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Movie Props - Legend of Tarzan - a prop machette, as used by the Belgian troops; Movie Props - Legend of Tarzan - a prop bayonette, as used by the Belgian troops (no provenance) (2)

A GROUP OF 8 ACRO PROPS

White Metal Model Aircraft, including 1:200 Skyline Models Maritime Wings Martin Mars US Navy (Marianas Mars), in original box, with similar Martin Mars Timber West Hawaii, VG, Navy example has damaged props and loose floats, box G, with a quantity mainly kit built white metal WW1 planes, F, finished to an average standard (13)

36. LOS ANGELES DIRIGIBLE WHISTLE PENNY TOY | Germany. | Provenance: Paul Cole Collection. | 4.5" l. | Two replaced props, otherwise (Very Good Condition) | $200 - $400

Two short Acrow props.

An Edwardian wrought and cast iron doll's crib; Theatre Props - judges wigs; jockey caps; wigwam; Royal Mail post bag; sailor's uniform; etc

Samuel John Peploe RSA (British, 1871-1935)Still Life with Tureen and Fruit signed 'Peploe' (lower left)oil on canvas46 x 55 cm. (18 1/8 x 21 5/8 in.)painted circa 1926Footnotes:ProvenanceWith Ian MacNicol, Glasgow, where purchased in 1970.Favourite studio props, such as crockery and drapery, were often used by Peploe in various permutations alongside fruit or flowers, as the artist famously sought to paint 'the perfect still life'. This tureen can be seen in several other of his works, but in this example, it takes more of a central role. His compositions were meticulously planned and executed, exploring the balance between naturalism and design for which the Colourists were renowned. The reds and greens of the apples and pears shine out with jewel-like quality, amongst the low tones used on most of the canvas. Reflections in the tureen and table-top are carefully realised, whilst forms are outlined in black and volume is emphasised by shadow. All of which demonstrate how Peploe used compositions to create a dialogue between object and space, colour and tone. All an homage to Paul Cezanne but in Peploe's own distinctive style.For further information on this lot please visit Bonhams.com

Maurice Edgar CONNELL(1921-2020)Life-study drawingsMaurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Life study drawingsMaurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Various works including a sketchbook filled with designs Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Reclining NudeOil on canvasSigned to verso31x62cm Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.Condition report: This oil is dirty but I can find no other fault with it

Maurice Edgar CONNELL(1921-2020)Architectural Drawings pre-war including a shelter for a village pump and a kitchen design Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Various works Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Life study drawings Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Eight sketch books Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)His palette Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Four figure studies on board Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL(1921-2020)Four life studies on canvas Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

Maurice Edgar CONNELL (1921 - 2020)Life study drawings and various works Maurice Edgar Connell 1921-2020Born in South London to musical and theatrical parents, Maurice grew up singing and performing.He was 18 when war broke out. He joined the Air Force and was sent to Canada to train as a pilot. However, his eyesight was not considered good enough for the Air Force, he came home and joined the army. He was initially in tanks in Italy and North Africa and during this time he met the Cornish artist George Lambourne. It was a meeting that proved pivotal in his life. Lambourne ran the 'Army Decorating Section' which followed the allied armies, setting up and decorating canteens, theatres, libraries and rest centres. Between 1942 and 46, Lambourne's 'private army' followed the war through Italy, North Africa and South Austria. The unit was manned by POWs and soldiers who were no longer mentally fit for active service, and it provided a valuable therapeutic serice. Maurice never spoke of this, though he was once overheard saying 'I suppose I went a bit gaga.'He and Lambourne maintained a lifelong friendship and prior to his marriage in 1967, Maurice would regularly hitchhike to Cornwall to visit. His creative and artistic experience during the war led him to art school; Woolwich and the Central School of Art, where he was taught by the likes of Keith Vaughan and Paolozzi, and Quentin Crisp was his life model. For the next 20 years he worked in theatre, opera and ballet as a stage manager, creating sets, props, costumes or anything that was required, for companies like the Sadlers Wells Ballet, Glyndebourne, the Royal Opera House and various others. A perfectionist, he could turn his hand to anything and make it beautiful. He married late in life and lived quietly in Hertfordshire, teaching pottery and woodwork and working with learning disabled teenagers prior to his retirement. Although he constantly drew, painted and was never without a sketchbook, Maurice rarely exhibited or sold his work. He drew to please himself or to give to friends and family. Upon his death last year at the ripe old age of 98, he left a great body of work, in many mediums, a testament to a thoroughly creative life.

GODWIN BENNETT (1888-1950) A.R.R. 'The House on the Props, Polperro', Oil on canvas, Signed, 40cm x 50cm

Quantity of Aircraft Models, including: Tootsietoys Crusader X110, EAL NC 1011, TWA NC 101Y, Auto Gyro, Tekno 488 Twin engine low wing monoplane ( in poor condition repainted) 3 x S&R France tinplate/diecast aircraft, plus three other models, all in poor to very ggod condition, some with missing props (11 items)

BOX OF MISCELLANEOUS MODELMAKERS REMOTE CONTROL PLANE ACCESSORIES INCLUDING WHEELS, IRONMONGERY, PROPS, PROPELLERS

5 Acrow props, 2 scaffolding poles & a melting pot

A red corset from the 2006 'Confessions' tour. With 'Unique Props' COA. Very good condition.

A pair of 'Bamboo' sandals worn by Madonna on screen in 'The Next Big Thing' (2001). With 'Unique Props' COA. Very good condition.

An assortment of props and ephemera to include: Kyle XY original script, a wall plaque from 'Reaper', a 'Haven Herald' newspaper, plaques relating to 'Phaeton'.

Props to include: a bra with COA from 'Unique Props' detailing its provenance as being owned and worn by Liv Tyler. A damaged mirror with COA from the 'Xena Museum' detailing its use as a prop on a Xena TV series.

TV props to include: a 'Science Prize' award presented to 'Professor Samuels' in the TV series 'Bionic Woman', two large banner props both from 'Eureka'. All three with 'Classy Crew' COAs.

Three items, likely props from the Star Wars franchises. To include an: Ion Jawa Blaster, two pieces of leather / metal headgear. From a sale Film Props auction on 30th Jan 2019.

Doctor Who props to include: Doctor Who - Replica unit sweater, made by Elegant Knitting Co, replica Sycoram mask from The Christmas Invasion (2005). Made from foam. Measures 41cm high.

Doctor Who: An exhibition and screen-used Dalek,circa 2013,built by Mark Barton Hill principally comprising of wooden construction, fibreglass, metal plastic components, on wheels, rubber 'sucker' cap and metal and plastic eyestalk, in the dark grey livery of one of the Daleks seen in the 1973 Doctor Who story Planet Of The Daleks, sold with a letter from Mark Barton Hill, 63in x 50in (160cm x 127cm)Footnotes:Provenance:Mark Barton Hill, a Dalek operator in the 2012 story Asylum Of The Daleks, built this accurate reproduction which is known amongst Whovians as'MBH2'. Mark's letter confirms that this and many of his Doctor Who props were used in the BBC exhibition in Cardiff, the 'Doctor Who Experience', where Mark was involved in set building and prop restoration.This particular Dalek was seen on BBC Television between 18th October-23rd November 2013 in the trailer for their 50th Anniversary broadcast, where it was seen exterminating a soldier. It was also displayed at the 50th Anniversary convention at London's Excel Centre and featured in nationwide press coverage of the 2014 launch of The Horror Channel's classic Doctor Who episodes, when it was photographed with The Fourth Doctor, Tom Baker.Since its exhibition and TV appearances the Dalek has had a new gun and eye stalk.Intellectual property rights and Trade Marks of the BBC/Terry Nation Estate require that this screen-used item must be used for personal home display only; and all commercial use is prohibited expressly.This lot is subject to the following lot symbols: TPTP Lot 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

Tierney Gearon (American, b.1963). Untitled, 2000. Chromogenic photographic print, 122 x 183 cm. Provenance: From a reputable private collection. Acquired directly from the artist by the present owner in 2000. Exhibitions: I am a Camera, Saatchi Gallery, London, 2001. Literature: I Am A Camera, exh. cat., Saatchi Gallery, London, n.p. (illustrated in colour). Saatchi Gallery Loan of Art, published by Saatchi Gallery, London, 2006 pp.102. From Saatchi Gallery Loan of Art, pp.100: Gearon's chief subject is her family. She photographs her son and daughter by swimming pools and ski slopes, in the bath and in front of the TV. Often they are accompanied by recurring props such as masks, and striking poses that seem oddly inappropriate for their settings. Using a documentary style while rigorously grooming each shot, Gearon's photographs evoke David Lynch-style surreal moments in everyday settings. Condition Report: Framed and glazedFixing mounts to backno apparent signature or edition numberMinor knocks and scratches to frame, minor abrasion top left to print surfaceTiny fleck of paper on ouside of glass

Tierney Gearon (American, b.1963). Untitled, 2000. Chromogenic photographic print, 122 x 183 cm. Provenance: From a reputable private collection. Acquired directly from the artist by the present owner in 2000. Exhibitions: I am a Camera, Saatchi Gallery, London, 2001. Literature: I Am A Camera, exh. cat., Saatchi Gallery, London, n.p. (illustrated in colour). Saatchi Gallery Loan of Art, published by Saatchi Gallery, London, 2006 pp.101. From Saatchi Gallery Loan of Art, pp.100: Gearon's chief subject is her family. She photographs her son and daughter by swimming pools and ski slopes, in the bath and in front of the TV. Often they are accompanied by recurring props such as masks, and striking poses that seem oddly inappropriate for their settings. Using a documentary style while rigorously grooming each shot, Gearon's photographs evoke David Lynch-style surreal moments in everyday settings. Condition Report: Image viewed through glass appears to be fine.Framed and glazed. Minor white marks and minor scratches to frame, and very minor scratches to glass.No apparent signature or edition number

REBECCA HORN (B. 1944)Turm der Fliehenden Bücher 1994 metal rods, electric motors, books, ink, feather quills208 by 82 by 65.5 cm.81 7/8 by 32 5/16 by 25 13/16 in.This work was executed in 1994.Footnotes:ProvenanceGalerie Thomas Schulte, BerlinVanthournot Collection, Belgium (acquired from the above in 1994)Sale: Sotheby's, New York, Contemporary Art / Afternoon, 15 November 2006, Lot 412Acquired directly from the above by the present ownerRebecca Horn has left an indelible mark on the canon of art history as one of the most versatile and innovative artists emerging from Germany in the post-War era. Her practice is immensely diverse, employing a variety of media – from drawing to installation, writing to filmmaking – that has earned her enormous regard in academic and critical circles, culminating in her representing Germany at the 1997 Venice Biennale. Her kinetic sculptures remain some of the most organic and affective works the artist has produced, and the solemn beauty of Turm der Fliehenden Bücher from 1994, is no exception. Emerging in the late 1960s, Horn was part of a generation of artists whose work challenged the institutions and structures that had governed not only the art world, but society at large. Her work has prodded at notions of control, expression, and hierarchies of power, remaining one of the most visceral, captivating bodies of work produced by any artist in the postmodern period. Born in 1944, she grew up in the immediate aftermath of the Second World War. It influenced her greatly and would ultimately shape her mythologies and experimental practices in art. As a child, having been taught French and English rather than her native German, language was a fluid medium for Horn, who developed an acute feeling for drawing as her chosen artistic syntax; to her it was a medium that remained universal. In 1964, however, as a young art and philosophy student at Hamburg's Hochschule für bildende Künste, her working with toxic polyester and fibreglass dealt an early blow to her life and work, suffering serious lung poisoning. She spent a year in hospital recovering, emerging with a determination to put her body at the centre of her art. With a renewed focus on the phenomenological experience, Horn rebuffed the commodity fetish of the art object, and engaged with a notion of artmaking as an endeavour that harbours, not only unforeseen risks, but a series of psychological and physical obstacles. The subjective experience became her chosen instrument. She worked with soft materials, padded body extensions and prosthetic bandages, inspired by her convalescence in hospital. In 1968 Horn produced her first body sculptures, in which she attached objects, materials and instruments to the human body, taking as her theme the contact between a person, their environment and surrounding space. Einhorn is one of Horn's best known performance pieces comprising of a long horn worn on her head.While it was mainly through her early performances that she explored the relationship between body and space, in her later work, the human body was replaced by kinetic sculptures. In the early 1980s, Horn began making these kinetic sculptures that moved by the force of a motor, taking on their own life and eliminating the need for the body to animate the her materials and shapes. The present work, Turm der Fliehenden Bücher from 1994, comprises of metal rods stacked tall against one another which in turn support three motors each of which has an open book and feather attached. Animated by the motors, the feathers flutter and softly rustle the pages of the texts that are splatted with ink. 'For me, all of these machines have a soul because they act, shake, tremble, faint, almost fall apart, and then come back to life again. They are not perfect machines. ...I'm interested in the soul of a thing, not the machine itself. ...It's the story between the machine and its audience that interests me' (the artist in: Rebecca Horn, New York 1993, p. 18).Feathers first began appearing in Horn's work as components in elaborate props and costumes, even becoming the sculptures in their own right. Feathers and other materials that were used in her kinetic sculptures could be liberated from their ordinarily defined materiality and transposed into ever-changing metaphors that touched on mythical, historical, literary and spiritual imagery. Literature and poetry also held important prominence in Horn's work; her own written poetry often inspired her work and she encouraged the viewer to constantly consider the important relationship between art and literature. She felt that viewers would consider a painting as art and a book as literature, but by combining the two in a single work, Horn asks us to consider these definitions and how the two relate and interact. The author, Jeanette Winterson, has described Horn as performing a role akin to an artist-inventor or alchemist, and as possessing an ability to produce artworks that conjure powerful forces and emotions. Horn's work resides in many major public institutions worldwide including the Museum of Modern Art, New York, the Tate Collection, London, the Centre Pompidou, Paris and the Stedelijk Museum, Amsterdam, among many others. She is one of very few artists whom have been selected to participate in Documenta on four separate occasions. During the last six decades Rebecca Horn has become a key figure in a moment for art that challenged and changed formal ideas.This lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot 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

Percy Thomas Maquiod (1852-1925)/Design for Act I Scene 3 of Sir Herbert Tree's production of 'Henry VIII', 1910/acrylic, 30cm x 33cm/Note: The production of Henry VIII at His Majesty's Theatre in 1910 became the most celebrated of all Tree's great spectacles and the banquet scene in Wolsey's palace perhaps the most famous scene ever staged by him. Tree's productions were conceived as pageants in which historical periods were accurately recreated. On the annotations on this design Maquoid, who was an authority on historical detail, records some of his sources. Michael R Booth in his Victorian Spectacular Theatre (1981) gives a full account of this production and its creation. The banquet tables were laden with 235 props 'all exact copies taken either from originals in museums or paintings in the National Gallery'. In the centre we see the canopied seat for Tree as Cardinal Wolsey about to pledge 'the company with a goblet of wine' after a choir had sung a grace. This was the production that Tree took to New York in 1916/Provenance: The drawing came from Ellen Terry's niece Phyllis Neilson, daughter of Fred Terry (1864-1932) whose second husband was Heron Carvic who left it to Julie Nightingale, who worked for Sir Roy Strong at the V&A and bequeathed it to him. Ellen Terry played Katherine of Aragon in Irving's 1892 production of the play for which this must be a design. The set is a banqueting hall with Wolsey left raising his goblet in a toast, probably scene IV. A Hall in York Place in which Wolsey presides and the King and his company enter as masquers in disguise. Irving played Wolsey and Ellen Terry Katherine of Aragon

THOMAS HUDSON (BRITISH, 1701-1779) Portrait of Catherine [‘Kitty’] Jervis, circa 1755 Oil on canvas 49 x 39in. (124.5 x 99cm.) in a contemporary carved giltwood frame Provenance: John Jervis, The Earl St. Vincent (1735-1833), Meaford Hall (removed 1943 when Hall sold), and thence by descent; Exhibited City Museum and Art Gallery Birmingham: Exhibition of Treasures from Midland Homes 1938Footnote: Catherine ‘Kitty’ Jervis (1733-1756) was born in Stone, Staffordshire, the sister of Admiral John Jervis (1734-1823). Catherine married Jeremiah Smith of Great Fenton in Stoke, and died during childbirth in 1756. This picture is nearly identical to one of Lady Oxenden in the collection of the Art Gallery of New South Wales, Australia, where the sitter can be seen using the same clothing and props. According to their www site, this picture has recently been re-assessed as a work by Joseph Wright of Derby (1734-1797) which would have made sitter and artist approximately the same age at 20 years.Condition report: Relined, very good condition, will benefit from a clean.

A FINE CAT O’ NINE TAILS, 20TH CENTURY with 17in. twine-clad wooden handle terminating in a Turk’s head knot with suspension loop, supporting nine tapering spiral knotwork flails, each with intermittently knotted twine ends; overall -- 64in. (162.5cm.) longProvenance: ex-Bridon Ropes boardroom display, Warmsworth Hall, Doncaster.Note: It’s understood this is one of two examples made as props for the 1962 Trevor Howard film Mutiny on the Bounty by Ric Canever (1924-2000) using old high quality hemp stock. The other example now resides with the Museum of Knots & Sailor’s Ropework. We are grateful to Des Pawson of the museum for supplying this additional information.Condition report: in fine condition overall

2021 Shepherds Hut Transmission: Mileage:The shepherd's hut (or shepherd's wagon) was, since the 15th century and into the 20th century, used by shepherds during sheep raising and lambing, primarily in the United Kingdom and France. They often had iron wheels and corrugated iron tops. Sometimes the sides were also made of corrugated iron.Use of shepherd's huts by farmers reached a peak in the late 19th century and dwindled in the 20th century with the advent of mechanised farm machinery and electric power reaching even remote farms. Their use persisted in some northern counties in the United Kingdom, particularly Westmoreland and Northumberland, where the terrain of the uplands supports little else but sheep farming.There have been numerous different materials used to construct shepherd's huts and after World War I, when metal was in short supply the chassis were often built with wood and the sides built with interlocking planks of larch or spruce. Sometimes the roof covering would be constructed from felt and tar and insulated with lambswool. Cast iron wheels were frequently recycled from other farm machinery. The shepherd's hut was a kitchen, dining room, bedroom, sitting room and storeroom all rolled into one. The designs vary but all were constructed to provide the shepherd with practical and durable accommodation. The old huts had a stove in one corner for warmth and cooking, and a window on each side so the shepherd could see the flock. A hinged stable door, which was always positioned away from the prevailing wind, enabled him to hear the flock, and strong axles with cast iron wheels were used to withstand the constant movement from field to field. This brand new Shepherds Hut which measures 18ft X 8ft is custom made with box section metalwork chassis on a turntable with drawbar. It has stud work walls, floor & ceiling insulated with organic recycled sheeps wool with an engineered oak floor over. It has textured hand painted redwood internal cladding walls with a Tongue and Groove barrel roof, oak featheredge cladding to the exterior and oak double width steps. The owner has bestowed this wonderful Hut with bespoke hardwood doors and windows with five lever locks to the door and hand forged window furniture. For those who like to be cosy on those chilly evenings/days, a delightful ‘Hobbit’ wood burner has been installed to full HETAS regulations. Four double sockets and four vintage LED style wall lights have also been installed with two bulkhead lights to the exterior to finish off that authentic look and feel. A fitted kitchenette with base level units and worktop, including hot water heater, Belfast sink and tap (will need connecting to mains drainable and water supply) has been installed to complete the interior aspect of this traditional Shepherds Hut. The Hut doesn’t include any groundwork, mains connections, or installation, all of which can be quoted separately. Also buyers please not that this Shepherds Hut does not include, any interior props or free standing furniture which can be seen in the photographs or whilst on display. *Delivery within a 50 mile radius (only ‘Standard’ delivery with easy access) £600.00 is being offered by the owner. Buyers please note that the purchase price will include VATInterested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.

Tekno no.765 D.C.7.C aircraft in "Sabina" livery, still in original plastic box, wheels and props still intacted, superb example (M-BM).

4 ACCRO PROPS

A GROUP OF FOUR ACRO PROPS

Action Man, a quantity to include US military Jeep with trailer; Power Hog vehicle; two action figures (both with loose heads); selection of rifles; guns; clothing; boots; hats; props and accessories.

A site tripod floodlight stand; four adjustable steel Acrow props etc.

A GROUP OF SIX ACRO PROPS

A D May Electrics Ltd Wall-Mounted Revolving Advertising Sign, of hexagonal form with celluloid panels and moulded and painted letters inscribed HOME ALCHEMY VINTAGE CURIOS PROPS AUTO & MOR in a chrome plated and painted frame, 73cm long; and A Metal Double-Sided Advertising Sign, in the form of a flag, inscribed COCA-COLA, 100cm (2)

4 x Antique / Vintage Mother Of Pearl Opera Glasses Inc. French Made w/ Cases Ideal for props / display pieces if not for use All are WORKING and in good conditions considering age Slightly cloudy to look through with NO visible dirt specks Internal haze, dust and dirt, will benefit from a clean

Iris Paris Brass & Mother Of Pearl Opera Glasses Purple Tones Brass Mother Of Pearl Opera Glasses Unbranded Brass & Mother Of Pearl Opera Glasses Ideal for props / display pieces if not for use All glasses are WORKING and in good conditions Slightly cloudy to look through with NO visible dirt specks Internal haze, dust and dirt, will benefit from a clean Please see photographs

Lotto Rug West Anatolia, 17th century The terracotta field with typical mustard medallions enclosed by a lattice framed by indigo borders of geometric devices and S motif outer guard stripes, 168cm by 110cm Rugs of this design take their name from the Venetian artist Lorenzo Lotto (1480-1557). The artist used rugs of this distinctive pattern as props in a number of his paintings. Evidently, by the beginning of the 16th century 'Lotto' rugs and carpets had been imported into Northern Italy and beyond from Istanbul and Smyrna. During this period rugs were hugely expensive in Europe and available only to the nobility, the Church and the wealthiest of merchants. They were status symbols. When a nobleman commissioned a painting from a well-known artist, and if he possessed a rug or carpet, the weaving would appear in the painting. Examples of 'Lotto' rugs can be seen in museums including the Victoria and Albert Museum in London and the Met museum in New York.. Both ends have been secured with linen panels sown to the back. Selvedges are placed and outer guard stripes extensively rewoven. Rewoven areas can also be seen in outer part of one side border. Some wear and minor repiling in the field consistent with age.

Forty-one 1:72 scale Single Prop Fighter Aircraft model kits, 6xTamiya Corsair and Thunderbolts, 9xHasegawa Hurricanes including ‘Night Fighter’, Combo set, ‘Fox Hunter’, ‘S.E.A.C’. ‘North Africa’, ‘No.274 Squadron’, ‘Douglas Bader’ and ‘Battle of Britain’, 3xMPM Bristol Beaufighters, 4xAZ model Hurricanes, 7xAirfix Hurricanes and eleven single props by various makers, most kits with extra parts, all contents in sealed bags except Hasegawa ‘Night Fighter’ contents checked and appear complete, boxes very good to excellent except Revell boxes fair, together with a good selection of extra parts and decals mainly for Hurricane kits, Haynes Hawker Hurricane Owners’ Workshop Manual and Hurricane and Mustang booklets, (41 kits).

Collection of thirty-two 1:72 scale Military Aircraft model kits, including kits by Airfix, Dragon, FineMolds, Cyber Hobby, Xtrakit, ESCI ERTL and others, models include various Fighter Jets, Transporter, Bombers and Props, all contents in sealed bags, boxes generally very good to excellent, some minor creases, (32 kits).

A large quantity of assorted theatrical costume, props and accessories including a treasure chest, barrel, large fans, sombreros, hats, wooden axes, antlers on shield and two hat boxes etc (qty)

A large collection of vintage magic tricks and magicians props contained within five boxes to include a wide variety of tricks including magic circle items.

Colin Richardson (British, 20th century): 'Smuggler's Cottage, Polperro, showing House on Props', depicting a harbour scene, partly in high impasto relief, signed lower right, oil on board, 43 by 100cm, framed in green painted frame, 54 by 111cm, with a letter pertaining to the painting's original sale and shipment, dated 1964. (2)

Chicken Run (2000) Collection of miniature props from the Aardman classic including wooden ladder, pieces of buildings, chains and wheels, various sizes, ladder largest at 32 cm.

Harry Potter & The Half-Blood Prince (2009) - A Weasleys Wizard Wheezes Shop Label. Labels of this kind were used as set dressing in the scenes when Harry, Ron & Hermione visit Fred & George Weasleys new joke shop in Diagon Alley. Mounted in a custom framed display incorporating the Films Poster, 18 x 13 inches. Provenance: Obtained from Vendor Hero Props.

Harry Potter & the Philosopher's Stone (2001) Production made sealed unopened Hogwarts Invitation envelope addressed to Harry Potter. These envelopes can be seen flying through the air in the movie. Two styles of envelopes were made for production with either a rear wax seal or rear printed seal, this being of the latter style, 5.5 x 7.5 inches. With a Certificate of Authenticity from Hero Props.

Two boxes of hatsmixture of army, cloth hats all for props and reasonable condition

A Lego 6286 Skulls Eye Schooner toy set from 1993. Compass, map, figurines and props present.

Various film props from '1917', the 2019 film by Sam Mendes, various replica tins of Army and Navy stores food, original glass bottle, plastic bullet clips etc. (qty)

Various pre-1950s movie props, to include a replica painted fibre glass Renaissance style helmet and a Celtic shield, S/D.