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Lot 823
Rugby Union Trevor Woodman signature piece includes 6x4 colour photo and a 6x4 signed album page. Woodman was England's loose-head prop in the 2003 World Cup final and became one of the best props in the game despite a career spent battling against injuries. 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 £4.99, EU from £6.99, Rest of World from £8.99.
Lot 3088
The Man (2005) Collection of props from the movie including Special Agent Derrick Vann's (Samuel L. Jackson's) bracelet, walking cane and a replica of a Franck Muller watch, Andy Fidler's (Eugene Levy's) Prop wallet, photographs showing Samuel L. Jackson wearing the items and a copy of the DVD.Provenance: All with official certificates from New Line Cinema.
Lot 3106
The Last Samurai (2003) - Civilian costume from the film starring Tom Cruise. Comprises a black and patterned yukata, grey apron and pair of wicker sandals. The yukata and apron with labels inscribed LSA-VW03 and LSA-VM03 respectively.Provenance: With Backlot Props certificate of authenticity.
Lot 3234
Fantastic Beasts and Where to Find Them (2016) Original production made props and a Fantastic beasts book signed at the premiere for the second fantastic beasts film. The book is signed in person by Jude law, Johnny Depp, Ezra Miller, Zoe Kravitz, Katherine Waterson, David Yates, David Heyman and Joshua Shea.Provenance: With certificate of authenticity.
Lot 3015
Superman II (1980) Three Acrylic production used crystal props from the Fortress of Solitude scenes with Gene Hackman as he learns about his arch-nemesis Superman, and later in the film as Superman's powers are taken away from him. All three differ slightly but are all approx. 11 inches long. (3).Provenance: The first two Superman movies were filmed back to back in 1977. The vendor John New worked in the Art Department in over 180 films including Superman.
Lot 3215
Beverley Hills Cop III (1994) Prop rubber Glock 19 handgun used by Eddie Murphy in the American action comedy film directed by John Landis.Provenance: With Certificate of authenticity from Ellis Props and invoice from Sotheby's.Information - Please satisfy yourself to Firearms laws in your country and shipping restrictions before purchasing this lot.
Lot 3232
Fantastic Beasts and Where to Find Them (2016) Original props used in production and a rare original special effects department crew T-shirt including New York Clarion full newspaper, two original street posters, Original wand permit and a full notice of contravention document.Provenance: With certificate of authenticity.
Lot 405
A production-used shooting script from Guy Hamilton's Bond movie Live and Let Die. The shooting script is 121 pages long, including the title page, which is dated "October 2nd, 1972", and credits writer Tom Mankiewicz. It is bound in green card with the cover reading "Ian Fleming's Live and Let Die" and bound again in a dark teal hardback binder with an inner page that has a handwritten label reading "93-32." twice. Annotations throughout the script include printed underlining to highlight props and visual effects required for filming. The shooting script shows minor signs of wear, but only the inner cover has distortion. Dimensions: 29 cm x 25 cm x 3.5 cm (11 1/2" x 10" x 1 1/2")£1000-1500 M
Lot 329
A set of museum gift shop props and continuity Polaroids from William Dear's family comedy Bigfoot and the Hendersons (released in the U.S. as Harry and the Hendersons.) George Henderson (John Lithgow) visited a Bigfoot-devoted museum run by Dr. Wallace Wrightwood (Don Ameche) to get answers about the Sasquatch living in the Hendersons' home. The gift shop props consist of an oversized white dense resin Bigfoot footprint maker, used to create sasquatch footprints for the film, and two unpeeled "North American Museum of Anthropology" bumper stickers. Also included are 50 continuity Polaroids from production, featuring Harry and several of the principal actors. The photographs feature handwritten continuity notes and exhibit minor creasing. Dimensions (largest item): 44 cm x 22 cm x 4 cm (17 1/2" x 8 1/2" x 1 3/4"); (smallest item): 10.25 cm x 10.25 cm (4" x 4")£500-700 Ω Δ
Lot 305
A radio-controlled hero ghost trap and pedal from Ivan Reitman's supernatural comedy Ghostbusters and its sequel Ghostbusters II. The Ghostbusters ۠Peter Venkman (Bill Murray), Raymond Stantz (Dan Aykroyd), Egon Spengler (Harold Ramis), and Winston Zeddemore (Ernie Hudson) ۠used traps to capture ghouls haunting New York. A small number of electronic trap props were made for the production by Academy Award-nominated special effects supervisor Chuck Gaspar, and reused in the second production. This piece comes with a letter of authenticity from producer Michael C. Gross. The trap consists of a black aluminum box with a handle and four wheels, an illuminating red plastic light, an illuminating electronic charging meter, a yellow plastic light, and two doors with yellow striped caution tape applied on top. When charged, the trap doors open to reveal five 9V batteries in a battery pack, an array of four small light bulbs, and circuitry connecting the doors to the batteries. The original plastic and metal Futaba radio-control system used to operate the trap is labelled with numbers corresponding to the mechanism that each button controls. The trap has several pieces of functionality: the remote button labelled "5 DOOR" opens the striped hatch doors on top; the throttle labelled "3 BARGRAPH" operates the light bar graph at the top of the piece which illuminates up and down to confirm that the trap is filled up; the "6 FLASH" button initiates the internal strobe-light used for on-set interactive lighting effects when the trap opens; and the mechanism labelled "7 RED LIGHT FLASH" operates the red flashing light at the rear of the unit that signifies it is holding a ghost. The hydraulic foot pedal is made of steel and wood painted black, with red and yellow wires underneath. Also included is a plastic-and-steel cable that connects the trap and the pedal, and a red-and-black AC charging cord for the trap. The round silver bars on the side of the trap's body were originally painted orange for the first film, and were stripped back to raw aluminium when the trap was reconditioned for the sequel. All pieces exhibit signs of use and wear, including scrapes and scuffs throughout, as well as chipped wood on the pedal. Operating instructions for the functional electronic components are also included. Dimensions: 75 cm x 58.5 cm x 24.25 cm (29 1/2" x 23" x 9 1/2")£80000-120000 Ω Δ*Contains electronics; see electronics notice in the Buyer's Guide
Lot 893
An untrimmed Golden Ticket from Mel Stuart's fantasy musical Willy Wonka and the Chocolate Factory. Willy Wonka (Gene Wilder) randomly hid five golden tickets in the wrappers of his chocolate bars, sparking a global frenzy to find them. Five lucky winners, including Charlie Bucket (Peter Ostrum), arrived at the gates of the mysterious chocolate factory, ready and excited to enter the fabled building and witness the magic within. The ticket comes from the personal collection of Julie Dawn Cole who portrayed Veruca Salt Props from this beloved film are extremely hard to find, as most were destroyed at the production's Bavarian film studio to allow for a swift wrap, making way for the immediate filming of Cabaret. Printed on gold-coloured foil paper, this ticket is untrimmed and not finished for filming. It retains all its detailing, including the curved pattern around the perimeter and the black lettering explaining how the ticket holder can redeem their prize. The legendary text "Greetings to you, the lucky finder of this golden ticket. From Mr. Willy Wonka" remains prominent near the top of the piece. The ticket shows signs of its age, including fold lines and significant creasing, and is glued to a board from a previous display. Dimensions: 19 cm x 9.5 cm (7 1/2" x 3 1/2")£5000-7000 M
Lot 892
A hero Wonka bar from Mel Stuart's fantasy musical Willy Wonka and the Chocolate Factory. Wonka bars featured throughout this adaptation of Roald Dahl's classic children's story, after Willy Wonka (Gene Wilder) randomly hid five golden tickets within the wrappers of his chocolate bars. It was in such a bar that Charlie Bucket (Peter Ostrum) found his precious ticket and his adventure began. The bar comes from the personal collection of Julie Dawn Cole who portrayed Veruca Salt Very few hero versions of the chocolate bar were made for production, and props from this beloved film are extremely hard to find, as most were destroyed at the film's Bavarian studio to allow production to wrap quickly, making way for the immediate filming of Cabaret. This is the first hero bar Prop Store has ever encountered. The bar is made of card, with a silver-painted core representing the foil-wrapped chocolate. Glued to the exterior is a paper cover bearing the iconic Wonka top-hat logo in yellow. The bulk of the front of the confectionary is decorated a rich chocolate brown. The sides of the bar are hand-painted pink, visible underneath the bright orange paper surround, which has become unstuck over time. The back of the bar is unpainted and rough, likely where it was originally affixed to part of the set. The bar shows some signs of age and use, with some colour fade to the corners and a light crease at the top edge. Dimensions: 16.5 cm x 8 cm x 1 cm (6 1/2" x 3 1/4" x 1/4")£10000-15000 M
Lot 537
A script from Brian De Palma's action film Mission: Impossible. Bound by a metal script clip, the script contains 109 A4 pages, the majority of which are printed single-sided on blue paper. An additional 10 revised pages, dated 10 April 1995, are printed on pink paper. Props are highlighted in orange on multiple pages and various handwritten notes feature throughout. The script is named to uncredited prop master Mickey Pugh, and a paper clip has been used to attach loose pages to the rest of the document. Multiple pages display minor folds, rips and wear to their edges. Marks from production use are also present on some pages. Dimensions: 30 cm x 21.5 cm x 1.5 cm (12" x 8 1/2" x 3/4")£300-500 † Δ
Lot 509
A Second Age Elven Lhang sword from Peter Jackson's adaptation of J.R.R. Tolkien's fantasy epic The Lord of the Rings: The Fellowship of the Ring. The Elven army carried swords during the film's prologue, in which the Last Alliance of Elves and Men fought against the Dark Lord Sauron (Sala Baker) and his forces at the foot of Mount Doom. The Elves of Lothlorien also carried the distinctive long-handled blades at the Battle of Helm's Deep. Constructed by Weta Workshop, world renowned for their achievements in designing and constructing props that were faithful to Tolkien's writing, the sword is made from dense urethane over a metal core. The recurve shape is reminiscent of the Japanese nagamaki and Chinese podao weapons. The handle is detailed with a brass-coloured leaf wrap that spirals down to the base of the grip. The blade is decorated to resemble metal. This piece was gifted to executives at Sideshow Toys, who visited the set in 2002. As Sideshow Toys was licenced to distribute collectibles for the Lord of the Rings films, the executives were allowed to choose mementos from the set. These select props were branded with a unique code and note of ownership. This particular item has been etched with the text: "Prologue Elven Sword Sideshow Toy/12 June 02/0012 W." The weapon exhibits minor wear due to production use, but remains in excellent overall condition. Dimensions: 132 cm x 5 cm x 18 cm (52" x 7" x 2")£6000-8000 †
Lot 688
An autographed call sheet from George Lucas' Star Wars: The Phantom Menace. This call sheet was used for the filming of scenes inside the Federation Battleship Conference Room. Featuring the original working title "Episode 1 ۠The Beginning", the call sheet displays the call times for main cast, stunt actors and stand-ins, as well as notes regarding shooting requirements for the art department, props, creatures, wardrobe, catering and transport. An additional call sheet is stapled to the back for second unit filming. The front features personalised messages addressed to "Dave", and is autographed by Ray Park and Ewan McGregor in black marker. The page edges show minor wear and the back displays a tape residue mark. Dimensions: 30 cm x 21 cm (11 3/4" x 8 1/4")£200-300 † Δ
Lot 890
A partial Wonka bar wrapper from Mel Stuart's fantasy musical Willy Wonka and the Chocolate Factory. Wonka bars featured throughout this adaptation of Roald Dahl's classic children's story, after Willy Wonka (Gene Wilder) randomly hid five golden tickets within the wrappers of his chocolate bars. It was in such a bar that Charlie Bucket (Peter Ostrum) found his precious ticket and his adventure began. The wrapper comes from the personal collection of Julie Dawn Cole who portrayed Veruca Salt Props from this beloved film are extremely hard to find, as most were destroyed at its Bavarian film studio to allow production to wrap quickly, making way for the immediate filming of Cabaret. This paper wrapper, likely cut from a hero bar, has the iconic Wonka logo at the centre, featuring the factory owner's top hat in yellow. The edge is brightly decorated in orange, with the remainder coloured a rich chocolate brown. The piece has been glued to a board from a previous framed display and remains in good overall production-used condition. Dimensions: 16.5 cm x 8 cm x 1 cm (6 1/2" x 3 1/4" x 1/4")£3000-5000 M
Lot 727
A screen-matched Tantive IV stormtrooper helmet from George Lucas' Star Wars: A New Hope.The stormtrooper uniforms are just one of many indelible, iconic designs from the original trilogy, borne out of concept sketches by celebrated concept artist Ralph McQuarrie, who worked directly with Lucas on the Imperial foot soldiers' appearance. The stormtrooper helmets created for the first Star Wars film were sculpted by artist Liz Moore and vacuum-formed by an outside vendor.This superb helmet is complete, unrestored from its original first-film finish, and screen-matches to the scene early in the movie where stormtroopers bring Princess Leia (Carrie Fisher) to Darth Vader aboard the Rebel corvette Tantive IV. Unique characteristics in the textured finish of the paintwork, as well as the hand-cut teeth and eye openings, match the on-screen helmet exactly.Approximately 56 standard helmets were created for filming, constructed from high-density polyethylene, or HDPE, a material used at that time to line garden ponds. The helmets were then finished with a glossy white paint, and additional linework and vent details were painted by hand.The helmet's original aerators, or "mic tips", are in place, as is the original rubber trim at the brow and the underside opening. The interior features an elastic chinstrap, a yellow piece of foam padding, and a thin green plastic lens sheet. The name "Syd" is also marked on the interior of the helmet, likely for Syd Wragg, a stormtrooper actor on the film.The helmet has an interesting history: after production on A New Hope it was worn during a promotional event for The Empire Strikes Back held on 15 October 1978, called the Everdon Cross-Country Team Event. This unusual day saw Carrie Fisher, David Prowse, Peter Mayhew, producers Gary Kurtz and Robert Watts, and other key members of the Star Wars team participating in an equestrian event on an estate property in the UK. Original props and set decoration were utilised for the event, including several original stormtrooper costumes. The helmet was gifted to the event's host, and includes a letter of authenticity from the original owner's family.Also included are six large black-and-white photographs from the Everdon event featuring Carrie Fisher on horseback, all of which are marked on the reverse with pen or pencil, providing details of the event, as well as a colour photograph of Princess Leia with stormtroopers on the Tantive IV, and eight additional photographs, some of which feature this helmet or a similar stormtrooper helmet, in an envelope hand-labelled "Mrs. R. Hawkins, Everdon Manor".The helmet and accompanying materials all exhibit signs of wear and age, including some chips to the paint and fraying to the helmet's straps. Some of the chips show evidence of touch-up work, which was done during production or at the time of the promotional event ۠no additional work has been done on the helmet since.Most stormtrooper helmets used in A New Hope were reconditioned for The Empire Strikes Back, which involved painting the grey "frown" (the distinctive mouth area) black. Helmets in original unrestored condition from A New Hope are exceedingly rare and just a few others exist in private collections. Additional information on the Everdon promotional event can be found at www.everdonstarwars.com.Dimensions: 38.25 cm x 38.25 cm x 40.75 cm (15" x 15" x 16")£120000-180000 Ω
Lot 619
Jack Torrance's (Jack Nicholson) hero axe from Stanley Kubrick's classic horror The Shining. Jack used his axe throughout the film's terrifying climax as he hunted his wife Wendy (Shelley Duvall), despatched Hallorann (Scatman Crothers) and memorably pursued his son Danny (Danny Lloyd) through the Overlook Hotel's maze, before freezing to death while still clutching the axe. An axe was also used in a flashback sequence showing the murder of the twins. The terrifying images of the deranged Jack Torrance stalking the corridors of the Overlook Hotel resonate as vividly today as they did on the film's release. Jack's line from the film's most famous scene, "Here's Johnny", is a reference to the opening of The Tonight Show and its host, Johnny Carson, and is one of the most quoted in Hollywood history. The axe, a true icon of horror cinema, is a custom made fire axe, that needed to be practical for the shots in which Jack broke down the apartment door and then the bathroom door in pursuit of Danny and Wendy. Wendy ultimately thwarted Jack's attack by slashing his hand with a kitchen knife, after which he retreated and went after his son. This axe was purchased by a crew member at a sale of the movie's assets at the end of filming, along with other props, costumes and set decoration. It was specifically selected as the crew member involved needed an axe to chop wood at home. Fortunately, the axe was never used for this purpose, and has been kept safely for decades. It remains in excellent condition, with a few knicks and scratches present from use on Kubrick's notoriously long shooting days. Dimensions: 90 cm x 29 cm x 2.5 cm (35 1/2" x 11 1/2" x 1")£40000-60000 M
Lot 35
A xenomorph SFX insert puncture tail tip from Paul W.S. Anderson's sci-fi action film AVP: Alien vs. Predator. The xenomorph known as Grid (Tom Woodruff, Jr.) impaled a Yautja Predator with its powerful spiked tail. This piece, designed by Academy Award-winning special effects group Amalgamated Dynamics, Inc. (ADI), comprises a sharp metal tip affixed to a hand-painted grey-and-black moulded resin base, with foam-rubber tail pieces, and a steel puppeteer's pipe. While its biomechanical detailing harks back to H.R. Giger's original creature designs from Ridley Scott's Alien, this tail's spikes are specific to the aggressive xenomorphs in AVP, and were designed to create actual punctures in props and effects pieces on set. The tip exhibits signs of age to the foam rubber. However, it remains sharp and should be handled with caution. Dimensions: 12.75 cm x 19 cm x 234 cm (5" x 7 1/2" x 92")£1000-1500 Ω Δ
Lot 732
A set of door signs from Irvin Kershner's Star Wars: The Empire Strikes Back. Signs would have adorned the door of each department and they would have been displayed in restricted areas on location at the Finse 1222 hotel in Norway. Made of white card, the signs feature a blue screen-printed The Empire Strikes Back logo. Marked "No Entry" and "Props", with a third blank sign also included, each title has been handwritten by the film's lettering artist in blue, and the signs are laminated and sealed. The signs exhibit minor wear to the logo prints, marks from age and wear to the edges from use on production. Dimensions (each sign): 7.5 cm x 33 cm x 0.2 cm (3" x 13" x 1/4")£400-600 M
Lot 698
A production budget and cost binder set from the productions of George Lucas' Star Wars: A New Hope and Irvin Kershner's Star Wars: The Empire Strikes Back. The set contains extensive, specific details of the budget and final costs of A New Hope, and the budget of The Empire Strikes Back. The black vinyl binder with a yellow-and-black dollar-sign sticker contains 145 pages of the working budget paperwork for The Empire Strikes Back, as well as an additional 129 pages of budget and cost reports from A New Hope. These consist of four key components: a handwritten preliminary, detailed UK budget of £4,401,576 for The Empire Strikes Back, dated "4/25/78"; a handwritten and typed preliminary US budget of $6,725,523 for The Empire Strikes Back dated "4/27/78", likely from associate producer Jim Bloom; a typewritten production budget of $7,751,917 for "The Star Wars" dated "11/5/75" from production supervisor Robert Watts and Jim Nelson; and an undated Industrial Light and Magic production cost report for A New Hope showing a cost of $3,137,742, with specific cost information for all models, including such details as the X-Wing Fighters' total cost of $38,021. The teal canvas three-ring binder contains a 107-page original, undated typewritten production budget of $9,245,18 for The Empire Strikes Back. The budget appears to be a working version pertaining only to the US costs of production, with incomplete details regarding key crew and department costs, as well as a set of typewritten "Final Picture Cost Recap" documents for A New Hope dated "12/17/77" identifying the total spend to date and a document regarding the designers and copyright owners of various alien characters. The blue paper folder contains an 80-page original, typewritten total production budget of $8,228,228 for A New Hope, which was compiled 15 March 1976 with additional pages dated 1 February 1976. Based on a 20th Century Fox template, this budget features cost information for key cast and crew, a cost breakdown for all locations and studio sets, ILM's "miniatures" budget, a set decoration budget, a props budget (noting 20 laser swords coated with "3M reflective material[21]", among other things), a wardrobe budget, and more. Dimensions (each): 30 cm x 28 cm x 12.75 cm (11 3/4" x 11" x 5")£1500-2500 Ω
Lot 791
A pair of cast-autographed shooting schedules from the production of the sci-fi adventure series Stargate SG-1. Shooting schedules were used by the crew to plan scenes and organise special effects, props, set design and makeup. The shooting schedules feature the autographs of director Michael Shanks, writer Christopher Judge, and actors Dan Shea, Peter Williams, Tony Amendola and Teryl Rothery across the covers. The pink schedule features the title of the Season 5 premiere episode "Enemies (Part 2)" and the blue schedule features the title of Season 4 Episode 3, "Upgrades". The pages remain in very good condition. Dimensions: 28 cm x 21.5 cm x 0.5 cm (11" x 8 1/2" x 1/8")£200-300 M
Lot 89
Property Master John Zemansky's production-used script from Robert Zemeckis' sci-fi adventure sequel Back to the Future Part III. Marty McFly (Michael J. Fox) traveled to the year 1885 in order to save Doc Brown (Christopher Lloyd) from certain death at the hands of Buford "Mad Dog" Tannen (Thomas F. Wilson). This script belonged to prop master John Zemansky, and is a white production draft dated "6 July 89", with blue revisions from "7/25/89". It is stamped "BTF3 25" on page 1, marked throughout with notes regarding props in red ink, and presented with blue laminate covers secured to the script via brass brads. The script exhibits minor wear along the edges. Dimensions: 29.25 cm x 23 cm x 4 cm (11 1/2" x 9" x 1 1/2")£600-800 Ω Δ
Lot 709
Luke Skywalker's (Mark Hamill) production-made lightsaber from the production of Star Wars: A New Hope (1977) Lightsabers are one of the most memorable props in the history of cinema, and it is well-known amongst enthusiasts that Luke's original lightsaber was built from a Graflex 3-Cell Camera Flash Attachment unit. The modifications used to turn the flash handle into the lightsaber prop were relatively straightforward: a set of black T-shaped grips were attached to the lower half of the flash, a D-ring was attached to the bottom of the unit to allow it to hang from a belt hook, and a set of plastic magnification "bubbles" from a vintage calculator display were fitted to the flashes center clamp. Due to the simple nature of the prop's construction, authenticity around Graflex-based lightsaber props is frequently controversial. This is the first Luke Skywalker lightsaber Prop Store has handled with solid provenance and the appropriate physical construction elements to support that it is indeed from the production. The most well-documented Skywalker lightsaber props are the Graflex-based hero version seen best in production photography, and the special-effects version with a motorized spinning blade (designed to reflect light into the camera lens) that was made from a piece of pipe dressed to look a Graflex. It is not clear exactly how many lightsaber props were built for the first film in total. This lightsaber is distinctly not the hero Graflex version seen in production photographs, or the well-documented spinning version, but is an original made for the production of the film. The lightsaber originated from Andy Mitchel, the son of Andrew Mitchell, who was the managing director of Elstree Studios at the time the original Star Wars films were shot there. Mitchell recovered the lightsaber prop as a young man from the Elstree Studios backlot where it had been discarded along many other props and sets during or after production. He was allowed to keep the piece as a memento shortly after production wrapped. The Graflex is a "Folmer" version of the flash handle, which is the same version of Graflex used to create the hero piece seen in production photographs. This flash unit was fully converted into a prop lightsaber: a D-ring is affixed to the bottom of the handle with two pop rivets, a bubble lens strip fitted in the center clamp (with 7 bubbles, matching the hero prop), and glue residue exists on the lower half where the T-shaped grips were once attached. The red button at the top of the flash is a version with a thin band of knurling€â€different to the documented hero Graflex, but the same style of button seen on the document effects "spinning blade" prop. The most interesting aspect of this piece is a welded metal plate affixed into the open end of the emitter. The plate features a small hole in the center and the welding process has deformed some of the top of the flash. This plate was almost certainly welded in as part of the effort to mount a blade in the handle. This custom modification supports the fact that the special effects or props team at Elstree Studio was working with this piece at some point during production, and it was specifically converted to be a lightsaber prop. At present, the location of both the well-documented hero Graflex lightsaber and well-documented "spinning blade" effects version of the prop are not known. Therefore, this may be the only, or certainly one of the few, genuine Luke Skywalker lightsaber props from the original Star Wars film still in existence. While it is uncertain whether this piece was ever used in filming or not, it has a strong chain of provenance and the appropriate physical construction to support its authenticity and is a wonderful example of this legendary film prop. Included are a letter of authenticity from Andy Mitchell who originally obtained the piece from the Elstree backlot, and from a friend of Mitchell's who was gifted the piece by Mitchell in 1983. The piece is well-worn, with numerous scratches and marks to the body. Dimensions: 25 cm x 5.75 cm x 3 .75 cm (10" x 21/4" x 11/2")£60000-100000 M
Lot 45
THE GREAT STROMBOLI; the magician's two-tiered stand inscribed 'Stromboli Presents the Victorian Cabinet of Curiosities', approx 92 x 86cm, with a selection of props collected by him, also his award with plaque inscribed 'Club Mirror Awards Stromboli & Sylvia Speciality Act of Year 1986/7'. Provenance: The Great Stromboli.Additional InformationContained within this lot is a stand, a small cobra, a shrunken head, an emu, a crystal skull, a ram's head, a coffin with a small man with an erect penis, a further coffin, a metal head with tongue out, a skull with additional horns mounted to the front, and seven further reproduction resin skulls.
Lot 48
A group of props collected by the Great Stromboli comprising 'Zoltan' fortune teller, sets of handcuffs, model coffin etc. Provenance: The Great Stromboli.Additional InformationContained within this lot is a modern Zoltan, a gun sleeve containing prop swords, a reproduction skull with metal mounts, a coffin, a small dome topped trunk, two fingers and some handcuffs.
Lot 1397
HARRY POTTER AND THE PHILOSOPHER'S STONE (2001) - SCREEN USED SPECIAL EFFECT PROP ENVELOPE - HARRY'S HOGWARTS ACCEPTANCE LETTER - One of the special effects versions with printed faux wax seal - used in the scene where envelopes come down the chimney - PROVENANCE: This item comes to us from a vendor with close associations to the film industry who advises that it was received directly from the Props Team who worked on the production and comes with an Excalibur Auctions certificate of authenticity. - Near Fine
Lot 1393
HARRY POTTER AND THE CHAMBER OF SECRETS (2002) - A screen used prop: An unsigned photograph of PROFESSOR LOCKHART as used in the scene where Harry is in detention whilst Lockhart signs a stack of photographs that he has on the desk beside him. Near Mint - PROVENANCE: This item comes to us from a vendor with close associations to the film industry who advises that it was received directly from the Props Team who worked on the production and comes with an Excalibur Auctions certificate of authenticity. - Near Fine
Lot 225
Beaumont (William Dyer, active 1833-1852). Four full-length silhouette portraits, 1852, together four full-length black painted silhouette portraits, with touches of colour, bodycolour, and gilt, comprising two gentlemen profile to right, and two ladies, one profile to right, the other profile to left, the younger lady holding a book, and with circular embossed stamp to upper left corner 'Turnbull Superfine London Board', some rubbing and consequent minor paint flaking (most noticeably to the hair of the older gentleman and the nose tip of the older lady), some light toning and marks, each signed and dated in pencil lower right, each 25 x 19 cm (9.75 x 7.5 ins), matching mounts and frames, glazed (Qty: 4)A distinctive and sought-after silhouette cutter and painter, William Dyer Beaumont is a somewhat obscure character. His only recorded trade label makes reference to him working in Bath and Brighton, although it is thought that he may have been based in Cheltenham. Strangely he is often referred to as W.H. Beaumont, and sometimes as W. Dyce Beaumont; the former appears to be a perpetuated error, the latter is clearly a misreading of 'Dyer'. Three of our silhouettes are signed 'W. Dyer Beaumont fecit 1852' and the other 'Dyer Beaumont fecit 1852'. Many of his works are not signed at all, but he makes use of various devices which make his work fairly easy to recognise: a propensity for full-length figures; a use of sepia or dark brown paper (though black is used too, as here); the addition of props such as books, furniture, items of needlework and ornaments, these often picked out in colours or gold; and the use of shadows. His later silhouettes of the 1840s and beyond have been called 'among the finest of the period.' (Sue McKechnie, British Silhouette Artists and their Work: 1760-1860 , 1978, page 190). John Woodiwiss was of a similar opinion, saying, 'really outstanding profiles demand a high degree of artistic taste and technique and in this respect few painters of the mid-nineteenth century could compare with W. H. Beaumont', adding that the artist 'enjoyed using colour and always did so with the blending and discrimation of good taste'. Woodiwiss particularly admired Beaumont's female portraits as studies of 'unusual charm', their lace adornments painted 'with the delicate touch of a master.' (John Woodiwiss, British Silhouettes , 1965, page 68).
Lot 207
Terry Thomas signed 3x3 b/w photo. 14 July 1911 – 8 January 1990 English comedian and character actor who became known to a worldwide audience 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. Dedicated. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
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3230 item(s)/page