The Jacquard Puppets 'The Cello Trio',comprising: a pianist with piano, a violinist and a lady cellist,standing figures 27cm high approximately,together with eight 78 records as played during performances (11)The Jacquard Puppet Company (1933-1970)We’re delighted to offer this collection of marionettes, theatre props and staging made by John Carr (1884-1971). Some of the puppets were used in the early days of British television, appearing in twenty-one live BBC broadcasts in the late 1930s.John Carr and his cast of characters performed as The Jacquard Puppet Company between 1933 and 1970. The company was one of a few to use small marionettes (each measuring between 12 and 14 inches tall) - something that was very much in its favour in the early days of television.Carr was given the chance to perform in front of the camera in 1937 – less than a decade after the first-ever experimental BBC television broadcast (30 September 1929) and just months after the BBC Television Service officially launched from a converted wing of Alexandra Palace in London (2 November 1936).Meeting an enthusiastic reception, he gained the support of the influential BBC TV pioneer Cecil Madden and was encouraged to develop new and more complex acts. A talented woodcarver and lifelong member of the British Puppet and Model Theatre Guild, Carr made his own puppets with the costumes provided by his wife, Eva.In its pomp, the company (aided by the couple’s four children) used around 100 different marionettes – characters with titles such as Barnacle Bill the Sailor, The Walrus and The Carpenter, Barney the Bashful Bullfrog and William the Yokel. Many referenced characters that were popular on stage and screen.The Cello Trio (lot 212) first appeared in 1936 and became one of the most popular acts. John Carr made great efforts to make the actions as realistic as possible and the only surviving moving image of the puppets shows how well this worked. In March 1936, a reviewer wrote: '...the wizardry with which Mr Carr and his family manipulate the violinist, cellist and pianist in synchrony with the recording of a complicated trio was as amazing as ever...'. Sir Adrian Boult is quoted as saying that the lady cellist had the typical 'cellist's expression'.The Jacquard puppets - general condition reportThe puppets have been stored for many years, the strings have mainly gone, and those that are left are fragile and snap easily and most will need to be restrung. Some were made just before the second world war, others in the following two decades. They were made from whatever was available, pieces of wood, leather, dress and upholstery fabrics, felt, etc. The clothing and fabrics are generally in reasonable condition. Some have detached limbs, where the articulated joint fixings have perished or strings come loose
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* DEBORAH JONES (BRITISH 1921 - 2012), THE ANTIQUE SHOP oil on board, signed image size 29cm x 74.5cm, overall size 38cm x 84cm Framed. Note: Jones was a British artist born in 1921. She had a lifelong preoccupation with oils, teddy bears, and quirky antique shops with endearing names. Alongside her career as a prodigious artist, Jones also produced work for theatre, creating props and costumes for the Royal Opera House. She exhibited widely in Italy, New York and Chicago as well as the UK.
A box of mixed items apparently related to actress Patricia Routledge. These include props such as Hetty Wainthropp's business cards, bus pass, cheque book, a book detailing series 4 of Hetty Wainthropp Investigates, signed cast photographs, a script for Coronation Street, and various other books and items
Two socket bayonets, to include:British or American bayonet, from MGM film props stamped MGM on the socket as well as serial number 771 and crowned inspectors stamp.Austria-Hungary used on the M1854 and 1863 Lorentz rifles, Model 1854/67 and 1863/67 Wanzl rifles. Model 1858 Podewils rifle.Buyer must be over the age of 18. Age verification ID will be required if this lot is to be posted out.54cm long
* DEBORAH JONES (BRITISH 1921 - 2012),THE ANTIQUE SHOPoil on board, signedimage size 29cm x 74.5cm, overall size 38cm x 84cm Framed.Note: Jones was a British artist born in 1921. She had a lifelong preoccupation with oils, teddy bears, and quirky antique shops with endearing names. Alongside her career as a prodigious artist, Jones also produced work for theatre, creating props and costumes for the Royal Opera House. She exhibited widely in Italy, New York and Chicago as well as the UK.
LOUISE HILL (BRITISH, B. 1968) Donated by Louise Hill 'Chinoiserie in Aquamarine & Powder Blues' Hand finished in gold ink Limited Edition of 100 Framed. 81cm high x 125cm wide. White frame Printed on to 350gsm Hahnemuhle German Etching Paper, this print is signed, numbered and stamped with a Louise Hill Design ‘blind embossing stamp’ on the front. Each print also includes a 'Certificate of Authenticity' sticker sealed with gold foil logo, embossed stamp, signature and edition number attached to the back of the frame. Louise Hill is a creative graphic designer and multimedia artist with a passion for her work. Having lived for many years in Shanghai, Hong Kong and now Singapore, her love for Asia shines through in her highly detailed, colourful and vibrant prints. You will find her either working at her computer or drawing board, or walking the streets with her camera on the lookout for vintage props and imagery, planning her next artwork. www.louise-hill-design.com/chinoiserie-in-powder-blues RRP $2,425.00 SGD 107 cm wide x 62 cm high (unframed) Condition: No obvious condition issues
A toy farm made up of mostly mid-19th century metal farm figures and wooden farm buildings. The farm equipment to include 7 2-wheel carts, a 4-wheel wagon, a later Spot-On 4-wheel trailer, 2 rollers, a horse rake and a tumbrel cart. The overstaffed farm comprising 25 farm figures to include farmer, land girl, milk maids, labourers and carters. The horse stock comprises 18 (mostly cart) horses and three donkeys. Also to include metal rural props: trees, hedges, fences, gates and gateposts, three wells, troughs, churns, pails and hayricks.
NO RESERVE Yorkshire.- Empson (Charles) The Cowthorpe Oak. From a Painting by the Late George William Forthergill, separate tinted lithograph plate by William Monkhouse with some light foxing, tipped in publisher's advertisement, list of subscribers at end, original roan-backed plum cloth portfolio, upper cover faded, occasional light soiling, spine and corners rubbed and chipped, lacking ties, folio, 1842.⁂ The Cowthorpe Oak in North Yorkshire was renowned for its age and size, becoming the subject of three studies by J. M. W. Turner. At its largest the canopy was said to cover 0.5 acres. By 1822 many of its branches were rotten and had to be supported with wooden props. The oak fell in 1950, apparently after having been struck by lightning.
Jockey cap movie prop from the 2003 Hollywood movie 'Seabiscuit',the white cap with black bow above the peak with black pommel, the interior embroidered with BUD YOUNGER and bears N.3W in black marker pen, sold with bill of sale from Premiere Props Inc., USAProvenance: Item 2477 Premiere Props Inc.
Terry Thomas signature piece includes 3x2 signed album page and 6x4 black and white photo. English comedian and character actor 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 come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Titanic (1997) Third-class passenger's ticket prop, won by Jack Dawson (played by Leonardo DiCaprio) in the fateful on-shore poker scene at the beginning of James Cameron's Oscar-winning masterpiece Titanic. In the scene, Jack wins the ticket from gambler Olaf Gunderson, whose name is filled in as the passenger at the bottom. Interestingly, the ticket is printed as a mirror image. For exterior scenes, Cameron had built a nearly full-size replica of the starboard side of the ship. Therefore, in order to show the ship's departure from the port side, Cameron had to film from the starboard side and flip the image in post production--all text and imagery on the ship and props in these scenes had to be reversed in order to come out correctly. The ticket measures 5.5 x 6.5, and is matted and framed to an overall size of 10.5 x 11.25. Accompanied by a certificate of authenticity from 20th Century Fox.
Collection of movie props and accessories from various productions including a 9ct Gold Tigers Eye brooch, A Runway Girl Gaiety Theatre Sheet music, Great War handbill, David Copperfield programme, The Shop Girl souvenir, four coins, spectacles, teaspoons, necklaces gloves, collars, silver glove stretchers, vintage wooden hat blocks and other items.
J OCHALR 1981 - BBC TELEVISION PROP - TREACLE GLAZED GARDEN GNOME Dated 1.2.1981 and signed by J Ochalr. A treacle glazed concrete garden gnome of considerable quality. Pushing a wheelbarrow planter in excellent condition. BBC props written on base in black marker. Sourced from the home of a retired antiques dealer who's shop was based near to the old Pebble Mill BBC building in Birmingham. There is a second matching gnome in this sale signed by the renowned sculptor David Geenty. 32cm H x 26cm D x 16cm W.
DAVID GEENTY 1981 - BBC TELEVISION PROPS - TREACLE GLAZED GNOME Dated 1.9.1981 and signed by David Geenty the renowned sculptor. A charming treacle glazed concrete garden gnome in excellent condition. BBC props written on the base in marker pen. Sourced from the home of a retired antiques dealer who's shop was based near to the BBC Pebble Mill building. There is a second matching gnome by a different artist in this sale. 30cm H x 15cm W x 13cm D.
Runder Art Deco-Beistelltisch, Frankreich, 1930/40er Jahre, Wurzelnußfurnier, dekorative Schwarzlackelemente, runder Stand, vier geschwungene Stützen, Gebr.-sp., H. ca.55 cmRound species Deco-Side table, France, 1930/1940s, root nut veneer, decorative black varnish elements, round Stand, four curved props, traces of usage, H. approx.55 cm
HORROR THRONES,late 20th century, a pair of carved and patinated wooden thrones, each seat and back upholstered in red vinyl with studded edges, 79cm wide59cm deep172cm high (2)The vendor has advised that these were previously used as props in horror films.Condition report: Backs detaching from the seats. With scratches and marks throughout.
JOE 90 PROP PIANO (Width : 20", Height: 21" when opened, 13.5" when closed, Length : 30.5") screen matched - see images - together with a Joe 90 annual featuring the piano. PROVENANCE: Simon (Archer) had been commissioned by Gerry Anderson to write the official biography of his life and was introduced to members of his production team including Christine Glanville, Chief Puppeteer in order to carry out research for the book. They struck up a good friendship and on one occasion while visiting her house, she showed him various props she kept in her attic including a miniature grand piano. Simon showed an interest in it and much to his surprise, she gave it to him. After Simon’s death, his family was introduced to Christine by Mary Anderson and she visited the family home on several occasions, and was happy for them to keep the piano which Simon's family had become quite attached to as it was a reminder of him. The piano was borrowed on two occasions and taken to Blackpool by Christine and Mary as part of an exhibition of props from the TV shows. The piano was originally made for an episode of Joe 90 (International Concerto), but for the exhibitions it was Lady Penelope who got to sit at the piano and take centre stage. The piano has remained in the family's possession since this time, and is now being offered as part of the Simon Archer collection. (3 in lot - piano, stool and annual)
Star Wars - Crew - a collection of x4 autographed 8x10" colour photographs from the franchise, each signed by a relevant crew member. Comprising: Marc Thorpe (SFX) signed Official Pix ESB photograph (AF - some wear), Bill Hargreaves (Props) x2, and Colin Skeaping (Stunts). All undedicated, and each obtained personally by the vendor.
Collection of Obsolete Overseas Police Badges, Quebec Ministere Des Transports cap badge, Kings crown Ontario provincial police cap badge (missing rear fixing) City of Edmonton police Dept collar badge, Sao Paulo Civil Guarda breast badge (enamel damage) Republic of the Philippines Integrated national police patrolman shield, Tasmania Police shoulder title, 3 x N.S.W Police shoulder titles, USA Riverside Police, N.Y. State trooper hat badge, Florida State Trooper hat badge, USA air force police shield (missing rear fixings) Film props/copies Pennsylvania police, Natural resources officer and City of New York lieutenant, plus three prison badges, Queensland, Canada and New Zealand .(19 items)
Alice Cooper 22x11 overall mounted signature display includes signed Easy Action CD sleeve and superb colour photo of the legendary American singer songwriter mounted professionally. Alice Cooper, born Vincent Damon Furnier, February 4, 1948, is an American singer, songwriter, and actor whose career spans over 50 years. With a raspy voice and a stage show that features numerous props and stage illusions, including pyrotechnics, guillotines, electric chairs, fake blood, reptiles, baby dolls, and duelling swords, Cooper is considered by music journalists and peers to be The Godfather of Shock Rock. He has drawn equally from horror films, vaudeville, and garage rock to pioneer a macabre and theatrical brand of rock designed to shock audiences. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
TRI-ANG; Cinderella, a play for children, a toy theatre with a selection of printed cardboard cast and props with original booklet with original box, this items especially adapted for performances by Kay Foster; also a Waddington Totopoly game, a Kay-London electric Derby game, a Merit electric Derby game and other toys.
Signed, oil on canvas61cm x 51cm (24in x 20in)Provenance: The Collection of the late R. L. MacDonaldFootnote: Exhibited: Edinburgh, Royal Scottish Academy, S. J. Peploe, F. C. B. Cadell and Leslie Hunter: Festival Exhibition, 1949Note: A highly successful phase in Peploe’s career began with his move to a new studio at 54 Shandwick Place, Edinburgh in 1917, the end of World War One and the development of a close working relationship with his fellow Scottish Colourist, F. C. B. Cadell, once the latter was demobilised. The Statuette is a fine example of the assured still lifes which Peploe created thereafter, which were regularly exhibited throughout the 1920s and which proved to have immediate and enduring popularity.This painting reveals the care with which Peploe arranged his props, from drapery in the background to open book in the foreground. As his niece, Margery Porter, recalled ‘The studio was a large one, round which I would prowl entranced, after strict warnings not to disturb the still-life group which would almost inevitably be covering the table. My uncle would arrange and re-arrange these groups for perhaps three days before he was satisfied that the balance and construction were perfect, then he would paint them quite rapidly.’One of Peploe’s favourite still-life objects, the titular cast of a torso of Venus, is key to the success of The Statuette's composition. His pleasure in colour and reflections, as well as his mastery of rhythm and structure, are clear. This work was included in the Festival Exhibition of work by Peploe and his fellow Scottish Colourists F. C. B. Cadell and G. L. Hunter, held at the Royal Scottish Academy, Edinburgh in 1949.
Only Fools & Horses - 40th Anniversary Auction - If They Could See Us Now (2001 Christmas Special) - an autographed white cap, identical to that worn by Sir David Jason in the role as Del Boy - seen in the Monte Carlo scene near the beginning of the episode, and in many of the publicity photographs for the series. Professionally mounted alongside a replica prop 'Banque de France' bank note, also as seen in the episode. The cap has been autographed by Sir David Jason in black ink, and upon the bank note he has written ' Bonnet De Douche ' in black ink. Professionally framed and glazed alongside a publicity image showing Del wearing the cap and holding the notes. Unique piece of Only Fools memorabilia related to their famous 2001 comeback. Not screen used props. Supplied with a COA from the Only Fools and Horses Appreciation Society. Total size approx; 45cm x 60cm.
Only Fools & Horses - 40th Anniversary Auction - Roger Lloyd Pack (1944-2014 - Trigger) - autographed A3 caricature artwork print, signed to the top by Lloyd Pack in black ink, adding his iconic catchphrase 'Alright Dave?' The print showing Pack as Trigger in the series, with various props and views from his many appearances. Supplied with a COA from the Only Fools and Horses Appreciation Society.
* JONATHAN HOOD (SCOTTISH b. 1957),TOURISTSoil on board, signed, titled and dated 2000 versoimage size 30cm x 30cm, overall size 45cm x 45cm Framed.Note: Jonathan Hood was born in 1957 in Edinburgh, and grew up in Fife and Tayside. He was artistically trained at Duncan of Jordanstone College of Art, Dundee and at the Ecole des Beaux Arts, Paris. Jonathan became a full time painter in 1986, mostly working in watercolour and collage. He is a keen art teacher, regularly running children’s workshops as well as adult night-classes. In 2006, he conducted a collage and painting workshop in Morgan Academy, Dundee for the Racial Equality Commission enabling 2 school pupils to reach the final. Since 2006, Jonathan has also run the WASPS studio open weekend in Dundee. Currently, Jonathan is working mostly in oil, using bright colours and painting on board. He has been exhibiting regularly in galleries around the UK, and in Holland, France and Italy. Jonathan uses dramatic blocks of colour to create depth and texture within his works. His clever compositions create narratives through the interaction between figures, and the addition of carefully selected props to be interpreted by the viewer. It is a testament to his artistic skill that he can convey strong emotion with only the simplest of brushstrokes to represent facial features.
19th century toy theatre with Pollocks character scenery, wooden theatre has patterned stage front featuring guests in theatre boxes and full orchestra along the base, fire proof curtain, a collection of paper characters, scenes and backdrops, published by B. Pollock of 78 Hoxton Street, London, including props for, Cinderella, The Children in the Wood, Pollock's New Fairies and side wings to suit any play etc., size approximately 59cm x 52cm x 50cm
An important signed script from one of Hitchcock’s ‘five best films’ STRANGERS ON A TRAIN: HITCHCOCK ALFRED: (1899-1980) British Film Director, Academy Award winner. An exceptional original multiple signed Final screenplay and shooting schedule for Alfred Hitchcock’s psychological thriller film noir Strangers on a Train (1951), signed by Alfred Hitchcock in bold black fountain pen ink to the head of a preliminary page entitled Cast of Characters, also adding his famous profile caricature in his hand alongside his signature, further signed by several cast members comprising Farley Granger (Guy Haines), Laura Elliott (Miriam Joyce Haines) and Patricia Hitchcock (Barbara Morton; interestingly listed as Barbara Burton in the script). The mimeographed screenplay, dated 18th October 1950, comprises 153 numbered pages, printed on the recto only, and also includes numerous instructions for shots etc., some of the scenes marked ‘Already Shot’, with approximately eight differently coloured pages interspersed throughout, dated between November and December 1950, indicating various changes that were made during the shooting of the film. The verso of the final page of the screenplay features a pencil sketch of a pair of adjoining bedrooms, exactly matching the layout of Bruno and his mother’s house where he receives a visit from Guy Haines. The shooting schedule comprises 116 numbered pages, the first dated 29th September 1950, again printed to the recto only, providing extensive details of locations, timings of shooting (day or night), cast and wardrobe changes, scene numbers and short resumes of action, essential props (‘Lighter, Money…..handkerchief….Police protection’, ‘Tennis Rackets’, ‘Carnival setup’, ‘Merry-Go-Round’ etc.), with various annotations in an unidentified hand (‘Now out’, ‘Budget meeting 10/2’ etc.). The whole bound with two brass paper fasteners and with the original blue paper front cover (the lower part torn away and with tape stains to the edges) and with the original title page (similarly torn to the base) annotated ‘Hitchcock’ in pencil to the upper right corner. Contained within a plain black cloth clamshell box. A rare and important document relating not only to Hitchcock, the ‘Master of Suspense’ and one of the most influential film directors in the history of cinema, but also to the career of the American-British novelist and screenwriter Raymond Chandler. Some expectant light overall age wear, G Strangers on a Train was produced and directed by Alfred Hitchcock and is based on Patricia Highsmith’s novel of the same name. Starring Farley Granger, Ruth Roman and Robert Walker, the film also feature appearances by Leo G. Carroll, Patricia Hitchcock (the director’s daughter) and Laura Elliott (later known as Kasey Rogers). The film’s story concerns two strangers who meet on a train, a young tennis player and a charming psychopath, the latter suggesting that as they both want to ‘get rid’ of someone they should ‘exchange’ murders, and that way neither will be caught. The psychopath commits the first murder and then tries to force the tennis player to complete the bargain. Having secured the rights to Patricia Highsmith’s novel (her first) for $7500, Hitchcock proceeded to find a suitable screenwriter, but was turned down by a number of writers including John Steinbeck, Thornton Wilder and Dashiell Hammett. The director then turned to Raymond Chandler, who had earned an Oscar nomination for his first screenplay, Double Indemnity. Chandler took the job despite his opinion that it was ‘a silly little story’, however the writer was a notoriously difficult collaborator and his relationship with Hitchcock deteriorated rapidly, with Chandler becoming openly combative towards Hitchcock. Chandler completed a first draft, then wrote a second, without receiving any response from Hitchcock. When Chandler finally heard from the director in late September 1950, it was to notify him of his dismissal from the project. However, much later, and nearer the release of the film, there was to be one point of agreement between Chandler and Hitchcock: they both acknowledged that since virtually none of Chandler’s work remained in the final script, his name should be removed from the credits. Hitchcock preferred the writing credit of Whitfield Cook and Czenzi Ormonde, but Warner Bros. wanted the prestige of the Chandler name and insisted that it remain. Hitchcock, accompanied by cast and crew, filmed on the East Coast of America from 17th October 1950, shooting at Penn Station in New York City, the railroad station at Danbury, Connecticut, and in various locations around Washington D.C. At the end of the month they were back in California, and the present script would appear to date from this time, with much of the rest of the shooting taking place on the soundstages at Warner Bros., including many seemingly exterior and on-location shots that were actually done inside in front of rear-projection screens. Strangers on a Train marked something of a renaissance for Hitchcock, after several years of low enthusiasm for his late-1940s output, and the film has been described by some critics as one of Hitchcock’s five best films.
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