Clifford Essex paragon tenor banjo, with engraved pearl and ebony fingerboard, marquetry and pearl inlaid resonator, tailpiece etched with makers name and the headstock branded 'Paragon' with padded hard case.57cm scale length 84cm overall length.Condition report: The Clifford Essex banjo is generally good with some wear from use and age. There are several small areas where the brass is showing through the plating. All the joints in the instrument can be felt as the varnish has crazed over time along each of the glue lines. There are areas where the veneers are lifting on the resonator. The neck has a very slight forward curve but on that you would expect for a good playing action which the banjo appears to have. The friction tuners look all original but they require some attention as they do not hold the string tension correctly and are prone to slipping when a string is tightened. Inside the instrument, there are two ebony wedges which are loose. The case has significant wear and some joint separation.
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A JAPANESE EFU NO DATCHI PRESENTATION MARSHAL TYPE SWORD. With an 80cm blade, the tang inscribed 'Sa Yukihide saku kore (made this) Kaei 6th year (1853). With a horimo of a prunus branch to one side and bamboo to the other, with hamon visible along much of the length,. Tsuka and saya covered in samegawa. With full length copper fukurin embellished with repousse scale decoration. Silvered fittings with gilt accents cast in heavy relief with cherry blossom and other botanical themes and crouching samurai. Leather obitori with nanatsu-gane. Ref: Yukihide of Chikuzen and Tosa, Hawley YUK 33. Hawley's Japanese Swordsmiths. Koan Nagayama, The Connoisseurs Book of Japanese Swords page 282 and 184.
A PHOTOGRAPH ALBUM DOCUMENTS AND SIMILAR ITEMS RELATING TO FREDERICK HOARE. Frederick George Hoare was born in London to Elizabeth Hoare, he enlisted in Sydney, New South Wales with the army number 15286, as a sapper with 1 Field Squadron Engineers. An archive of material to include a photograph 'From your affectionate son Fred 28.5.16' with Australia shoulder badge, ENGRS badge and Australia Forces badge attached. An Australian Military pocket book stamped to the front 'F Hoare 15286 1 F S ENGRS'. A marriage certificate for Frederick George Hoare to Kathleen May Kyle, 10th December 1921 at which time Hoare is recorded as an 'Agent', with two British Red Cross certificates for his wife suggesting she trained in first aid and home nursing during the First World War. A death certificate for F G Hoare dated November 1970 at which time he lived in Purley. An album of photographs, many military scenes including Machine Gun practice, armored cars, views in S.Syria, the River Jordan from the sky, 'Lorry overturned by airial bomb', Captured Transport 'Afulah' and many more, approximately 303 images (some postcards). An album 'A.M.G. on active service 1915-16-17' to the inside cover 'Agnus M.Gough on active service, sailed Oct 1915 and arrived Lemnos Nov 1915 32nd Brit Gen Hospital Amarah, Mesopotamia. approximately 71 small scale photographs, the majority annotated. Two pages from an earlier album 'Eton Volunteer Review 1899' 8 images. With an 18Pdr Shell case dated 1915.
A VICTORIAN SEXTANT BY J. COOMBES, PROBABLY THE PROPERTY OF RM CAPTAIN DEAN. A sextant of six inch radius divided on silver and reading to 10", the scale signed J. Coombes, Optician & Admiralty Agent Devonport, in a fitted case with inset disc for Coombes and paper label for Henry Hughes and Son Marine Opticians, 59 Fenchurch Street, London, te lid with an examination label from the Kew Observatory dated July 1889. Engraved and highlighted in gilt W.P.N.Dean, the lid with a conforming tablet 'W.P.N. Dean R.N.' W.P.N Dean appears to be Royal Marine Captain William Percy Nelson Dean. Born 21/10/1901, enlisted 1/1/19 and reaching the rank of Captain by 1/1/1930. The sextant possibly originally the property of his Father Frederic William Dean who was also a Naval Officer who served in South Africa amongst other places. Possibly the sextant was presented by Father to son at the time of his receiving his commission in 1919. Sold with extensive research.
Painted with a band of classic lotus scroll, ’Chang ming fu gui’ four-character mark to the base, wooden standHeight: 11cmCondition ReportA small section of the rim restored, with scale chip and associated hairline, running 5cm approx. One other short hairline to the rim, approx 3mm, minor firing faults and glaze bubbles. Otherwise good
Each piece painted with a central cockerel with three vignettes containing flower baskets, all reserved against a gilt-diaper groundDiameter: the saucer 10cmCondition ReportThe saucer: some minor wear to gilt diaper-work, and rim.The tea bowl: wear to gilt rim, four minor ‘nicks’, the largest a 2mm scale chip, just breaking the red line border
Painted with a rare European subject of a shepherdess watched upon by a gentleman Height: 12cm Provenance: M Ramos Da Silva, Portugal 來源：葡萄牙 M Ramos Da Silva 收藏Condition ReportThe canister: the enamel decoration fine and in good condition, some rubbing to the gilt floral band around the shoulder and foot rim The cover: scale chip to underside of the rim, 5mm, with hairline leading from it, the gilt floral sprigs partially rubbed.
Painted to the interior with a central roundel enclosing a huntsman and hounds within an elaborate scroll, leaf and diaper work border, the exterior with two hunting scenes, reserved on a cell and diaper ground Diameter: 26cm Provenance: Spink & Son, 21st August 1953 來源：1953年8月21日倫敦 Spink & SonCondition ReportOverall this hunting punch bowl presents well, with good enamels and gilding, inside and out. A small scale chip confined to the rim at 9 o’clock, approx. 5mm. A three-pointed star crack to the underside of the base, slightly stained, only evident to this side. A couple of minor ‘nicks’ to the foot rim.
Painted to the centre with a Chinese maiden sitting at a table playing a qin watched by a gentleman holding a fan all before a garden pagoda with a young boy attendant preparing tea, all within a moulded `pie-crust border’ set with four vignettes containing goldfish and butterflies, the reverse painted with scattered floral sprigs Diameter: 35cm Provenance: M Ramos Da Silva, Portugal 來源：葡萄牙 M Ramos Da Silva 收藏Condition ReportSRN: Please note this charger is of octagonal form. Overall the charger presents well, with minor surface scratching to the main scene, the most noticeable scratches to the qin, typical minor fritting to the ‘pie crust’ rim, a shallow 1cm scale chip to the underside of the dish at four o’clock.
Of mallet shape, decorated with insects amongst flowers and foliage, on a turquoise groundHeight: 20cmProvenance: M Ramos Da Silva, Portugal來源：葡萄牙 M Ramos Da Silva 收藏Condition ReportA 1cm scale chip to the interior of the neck. Other minor glaze faults to this area. The base with two impact chips with loss of glaze, the largest approx 2cm. A lead repair to the interior of the foot rim, approx. 1cm
Painted to the centre with a winged aquatic dragon, the underside with a four-character mark chang ming fu gui Diameter: 35cm Provenance: Lempertz, Germany, 12th December 2008 來源：購於德國Lempertz 2008年12月12日。 Similar deep dishes may be found in the Santos Palace, Lisbon, illustrated by Daisy Lion-Goldschmidt: Les porcelanes chi noises du palais de Santos, Musee Guimet, 1988, fig, 39., no 69., page 25 相似嘉慶青花龍紋大盌見Daisy Lion-Goldschmidt著《桑托斯宮殿中的中國瓷器》 集美博物館，1988年 圖39，編號69，頁25.Condition ReportOverall this deep dish presents well, with a slight yellowish tinge to the rim between, 3 & 6 o’clock, with four minor rim chips, the largest at nine o’clock, scale chip, approx 10mm. Typical surface wear to the interior, minor firing faults and glaze blemishes, in keeping with this type of porcelain.
Of lingzhi fungus moulded form, brightly painted in shades of pink, yellow, blue against a green groundWidth: 12.5cmDepth: 8cmProvenance: Woolley & Wallis, 17th November 2010, lot 728來源：售於威力士2010年11月17日拍品號728Condition ReportFive small scale chips to the rim, the largest 1cm approx. Some firing imperfections, the green enamel well crazed
Finely painted in the famille-rose palette with Green Peafowl, Manchurian Cranes, Paradise Flycatchers and Myna birds amongst luxuriant full-blown peony blooms, issuing from rock work within fenced terraces, beneath an elaborate lappet border to the shoulders with cartouches containing precious objects and floral sprays, the domed covers similarly decorated with knops moulded as large lotus blooms, on 18th century European carved gilt-wood stands (6) Height: 90cm, overall height including stands 128cm Provenance: From a Portuguese private collection, with Cohen and Cohen 來源：葡萄牙私人收藏 標籤Cohen and Cohen This fine pair of vases have enamel painting of the highest quality and density of decoration. Vases with lotus bloom knops are rare with only a few examples known, including A similar pair of soldier vases, illustrated by George C. Williamson, The Book of Famille Rose published in 1970, pl. LVIII from the collection of the Honorable Mrs. Ronald Greville; another soldier vase at Polesden Lacy (National Trust) and a single vase in the Swedish Royal Collection at Drottningholm, illustrated in The Chinese Pavilion at Drottningholm, 1972, page 156-157. 相似一例見 喬治.威廉森著 羅納德 《葛蕾威爾女士收藏粉彩瓷器》 1970 頁LVIII。另一例見瑞典皇家收藏中國廳 1972，頁156-157. A similar pair of soldier vases are illustrated by George C. Williamson, The Book of Famille Rose published in 1970, pl. LVIII from a collection of the Honorable Mrs. Ronald Greville Literature: The Elephant in the Room, Cohen & Cohen, October 2019, cat. no. 10, pages 24-27 著錄於：《房間裡的大象》科恩&柯恩，2019年10月，圖10，頁24-27. Overall the famille jars and covers present very well, on good period stands. Cover 1:Overall in very good condition. Three minor chips to the edges of the petals, largest 1cm., approx.Some red plasticine attached to the underside of the rim/flange to stabilise the lid when it sits on the jar. A tiny scale chip to underside of the rim., approx. 6mm. Cover 2:Overall in very good condition. Very minor firing imperfections to petal knops. Two lumps of red plasticine attached to the underside of the flange/rim to stabilise the cover when sitting on the jar. Vase 1: The first vase with a minor glaze line running from a firing fault to the foot rim, approx 9cm. Also a shallow flake to the unglazed base, approx. 1cm. Vase 2: The Second vase with a recently stabilised hairline to the neck of the jar, which has been professionally restored and is invisible to the naked eye. The green paper markers (see photos on the saleroom.com) to the interior show the extent of the hairline which arcs away from the rim, approx. 25cm. The gilt wood stands with nicks and chips in keeping with their age. Overall a very impressive pair of jars, covers and period stands.
Vividly painted with a central iron-red and gilt carp leaping from the waves against a tumultuous green sea with two other carp, the cavetto undecorated accentuating the rim set with six vignettes containing carp reserved against a floral diaper groundDiameter: 35.5cmProvenance: Christie’s New York, 27th January 2014, lot 352來源：紐約佳士得 2014年1月27日 拍品號352The carp in Chinese mythology symbolises courage and perseverance because of the ‘Dragon Gate’ fable; where a carp defying the odds swims up a waterfall and is transformed into benevolent and powerful dragons鯉魚在中國神話故事中象徵勇氣與毅力，鯉魚需要經過不懈努力的飛躍才能一次躍過龍門化身成仁慈力量的龍。鯉魚同時也被人們看作是參加科舉考試選拔的學生們，在經過不懈努力在考試中一舉成名。Condition ReportOverall the charger is in good condition and presents well. The blue enamel quite dark. The gilding to the leaping carp in good condition, the gilded dragon coming from its breath. There are two shallow scale chips to the rim, one at two o’clock the other at 9 o’clock where they break the black line of the painted border, the largest 13mm. Other typical fritting around the rim, in keeping with Kangxi porcelains, some slightly stained. covering approx. 30-40% of the rim. Some scale chips to the foot rim, and other minor firing faults
Painted with bats amongst a scrolling profusion of leafy hibiscus, camellia, lotus and peony blooms, the interior with four carp amongst aquatic frondsHeight: 6cmDiameter: 15cmProvenance: Bonhams, 3rd December 2014, lot 172來源：邦瀚斯2014年11月1日 拍品號172Condition ReportOverall very well painted. The interior with some minor surface scratches. Minor wear to gilt rim. A small glaze line to the foot running into two scale chips, approx. 1cm and 1.5cm exposing the copper body beneath
Painted in the Yuan style with three central carp within a panelled floral border Diameter: 36cm Provenance: Sworders, Essex, 29th April 2014, lot 216 來源：售於斯沃德, 艾塞克斯 2014年4月29日 拍品號216Condition ReportThe carp dish overall in good condition, a shallow scale chip to to the rim at 1-2 o’clock, approx. 1cm, minor fritting to the rim, a small firing fault at 9 o’clock.
Finely carved with six cavorting chilong dragons forming the handle and around the body set against a further band of sinuous chilongs entwined in low-relief, all above a stiff-leafed band terminating above the foot, the translucent horn of a rich dark reddish/brown toneApplied collectors paper label ‘H. G. Beasley 15/12/19’來源：H.G. Beasley 私人收藏編號15/12/19標籤Height:13cmLength: 16cmWidth: 11cmWeight: 345gProspective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory, rhinoceros horn and tortoiseshell. Accordingly, prospective purchasers should familiarise themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.Please note that an export licence will only be granted for rhinoceros horn objects providing the hammer price meets or exceeds the value of $100 per gram of the items weight.有意購買者請注意，由於若干國家禁止進口包含瀕危物種材料的物品，包括但不限於珊瑚、象牙、犀牛角和玳瑁的物品。因此，準買家如果打算將這批商品進口到另一個國家，則應在投標前熟悉相關的海關規定。 請注意，犀牛角拍品的出口許可證只有當落槌價格達到或超過每克100美元的價值時，才會頒發。Condition ReportThis large cup presents well, with a rich ox-blood tone to the horn itself. (please see the natural light photos) There is a small loss to the horn of the chilong coming over the rim, to its horn, 6mm, and another two small losses to the chilong to the left, approx 10mm and 6mm. The other chilong to the right has a small crack to its tail, which may suggest its been broken out and re-stuck. Around the body there are some natural imperfections in the horn which are evident from the photos. There are three old scale chips to the foot, the largest being 12mm. approx. There are two small natural imperfections which are visible to the upper rim. The interior of the cup is richly figured, with some age crazing in keeping with its age.
Woven with a ferocious four-clawed dragon against a dark blue ground, framed and glazed in Perspex, some repairThe image: 38cm by 44cmOverall: 55cm by 60cmFor a similar kesi dragon panel, see Emblems of the Empire, Selections from the Mactaggart Art Collection, John E. Vollmer & Jacqueline Simcox, The University of Alberta Press, 2009, page 143, cat. no. 2005.5.221.相似龍紋緙絲見John E. Vollmer & Jacqueline Simcox著《Emblems of the Empire, Selections from the Mactaggart Art Collection》，阿爾伯塔大學出版，2009年圖2005.5.221，頁143。PROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportPlease bear in mind this is a fragment from a larger composition. The colours of the silk are bright and attractive, see the natural light photos. There is one small dark stain to a dragon scale, evident in catalogue photo. A 3cm by 5cm patch of dark blue silk to bottom left corner. Some irregular darns along the bottom edge backed by dark blue silk. A central darn to dragons left jaw. Mounted on a pale cream silk mount, encased in Perspex and ready to hang.
Vividly painted in underglaze-blue, the upper section with a continuous landscape scene of scholars in an lakeside setting, the bulbous middle section with landscape panels separated by chrysanthemum and lotus sprigs, the splayed foot with another continuous river landscape, lotus sprig to the base within a double-circle Height: 43.5cm Provenance: Recorded in an old inventory valuation, 14th April 1967, cat. no. 173, updated by James Spencer, Christie’s, 3rd June 1976 來源：家族舊物帳中編號173, 估價於1967年4月14日。James Spencer, Christie’s 於1976年6月3日為此重新估價。Condition ReportA 14cm section of the rim broken into three pieces, previously riveted and over painted, three areas of loss along the break, associated 1.5cm scale chip, another 12cm triangular section broken from the rim and poorly re-stuck. One other stained hairline running from the rim, approx 7.5cm. Despite this, the vase is still very attractive and well painted with a vivid tone of underglaze blue.
Painted to the centre with a green and brown five-clawed dragon contesting a flaming pearl, reserved within black borders, against a yellow ground, the reverse with a border of cranes and cloud scrolls, the foot rim inscribed with a six-character mark of Yongzheng within a double-circle Diameter: 14cm Provenance: Recorded in an old inventory valuation, 14th April 1967, cat. no. 119, updated by James Spencer, Christie’s, 3rd June 1976 來源：家族舊物帳中編號119，估價於1967年4月14日。James Spencer，Christie’s 於1976年6月3日為此重新估價。 See a similar Kangxi dish in the Percival David Collection, British Museum, illustrated by Margaret Medley in Illustrated Catalogue of Ming Polychrome Wares in the Percival David Foundation of Chinese Art, no. PDF. 777, p.46, no. 146. Another similar dish was included by C.S. Tam in The Wonders of the Potter’s Palette, Qing Ceramics from the Collection of the Hong Kong Museum of Art, no. 24, pp. 58/9. 類似一件 清康熙黃地紫綠彩穿雲游龍紋盤，為大英博物館大衛德基金會所藏，著錄於 瑪格麗特《大衛德基金會藏明代彩瓷》藏品編號 777， 圖146， 頁46。 另一相似黃地紫綠彩穿雲游龍紋盤見 談志誠著《清瓷薈錦 香港藝術館清代陶瓷》 ，圖24 頁 58-59。 It is rare to find a dish of this design with a Yongzheng six-character mark and with a change in design to the reverse of the dish, away from the frequently found ‘grape’ border on Kangxi and other later Imperial wares of this type. The crane motif was a popular design used on other Yongzheng yellow and green porcelain wares from the Forbidden City. See a pair of bowls from the collection of Sir Augustus Wollaston Franks, now in the British Museum, Franks.70.a. 此件雍正楷書款黃地紫綠彩穿雲游龍紋盤較為少見，且背面裝飾雲鶴紋。此類型瓷器多出現於清宮舊藏。 另相似兩例現藏於大英博物館弗蘭克斯舊藏，藏品編號70.a。Condition ReportAs one can clearly see from the catalogue photos and images online, this dish has been broken into seven pieces with a riveted repair. There is also a scale chip to the rim, approx 5mm
Finely carved with a parrot perched on an elaborate bar, forming the pendant, flanked by opposing stylized dragonsHeight: 6cmDiameter: 4.5cmA similar bird pendant was sold Sotheby’s, Paris, Arts d’Asie, 10th June 2014, lot 134Condition ReportThe pendant of good colour and smooth ‘waxy’ polish. There is a very small scale chip to the edge of the foliate design beneath the birds perch, 2mm. approx.
Each painted with four roundels enclosing a lantern, vase of flowers and a jardinière of irises, reserved against an incised yellow ground with auspicious symbols, Daoguang six-character iron-red seal marks to bases, the interiors with floral medallions Diameter: 12.5cm A bowl of similar design was sold at Sotheby’s, Fulbeck Hall, a Lincolnshire House Sale in London, lot 351, 2002 相似黃地粉彩盌2002年售於倫敦蘇富比，拍品號 351。Condition ReportOne bowl with two burst bubbles to the rim, two small areas of yellow enamel shrinkage, the second bowl with a small scale chip to the rim, confined to the white rim, about 2mm. approx.
Each painted with five-claw dragons chasing flaming pearlsHeight: 20cmCondition ReportPlease note that each candlestick bears a six-character Wanli mark to one side. One candlestick with three small chips to the base, the other one with a small scale chip to the upper neck. One candlestick slightly warped.
Of inverted mallet-shape, the rich copper-red glaze resembling crushed raspberries, thinning at the neck to reveal the crackle glazed body, all above a countersunk base, with a grey/iron-red tinge Height: 20.5cmCondition ReportOverall in good condition with a fine crackle to the glaze, with one slightly more prominent glaze line beneath the neck, approx 4cm, minor surface scratches to the body, two small scale chips to the base, approx. 10mm, each, confined to the underside.
The tripod vessel covered in a sea-green glaze, the feet and rim reduced exposing the grey stoneware body, drilled ownership mark to base, together with a ribbed celadon stoneware box and cover, and a Qingbai box and cover (5)Height: 9cmDiameter: 12cmCondition ReportThe celadon censer: the rim and feet reduced, exposing grey body, ten drilled holes to base. The celadon box and cover: firing faults to cover, fritting to both rims. One scale chip to the rim of the cover, 8mm.The Qingbai box and cover: cover broken in half and re-stuck, associated chip, section missing and stained overall, chips to base
To include: a ‘Yue’ green-glazed stoneware jarlet, Southern Dynasties Period, 6th century, a ‘Jian’ stoneware two-handled jar, covered in brownish black glaze, Song dynasty, 13th century, a white-glazed two-handled stoneware jar, Song dynasty, 13th century and a small white-glazed crackleware bottle vase, Tang dynasty, fitted box (5)Condition ReportYue jarlet: several chips to the rim, the largest 3cm, some staining to the body, two small scale chips to foot rim, exposing grey body, largest 6mm.Jian jar: some fritting to the rim, one handle chipped and re-stuck, well crazed overall, with what appears to be a ‘glued’ hairline running from the rim to the foot rim and beneath, residue of glue. Would benefit from cleaning.White-glazed jar: 2cm, shallow scale chip to the rim, firing imperfections to foot and body.Small white crackle-glazed vase: in good condition
A Masonic gold fob seal, depicting a pillared tabernacle over an alter, with Greek and English inscription 'We Have Found' around the base and hardstone seal, a 9ct gold pendant depicting a compass, scale and star, the reverse with lodge details, Birmingham hallmarks, both attached to a swivel split ring to the gold faceted belcher and snake-link long chain necklace
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, the verso with handwritten label attached inscribed in anunknown hand Martin Godwin / Guardian Picture Desk…[see also Lot 520] -29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,some light surface wear; overall very goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, uncredited but taken by Martin Godwin from the GuardianPicture Desk [see Lot 512] - 29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also, an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,crease to lower left corner appox. 14 cm. long; two smaller creases to topedge; small tear to lower edge approx.. 1 cm. long; overall good. Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet. From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws, whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…” Literature:RUBIN, Steven Jay Spy Who Loved Me Script Wars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp. Chicago, 2021GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay Some Kind Of Hero, The Remarkable Story of The James Bond Films, Cheltenham Glouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.com Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Attributed to Michael Pacher (German, circa 1435-1498): A carved wood and polychrome and parcel gilt decorated figure of a male saint, possibly St JohnSouth German or Tyrolean, late 15th centurythe figure with rope tied wavy shoulder length fair hair looking slightly to sinister, clad in a draped and folded cloak held about his body, his left hand clutching the upheld hem, raised on a later stained wood rectangular base, the figure, 78cm high, the later base 5cm high Footnotes:ProvenanceWith Reinhold Hofstätter, ViennaThe sculptor, architect and painter Michael Pacher was active during the later part of the 15th century. Cited as perhaps one of the earliest artists to introduce the Renaissance style to a German clientele, he was famous for producing elaborate painted and sculpted works in both wood and stone showing a uniquely personal side incorporating elements of the Italian Renaissance and the Northern Gothic.Producing works including painted structures for altarpieces on an unparalleled scale in North European, his finest work is perhaps the St Wolfgang Altarpiece (1471-1481) in Salzkammergut which is considered to be one of the most outstanding examples of a carved and painted altar shrine illustrating scenes from the life of Christ and the Virgin Mary. Pacher's other great work, the Altarpiece of the Church Fathers was created in 1483 for Neustift Monastery and this also combined painting and sculpture to produce a unique composition. Influenced primarily by North Italian art, Pacher's work however shares characteristics with the work of the Italian artist Andrea Mantegna whilst also reflecting the heritage and tradition of a number of South German carvers.The plump facial features of the present lot with his upturned nose, distinctive waving to the hair and crinkled folds of the drapery compare closely to figures in Pacher's St Wolfgang Altarpiece, see T. Müller, Gotik in Tirol, Bozen, 1976, figs. 122-124 and pl. XXVII.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's 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
MINIATURE FURNITURE - A carved walnut armchairpossibly late 17th/early 18th century in the Charles II styleThe frames carved with scrolled acanthus foliage and flowers, the crest rail and fore rail each carved with a Royal crown, with spiral twist-turned stiles, conforming arm terminals and foliate wrapped scrolled arm supports, on ring turned block-and-baluster legs, stamped several times: 'T.I.', 21cm wide x 23cm deep x 50cm high, (8in wide x 9in deep x 19 1/2in high)Footnotes:The offered lot has featured twice on the renowned BBC television program, 'Antiques Roadshow'. The present chair was first inspected on 15 June 1994 and then also subsequently appeared for a second time on 9 July 2019. Copies of this 'Antiques Roadshow' paperwork are available for inspection upon request. Although chairs of this scale have often been cited erroneously as 'apprentice pieces', the existence of two beech armchairs of this scale in The V&A Museum collection, with their accompanying late 18th century wooden dolls, makes the case for these 'miniature chairs' being intended for use as 'toys' all the more likely. The V&A examples (T.846Y-1974 and T.846V-1974) which accompany the celebrated Lord and Lady Clapham dolls (circa 1690-1700) follow the pattern of full sized chairs of the period. The chairs would almost certainly have been made by a professional chair maker and the construction techniques mirror those found on full sized examples from the period. The scarcity of surviving late 17th century dolls, although many were produced, may well reflect the few surviving miniature chairs. Other surviving period miniature chairs, including one of the 'Clapham' chairs are in poor condition implying the likelihood of them having been played with and hence the few surviving examples.The Lord and Lady Clapham dolls are thought to have belonged to the Cockerell family who were descendants of Samuel Pepys. Pepys' nephew John Jackson married a Cockerell and the dolls were named 'Lord' and 'Lady' of the family home in Clapham. The remarkable condition of the Clapham dolls suggests that in this instance they may have been admired by adults rather than being played with by children and were viewed more as decoration for the home.For further information on this lot please visit Bonhams.com
Registration No: OVU 200Chassis No: B73WGMOT: ExemptSupplied new to a successful button maker and inherited by successive generations of his familyHighly original throughout with a delightful, timewarp interiorRecently recommissioned following nine years' inactivity and running nicelyFirst registered in Manchester and resident in the surrounding areas ever since An obvious evolution of its MKVI predecessor, the Bentley R-Type was introduced at the 1952 Earls Court Motor Show. Subtly reworked from the previous model by in-house stylist John Blatchley, it boasted a notably larger boot and reprofiled rear wings. Switching from riveted to welded frame construction at chassis B349TO, the newcomer featured independent coil-and-wishbone front suspension, a leaf-sprung 'live' rear axle and servo-assisted four-wheel drum brakes (hydraulic front / rod rear). Powered by a 'big bore' 4566cc straight-six inlet-over-exhaust engine allied to either four-speed manual or automatic transmission, the R-type was a surprisingly strong performer, able to reach more than 100mph. Praised by the contemporary motoring press for its high-speed handling and well-appointed interior, the model remained in production until 1955 by which time some 2,017 Standard Steel Saloons are thought to have been made.First issued with the Manchester registration number ‘OVU 200’ on April 22nd 1954, chassis B73WG has been in single family custodianship from new. Literally bought for buttons, the first owner was a large-scale manufacturer of clothing fasteners, the Bentley is highly original with a particularly delightful interior. The rich Red leather and polished wood veneers still reek of quality. The gloss Black paintwork has a deep shine but there are some imperfections to the bodywork which are to be expected of an unmolested but still sixty-seven year old car. Recently recommissioned following almost a decade of dry storage, the R-Type started readily upon inspection and is said to ‘drive very well’. A decidedly rare opportunity to acquire a one family owned from new Bentley. Offered for sale with V5C Registration Document, sundry paperwork and fresh MOT certificate.
A collection of antique ceramics including a Worcester teapot with Chinoiserie decoration, a Cream ware teapot with flower finial, painted with a Chinese figure and pagoda, a Worcester fisherman and cormorant bowl, a scale ground and floral bouquet dish, Dresden style leaf dishes, teabowls, saucers etc Condition Report: a Worcester teapot - body has a very large s shaped crack, spout is chipped. Cream ware teapot with flower finial - spout restored, some paint flakes to decoration, lid is cracked and restored. Worcester fisherman and cormorant bowl - pings well but is badly scratched and rubbed to the inside of the bowl. a scale ground and floral bouquet dish - Worcester, surface scratches, rubbed to gilt rim, chipped to base rim. Dresden style leaf dishes - one has broken handle. flower dish - badley cracked and decoration rubbed. teabowls,wear and rubbing as expected. saucer - chipped and cracked, . small blue and white bowl rubbed. teacup, coffee cup and saucer, rubbed and surface scratches. black and white cup cracked. squat vase cracked to base. Derby ok.
A stainless steel wristwatch by Longines, the circular dial with arrowhead, bead and baton markers alternating with Arabic numerals, centre seconds hand and outer scale 0-60, to a jewelled manual wind movement numbered 7180158 and 12.68N, the case back numbered 23341, the case back and shoulder lugs numbered 118, dial, movement and case signed, on an unassociated strap, case width 3.5cm (without crown)Condition report: Patchy brownish staining and spotting to dial, numerals and hands, with corrosion to the blued finish on the hands. Scuffs and nicks to dial, with occasional losses to the outer scale. Scuffs, scratches, chips and nicks to case and glass, commensurate for use, and tool marks to case back. The winder is currently functioning but may be later replaced and operates the hands/winds the movement. The shoulders are fitted with sprung bars that are not fixed. The movement is currently running but is untested for working order, which cannot be guaranteed. Case dimensions approx. 3.5cm width x 4.5cm length (excluding crown). General wear to strap.
An open face fob watch, the circular white dial with black Roman numerals and outer scale 0-60, to a keyless wind manual movement, the monogrammed engine-turned case with French gold import marks, numbered 34948 and 40377, case diameter 3.1cmCondition report: Surface wear, spotting, dust residue and possible faint hairline fractures to dial. Scuffs, scratches and nicks to glass and case, shallow dings to case sides, pinpoint dent to case back. Movement runs when wound but is untested for working order, which cannot be guaranteed. Case covers close fairly tightly. Gross weight approx. 25.7gm.
A stainless steel wristwatch by Longines, the circular dial with Arabic numerals, centre seconds hand and outer scale 0-60, to a jewelled manual wind movement numbered 6996103 and 12.68N, the case back numbered 22919, with possibly later added inscription, the case back and shoulder lugs numbered 49, on an unassociated strap, case width 3.5cm (without crown)Condition report: Patchy brownish staining and considerable brownish spotting to dial, numerals and hands, possibly due to moisture damage, with traces of corrosion to the blued finish on the hands. Scuffs and nicks to dial, with occasional losses to the outer scale. Scuffs, scratches, chips and nicks to case and glass, commensurate for use, with dings to side of case and tool marks to case back. The case back inscription may be later added. The winder is currently functioning but may be later replaced and operates the hands/winds the movement. The shoulders are fitted with fixed bars. The movement is currently running but is untested for working order, which cannot be guaranteed. Case dimensions approx. 3.5cm width x 4.4cm length (excluding crown). General wear to strap.
The Pogues: Darryl Hunt's Fender Precision Bass guitar,1963,serial no.L05378 stamped on the neckplate, wide C profile maple neck with dark Brazilian rosewood fingerboard and clay dots, double cutaway solid ash body, black refinish, and tortoiseshell-effect plastic scratch-plate, with a 'Top of The Pops' sticker applied to the body from the band's performance on the show in 1994, accompanied by a red plush-lined Fender guitar case with a pink label on the outside inscribed The Pogues Darryl Hunt as well as a 'global motion' sticker, together with a packet of 32-34in standard gauge swing bass strings, a maroon leather Westbury guitar strap, a black fabric guitar strap, three packs of Rotosound short and long scale swing bass strings, and a letter of provenance from Darryl Hunt, CITES no.596239/01, 46 1/2in (118cm) longFootnotes:Provenance:Purchased by bass guitarist singer, songwriter, Darryl Hunt from Manny's Guitar Shop in New York in 1988, and used by Hunt as his primary instrument for the next eight years, featuring on numerous studio recordings, tours, promotional work, and live performances whilst with Celtic punk band, The Pogues.Founded in London in 1982, Hunt joined The Pogues in 1986 as bassist. During the next ten years the band reached international prominence recording several hit albums and singles, specifically their Christmas hit Fairy-tale of New York (1987) for which the band may best be known, as well as Peace and Love (1989), Hell's Ditch (1990), Waiting For Herb (1993) and the band's seventh and final studio album Pogue Mahone (1996). Released in 1987, 'Fairy-tale of New York' reached No.1 in the Irish charts and No.2 in the British charts over Christmas, and has since become a festive classic in the UK and Ireland.Hunt stayed with the Pogues until 1996 when the band separated. Apart from playing the bass guitar, Hunt contributed to drums, guitar and backing vocals to the band. He also wrote several songs for The Pogues one of which 'Love You Till The End', from the album Pogue Mahone was used in the credits of the Burt Reynolds film Mystery Alaska (1999), and was also used throughout the Richard LaGravenese film P.S. I Love You (2007).Following the 1996 split, the band has reunited on several occasions, playing the GuilFest festival in Guildford and three shows in Japan in 2005, several shows on US and UK tours in 2006-2007, and again in 2011-2013. The Pogues' last performance in Britain was on 5 July 2014 at the British Summer Time festival in London's Hyde Park, this being the last public performance at which Hunt used this guitar.Please contact the department for further images of Darryl Hunt with this guitar.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A museum quality scale model of the famous 1845-1854 Brunel designed Great Western Passenger Steam Ship S.S. Great Britain. Built to take passengers and freight to and from Bristol to New York in the U.S.A. A plank-on-frame wooden model with an overall length of 105cm, with 6 masts, rigged without sails, with 5 lifeboats, capstans, hatches, anchors, single black painted funnel, wheel to stern, single propeller with rudder and fitted with Union Jack flag. In a natural wood finish. Mounted on a simple display stand with 'S.S. Great Britain 1845' . VGC £750-1000
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