There are 3230 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeManuscript Ideas. Television sketch ideas, handwritten by Eric Morecambe on various sheets of lined notepaper, including ideas for jokes & props, rough drafts & prompt cards for speeches, several sheets typed by Eric, and a partially-filled notepad with ideas for gags. To include typescripts for Opening Sketch of Morecambe & Wise Show 6, and Friendly Letter Service ❧ This is from Eric Morecambe’s private study at his home in Harpenden
Eric Morecambe's stage props. A Spanish flamenco dancing costume, boxed, comprising jacket, shirt, two cummerbunds, stockings, and hat, some items bearing labels "E. Morecambe", the hat in a BBC Wardrobe bag Note: the initial idea and drawing for this costume is part of lot 541 ❧ This is from Eric Morecambe’s private study at his home in Harpenden
Eric Morecambe's stage props. A set of bongo drums, well-used and repaired with electrical tape used by Eric for a large section of their 1970s live tour and in the Fairfield Halls recordings. Also used on stage in 1960s during Summer Season ❧ This is from Eric Morecambe’s private study at his home in Harpenden
Manuscript Ideas. Television sketch ideas, handwritten on notepaper by Eric Morecambe, including small illustrations of props/costumes, on 12 sides of foolscap, together with a small notebook partially-filled with ideas for jokes & gags Note: the costume initially sketched by Eric in this lot is probably lot 644 ❧ This is from Eric Morecambe’s private study at his home in Harpenden
Film props - Collection of original Ron Perlman Hellboy movie props to include headpiece residing on a vacuform plastic mould with “Perlman” cast into the plastic, 2 x sets of lips residing on vacuform mould with 'Perlman Chin 2' cast onto plastic, and 2 x horn stubs, plastic moulds feature small stickers/pen note from production,
A Quantity of 35mm film strips and Trailers, film trailers & teasers, in boxes, some titles include Anna Karenina, Another Earth, Best Marigold Hotel, Philomena, X Men, Madagascar 3, Seven Pshycos, Lawless, Old Screw, Jaws/Props, Lambs/Make Up, advertising strips, many just serial numbered, with a 35mm feature film titled JACK, seven reels, missing first reel, a quantity, twelve boxes, not viewed
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - a collection of original production made props for Greg Dillard (Stephen Merchant), as used throughout all three series. Includes: a folder of original production made photographs showing Greg and his ex-wife, business cards, prop credit cards, Greg's wallet filled with associated props, and Greg's flat keys. Various conditions, as used during filming.
'Allo 'Allo! (BBC Sitcom 1982-1992) - René Artois (Gordon Kaye) - original screen used prop beard from the Series 5 episode 'No Hiding Place.' Worn by Kaye during several scenes in the episode, whilst Rene is in disguise. The beard exists in used condition, with some staining to the interior lining, but is otherwise physically in good condition. Props used by Kaye are extremely hard to find. Provenance: accompanied with a certificate from The Prop Gallery.
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - a collection of assorted production used props from the series, comprising: a sheet of unused 'Ben's Ackee Bamboo Hot Sauce' labels, a certificate for the Grand Atlantic Hotel (used in S3), a prop Case File (S3), a folder of set dressing leaflet props from the Wine Bar (S3 - with original production wallet), and a set of production 'Probation Service' stencils. All production used items from the series.
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - screen used prop wallet belonging to Ben (Gamba Cole). The wallet filled with production made props including a Driving License, bank cards for the fictional Greenock Bank, and a receipt. Along with some prop keys. Housed within their original production bag.
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - a collection of original production used props relating to Frank Sheldon (Christopher Walken), comprising: several prop casino cheques, a prop passport (no internals), plane tickets, and prop boarding passes. Some multiples. Largest item A4. Housed within the original pre-production prop bags which carry the original title 'The Offenders'.
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - a large collection of assorted paper props used in all three series of The Outlaws. Either character props, or set dressing. Includes: prop business cards (used for character wallets), a wodge of prop money, decals for tins / cans, prop leaflets, prop warrant, forensic reports, hotel set dressing, Lady Penrose legal document, press pass, floor plans, photographs, room signs, prop cheques,
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - a collection of original production used props from the third series, comprising: two 'mugshot' photographs of Greg (Stephen Merchant) housed within their original production wallet, two sections of script for Greg (Merchant), and two prop letters on Gregory Dillard headed paper. Largest A4.
Doctor Who (BBC science fiction series) - The Runaway Bride (2006 Christmas Special from the Tenth Doctor era) - an original production used prop bank note, made for the scenes in which money is seen spewing from ATMs. Each bank note was custom printed by the props department, and this example is based on a twenty-pounds note, but has a depiction of producer Phil Collinson in place of the Queen's head and various text changes, and finished with a Tardis watermark. Measures 8.5cm x 15.cm.
Doctor Who (BBC science fiction series) - The Runaway Bride (2006 Christmas Special from the Tenth Doctor era) - two original production used prop bank notes, made for the scenes in which money is seen spewing from ATMs. Each bank note was custom printed by the props department, and these examples are based on a ten-pounds note. A depiction of David Tennant replaces the Queen's head and various text changes alluding to the production feature. Measures 8cm x 15cm each.
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - a collection of screen used props belonging to Anthony Burgess (Ricky Grover). Including - screen used lanyard with prop ID card, a set of keys, several business cards, and a prop wallet with contents. All as used throughout the third series by Grover.
Doctor Who (BBC science fiction series) - The Runaway Bride (2006 Christmas Special from the Tenth Doctor era) - two original production used prop bank notes, made for the scenes in which money is seen spewing from ATMs. Each bank note was custom printed by the props department, and these examples are based on a ten-pounds note. A depiction of David Tennant replaces the Queen's head and various text changes alluding to the production feature. Measures 8cm x 15cm each.
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - a selection of original production used props from the third series, comprising: a fictional Police Warrant for Benjamin Eastfield (Gamba Cole), an Air Conditioning brochure, a leaflet on Ankle Tagging, Movement Schedule, a page of finger prints, Evidence Log Form, fictional legal contracts, Client Intake Forms, a Case File filled with information relating to the plot, and a prop Bristol And Avon Police folder. Mostly A4.
The Outlaws (2021-2024 TV Series by Elgin James & Stephen Merchant) - two original production used props from S1 Ep6 of the series, comprising two handwritten 'Gone For Number 2 - Back In 5 - Frank' notes, as used by Frank Sheldon (Christopher Walken) in the episode. Both written on paper bags. Ultimately not seen on screen, with a larger cardboard sign being used instead. Both exist in used condition, with some water staining to one. Largest measures: 29cm x 30cm.
A collection of flamboyant period costume props purportedly from the 1977 film 'The Man in the Iron Mask', tailored in the lavish 17th century flamboyant style.Condition ReportInformation from the vendor: Originally bought a large quantity of this French style theatrical clothing about 22 years ago from a huge fellow with a bald head. He had been set and costume designer for TV movies. He had them labelled as such. However, should you watch the film in question you can clearly see the items being used, especially that Yellow/Gold Gentleman's frock coat, pantaloons and lace cravat and long waistcoat being worn in more than one scene by an extra, (we used to have the associated tri-corn hat that accompanied it but one of my daughters wore it to a party and it never came back) Also, I recollect that the white cloak with the fake pearls and queens motif is also in numerous shots. Some of the items had paper labels with a safty-pin saying for 'Fontainebleau' which I believe was one of the locations used. (some may still retain these prop department labels?)
James Ensor (1860-1949): Place Publique d'Ostende, scenery for La Gamme d'Amour, mixed technique on paper, 1914Work: 27,5 x 21,5 cm Frame: 43,5 x 33,5 cm Provenance:- The collection of Sidney Rothberg, Philadelphia, USA.- The collection of Auguste Taevernier, Ghent, Belgium. Published: - Paul Haesaerts, James Ensor, Harry N. Abrams, Inc., New York, 1959 , p. 324, no. 180 (illustrated as Décor pour La Gamme d'Amour). Numbered 27 on the back, which bears no further annotations. (see images 3 and 4) Shown here is a less detailed yet playful version of the Place Publique d'Ostende, the scenery for the second act of Ensor's play La Gamme d'Amour. He also painted a large, populated version, on canvas (Tricot 463). The paintings and the scenery designs were completed in 1912. An enhanced photo of La Place Publique was added to the note he sent to François Franck in 1924 as clarification for the construction of the stage scenery. (see image 5) The work will be reproduced and commented upon, in Xavier Tricot's forthcoming publication, James Ensor: La Gamme d'Amour, to be published with Pandora Publications, Antwerp. According to the author, the work was executed in 1914. Ensor’s fascination for theatre began early, before he embarked on a career as a painter. From his grandmother’s eccentric penchant for dressing up in strange costumes, through the sale of exuberant props in his family’s souvenir shop in Ostend, to the cacophonous annual Carnival celebration, the artist was enthralled by theatre’s many possibilities. He was particularly interested in masks, which regularly appear in his œuvre. For Ensor, masks were both able to disguise identity and reveal inner truth. He said: “The masks mean to me: freshness of color sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.†At fifty, Ensor built on his passion for theatre and produced his own show, La Gamme d’Amour (Flirt pour les Marionettes), which the libretto describes as a “one-act Ballet Pantomime in two tableaux.†Composed solely on the black keys of a harmonium (he feared the white keys) between 1906 and 1911, La Gamme d’Amour debuted as a musical performance on January 17, 1920 to coincide with Ensor’s exhibition at the Galerie Georges Giroux in Brussels, before premiering as a proper ballet at the Antwerp Opera on March 27, 1924. Set during the Ostend carnival, the play opens in Grognelet’s shop, filled with masks, puppets, and other theatrical props, reminiscent of Ensor’s parents’ boutique. The first scenes introduce the main protagonists, love-interests Fifrelin and Miamia, whose passion is compromised by their quarreling families. By the end of the first tableau, however, the two characters are engaged, and the second tableau (the present lot) is devoted solely to preparing a festive wedding march in the town square.
James Ensor (1860-1949): La Boutique de Grognelet, scenery for La Gamme d'Amour, pencil on paper, 1914Work: 27,5 x 21,5 cm Frame: 43,5 x 33,5 cm Provenance:- The collection of Sidney Rothberg, Philadelphia, USA.- The collection of Auguste Taevernier, Ghent, Belgium. Numbered 26 on the back, which bears further annotations in the artist's handwriting, unfortunately illegible. (see image 3) Shown here is a less detailed yet playful version of La Boutique de Grognelet, the scenery for the first act of Ensor's play La Gamme d'Amour. He also painted a large, more elaborate version, on canvas (see image 4, in the collection of Mr. Bart Versluys). For an interesting essay on La Boutique de Grognelet, we refer you to the website of De Vlaamse Kunstcollectie . The paintings and the scenery designs were completed in 1912. The work will be reproduced and commented upon, in Xavier Tricot's forthcoming publication, James Ensor: La Gamme d'Amour, to be published with Pandora Publications, Antwerp. According to the author, the work was executed in 1914. Ensor’s fascination for theatre began early, before he embarked on a career as a painter. From his grandmother’s eccentric penchant for dressing up in strange costumes, through the sale of exuberant props in his family’s souvenir shop in Ostend, to the cacophonous annual Carnival celebration, the artist was enthralled by theatre’s many possibilities. He was particularly interested in masks, which regularly appear in his œuvre. For Ensor, masks were both able to disguise identity and reveal inner truth. He said: “The masks mean to me: freshness of color sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence.†At fifty, Ensor built on his passion for theatre and produced his own show, La Gamme d’Amour (Flirt pour les Marionettes), which the libretto describes as a “one-act Ballet Pantomime in two tableaux.†Composed solely on the black keys of a harmonium (he feared the white keys) between 1906 and 1911, La Gamme d’Amour debuted as a musical performance on January 17, 1920 to coincide with Ensor’s exhibition at the Galerie Georges Giroux in Brussels, before premiering as a proper ballet at the Antwerp Opera on March 27, 1924. Set during the Ostend carnival, the play opens in Grognelet’s shop (the present lot), filled with masks, puppets, and other theatrical props, reminiscent of Ensor’s parents’ boutique. The first scenes introduce the main protagonists, love-interests Fifrelin and Miamia, whose passion is compromised by their quarreling families. By the end of the first tableau, however, the two characters are engaged, and the second tableau is devoted solely to preparing a festive wedding march in the town square.
James Bond Dr No (1962) - Le Cercle £10 casino rose plaque / chip. Le Cercle plaques were used as film props in the scene where Sean Connery utters the characters name for the first time: Bond, James Bond. This £10 plaque was previously owned by Robert Mills, son of Le Cercles owner: John Mills. Comes with LOA and colour reference photos.
James Bond Dr No (1962) - Le Cercle £50 casino yellow plaque / chip. Le Cercle plaques were used as film props in the scene where Sean Connery utters the characters name for the first time: Bond, James Bond. This £50 plaque was previously owned by Robert Mills, son of Le Cercles owner: John Mills. Comes with LOA and colour reference photos.
James Bond Dr No (1962) - Le Cercle £1 red casino jeton / chip. Le Cercle jetons and plaques were used as film props in the scene where Sean Connery utters the characters name for the first time: Bond, James Bond. Also included is a yellow 5 /- jeton that would not have been used during filming. These jetons were previously owned by Robert Mills, son of Le Cercles owner: John Mills. Comes with LOA.
watercolour on paper, signed, titled and inscribed (White Eared Pheasant, Red Panda, Polar and Dead Fish) mounted, framed and under glass image size 55cm x 45cm, overall size 79cm x 67cm Note: Glasgow School of Art graduate Janice Gray’s highly decorative, amusing and beautifully observed works combine birds, animals, fruit, handbags, high-heeled shoes, teacups with witty writing commenting various aspects and foibles of her real and imagined menagerie of animal characters and her collection of props. A long time observer and lover of animals, Janice worked for a period as Artist in Residence at Edinburgh Zoo. “I tend to choose my subject (usually animal) for their decorative quality which can be explored through the medium of watercolour and collage. I don’t normally know what the finished painting is going to look like, I don’t plan or do any preliminary sketches, I suppose it is a bit hit or miss! I like to start with one object then add as necessary, sometimes there is a link but normally there isn’t. The unlikely collections of objects in my work makes people think, making up their own links. I love to hear how differently my work is interpreted. My paintings are often described as ‘quirky’ which I like, as life is all too often a bit of a downer, so I enjoy creating daft paintings which can make people a wee bit cheerier!”
Repton (Humphry) Odd Whims; and Miscellanies, 2 vol. in 1, first edition, presentation copy with “From the author” in ink on half-title, vignette titles, 10 hand-coloured aquatint plates, light offsetting and surface soiling, occasional staining, heaviest to lower margins of several leaves, ink inscription “a gift to E. Collis Dec 24 1817” in different hand on half-title, modern morocco backed, gilt spine, slight bumping, g.e., 8vo, for William Miller, by W. Bulmer and Co. Cleveland-Row, 1804.
Film props - Collection of original Ron Perlman Hellboy movie props to include headpiece residing on a vacuform plastic mould with “Perlman” cast into the plastic, 2 x sets of lips residing on vacuform mould with 'Perlman Chin 2' cast onto plastic, and 2 x horn stubs, plastic moulds feature small stickers/pen note from production,
HO Gauge model railway, Noch of Germany model diorama layout acessories to include 12651 Office Figures and Furniture x2, 06800 Blumen x3, 06805, 58026 Tunnel Portal x3, 07404 Autumn Meadow x5, 07406 Reeds x3, 07420 Rape Field x3, 07409 Moor x4, 07403 Summer Meadow, 07450 Arable Land, 12854 Flock of Sheep x2, 21538 Saplings with Tree Props, etc. around forty-five units in total with shop price stickers ranging from £6.45-£41.50. (~45)
Model railway layout accessories and kits to include Kato of Japan 952071 Handrail Kit x8, 952072 Handrail Kit, 951140 Bodyshell x5 and 951130 Bodyshell x2. Noch of Germany 215358 Saplings with Tree Props, 11570 Building Site and 14378 Chicken Shed. Bachmann Railroad Accessories 422307 Corner Side and Travel Light x7. Micro-Trains x7. Model Scene of Czech Republic Realistic Leaf sets x16. Auhagen kits x4 etc. (~55)
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), BLACK FIGURE ON RED NO. 3 oil on canvas, signed and dated '56, titled versoframedProvenance: the family of William Gear.image size 38cm x 56cm, overall size 49cm x 67cm Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
* JONATHAN HOOD (SCOTTISH b. 1957), DANCERS oil on board, signed, titled and dated 2006 versoframedimage size 48cm x 46cm, overall size 65cm x 62cm 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.
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), BLACK SPECIMEN IV oil on canvas, signed, titled and dated '57framedProvenance: the family of William Gear.image size 38cm x 61cm, overall size 44cm x 67cm Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), ENIGMA NO. 1 oil on canvas, signed and dated '54, titled versoframedProvenance: the family of William Gear. image size 56cm x 38cm, overall size 68cm x 49cm Label verso: Gimpel Fils Gallery, LondonNote: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), BLACK FIGURE ON RED NO. 5 oil on canvas, signed, titled and dated '56framedProvenance: the family of William Gear.image size 38cm x 55cm, overall size 49cm x 68cm Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
A pair of production-used Batman license plate/number plate props. Used on blown-up vehicles in the Christopher Nolan Dark Knight trilogy. The license plate reads Gotham - 912 3158 - City of Gotham. On the back of each plate, some handwriting reads 'parked blown-up cars' as demonstrated by their appearance as they appear as though they have been subject to an explosion. Also included is a 35cm x 44cm sticker decal for the "Gotham Fire Department" Training Division.License plates measure 30.5 x 15cm.
Lady’s Monthly Museum (The), vol. 10-16 first series and 1-7 second series, together 14 vol., 13 titles, 187 plates, few folding, few detached, occasional duplicates, plates trimmed, light offsetting and some browning, foxing, spotting and occasional surface marks, occasional chip to margins, ink ownership inscription to front pastedowns, uniform contemporary calf, spine gilt, slight bumping to corners, minor splitting to vol. 1 lower joint, some scuffs, 12mo, 1803-1809; sold as a periodical, not subject to return (14)
Registration No: YT59 JPO Chassis No: SALLDVBS7AA785154 MOT: February 2025 Visually imposing with external 'off-road' accessoriesFitted with solar panels for leisure useInvoices evidence over £8,000 spent in servicing and repair over the last 3 yearsEquipped with 'ghost immobiliser' and a Clifford alarm systemThe Land Rover was launched in 1948 and, incredibly, production of the traditional Defender only finished in January 2016 after a continuous run of 67 years. Outwardly, there is little to distinguish the post-1983 vehicles from the Series III Land Rover. Internally, coil springs offered a more comfortable ride and a permanent four-wheel-drive system derived from the Range Rover featuring a two-speed transfer gearbox with a lockable centre differential. A modernised interior and a new series of progressively more powerful and modern engine characterised things under the skin. The Defender was fitted with an all-new 2.5-litre, five-cylinder in-line turbo/diesel engine and is mated to a six-speed manual transmission.First registered on 14th September 2009, this visually imposing Defender 90, with its external 'off-road' accessories, has a 'ready for adventure' appearance. Displaying a credible 137,000 miles on the odometer, this 2009 Defender has benefitted from upgrades that include a ‘ghost immobiliser’ and a 'Clifford' alarm system, a front and rear dash cam, solar panels connected to leisure battery, roof rack, spot lamps (front and rear), bull bars, headlight guards on the LED headlights, bumper LEDs, 18” Gloss Black sawtooth-style alloys wheels and a snorkel. There are invoices for over £8,000 spent in servicing and maintenance over the last 3 years. This year, some £1,173 was spent on rust treatment to the off-side ‘A’ post and rear panel with rust-proofing subsequently added. £680 was spent on the handbrake and prop shaft bolts and £1,945 spent on a ‘major service’ (March 2024 at 131,000 miles), greased props, drive flanges, universal joints and lock stops, renewed front differential oil, replacement rear shocks and poly-bushed rear trailing and triangle arm bushes. In 2022, £1,505 was spent on the clutch assembly, handbrake shoes and prop nuts, £4,059 spent on the rear axle, exhaust, wheel bearings, brake system and a ‘major service’ that included engine, gearbox oil, differential oil and coolant fluid. There are two service books tracking nine main dealer services up until c.91,000 miles, it has since been serviced every c.10,000 miles by Land Rover specialists. It is being supplied with numerous invoices, an owner’s handbook, the two service books and a current V5C. For more information, please contact: Oliver Fernyhough-Martin oliver.fernyhough-martin@handh.co.uk 07483 361000
MATT DAMON & GREEN ZONE Film pack including a number of Call-sheets, original props, wristband, advertising photograph and sticker; (1)Green Zoneis a 2010 Britishactionthriller film[2]directed byPaul Greengrassand written byBrian Helgeland, based on the 2006 non-fiction bookImperial Life in the Emerald Cityby journalistRajiv Chandrasekaran, starring Matt Damon.Provenance: from the collection of a former supporting actor working in the film industry, amassed over a number of years.Condition Report: CR:- In very good condition, all within an orange folder.
Exodus: Gods and Kings (2014) A Pair of Original props - comprises: Joel Edgerton screen used blood knife, L. 33cm; together with, Joel Edgerton screen used brass torch with fitted wire and gas attachment, L. 17.5cm. The special effects crew made this larger version of the torch, operated by gas, so the flame effects were bigger and more vivid on screen. In Edgertons night scenes, he can be seen holding this torch (2) Provenance: The vendor worked on the film and is listed in the films credits. features Condition Report: some light scratches to blade, with a break/repair to handle.
Loading...
