 x 59.3 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 26 November 2013, lot 1428Price: HKD 275,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: Opera Figures Expert remark: Note the considerably smaller size (33.5 x 34.5 cm).1980年關良《專諸刺王僚》中國 ，紙本水墨設色，掛軸。描繪刺客專諸獻魚給吳王僚的戲劇場景，王僚站在後面，身穿黃袍，頭戴京劇中的雉尾帽。專諸最終殺死國王的匕首就藏在魚裡面。 款識：專諸刺王僚，庚申冬十月，關良；鈴印：關良，南亭 來源：私人收藏，1980年後購，保存至今；英國古玩交易，據説購於上述收藏。 品相：狀況極佳，只有輕微磨損、輕微起皺和少量小污漬。 尺寸：畫面107 x 55.3 厘米，總124 x 65.7 厘米 拍賣結果比較： 形制：相近 拍賣：香港嘉德，2022年10月9日，lot 73 價格：HKD 86,400（相當於今日EUR 10,500） 描述：關良《專諸刺王僚》 專家評論：比較非常相近的主題。請注意尺寸(32.8 x 43.5 厘米)小很多。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2012年5月29日，lot 2911 價格：HKD 250,000（相當於今日EUR 39,500） 描述：關良《霸王別姬》 專家評論：比較相近的主題。請注意尺寸(67.5 x 44 厘米)較小。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年11月26日，lot 1431 價格：HKD 1,000,000（相當於今日EUR 151,000） 描述：關良《京劇》 專家評論：請注意相近尺寸(101 x 59.3 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年11月26日，lot 1428 價格：HKD 275,000（相當於今日EUR 44,000） 描述：關良《楊門女將比武一段》 專家評論：請注意尺寸(33.5 x 34.5 厘米)小很多。
Pulp Fiction (1994) Five Original Production Call Sheets.- as used on shoot days 26, 27, 28, 29 and 30 (of 50) dated October 25- 29, 1993, interior and exterior scenes included Jack Rabbit Slims, Wilsons locker room and Marcellus house, with details of call times for the crew, main cast and supporting actors, including John Travolta, Uma Thrman, Ving Rhames, and Bruce Willis, as well as notes regarding shooting requirements for special effects, make-up, props, transport and crew required each day on-set, 5 pages, folio white sheets, 35.5 x 22cm.Provenance - the vendor was a crew member and is credited in the film's end titles. Pulp Fiction, directed by Quentin Tarantino won the Palme d'Or at the 1994 Cannes Film Festival and Best Original Screenplay at the 67th Academy Awards.The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century.Condition Report: Call sheet, day 26 dated Oct, 25, 1993 - torn (with loss) to top left corner; Call sheet, day 29 dated Oct, 28, 1993 - marked top left side of sheet.Overall good conditions.
Star Trek - Replica Tulip Chair designed by Maurice Burke for Arkana in blue and red and black Next Generation long sleeved top, Wrath of Kahn script, replica assault phaser, other Star Trek replica props, James T. Kirk toy figure in box, Model of USS Enterprise, Star Trek Voyager magazine No. 1, Folder for cards / toys and other items. Condition Report: No Master Replicas in there.
Miscellaneous Film related Props and Ephemera - comprises: The Exorcist (1973) a colour make-up effects test photograph; Constantine (2005) Keanu Reeves Prop Business Card, for John Constantine, Exorcist, Demonologist, and Master of the Dark Arts; Michael Myers, Halloween (????) Prop Homicide Arrest File containing an Autopsy Report, marked Confidential File, printed on 3 sheets of paper; Twin Peaks, Beware of Bob, black and white printed poster, 8 ½ x 11 ¾ inches; Spartacus (1960) a later print of a Roman scroll on a single A4 card sheet; Ca$h (2010) Original prop two US. dollar bills marked None Hundred Dollars, with a related production pink motor vehicle purchase contract, and Sean Beans annotated spiral bound notebook; together with three Titanic postcards from Fox Studios lot, Baja, California. (12) Condition Report: overall good condition.
Estate of Jeremy Bulloch - Star Wars - Boba Fett - Bulloch's personally owned 1/1 scale Starchild Props made wearable replica presentation Boba Fett helmet. Highly detailed fibreglass replica, complete with padded interior and realistic weathered exterior. Movable rangefinder. Mounted on a custom display stand with plaque - 'Starchild Props - Crossover Masterpieces - Jeremy Bulloch'. Limited Edition 1 of only 2 ever made, the other was signed by Bulloch and kept by the maker. Accompanied by a letter from Andrea of Starchild Props presenting the helmet to Bulloch. As displayed in his home museum.
Ettore Sottsass, Jr.'Le Strutture Tremano' table, from the 'bau. haus art collection', designed 1979Enamelled metal, glass, plastic laminated-wood.115.5 x 61 x 61 cm Manufactured by Studio Alchymia, Milan, Italy. Underside of base with manufacturer's label printed STUDIO/ALCHYMIA/MILANO.Footnotes:ProvenanceThe Estate of Evelyn FosterThence by descentBonhams, Los Angeles, 'Modern Design | Art', 30 September 2020, lot 240Acquired from the above by the present ownerLiteratureRenato Barilli, 'Arredo Alchemico', Domus, no. 607, June 1980, p. 35Barbara Radice, Memphis, Milan, 1984, p. 15Andrea Branzi, The Hot House: Italian New Wave Design, Cambridge, 1984, p. 136Gilles de Bure, Ettore Sottsass Jr., Collection Rivages/Styles, dirigée par Gilles de Bure, Paris, 1987, p. 61Albrecht Bangert, Italian Furniture Design: Ideas Styles Movements, Munich, 1988, p. 62Kazuko Sato, Contemporary Italian Design, Berlin, 1988, pp. 17, 20Klaus-Jürgen Sembach, Gabrielle Leuthäuser, Peter Gössel, et al, Twentieth-Century Furniture Design, Cologne, 1991, p. 214Barbara Radice, Ettore Sottsass: A Critical Biography, London, 1993, pp. 195, 197Giuliana Gramigna, Repertorio del Design Italiano 1950-2000, Volume II, Turin, 2003, p. 290Glenn Adamson; Jane Pavitt, eds., Style and Subversion, 1970-1990, exh. cat., Victoria and Albert Museum, London, 2011, p. 40Cindi Strauss, Germano Celant, et al., Italian Radical Design: The Dennis Freedman Collection, exh. cat., Museum of Fine Arts, Houston, New Haven, 2020, p. 121The present model is held in the collection of the Victoria and Albert Museum, London.Nick WrightCo-author of Cut and Shut: The History of Creative Salvage, London, 2012Dishonesty of MaterialsCharles Jencks identified the death of Modern architecture as taking place on July 15, 1972. 'At 3,32 (or thereabouts)' the Pruitt-Igoe projects were demolished. Like so many modernist blocks, their architects had promised good housing for all using an economy of design and modern materials impervious to the elements and fashion. In fact, their design was so compromised they were dynamited less than 20 years after construction. In their seminal postmodern text, Learning From Las Vegas, Robert Venturi and Denise Scott-Brown documented the Vegas strip during the fat Elvis era. Succeeding Gio Ponti as Domus' editor in 1979, Alessandro Mendini wrote of the architect's obligation to accommodate the taste, even the bad taste, of the client. The postmodern citizen would be the determinant of design, the historic city not a gaudy maras to be bulldozed and built anew along rational lines, but accommodated by the architect whose obligation was to add to it in sympathy with its citizen's needs AND desires. (Who doesn't love fat Elvis?) This was the intellectual thrust of postmodernism.It was Alessandro Guerrero's supergroup, Alchymia, through which these ideas were first expressed in three dimensions. Designed in 1979 as a series of prototypes by Mendini, Ettore Sottsass and Andrea Branzi, amongst others, the 'Bauhaus One' collection was conceived along the lines of a fashion show. Pieces were to be exhibited for one season only, sold, another collection produced for the next, 'Bauhaus Two'.The star of that first show was Mendini's 'Proust'. The most significant chair since Gerrit Rietveld's 'Red and Blue Chair', it began as a reproduction monster-piece found in a Milan junk shop. Signalling the return to decoration made superfluous by functionalism, a section of a Paul Signac painting was projected onto the whole and copied by artists Pier Antonio Volpini and Prospero Rasulo, the aim to fuse kitsch and high culture. Sottsass' 'Svincolo' lamp in the same 'Bauhaus One' collection went so far as to employ bare neon tube lighting redolent of the Vegas strip. In fact, a take on the Italian autostrada illumination, the surface decoration on the totem featured Sottsass' now famous 'Bacterium' pattern. If stared at too long, the design causes a hallucinatory effect as the bacteria seemingly squirm before the eyes.People are not purely rational. Indeed, much of our behaviour is predicated on emotion, logic being a means of post-rationalisation - the decorative laminate applied to chipboard. Architects must acknowledge this duality. Yes, we want our built environment to provide accommodation, but it should also speak to our emotions. Design can seduce, shock, delight, even delude in its trickery and Alchymia does just this. Revelling in a dishonesty of materials such as decorative laminate and rattle-can paint, the group alchemised base metal into architectural gold. Lappino Binazzi had been a member of the Italian radical UFO group of the late sixties. The big film studios were in financial difficulties, and seeing their discarded props and advertising, he appropriated the signage in a series of lamps. The 'Paramount' lamp was first produced by Groupo UFO in 1970. The PARAsol began the title, the ceramic MOUNTain beneath completed it. Together with the MGM lamp, the 'Paramount' was reissued by Alchymia in 1979 for the 'Bauhaus One' collection, its new context making explicit the postmodern implications. Is there a more alchemical process than actors playing out a scripted fiction which, when projected onto a flat screen, creates a 3D reality that feels as vivid as any lived experience? Sottsass' 'Structure Tremano' in the present sale is also from 'Bauhaus One' collection and distinguished from later Belux and Kumewa editions by the glitter lacquer. Alessandro Mendini estimated that on average about six of each of the 'Bauhaus One' pieces were produced. Perhaps because of his association with the Memphis group, which built on Alchymia's blueprint, Sottsass' pieces are amongst those items made in greater numbers. Nonetheless, an original Alchymia 'Structure Tremano' is rare. Moreover, like all the Bauhaus One collection, it needs to be understood intellectually - 'read' as Mendini put it - to be fully appreciated.The plinth is made of chipboard – base metal - and covered in shinny white laminate – gold - whilst its scale suggests it is designed to bear great weight. In a historical sense it does. The tubular steel legs reference Marcel Breuer's work at the Bauhaus. Revolutionary in the 1920s, tubular steel chairs like the 'Wassily' had, by the late seventies, become as much a cliché as the corporate lobbies they furnished, and this is the 'function' of the 'Structure Tremano'. It is not the wobbly looking tubular legs which tremble in the shock wave from the Pruitt-Igoe's detonation, but Modernism itself. In the vacant lot was built Memphis Milano, Alessandro Mendini's Groningher Museum and Frank Gehry's Guggenheim.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A Regency rosewood and tulipwood banded breakfast or centre tableCirca 1815, the circular tilt-top with a reeded edge above a plain frieze with a beaded lower edge, on a square section beaded panelled column, the concave quadripartite and elongated lozenge inlaid base with a reeded upper edge, over roundel headed angles, terminating in four hipped outswept legs with brass foliate cast cappings and castors, approximately: 126cm wide x 124.5cm deep x 73cm high, (49 1/2in wide x 49in deep x 28 1/2in high)Footnotes:Provenance It is firmly believed by the family of the current owner and vendor that the offered lot was probably originally the property of John Palmer (1742-1818); an interesting historical figure and twice mayor of Bath, who also served as MP there, during the late 18th and early 19th century period.Following this supposition, the table must have been given in later years to John's son, Edmund Palmer, and thereafter passed by descent within the family to the current owner and vendor's maternal grandmother, nee Enid Palmer.A portrait of John Palmer (by Gainsborough Dupont) and a small table previously donated to the Earl St. Vincent by Edmund Palmer were inherited, together with the present lot, by the vendor from his maternal grandmother. It is interesting to note that the small table had been constructed from the timbers of 'Etoile', a French frigate built in the early 19th century.John and Edmund PalmerAside from his aforementioned political career and civic positions, John Palmer was an important innovator and reformer of the British postal system, as well as being the owner of two major theatres in England. Palmer was responsible for devising a far more efficient method of delivering the mail than had previously been employed, and this was implemented by means of the widespread use of stage coaches. This in turn led in 1786 to his appointment as 'Comptroller General' of the Post Office.Although John Palmer received the freedom of a great number of towns and cities in recognition of his pivotal role in revolutionising Royal Mail, he was also renowned as a key individual within the National theatre. Having inherited, as the eldest son in the family, his father's Old Orchard Street theatre in Bath, John sought and was subsequently granted a Royal letters patent for it in 1768. This allowed for the use of the title 'Theatre Royal', the first instance until then of such an occurrence outside London. And it effectively led to Palmer securing a monopoly of all theatres and playhouses in Bath.Following the acquisition of another theatre, albeit one located in Bristol, Palmer then obtained the same patent as before for this second location, resulting in, from 1778 onwards, the new venue being referred to as the 'Theatre Royal, Bristol'. After his father's retirement in 1776, John gained full ownership of the patent, whilst continuing to manage the theatres for a further decade, or thereabouts.It is interesting to note that these two Theatre Royals both used the same acting company which meant that actors, as well as props and other stage materials, not only had to travel fairly long distances frequently, but also rapidly and in relative safety. In order for this to be achieved, John Palmer established an efficient coach system operating between the two locations in Bath and Bristol, and it seems likely that this was even the inspiration behind the brilliant mail coach service that he later developed across the country.John's son, Edmund Palmer, served as a naval captain and went on to have an illustrious career in the navy. He married the niece of the Earl St. Vincent, Admiral John Jervis. The aforementioned gift of a small table was given to the Earl St. Vincent by Edmund, although the reasons for this are neither known nor documented. This table had evidently been made according to Edmund Palmer's wishes from the timbers of the frigate, 'Etoile'.It was whilst under Captain Edmund Palmer's command, on 27 March 1814, that the British frigate called 'Hebrus' defeated the former French frigate during what turned out to be the final frigate ship-to-ship engagement of the Napoleonic wars. And thus it was that the table could be subsequently constructed from the captured 'Etoile'. A print of this particular conflict, known as the Battle of Jobourg, together with correspondence and other memorabilia pertaining to the Earl St. Vincent, had been included as part of the Palmer familial inheritance. Somewhat untypically for the time, Edmund Palmer turned down a knighthood for this heroic action and it is thought by many people that he was at least one of the later inspirations behind the popular and rightly esteemed central character within the series of Hornblower novels, written by C.S. Forester during the 20th century.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Classic Props In Camera Volume 3 1st Edition Hardback Book by Mike Hooks. Published in 1999. Good Overall Condition. All autographed items come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Terry Thomas signed 4x2 irregular album page cutting affixed to 7x5 card. Terry-Thomas (born Thomas Terry Hoar Stevens; 10 July 1911 - 8 January 1990)[a] was an English character actor and comedian who became internationally known through his films during the 1950s and 1960s. He often portrayed disreputable members of the upper classes, especially cads, toffs and bounders, using his distinctive voice; his costume and props tended to include a monocle, waistcoat and cigarette holder. His striking dress sense was set off by a 1?3-inch (8. 5 mm) gap between his two upper front teeth. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Modern bisque dolls, some are boxed, including: Ashton-Drake- Little Bo Peep; Rock-a-bye and Goodnight; Old Fashioned Elegance; Beth; Little Women- set of three dolls and props; Where Do Babies Come From?; Just Hatched; Let the Little Children Come to Me; Every Cloud Has a Silver Lining; Elizabeth; Handle With Care; Eternal Love; Tuck Me In Mommy; Katrina; Brigitte; Katie; Cute as a Button; Clean as a Whistle; Isabelle; Tiny Miracle Emmy and Tiny Emmy Christmas Ensemble (vinyl). Sheer Elegance reproduction of an antique doll (S & H 1079), made by Vina Cook; Heidi Ott vinyl play doll; plus others; Fair Plus to Near Mint; (qty).
§ NICOLAS PARTY (SWISS 1980-) WATERMELON SLICE Hand-painted papier-mâché sculptureDimensions:31cm x 59cm x 10cm (12.25in x 23.25in x 4in)Note: Note: It is believed that this sculpture was created by Party for an event at the Grand Ballroom in Sloan's Bar, Glasgow celebrating the birthday of either Joanne Tatham or Tom O'Sullivan. There were a number of similar sculptures which were used as dance props on the night, as well as a larger elephant sculpture that sat in the middle of the space.
Sam Ringer (Polish/French, 1918-1986)Marcia (fait pour la vidéo de Marcia Baïla, 1985) technique mixte sur panneau en contreplaquémixed media on pannel200 x 114cm (78 3/4 x 44 7/8in.).114(44 7/8Footnotes:ProvenanceFamille de l'artisteCette oeuvre a été utilisée dans le clip Marcia Baïla, 1985.This props have been used in Marcia Baïla clip, 1985.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sir George Clausen, RA, RWS (British, 1852-1944)Portrait of a Young Woman, thought to represent Lily Pitman signed 'G.CLAUSEN' (lower right)oil on canvas76.2 x 63.5cm (30 x 25in).Footnotes:ProvenanceMr & Mrs John Downing, Cropthorne, Worcestershire.To George Arthur Latham, 1942.By descent to the present owner.Private collection, UK.Although undocumented in the artist's accounts, the early lineage of the present portrait places it in the collection of Mr & Mrs John and Lily Downing. Lily Downing, née Pitman, was the cousin of Agnes Mary Clausen, the artist's wife. Born in 1866, she is likely to have been around thirty when the portrait was painted and this, on technical grounds, supported by the style of the signature, the dress and hair style, would suggest that the present canvas must date c. 1895-1900, with every likelihood that Lily is the model. It comes from a point in Clausen's career when, although interested in head studies of local fieldworkers in and around Widdington, the Essex village where he lived, he was not receiving portrait commissions1. The search for conclusive documentary evidence on the identity of the sitter continues2One other portrait is relevant in this regard – that of Margaret Hilton Smith aged 15 (Bristol Museum and Art Gallery), the daughter of Clausen's doctor at Widdington, W. A. Smith. Miss Smith's was a portrait in which the painter bows to convention3. While the children who surrounded him wore work-a-day clothes, this girl, clad in white with a blue satin cummerbund, could aspire to a place in society - and one 'on the line' at the Royal Academy. Although newly elected an Academy Associate, Clausen did not believe that this was his forte. He could never aspire to the 'aesthetic' and oriental accoutrements that accompany the young woman in James Jebusa Shannon's Reverie, 1898 (Walker Art Gallery, Liverpool), for instance, and even though his sitter in the present portrait, wears a similar dress trimmed at the neck with a white fichu, she requires no such props to support her personality. At once more intimiste than Miss Smith and with none of the pretentions of Shannon, the present portrait nevertheless possesses considerable appeal. Unfinished in places, perhaps, its immediacy draws the spectator. A 'lick' of Hookers green in the right cuff draws the eye to the subtle modelling of the face. Elsewhere we note an arm barely indicated, and a hand unresolved, but both so spontaneous that they carry the sense of a living presence - and while we struggle to confirm her name, Clausen's young woman retains her air of mystery. Whistler criticised his Academy contemporaries for wishing to make their sitters 'stand out' from their frames – when in fact the portrait's subject 'should stand within (his emphasis) the frame and at a depth behind it equal to the distance at which the painter sees his model'4. This reticent and unassuming young woman who sits for the painter exercises considerable power from 'within the frame'. 1For obvious reasons a successful portrait painter in the 1890s required a London or Edinburgh address. 2The subject of ongoing research, an extensive survey of Clausen's records, including drawings collections in Bath, Bristol, Plymouth, the Royal Academy and family collections has so far failed to find conclusive evidence confirming the proposed identity of the sitter, which relies on the picture's provenance. The present owner has however, established that his great grandfather, George Arthur Latham, purchased the picture along with the School House at Cropthorne at Worcestershire in 1942 from John Downing. If Agnes Mary Clausen's cousin was not a regular visitor to the Clausen home in Essex it may also explain the lack of resolution in some parts of the composition.3A second, and most unusual oval portrait of Miss Smith, of the same date as that in Bristol, is in the Laing Art Gallery, Newcastle Upon Tyne. 4'Mr Whistler: Proposition No 2 Academie Carmen', quoted from A Catalogue of the Pictures, Drawings, Prints and Sculpture at the Third Exhibition of the International Society of Sculptors, Painters and Gravers, pp. 11-12. We are grateful to Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
A large scale model of an Avro Shackleton MK.3 , formerly from Plymouth RAF Recruiting office: call sign WL 787, 'white roof over grey body with transfer roundals and black props , raised on an ebonised stand, .152cm wide (some damage to propellers with missing blades) *Note- The missingtail section has been located. Apologies for any confusion relatingto this lot.
Legend of the Seeker 'Darken Rahl' Hero Sword.It was purchased directly from Craig Parker's personal collection. Craig kept the sword from the show and the vendor bought it direct from him.This is a real metal sword (it is not resin or rubber) and the ONLY Hero sword, there were no stunt swords made.The sheath is included and autographed by Craig Parker.It is accompanied by a detailed and lengthy note hand-written by Craig. Also included is a printed photograph of Craig holding the sword.This is a once in a lifetime opportunity to have such a unique item from not only a great under rated show but also one of the best actors who has appeared on a grand scale of both television and major motion picture films such as Underworld, Lord of the Rings and Spartacus.The sword displays wear from use on the Legend of the Seeker show but is still in good condition and the sheath is in great condition and shows intricite detailing in gold on the red leather. This has also been autographed as can be seen in the photos. Everything on the show was 100% custom-made for the production and therefore the quality of the props and costumes was extremely high.This is being offered as a one of a kind item from the personal collection of Craig Parker aka Darken Rahl star of Legend of the Seeker. This is surely a rare opportunity for fans of the show to aquire such a rare piece of memorabilia.Also along witht the sword is signed photograph of when the vendor met and has been signed 'Dear Kit' and signed by Craig Parker.
'ZHUAN ZHU ASSASSINATES KING LIAO', BY GUAN LIANG (1900-1986), DATED 1980China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting the theatric scene of the assassin Zhuan Zhu offering a fish to King Liao of Wu, who is standing in the back dressed in a yellow robe and wearing the Lingzi, a headdress with pheasant tails. The dagger with which Zhuan eventually killed the king is hidden inside the fish.Inscriptions: Bottom left, inscribed 'Zhuan Zhu stabs King Liao of Wu', dated 'in October of the Year of Gengshen' (corresponding to 1980), signed 'Guan Liang'. One seal 'Guan Liang'. Top right, one seal of the artist, 'Nanting'. Provenance: From a private collection, acquired shortly after 1980, and thence by descent. British trade, by repute acquired from the above. Condition: Excellent condition with only minor wear, little foxing, and few small stains.Dimensions: Image size 107 x 55.3 cm, Size incl. mounting 124 x 65.7 cmGuan Liang (1900-1986) was a Chinese painter born in Guandong Province. He studied art in Japan and specialized in Chinese oil painting. Guan was a fine arts educator, professor at the Zhejiang Academy of Fine Arts in Zhejiang, China, and the director of the Shanghai branch of the Chinese Artists Association. Guan once mentioned that Paul Gauguin, Vincent van Gogh, and Henri Matisse had left a deep impression and a lasting influence on him, and that in his work he sought to merge Western techniques with Chinese themes.Guan Liang developed a passion for Chinese opera from a young age, having grown up attending performances with his father. He was captivated by performing arts and became deeply involved in Beijing opera by acting and learning the art of theater from an opera singer, as well as acquiring costumes and props. In his opera ink paintings, Guan captures the spirit of each character by depicting their facial expressions and the emotions in their eyes.The painting depicts the theater scene where Zhuan Zhu kills King Liao of Wu. Zhuan Zhu was an assassin who lived in the Spring and Autumn period. He was recruited by Prince Guang, who wanted to kill the king in order to take the throne himself. Zhuan Zhu finally managed to kill the king during a party with a dagger hidden in a fish.Auction result comparison:Type: RelatedAuction: China Guardian, Hong Kong, 9 October 2022, lot 73Price: HKD 86,400 or approx. EUR 10,500 converted at the time of writingDescription: Zhuan Zhu Assassinates King Liao, Guan Liang (1900-1986)Expert remark: Compare the closely related motif. Note the significantly smaller size (32.8 x 43.5 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2012, lot 2911 Price: HKD 250,000 or approx. EUR 39,500 converted and adjusted for inflation at the time of writing Description: Guan Liang, Opera Figures - Farewell My ConcubineExpert remark: Compare the related motif. Note the smaller size (67.5 x 44 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 26 November 2013, lot 1431Price: HKD 1,000,000 or approx. EUR 151,000 converted and adjusted for inflation at the time of writingDescription: Opera Figures Expert remark: Note the related size (101 x 59.3 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 26 November 2013, lot 1428Price: HKD 275,000 or approx. EUR 44,000 converted and adjusted for inflation at the time of writingDescription: Opera Figures Expert remark: Note the considerably smaller size (33.5 x 34.5 cm).1980年關良《專諸刺王僚》中國 ，紙本水墨設色，掛軸。描繪刺客專諸獻魚給吳王僚的戲劇場景，王僚站在後面，身穿黃袍，頭戴京劇中的雉尾帽。專諸最終殺死國王的匕首就藏在魚裡面。 款識：專諸刺王僚，庚申冬十月，關良；鈴印：關良，南亭 來源：私人收藏，1980年後購，保存至今；英國古玩交易，據説購於上述收藏。 品相：狀況極佳，只有輕微磨損、輕微起皺和少量小污漬。 尺寸：畫面107 x 55.3 厘米，總124 x 65.7 厘米 拍賣結果比較： 形制：相近 拍賣：香港嘉德，2022年10月9日，lot 73 價格：HKD 86,400（相當於今日EUR 10,500） 描述：關良《專諸刺王僚》 專家評論：比較非常相近的主題。請注意尺寸(32.8 x 43.5 厘米)小很多。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2012年5月29日，lot 2911 價格：HKD 250,000（相當於今日EUR 39,500） 描述：關良《霸王別姬》 專家評論：比較相近的主題。請注意尺寸(67.5 x 44 厘米)較小。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2013年11月26日，lot 1431 價格：HKD 1,000,000（相當於今日EUR 151,000） 描述：關良《京劇》 專家評論：請注意相近尺寸(101 x 59.3 厘米)。
James Bond, Octopussy (1983) Original Production Shooting Schedule, Unit List, and Call Sheets, 1982.- comprises: Shooting Schedule No. 1, Eon Productions Ltd., Pinewood Studios, August 4, 1982, 43pp, typescript on stapled white sheets, details of the artists and specific requirements for each scene such as props. special effects, vehicles, etc. 29.7 x 21.2cm; Production Unit List, 16 August, 1982, 19pp., typescript on white sheets, with ownership name of George Smillie in pencil on front page, crew and service companies addresses and telephone numbers listed, 29.7 x 21cm; Two Production Call Sheets, comprises: First Unit Call Sheet, No. 12, September 1 '82, 3pp. stapled to a 3pp. Movement Order for the same day, all typescript on white sheets, with details of specific requirements including props, sound, special effects, action vehicles and stunt coordinators; Second Unit Call Sheet, No. 21A, September 9 (1982) typescript on a single blue sheet, all call sheets 33 x 20.5cm; together with crew member,George Smilleys official letter of engagement from the film company, confirming his position as military action vehicle coordinator, dated 17 August, 1982, 2pp.typescript on Eon Productions white headed paper, Signed by Hugh Harlow, Production Manager, within original envelope. (5)Provenance: crew member, George Smillie, was action vehicles driver on the film.Condition Report: Original Production Shooting Schedule - creasing to top left corner of front page, some rust staining around the old staple on front and back pages, very light marks to front and back pages from use on the production, internally very clean. Unit List - rust staining around the old staple on front and back pages, light finger marks to front and back pages and a faint circular mark to back page, internally clean.First Unit Call Sheet (white) - rust staining around the old staple on front and back pages, light creasing to top left hand corner of front page, internally clean.Second Unit Call Sheet (blue) light creasing, rust staining around the old staple on front and back pages.Eon Productions Letter of Engagement - folded, in near mint condition, light marks and creasing to the envelope.
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