A special effects flying saucer spaceship miniature, created by L.B. "Bill" Abbott for Robert Wise's classic Cold War-era science fiction film The Day the Earth Stood Still (20th Century Fox, 1951), in which the mysterious alien "Klaatu" (Michael Rennie) and his imposing robot bodyguard "Gort" (Lock Martin) visit Earth to caution the governments of the world against their development of atomic power for the purpose of conflict and war. Mounted on a stand for display purposes.The large miniature is composed of fiberglass that has been painted silver with a small triangular opening cut along one side of the dome.The 1/24 scale minature was conceived by art directors Lyle Wheeler and Addison Hehr and created by L.B. Abbott, Ray Kellogg and Emil Kosa.The model was one of the first that was used with an optical matte process to simulate flight.Award-winning miniature and visual effects master Greg Jein, rescued the model from the 20th Century Fox lot when sold by the studio, and then preserved and exhibited the model until 2003. Prior to the original sale, it was on display at Disney-MGM Studios in Orlando Florida by the American Film Institute.The model can be seen during the iconic landing of the craft on a baseball field in Washington, D.C., one of the first times that an optical matte process was used to depict a miniature in flight on screen. The UFO appears as an oval of light initially, but its outline and shape can be seen more clearly when it glides over the Washington Monument. Legendary cameraman/cinematographer L.B. Abbott became an expert in the creation of special effects c. 1950s. He won Academy Special Achievement Awards for his work on Doctor Dolittle (20th Century Fox, 1968), Tora! Tora! Tora! (20th Century Fox, 1971), The Poseidon Adventure (20th Century Fox, 1972), and Logan's Run (United Artists, 1976). The Day the Earth Stood Still was his first film and his name does not appear in the original credits. Includes a DVD of the film.58 x 82 x 70 inches (overall, on stand)PROVENANCE Lot 39, "Hollywood Auction 14," Profiles in History, April 26, 2003.
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A group of six photographs taken by Dennis Hopper with Kodak projection print scale wheels at the center.Introduced to photography by James Dean in the 1950s, Hopper took up the camera as a way to develop his eye. He would take, sell, and publish thousands of photos over the course of his lifetime.11 x 14 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A group of approximately 25 set drawings and construction prints from the production of Star Trek VI: The Undiscovered Country (Paramount Pictures, 1991), the last film to feature the crew from The Original Series (Desilu Productions/Paramount Television, 1966-1969). In the film, the U.S.S. Excelsior, commanded by Captain Hikaru Sulu (George Takei), discovers that the Klingon moon Praxis has been destroyed, throwing the Empire into chaos and leading them to pursue peace with the Federation.The papers are dated 1991, with the following credit information included in pencil: "Production Designer - Herman Zimmerman / Art Director - Nilo Rodis / Set Designer - Alan Kaye." Each sheet also includes the set, scale, and date. Some sets depicted include: "INT. Khitomer Conference," "Ice Planet Exterior," "Federation President's Office," "INT. Rura Penthe Underground," "INT. Kling One Transporter Rm," and "Officer's Mess - Modification of TNG Set."13 x 10 x 2.5 inches (folded, overall)PROVENANCE Partial Lot 714, "40 Years of Star Trek: The Collection," Christie's, October 7, 2006
An original 1998 Don Post Studios display statue commemorating the character "C-3PO" as portrayed by Anthony Daniels in Star Wars: Episode IV - A New Hope (Lucasfilm Ltd., 1977). This full-scale model is composed of a gold-tone and silver-tone fiberglass material with various wiring elements throughout. This life-size figure features reflective gold-tone surfaces throughout the majority of the character's body, while the right leg is silver-tone. The character C-3P0 was first introduced in A New Hope as the lovable Protocol droid who is often seen alongside the Astromech droid R2-D2. This figure was created just one year prior to the highly-anticipated release of Star Wars: Episode I - The Phantom Menace (Lucasfilm Ltd, 1999), where we would be reintroduced to C-3PO and his young creator Anakin Skywalker (Jake Lloyd). A Don Post plaque at the base of the figure reads, "C-3PO/ Limited Edition Prop Replica/ 074/ as seen used in The/ Star Wars/ Trilogy." Figure: 74 x 33 x 29 inches; Crate: 90 x 48 x 48 inchesPROVENANCE Lot 441, "Entertainment Memorabilia Live Auction 2017," Prop Store, September 26, 2003.
An original 1998 Don Post Studios display statue commemorating the character "R2-D2" as portrayed and operated by Kenny Baker in Star Wars: Episode IV - A New Hope (Lucasfilm Ltd., 1977). This full-scale model is composed of a blue, white, and silver-tone fiberglass material with some metal component pieces. Near the character's feet, various rubber hose elements are present. This life-size figure features an illuminating processor state indicator, holographic projector, and radar eye. Hand-painted grime and dirt elements are present throughout the figure. The base that the character rests on is composed of a wooden particle board material. The character R2-D2 was first introduced in A New Hope as the lovable astromech droid who is often seen alongside the protocol droid C-3PO. This figure was created just one year prior to the highly-anticipated release of Star Wars: Episode I - The Phantom Menace (Lucasfilm Ltd, 1999), where we would be reintroduced to many beloved characters from the original Star Wars trilogy. A Don Post Studios plaque at the base of the figure reads, "R2-D2/ Limited Edition Prop Replica/ 031/ as seen used in The/ Star Wars/ Trilogy." 40 x 37.25 x 44.5 inchesPROVENANCE Lot 442, "Entertainment Memorabilia Live Auction 2017," Prop Store, September 26, 2003.
An original animatronic hand created by Carlo Rambaldi from the production of Oliver Stone’s early film The Hand (Warner Bros., 1981), about John Lansdale (Michael Caine), a cartoonist who loses his drawing hand in a car accident, and becomes terrified as the severed hand murders people who anger him.Rambaldi used Oliver Stone's hand cast when creating the hand, which is 1:1 scale. It is controlled by metal chains and exposed wiring, and exhibits wear from production use. A label with the number 72.320 is present. The animatronic comes from the personal archive of the film’s special effects artist, Carlo Rambaldi. Stone had Rambaldi design 30 different hands, all to serve different functions. He ultimately created eight mechanized hands. In a Fangoria interview with Bob Martin in 1981, Stone said:“Carlo Rambaldi worked like a dog on this picture. You’ve got to realize how difficult it is to build a mechanical hand—it’s so small, so you’ve got relatively little space to work in, compared to a shark or an ape. He worked so hard and long on those mechanicals…” Stan Winston and Thomas R. Burman did additional makeup work on the hand.The film was Stone’s first high-budget studio feature as a director. He was offered the project after winning an Academy Award for his breakthrough screenplay Midnight Express (Columbia Pictures, 1978). Reviewing the film in The New York Times, Vincent Canby wrote that the film suggested he was “a director of very real talent.” 3.25 x 4 x 10.25 inchesPROVENANCE From The Carlo Rambaldi Archives
A U.S. one sheet film poster for George A. Romero's Dawn of the Dead (Laurel Group, 1978), signed by Romero (who has also inscribed "Stay scared!"), producer Dario Argento, Tom Savini, Gaylen Ross (who has inscribed her character name, "Fran"), David Emge ("Fly Boy"), Scott H. Reiniger ("Roger"), Ken Foree, Claudio Simonetti ("Goblin"), Michael Gornick, Leonard A. Lies ("aka Machete Zombie"), Clayton Hill ("Sweater Zombie"), Sharon Ceccatti ("Nurse Zombie"), David Early, Mike Christopher (HK2), David Crawford ("Dr. Foster"), John J. Amplas, Frank A. Serrao ("Gray Suit Zombie"), and Jim Krut.In the classic, grand scale sequel to Night of the Living Dead (Image Ten, 1968), a small group of survivors of the zombie apocalypse take refuge in a giant shopping mall, only to find themselves menaced by the undead (who have returned to the mall because it was their favorite place when they were alive) and a gang of greedy, nihilistic bikers. Romero's use of the zombie subgenre to examine the greed, complacency, and violence inspired by capitalist society, combined with Savini's spectacular gore effects, have profoundly influenced the directions taken by subsequent films and television shows about zombies.41 x 27 inches; 14 x 10.5 inches (folded)
A German A1 poster of George Romero's horror classic Dawn of the Dead (Laurel Group, 1978) under its alternate title, Zombie, signed by Romero, producer Dario Argento, makeup artist and cast member Tom Savini, composer Claudio Simonetti (from Goblin), and cast members including Ken Foree, David Emge (who has also signed his character's nickname, "Fly Boy"), Scott H. Reiniger ("Roger"), Gaylen Ross ("Fran"), David Crawford ("Dr. Foster"), Frank A. Serrao ("Gray Suit Zombie"), Leonard Lies ("Machete Zombie"), Sharon Ceccatti ("Nurse Zombie"), Clayton Hill ("Sweater Zombie"), Jim Krut, Mike Christopher, and Michael Gornick. This is the "psychedelic" German A1 design (an alternate design uses an image from the film).In the classic, grand scale sequel to Night of the Living Dead (Image Ten, 1968), a small group of survivors of the zombie apocalypse take refuge in a giant shopping mall, only to find themselves menaced by the undead (who have returned to the mall because it was their favorite place when they were alive) and a gang of greedy, nihilistic bikers. Romero's use of the zombie subgenre to examine the greed, complacency, and violence inspired by capitalist society, combined with Savini's spectacular gore effects, have profoundly influenced the directions taken by subsequent films and television shows on the subject.33 x 23.25 inches; 11.75 x 8.25 inches (folded)
An original wall graphic that was displayed on the exterior of the Arizona Science Center during Star Trek - The Exhibition from November 2008 to May 2009. The large scale canvas banner features a unique graphic showing the USS Enterprise, as well as the exhibition's title and dates. 480 x 287 inches; Folded: 35 x 42 x 8 inches
An original Xenomorph creature head from the production of Ridley Scott’s Alien (20th Century Fox, 1979), from the Carlo Rambaldi Archives.This Xenomorph head is composed of a fiberglass material, polyester resin, and includes a clear acrylic dome. The main structure of the head has been spray-painted with lacquer and acrylic paint to resemble bone, and features matte black components. The head has been mounted to a base for display purposes. This head casting was fabricated by the famed Shepperton Design Studios from an original design by Academy Award-winning artist H.R. Giger, and featured hand-applied make-up effects enhancements by three-time Academy Award winner Carlo Rambaldi. Rambaldi was also engaged to project the mechanical retractable mouth of the Xenomorph head. This exact head can be seen on the set of the film in various vintage black & white photographs taken during the production phase of Alien at Rambaldi's effects lab. This photo shows the head coated in a slime-like substance, indicating that it was likely used to test different special effects techniques to achieve the effect seen in the final production of the film. This prop was photo-matched to on set photos of Carlo Rambaldi working on the head during production. The slime, the broken tubing, the uniquely cut neck and other details match these photos provided by the Rambaldi Archives. Comparison side-by-side photos are provided showing the on set photos compared to the pre-restoration photos. During the restoration process completed in 2023, the slime features were removed to restore the prop to its intended film appearance.This original Xenomorph head casting has been fully restored by the expert team at Blok4, who’s highly detailed process has preserved this piece for years to come. The team began by stripping and cleaning the Xenomorph head of its post-production applied visual effects in the form of paint and debris. Blok4 then began recreating from another original production example important snap clips for minor components that were missing or that needed to be replaced. Using a skilled fiberglass craftsman, the team was able to strengthen the integrity of the head and repair the worn interior. After the repair stage had been completed, the head was then sanded and spray-painted, closely following the original design direction from the film. Also added during the restoration was a new clear dome, also cast from an existing original production used example.This Xenomorph head, which was cast during the production of the film, was referred to by Rambaldi as a “Long Shot Head." Science fiction and horror fans alike will agree that Alien defined an era and set the tone for future films in the genre. The film's accolades include a 1980 Academy Award for Best Visual Effects, and a nomination for Best Art Direction, a Saturn Award for Best Direction for Ridley Scott and Best Science Fiction Film, among other nominations. Space-themed films such as Star Wars - A New Hope (Lucasfilm Ltd., 1977), released just two years prior, would set the bar for the scale of production expected for the film. As audiences poured in, opening in ninety theaters across the United States, and setting over fifty records, it's safe to say that Alien is what people were craving. The iconic Xenomorph was unlike anything that viewers had seen up to that point before, and some viewers were still left traumatized from Steven Spielberg's Jaws (Universal Pictures, 1975). Unlike that family-friendly Star Wars film, Alien's combination of horror and sexual themes earned it an "R" rating in the United States, and an "X" rating in the United Kingdom. Ridley Scott said about H.R. Giger's original model for an Xenomorph in an interview with Fantastic Films Magazine in 1979, “I'd seen conceptual drawings that other artists had tried rendering of the Alien. They always seemed to be of scaly bodies with claws, or huge blobs that would move across the floor. There was no elegance to them, no lethalness. What emerged was a H.R. Giger-designed humanoid with distinctively bio-mechanoid tendencies. I mean, really, how many creatures in horror films have actually worked for you? People only accept them because that's what they're seeing. When we finally had something acceptable, we stood back and looked at him. For better or worse, we were committed to that thing as the beast. He was great on paper, and when Giger put the model together, he looked terrific.”This striking, production-made Alien head has been displayed at various museum exhibits over the years, including most recently at the Palazzo delle Esposizioni (Exposition Palace) in Rome, Italy, titled “La Meccanica dei Mostri: da Carlo Rambaldi a Makinarium (The Mechanics of Monsters: From Carlo Rambaldi to Makinarium)” and was a part of the personal archive of Rambaldi for over four decades. This prop has never before been offered at auction. Rambaldi was a legendary special effects artist, who first rose to prominence with his work on Italian horror classics like Mario Bava’s Planet of the Vampires (Italian International Film, 1965), considered by many critics to be a prominent influence on Alien, and Dario Argento’s Deep Red (SEDA Spettacoli s.p.a.-Rome, production, 1975). His mutilated dog animatronics for Lucio Fulci’s film A Lizard in a Woman’s Skin were so convincing that Fulci was brought to trial for animal cruelty, and Rambaldi had to demonstrate the effects work in court to save the director from two years in prison. Rambaldi became most well-known for his work on several of the most beloved American blockbusters of all time, including John Guillerman’s King Kong (Paramount Pictures, 1976) and Steven Spielberg’s Close Encounters of the Third Kind (Columbia Pictures, 1977), and E.T. The Extra-Terrestrial (Universal Pictures, 1982). Rambaldi won a Special Achievement Academy Award for Best Visual Effects for King Kong, and Academy Awards for Best Visual Effects for Alien and E.T. The Extra Terrestrial. Includes a DVD of the film. 33.25 x 13 x 15.75 inchesPROVENANCE From The Carlo Rambaldi Archives
A full-scale display figure of the "Alien Queen" from James Cameron's sequel film Aliens (20th Century Fox, 1986), which follows returning heroine Ellen Ripley (Sigourney Weaver) as she accompanies a team of Marines sent to investigate the radio silence of the colony on LV-426, the planet on which the crew encountered the xenomorph in the original film, Alien (20th Century Fox, 1979).Though H.R. Giger and his team won an Academy Award for Best Visual Effects for Alien, the Swiss artist was not heavily involved in the creature design for the films that would follow in the franchise. Instead, Cameron enlisted Stan Winston (with whom he had worked on The Terminator) for Aliens. The pair worked on concepts for the Queen together, building a test puppet from foam and black trash bags ("the Garbage Bag Queen") and then fabricating the components from molds in England with Winston's British special effects crew. Special effects supervisor John Richardson began to figure out how to make the giant puppet move, an arduous task in itself. Ultimately, the Alien Queen required up to 8 operators to create the organic performance seen on screen.This display model is one of five created and stands 7.5 feet tall and 17 feet long. It was made from the original film production molds and includes expertly painted fiberglass and polyfoam components on a steel armature: an impressive head and carapace with two hind legs, two pairs of arms, one pair of scapular spikes, and a flexible foam tail. The pieces have been painted in eerie greens, blues, and grays, and intricate detail has been added around the mouth to simulate the Queen's characteristic slavering and slimy jaws. Includes two adjustible steel stands to support the weight of the creature. Includes three eggs (one hollow fiber glass, one foam, and one plastic and resin display egg with exhibit plaque).Approx 90 x 204 inches (overall, assembled); 43 x 28 inches (each base); approx. 36 x 26 x 26 inches (each egg)PROVENANCE Lot 1337, "Hollywood Auction 89," Profiles in History, June 26-28, 2017
An original underwater cocoon shell prop as seen used in Cocoon (20th Century Fox, 1985). This full-scale prop is composed of a hollow fiberglass material and features resin barnacles adhered throughout the exterior surfaces. Each barnacle has been applied to the shell by hand, and has a unique shape. The underside of this cocoon is open, allowing access to the interior of the prop. This type of Cocoon prop makes an appearance in the film in the pool house that the Antareans have rented for their storage. A group of senior citizens from a neighboring retirement home sneak into the pool house and utilize the cocoon's energy to rejuvenate themselves. These cocoons can be seen sitting on the floor at the bottom of the pool. Previous signs of repair are present throughout this prop.26 x 26 x 48 inchesPROVENANCE Lot 201, "Hollywood Auction 17," Profiles in History, December 12, 2003.
Late 14th century A.D. Comprising a single cutting edge; scale tang with pommel formed as a bifacial crown with incised detailing; Netherlands. Marquardt, K., Eight Centuries of European Knives, Forks and Spoons: an Art Collection, Europe, 1997, p.32, item 69, for type. 31 grams, 18.3 cm (7 1/4 in.). Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. Knife handles can be classified according to their method of attachment into whittle and scale-tang handles. Whittle-tang handles were the most common type used in the early medieval period. Whittle tang handles (like here) were more common later and fixed by pushing the pointed end of the knife tang into the handle.
2nd-3rd century A.D. Penannular in form with kite-shaped terminals representing serpents' heads, punched ring-and-dot and pricked dot ornament forming the stylised head and scale detailing. 8 grams, 66 mm (2 5/8 in.). Ex North American private collection. Acquired privately on the European art market in the 1990s. Property of a Buckinghamshire, UK, gentleman. [No Reserve]
Nine assorted 1:18 scale Burago die-cast model cars, including a Diamond Collection Smart Roadster, Porsche 356B Cabriolet (1961), Gold Collection Porsche GT3 Cup, Diamonds Series Jaguar SS100 (1937), Mercedes-Benz SSKL "Caracciola" (1931), Chevrolet Corvette (1957) etc. (9) Condition Report:Available upon request
G.I. Joe: an extensive collection of Hasbro G.I. Joe Classified Series action figures, all in original packaging (71 total, including some duplicate figures), together with two larger scale retro figures (Gung-Ho and Lady Jaye), a Package Art Portfolio Set, Live the Adventure board game and 21 mixed G.I. Joe/Action Force DVD titles (9 boxes) Condition Report:Available upon request
G.I. Joe: a selection of packaged Hasbro G.I. Joe small-scale action figures, largely 1980s-era (Hit & Run, Jinx, Tunnel Rat, Python Tele-Viper, Gnawgahyde, Storm Shadow, Night-Creeper, Snake Eyes, T.A.R.G.A.T., Stalker and Alley Viper), alongside some later editions Condition Report:Available upon request
JOHANNES BLAEU (1650-1712) "EBORACENSIS", The North, West and East Ridings, set of three hand coloured map with decorative cartouches, coats of arms and scale, plate size 15" x 21 1/2", gilt frames (Est. plus 24% premium inc. VAT)Condition Report: Small crease to top corner of West Riding, North Riding good, some damp staining along the right side of East map.
ROBERT MORDEN (c.1650-1703) Yorkshire, North, West and East Ridings, set of three hand coloured maps with title cartouche and scale, plate size 14 1/4" x 16 1/4", Hogarth frames (Est. plus 24% premium inc. VAT)Condition Report: West good, small crease to top right corner of East, very minor creasing to North and paper not quite flat.
JOHN SPEED (1552-1629) The West Riding of Yorkshire, hand coloured engraved map, 1676 edition, with plan of York city, coats of arms and figural scale, plate size 15 1/4" x 20", gilt frame (Est. plus 24% premium inc. VAT)Condition Report: Some creasing and possibly a small tear(?) to lower edge centre, mount very close to top and bottom of plate.
JOHN SPEED (1552-1629) The North and East Ridings of Yorkshire, hand coloured engraved map 1676 edition, with plans of Hull and Richmond towns, coats of arms and figural scale, plate size 15 1/4" x 20 1/4", gilt frame (Est. plus 24% premium inc. VAT)Condition Report: Good, but side margins appear to be cut and small loss to both lower corners.
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