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PELHAM PUPPETS; (?) AN UN-MARKED "KING OF HEARTS" PUPPET with hand-painted wooden head, red and heart decorated crown, with painted metal hands, in original condition, possibly from the "Alice in Wonderland" series, circa early 1950s contained in an original (worn and holed) Pelham box with green label
30+ British Quad film posters including Snow White, Return of the Seven, Corridors of Blood, Murder She Said, Marnie, Herbie Goes To Monte Carlo, Caprice, 2001 Space Odyssey (RR), Raging Bull, The Omen, Dog Soldiers, The Early Bird, The Eiger Sanction, The Spiral Road, Caravans, Puppet on a Chain & others, folded, 30 x 40 inches.
GROUP OF AFRICAN PUPPETS 19TH AND 20TH CENTURY painted wood and fabric, comprising TWO MILLET GRINDERS, 40cm x 9cm x 45cm; TWO BAMBARA ROD PUPPETS, twins, 96cm x 42cm x 12cm; TWO TULUKUTU TOE JIGGLING PUPPETS; TWO HAND PUPPETS of an elephant and a bird, made of gourd; TWO GHANAIAN ROD PUPPETS of deities; BAMBARA ROD PUPPET with a yellow face; BAMBARA ROD PUPPET, two faced, 52cm x 12cm x 10cm; BAMBARA ROD PUPPET of a deity; MALIAN GIRL and YOROBA ROD PUPPET (15) Note: In Africa, puppetry is often used within a ceremonial context, and as part of a wide range of folk traditions including dance, storytelling, and masked performance.
YANG FENG, FIFTH GENERATION PUPPET MASTER OF THE LONGXI PUPPET TROUPE, FUJIAN PROVINCE, CHINA HAND PUPPET OF GENERAL WU LIE, 20TH CENTURY painted wood and fabric 40cm x 16cm x 6cm Note: Yang Feng, the fifth generation of a puppeteering family, began performing with his father at the age of eleven. In the 1950s he took over the family's puppet theatre and became one of China's most eminent makers and performers. John Blundall met Yang Feng on a visit to China and was gifted this puppet by him.
CHINESE PUPPET HEAD, ROD AND STRING PUPPETS 19TH AND 20TH CENTURY painted wood and fabric, comprising PUPPET HEAD with moving eyes and mouth, 18cm x 9cm x 8cm; GREEN FACED MAN, 104cm x 34cm x 10cm, with additional HEAD (on rod), 79cm x 10cm x15cm; BRIDE, in yellow costume, made by Peking Opera, Chao Zhou, Fujian Province, 85cm x 27cm x 10cm and CLOWN, 80cm x 20cm x 10cm (5)
GROUP OF CHINESE HAND, STRING AND SHADOW PUPPETS 19TH AND 20TH CENTURY painted and unpainted wood, fabric, donkey leather and hair, comprising TWO FERTILITY PUPPETS, one with painted body, 40cm x 11cm x 5cm; the other, unpainted, 35cm x 10cm x 5cm; OLD MAN with grey beard, 33cm x 12cm x 5cm; another OLD MAN with pig tail, 35cm x 18cm x 7cm; FEMALE, 32cm x 12cm x 6cm; YOUNG MAN with long hair, 40cm x 12cm x 5cm; LADY in pink dress, 63cm x 23cm x 10cm; WARRIOR with painted face 48cm x 18cm x 8cm; YOUNG WOMAN, 50cm x 10cm x 6cm; WARRIOR with black painted face and headress, circa 30cm x 10cm x 8cm; and a YOUNG SCHOLAR, circa 32cm x 12cm x 8cm (11) and one shadow puppet
A GROUP OF JAVANESE WAYANG GOLEKS 19TH AND 20TH CENTURY wood and fabric, comprising PUPPET, unpainted with string operated arms, 30cm x 10cm x 7cm; RAMA, unpainted, 65cm x 10cm x 10cm; SITA, 60cm x 14cm x 16cm; an OGRE, 70cm x 17cm x 9cm; MALE, 56cm x 12cm x 11cm; MALE with a red face, 62cm x 24cm x 16cm; WESTERN WOMAN, 56cm x 13cm x 7cm; MALE, 36cm x 7cm x 3cm; another MALE, 75cm x 20cm x 20cm; CIREBON, 72 x 20 x 18cm and FIVE OTHERS (15)
GROUP OF RAJASTHANI KATHPULTI AND SHADOW PUPPETS 20TH CENTURY painted wood and fabric, comprising FEMALE DANCER, 68cm x 22cm x 12cm; GANESH, 61cm x 18cm x11cm; HORSE, 43cm x 40cm x 10cm; FLUTE PLAYING SNAKE CHARMER, 85cm x 20cm x 10cm; SITA, 94cm x 46cm; WOMAN holding a fan, 49cm x 9cm x 9cm; MALE in fur suit, 52cm x 12cm x 10cm; FLUTE PLAYER, 35cm x 13cm x 6cm (8) Note: India has a long tradition of puppetry leading back to the ancient Indian epic Mahabharata. The Rajasthani puppets from India are a notable part of the Indian puppet tradition.
TWO VIETNAMESE WATER PUPPETS 19TH AND 20TH CENTURY painted wood and fabric, comprising TEN (clown) riding on a fish, 41cm x 15cm x 10cm and ANOTHER MALE, 36cm x 17cm x 54cm (2) Note: Vietnamese water puppetry dates back to the 11th century when it emerged in the villages of the Red River Delta in northern Vietnam. Flooded rice fields became the stage for puppet shows which were performed standing waist-deep in water. Later, performed in a pool, the puppeteers were hidden behind a screen from where the wooden and lacquered puppets are controlled with large rods that also serve as supports under water.
TAIWANESE HAND PUPPET FORMERLY OWNED BY THE GREAT PUPPET MASTER LI TIAN LU WITH BILL BOARD POSTER AND OTHER PUPPETS 20TH CENTURY painted wood and fabric 32cm x 25cm x 5cm; a bill board poster, 155cm x 115cm (in French); DEMON, 30cm x 10cm x 5cm and MAN, with light green face, 20cm x 7cm x 5cm (3) Note: Li Tian-Lu (born 1909) was Taiwan's most celebrated puppeteer whose extraordinary life story became subject of The Puppetmaster, the award-winning 1993 Taiwanese film directed by Hou Hsiao-hsien. Li Tian-Lu gifted this puppet to John Blundall in the 1980s along with a French billboard film poster of the film.
TILLER-CLOWES FAMILY TROUPE THREE ENGLISH TRICK MARIONETTES, LATE 19TH CENTURY painted wood and fabric, comprising STRETCHING AND SHRINKING CLOWN, unclothed except for neck ruff, white face and red mohican, 68cm x 14cm x 11cm; MOTHER SHIPTON, 94cm x 37cm x 10cm (when assembled) and SCARAMOUCHE, 99cm x 25cm x 25cm (3) Note: Mother Shipton featured as a character in 18th-century plays, and in 1712 the puppeteer Martin Powell advertised the play 'Mother Shipton and the Downfall of Cardinal Wolsey'. The same play was mentioned by the American journalist James Ralph in 1728, writing about the English puppet theatre. From early Tudor times, Mother Shipton was considered a prophetess, both in her local Yorkshire and around the country. Her many prophesies are said to have included the death of Wolsey, the Civil Wars and the Great Fire of London. She appears in illustrations as an ugly old lady with a hooked nose and an upturned chin. Pepys referred to Mother Shipton, with her appearing as a character in 17th-century plays and pantomime as well as in the puppet theatre where she was usually a trick puppet who smoked a pipe. [V&A]
TILLER-CLOWES FAMILY TROUPE ENGLISH TRICK MARIONETTE OF SCARAMOUCHE, LATE 19TH CENTURY painted wood and fabric, telescopic with three heads 75cm x 25cm x 15cm Note: Scaramouche, from Italian scaramuccia, "little skirmisher", is a clown and one of the great stock characters in the Punch and Judy puppet shows with roots in commedia dell'arte. During performances, Punch frequently strikes Scaramouche, causing his head to come off his shoulders. Because of this, the term scaramouche has become associated with a class of clown marionette with extendable necks.
TILLER-CLOWES FAMILY TROUPE TWO ENGLISH MARIONETTES, LATE 19TH CENTURY painted wood and fabric, comprising CHINESE BELL DANCER, 73cm x 58cm x 9cm, and POLE BALANCER with separate stool, 76cm x 54cm x 22cm (2) Note: The speciality act figures in the complete Tiller-Clowes troupe included a juggler, a pole-balancer, three Chinese bell-ringers, two stilt-walking drunken clowns, an expanding skeleton and a trick puppet with three heads. In a programme, these would have been used by the marionette showman as 'curtain-raisers', before the main play, or as 'entre-actes' between plays. [V&A]
TILLER-CLOWES FAMILY TROUPE A GROUP OF ENGLISH MARIONETTE HEADS AND TORSI, LATE 19TH CENTURY painted wood and fabric, comprising MALE HEAD, with dark wavy hair, 15cm x 9cm x 13cm; MALE HEAD with dark hair 13cm x 8cm x 10cm; MALE HEAD, short dark hair and red cheeks, 13cm x 8cm x 9cm; POLICEMAN, 20cm x 9cm x 10cm; CHINESE BELL RINGER, 15cm x 8cm x 10cm; MALE HEAD & TORSO, 34cm x 17cm x 10cm; MALE HEAD, mohican style hair, 20cm x 15cm x 10cm and FEMALE HEAD & TORSO, with arms, 40cm x 18cm x 12cm (8) Note: Separate, interchangeable body parts, heads and torsi were part of the regular stock of a puppet theatre.
A LARGE QUANTITY OF PRINTS AND ENGRAVINGS, POSTERS AND THREE ORIGINAL PRINTING BLOCKS 19TH AND 20TH CENTURY British, Continental, Eastern European, Russian and Chinese PRINTS AND ENGRAVINGS of puppet theatre related themes including works by Alfred Martin, George Cruikshank, Victer Spink, Ivan Koos, Grazyna Wyszomirska, A. Couvert, H.W. Whanslaw, Carlo Vernet, Lotte Reiniger, Jiri Jaros, Eugen von Blaas and many others (qty); collection of PRINTED POSTERS in different languages advertising puppet shows (qty); PRINTING BLOCK of a Punch and Judy booth, wood and copper, circa 15cm x 12cm x 5cm; PRINTING BLOCK, nativity scene, designed by Alfred Martin (1888-1950) from the Antwerp Cellar Marionette Theatre, 12cm x 15cm x 5cm and PRINTING BLOCK in the style of Jimmie Catnach, 10cm x 8cm x 2cm (3) Note: Sold as seen, not subject to return
WAL KENT (1880-1961) ENGLISH HAND PUPPET OF PUNCH, EARLY 20TH CENTURY painted wood and fabric 66cm x 13cm x 13cm Note: Initially trained as a plumber, Wal Kent became a prolific maker of highly distinctive Punch & Judy glove puppets, including those used in the iconic 1963 film 'The Punch & Judy Man' with Tony Hancock.
WALDO SULLIVAN LANCHESTER (1897-1978) TWO ENGLISH MARIONETTES, EARLY 20TH CENTURY comprising METHUSELAH, Scottish bog oak and fabric, 50cm x 13cm x 8cm and BUTLER, painted wood and fabric, 49cm x 10cm x 8cm (2) Note: Lanchester and his wife Muriel became interested in the puppetry revival of the early 20th century pioneered by H.W. Whanslaw. Lanchester founded the Lanchester Marionettes (1935-1962), a puppet theatre that was based in Malvern, and later in Stratford-upon-Avon. The actress, Elsa Sullivan Lanchester (1902-1986) was his sister. The marionette of the BUTLER appears to be a collaborative work between Lanchester and his wife Muriel.
VARIOUS BRITISH MAKERS INCLUDING JOY LAURIE AND JAN BUSSELL (1909-1985) GROUP OF ENGLISH MARIONETTES AND MARIONETTE PARTS, 20TH CENTURY painted wood and fabric, comprising POLICHINELLE, 19th century body, head possibly by John Blundall, with costume by Glenn Holden, 89cm x 28cm x 16cm; BALLERINA, 30cm x 17cm x 34cm; WEST INDIAN DANCER, 53cm x 12cm x 10cm, SINGER, 45cm x 15cm x 13cm, all by Joy Laurie; MARIONETTE PARTS of limbs and body, 60cm x 15cm x 10cm and also a HEAD by Jan Bussell from 'Hogarth Puppets', 11cm x 7cm x 9cm (6) Note: Glenn Holden, sculptor, costume designer and entertainer produces high quality costume for theatre, TV and commercials. Joy Laurie worked with Gerry Anderson for AP Productions on the Adventures of Twizzle, a 1960s BBC children's television programme using string puppets. The use of string puppets paved the way for the realistic Supermarionation puppeteering techniques that would be used in future shows such as Thunderbirds and Fireball XL5 Bussell and his wife Ann Hogarth founded the travelling puppet theatre, The Hogarth Puppets, in the 1930s. Bussell was instrumental in introducing the puppet show for television in the 1930s. One of his best loved creations, Muffin the Mule, first appeared in the BBC children's series in 1946.
JOHN MICHAEL BLUNDALL (1937-2014) PUPPET OF PARKER FROM THUNDERBIRDS carved and painted wood and fabric 57cm x 15cm x 7cm Note: Aloysius Parker was created in 1965 when Gerry and Sylvia Anderson commissioned the puppet character for the pioneering Supermarionation television seriesThunderbirds. John Blundall sculpted the original puppet for the show, referencing "typical, clichéd butlers in black-and-white English comedy films". He commented that he "made Parker look so unlike the other puppets just to be bloody-minded, because I wanted to prove that to produce really strong characters in puppets, you need to stylize them and find two or three characteristics to combine and communicate with." David Graham, who voiced the character with a heavy cockney accent, had been taken by Gerry Anderson to hear the voice of a certain wine waiter who was supposed to have been a royal butler. "I just made him a bit more villainous", said Graham. Parker became a celebrated TV "star" on both sides of the Atlantic. While the original, screen-used Parker was made from fibreglass, Blundall carved this later, non screen-used version from wood. In the serial, Parker - nicknamed "Nosey" - was butler to Lady Penelope Creighton-Ward, a young aristocrat who was a field agent for International Rescue. Parker had a criminal past and underworld status. Lady Penelope discovered him robbing a safe belonging to an oil tycoon and enlisted his help in her espionage activities. However, his official duties included being a faithful butler and chauffeur of her pink Rolls-Royce, FAB 1.

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11141 item(s)/page