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A group of pre 1947 silver coinage to include a 1940 Australian florin, and four Commonwealth oil corporation share certificates, total weight of coins, 74.3gLocation:

Henri Gascar (French, 1634/5-1701)Portrait of Hortense Mancini, Duchess of Mazarin (1646-1699) three-quarter length, seated, in a white blouse and pink wrap, with a landscape beyondinscribed 'Ortance Manchini Duchesse de.../Mazerin'; and indistinctly signed 'H. Gascar 1680' (lower right, 'Gascar' strengthened)oil on canvas93.5 x 116.5cmProvenance:Lord Gladwyn (1900-1996) Bramfield Hall, Halesworth, Suffolk, by 1984,Thence by descent until sold,London, Christie's, 4th March 2004, lot 293,Property of a Suffolk CollectorFootnote: The sitter was the most beautiful of the celebrated daughters of Hyeronima Mazarin, Cardinal Mazarin's sister, and Lorenzo Mancini. King Charles II, while in exile, asked for her hand in marriage, but her uncle refused the suit. She subsequently married Armand-Charles de La Porte, duc de La Meilleraye, a middle ranking noble with a great fortune, and the couple took the title the Duke and Duchess of Mazarin. Cardinal Mazarin left them the largest share of his own considerable fortune. In 1666, they separated and she left France. She lived for years on the estates of the Duke of Savoy but, after his death in 1675, went to England, where King Charles II welcomed her at court.Condition report: Framed 132 x 154cmOil on canvas which has been lined. The canvas tension is good and the picture is in plane. The paint layer is in a stable condition overall. At the right hand side is an old tear which has been repaired. The texture is minimal but the overpaint in this area has darkened. There are other scattered retouchings across the surface. The varnish is thick and glossy, slightly yellowed. Drying cracks and texture in some paint passages.

Ɵ Leaf from a Lectionary, perhaps made for the individual worship of a Carolingian nobleman or ecclesiastic, in Latin, finely written Carolingian manuscript on parchment, [probably Germany, third quarter of the ninth century] Single leaf with single column of 25 lines in a fine Carolingian minuscule (with readings from Matthew 21:35-46 and Genesis 27:6-28), with et-ligature used integrally within words, only closed 'a', and noteably clubbed ascenders (see 'b' in particular), rich red rubrics and opening text of readings in capitals, recovered from a binding and hence with stains, folds and scuffed areas (but both sides legible), traces of tape at top centre of verso from last mounting, trimmed at top with loss of blank margin there, but wide margins elsewhere, with line-prickings remaining in outer vertical margins, overall in presentable condition, 285 by 246mm.; in a cloth-covered card binding Provenance: 1. Written and decorated in third quarter of ninth century, perhaps as a private devotional volume for a Carolingian nobleman or ecclesiastic (see below). 2. William H. Schab (active 1888-1975), book and art-dealer working firstly with Gilhofer & Ranschburg in Vienna from 1905, then fleeing Austria for New York in 1938.3. Bernard Rosenthal (1920-2017), of San Francisco, California, his 'I/210', acquired from Schab in 1969; with Rosenthal's cataloguing and a copy of a letter from Bernhard Bischoff to Rosenthal concerning the dating, included.4. Quaritch of London, their cat. 1147, Bookhands of the Middle Ages, V (1991), no. 25.5. Schøyen Collection of London and Oslo, their MS. 623. Text:The contents here point to a highly individual parent codex, produced perhaps for private devotion. Originally the lections in the Mass were from the Old Testament, the Epistles and the Gospels. Both the Gallican and the Mozarabic rites retained the Old Testament readings for some considerable time, even into the Carolingian period, but these died out in contemporary Roman usage to the point where they can only be found for significant feast days. After the Carolingian age, the Roman form dominated. Here we have the last of such readings from Matthew, followed by the opening reading of the next set from Genesis. Its use by the so-called 'Comes of Alcuin' (BnF. lat. 9452; comes here from 'Liber Comicus' an early liturgical volume with Bible readings to complement the Gospel Book and Lectionary) allows us to see that in the Gallican Rite in the ninth century this Genesis reading was for Saturday after the first Sunday in Lent (that also dedicated to SS. Marcellinus and Petrus, as in our leaf). However, a problem comes when we try to find other witnesses to the readings for that date alongside the passage of Matthew given here. In short, there are none. This may well be a witness to a personal and private devotional codex, compiled according to the individual needs of the commissioner. The scholars and theologians of Charlemagne's court have garnered the lion's share of attention, but there is substantial evidence of the education of secular nobles from across the Carolingian world in the court school and to some extent throughout the Empire from 789 onwards. At its highest levels the Carolingian ruling elite was expected to be literate (see J.L. Nelson, 'Literacy in the Carolingian Government', in The Frankish World, 750-900, 1996, pp. 1-36, and R. McKitterick, The Carolingians and the Written Word, 1989, pp. 260-261), and other Biblical and liturgical books made in the ninth century for private and secular devotions survive in the Gauzlin Gospels (now in Nancy Cathedral), probably made for Count Arnaldus of Toul, a Psalter commissioned by and written for Count Achadeus of Reims (now Cambridge, Corpus Christi College, MS. 272) and a now-lost Lectionary produced for Count Hechiardus (or Eccard) of Angers.

Ɵ Leaf from the Old Gelasian Sacramentary, containing a record of the earliest Merovingian and northern European forms of the liturgy, or an ordines Romani, a pre-Carolingian order of liturgical service, in Latin, decorated manuscript on parchment[Germany or Switzerland (most probably San Gallen), late ninth century] Large fragment of a single leaf, with 31 lines of a probably German Carolingian minuscule, with a distinctly low and squat et-ligature, an 'm' suggesting Insular influence, few abbreviations, some opening words in hand imitative of uncials, red rubrics (now oxidised in places), one 2-line initial 'H', recovered from reuse in a binding and hence with margins trimmed, but without loss of any lines of text at foot, to only small losses to small sections of text at upper and lower inner corners, folds and stains, these obscuring much of text on reverse, but readings here awaiting lifting with UV light and careful reading, overall fair and legible condition, 243 by 140mm.; in cloth-covered card binding  This unassuming looking leaf is an important and hitherto unrecognised witness to a lost manuscript of the Old Gelasian Sacramentary, the Merovingian liturgical rite that preceded the Carolingian one, and known only from a tiny handful of manuscript witnesses; moreover, no other copy has come to the market before, and none is likely to ever emerge on the market again  Provenance:1. Most probably produced within the scriptorium of San Gallen, or a house directly connected to that monastery, and sharing close affinities with two other copies of the text reportedly produced there in the late ninth or tenth century (see below). Then dismembered and reused at the close of the Middle Ages on a bookbinding.2. Bernard Rosenthal (1920-2017), of San Francisco, California, his 'I/195'.3. Quaritch of London, acquired 1989; their cat. 1147, Bookhands of the Middle Ages, V (1991), no. 77, described there as a "Carolingian commentary on the Creed" following a description by Marvin Colker.4. Schøyen Collection of London and Oslo, their MS. 664.  Text:In its simplest form, the Sacramentary served as the principal collection of Biblical and liturgical texts spoken by the priest during services, and was replaced by other compilations such as the Missal during the course of the twelfth century. However, it had not always existed in an immutable form, and records survive of an attempt to produce a liturgical compilation to serve the same function in an incomplete collection of missal booklets of the fifth or sixth century now known as the Leonine or 'Verona' Sacramentary (now Verona Cathedral, MS. 85). Some centuries later, it was reported that another attempt had been made by Pope Gelasius I (d. 496), and this lead to the erroneous naming of the present text. It is now thought to date to either the seventh century or earliest decades of the eighth century, and contains a hybrid Gallican-Roman text inherited from Merovingian worship, and practised in some form throughout Gaul, Spain, Britain and Ireland, and perhaps also northern Italy, with the alternative Roman rite holding sway in only Rome and southern Italy. As a functioning liturgy it did not survive the Carolingian renaissance, and after Pope Hadrian I presented a copy of the liturgy approved by Pope Gregory the Great to Charlemagne in 785, that 'Gregorian' version was disseminated quickly throughout the empire, driving out its predecessor.  Due to its early replacement and demise, it survives as a coherent text in only three codices, plus, to the best of our knowledge, three early fragments of only a few leaves surviving from other lost copies of the whole text, a single witness containing readings from it, and the readings of a final lost manuscript recorded in a publication of 1777. These witnesses are: (i) Vatican, MS. Reginensis 316 (once owned by Queen Christina of Sweden, and carried by her to Rome at the end of her life) + Paris, BnF., latin 7193, fols. 41-56, the prime witness, produced in Merovingian Gaul in the mid-eighth century and forming the basis of all editions (see H.A. Wilson, The Gelasian Sacramentary: Liber Sacramentorum Romanae Ecclesiae, 1894, and L.C. Mohlberg, Liber sacramentorum Romanae aeclesiae ordinis anni circuli, 1960); (ii) Rheinau, MS. 30 (now in Zürich, Kantonsbibliothek), including a Sacramentary of c. 800 with Gelasian readings with later revisions; and (iii) San Gallen, MS. 348, a tenth-century Sacramentary with Gelasian readings with later revisions. The early fragments are: (iv) British Library, Additional MS. 37518, fols. 116-117, the so-called 'Baumstark fragment', an eighth-century binding fragment of English origin or produced in an Insular Continental centre (see A. Baumstark, 'Ein altgelasiansiches Sakramentarbruchstück insularer Herkunft', Jahrbuch für Liturgiewissenschaft, 7 , 1927, pp. 130-136); (v) BnF. lat. 10837, fols. 42-43, the so-called 'Bannister fragment', an English witness of the eighth century (see H.M. Bannister, 'Liturgical Fragments: A. Anglo-Saxon Sacramentaries', in Journal of Theological Studies, 9, 1908, pp. 406-411); and (vi) four eighth-century leaves in Cologne City archives, of English origin or produced in an Insular Continental centre (see H.M. Bannister, 'Fragments of an Anglo-Saxon Sacramentary', Journal of Theological Studies, 12, 1911, pp. 451-454). To these must be added (vii) a liturgical index in Reims, Bibliothèque municipale, MS. 8 (C.42), with extracted readings, and (viii) a lost manuscript recorded by Dom Martin Gerbert, abbot of St. Blaise in the Black Forest, in his attempted edition of 1777. Gerbert used the Rheinau and San Gallen manuscripts noted above, as well as a manuscript he identifies as "Sangalliensis olim nunc Turicensis" (of San Gallen, but now of Zürich), and of the tenth century, and having parallel versions of the Gelasian, Gregorian and Ambrosian rites (on this manuscript see Wilson, pp. xx-xxi). It seems to have been based on the San Gallen manuscript but with readings improved for sense. Despite a nineteenth-century identification of this last witness as Zurich C. 389, that manuscript does not contain a Sacramentary, and modern scholarship has failed to trace the lost witness.  The leaf here shows strong textual affinity to the San Gallen manuscripts, with the strongest to the lost manuscript, but while it has many apparent scribal errors it does not share all the reported corruptions of that lost witness. Most probably, it was produced within the same Carolingian mileau, which appears to have had an antiquarian interest in earlier liturgical practises. The text here contains part of I:35 of the text, opening with a variant rubric reported only by Gerbert for his lost witness ("[Et dum hoc cantat, semper manum super caput infantibus tenet: hoc finito iterum accipiens alter acolytus ex ipsis in]fantibus feminam ut [sic] supra, et interrogat presbyter ...") followed by a paragraph truncated down to a few short lines and apparently in a different order to that found in the Vatican manuscript, before the rubric "[Hoc e]xpleto prosequitur [sic] presbyter his verbis" is followed by the text opening "Haec summa est ...", with much of that section underneath the discolouration on the reverse. Read more...

Collection of nine English medieval charters from the Phillipps collection, in Latin, manuscript documents on parchment[England, thirteenth and fourteenth century] Nine documents: (i) charter of William de Moreville, Elena his wife and Eudes his heir, conveying to Alured Finke land at Bridport on the manor of Bradpole, Dorset, and for a further mark of pasture rights for two cows and a horse, 12 long lines by Robert the chaplain, 110 by 180mm., Dorset, early thirteenth century; (ii) conveyance by Hugh of Porton, Wiltshire, to Walkelin de Rosche, of land beside that formerly of John of Burcombe, 12 long lines, 90 by 150mm., Wiltshire, c. 1250; (iii) conveyance by John the son of Ralph of Sneinton, Nottinghamshire, to John the son of Roger de Croperhull of Nottingham, of land in "le Kyrke Meduwe", 16 long lines, 120 by 210mm., Nottinghamshire, 14 July 1284; (iv) legal judgement on the urgently needed repairs to the Cattawade Bridge, 'which horses and carts used to be able to cross', and for the upkeep of which Hugh, late rector of East Bergholt, Suffolk, had left land which had subsequently been sold, with lists of the landholders in Bergholt, all of whom were to contribute to the repairs, 16 long lines, 110 by 240mm., Suffolk, c. 1300; (v) lease by Sir Robert de Tuddenham (who owned Tuddenham Hall, Wisbech St. Mary, and was executed on the accession of Edward IV) to William le Bustlere of Hildersham, Cambridgeshire, and Margaret his wife, of the manor of Little Abington, 19 long lines, 160 by 220mm., Eriswell, Suffolk, 29 September 1307; (vi) conveyance by Lucy, daughter of John of Otley, to John de Atleburg and Mary his wife, of land in Seething, which she and her sister inherited from their father, 13 long lines, armorial seal with inscription "S. LVCIE:FIL:IOHANIS:D", 120 by 200mm., Suffolk, early fourteenth century; (vii) conveyance by John, son of John of Beckenham, to John of Beckenham and Alice his wife, of lands inherited from his father in Cranbrook and Biddenden, both in Kent, 13 long lines, with seal tag cut from an older document (but no seal), 110 by 240mm., Beckenham, Kent, 1324-1325; (viii) conveyance by Edward Robelard of Lacock to Edward Dodyng, of land in Lacock and elsewere, 19 long lines, with a pencil note by Phillipps: "Copied in Libro Cartarum", 160 by 220mm., Lacock, Wiltshire, 28 October 1334; (ix) conveyance by Sir William de Rellyston to John Woderove, John Amyas junior, Master Robert Woderove, and John Snytall the chaplain, of his share in the manor and lands of Meltham, Yorkshire, 10 long lines, seal tag cut from an older document and with red wax armorial seal, inscribed "SIGILLVM. WILE[...]", 110 by 260mm., Yorkshire, 1388-1389; all with folds, small spots and discoloured areas, else good condition This clutch of English documents was built up over a long period of time by Alan G. Thomas (1911-1992) from the sales of the collection of Sir Thomas Phillipps' charters. Only item (iii) ever had a Phillipps acquisition number ("29216", and that indicating an origin in the collection of the nineteenth-century Bradfield antiquary John Wilson [1719-1783] of Broomhead Hall), and was acquired by Thomas in Sotheby's, 27 June 1977, lot 4927. The rest were acquired through the same Sotheby's sale (lots 4860, 4974a, 4957, 4843, 4913b, 4889b and 4974d), apart from item (ix) which was acquired by Thomas directly from the Robinsons of Pall Mall. This group of charters then acquired by the Schøyen Collection of London and Oslo, from Thomas' estate in 1994.

Donegal Railway Share Certificate - Co. Donegal, Finn Valley, Railway Company, One £10 Share, issued to Sir Samuel Harper, Bart, The Castle, Stranolar, on 8th Nov. 1869, with Official stamp. V. good. (1)

PAUL DU PONT [1603-1668] after van Dyck- a portrait engraving of Henricus Steenwyck, together with a similar portrait of Nicolas Fabricius de Peirese by Vorsterman, one other engraving by Richard Blome of Gods Fighting dedicated to Sir Henry Hobart, a 19th Century theatre engraving by D.Smith for All's Right at the Haymarket, a George II manuscript contract and a 1927 National Tea Co. share certificate. [6]

Football, Tottenham Hotspur Season ticket Books (21) 1959-60, 1963-4, 1965-6, 1975-6 and a complete run from 1984-5 to 2001-2 some seem to have not hardly been used and are near full of vouchers others have all been used. Other items include Large Poster BSC Young Boys v Spurs Champions League 2010, Tottenham Hotspur Handbooks 1952-3 & 1982-3, 1981 F.A. Cup Winners reunion Dinner brochure, Tottenham Hotspur v Nottingham Forest 1983 1st Sunday game programme with Share Prospect Application form wrapper cover, non Spurs Christian Fochs signed poster. (fair/vg)

Football, Tottenham Hotspur, a selection of items previously the property of journalist Hunter Davies inc. 3 later re-printed b/w photos with original signatures, Morris Norman, Cliff Jones & Tony Marchi sold with programme for Danny Blanchflower Benefit Match v N. Ireland 1990 with caricature artwork, also share certificate, uncashed Tottenham cheques etc the lot also includes 9 b/w postcard sized photos of Tottenham players inc. Jimmy Greaves, Dave Mackay, Alan Gilzean etc, five 3D Sun issued trade cards and a further signed picture of Morris Norman (vg)

Stamps, Collection of Pre-Stamp and early Victorian envelopes to include London and North Western Railway Share Dividend Advice Note March 2nd 1863; 3.5 margin Penny Red complete letter dated Biggleswade 24 July 1846, Cambridge 25th July 1846; GB-OXON 1730s Wrapper to London V.C. Oxford Mark; plus many others dated 1847 to 1863, viewing recommended.

2006 Two Hands Angels Share McLaren Vale 3x75cl 2005 Two Hands Deer in Headlights Barossa Valley 3x75cl Total 6x75cl

A South Crofty Limited share certificate for 600 shares dated 1959

[KOSCIUSZKO TADEUSZ]: (1746-1817) Polish Statesman, military Officer and Engineer. Supreme Commander of the Polish National Armed Forces., and national Hero of Poland. He led the 1794 uprising known by his own name. A very interesting A.L.S., `Charles Sienkiewicz´, Polish Librarian and Writer, three pages, 4to, n.p., December 1817, to Pierre Zeltner, in French. The present letter is written in December 1817, only two months after Kosciuszko´s death and, referring to the Polish hero, is addressed to Pierre Zeltner, a close friend of Kosciuszko. Sienkiewicz first reports on a duel that Zeltner was intrigued of, and announces that according to the newspapers it was finally sorted out and there would be no duel, and continues reporting on the death of Kosciuszko, stating in part `In all the churches of Poland the funeral service was celebrated for General Kosciuszko, and Warsaw have given a good example to the rest of the country; the Grand Duke attended these funerals and the government asked the Emperor for authorization to bring back the General's body to Poland´. Sienkiewicz further thanks his correspondent for the personal belongings and clothes of Kosciuszko that Zeltner sent to him, to be noted that Kosciuszko spent his last days in France in Zeltner´s home, and states in part `I must give you an account of the precious memories that you were kind enough to share with me. I hope you won't blame me for the too much meticulous details. Fate decided the division in this way: the trousers for Mr. Constantin, the boots for Mr. André, the waistcoat and the belt for Mr. Ladislas, a hat for Mr. Jean and the other for Mr. Leski, the tie for Prince Lubomirski. I have put together the hair, the nightcap, the box and the ring for the Princess of Württemberg. Mr. Constantin must have reported to you that she is very satisfied with it. She will send this treasure as she rightly calls it to her mother Princess Czartoryska to have it deposited at the Sybille temple where sacred memories are kept for Poland with a truly patriotic respect´ Sienkiewicz, further again, asks his correspondent for any information, letters, or anything related to Kosciuszko that could even seem to him insignificant, but which could be very important for the Polish, stating in part `You talked to me about those verses just started… started to never be finished. Send them to me; send to me such a painful souvenir of friendship so cruelly frustrated´ and before concluding says `In this chain that will always unite Kosciuszko´s name with the recognition of the Polish, in this golden chain, the most beautiful ring of devoted friendship will always recall your name alongside the one of this Hero´ A letter of very good content. Remnants of former affixing to the last blank page. Small creasing to edges, otherwise G

HEZETA JOSE: (1788-1862) Spanish Lieutenant Colonel who served in the Peninsular War and was taken prisoner in 1812. Following the war he was stationed at Catalonia together with the British Generals Bentinck and Clinton. In 1826, Hezeta escaped to England and was later appointed British envoy extraordinary and minister plenipotentiary to Colombia. Series of three A.Ls.S., Joseph Hezeta (2) and J Hezeta, ten pages (total), 4to, Havana, 10th January - 31st March 1828, all to Sir William Henry Clinton in London. Hezeta writes a series of informative letters to his correspondent, congratulating Clinton on his appointment as Governor of Mauritius, and further stating, in part, 'So far from having succeeded in my application to Lord Wm. Bentinck to follow his Lordship to India I have not even received an answer to my letter. I can have no doubt as to my letter being lost…..I must say that I was not very sanguine in my expectations. For I thought the circumstance of being a foreigner might be an obstacle to the good wishes of his Lordship in my favor, the board of Directors might see with an evil eye the intrusion of a foreigner in any part of their extensive administration; nor was my wish to usurp the rights of an English born subject…..I was prepared to any sort of refusal except to receive no answer…..I am always now in a melancholy mood…..one is tempted to think that it is a punishment for having been too bold in addressing a superior without being encouraged to it……What you tell me about the state of Portugal is sad enough. But you don't mention a word upon one of the most interesting subjects to lead to draw an inference respecting the future fate of that Kingdom & that it is something about the personal character of the Infante which for what we hear is by no means to be trusted, being unruly, rash & violent, ignorant in the extreme and in proportion fond of absolute power. And upon such a man will rest the foundation of the prospering of 3 millions of men, and by analogy that of Spain too? If the French can give us a sufficient cause for remaining in Spain the non payment of what they claim from the Spanish Government. England may prepare herself to agree to the extinction of that Independent estate and only weigh in her mind if it will be for her a sufficient indemnity for the aggrandisement of France to take a share in the spoil. My hopes of a change in the state of Spain are very weak, & few years more as you say will place one beyond the pale of Ferdinand's power and that of his monks….in the grave' (10th January 1828), '….you will see what new schemes I have in view to promote my fortune, It has been suggested to me by the knowledge I acquire in business. Money is yet here so scarce…..If among some respectable English merchants they would make here a sort of banking establishment merely to discount bills and make advances to planters upon their produce under judicious managers, they might derive a very handsome profit with perfect safety…..I am very anxious to hear of the arrival of D. Miguel to Portugal to see the state of that country come to a crisis. I have very little doubt but that he will put down the Constitution as soon as he will be left to himself and that England will be obliged to induce D. Pedro to come to Europe, if she wishes not to see Portugal under the French influence by putting it under an absolute monarch' (13th February 1828), 'The long expected answer of Lord Wm. Bentinck came at last….[His Lordship]….wished me to follow him & kindly offers me his assistance to do it by way of Rio Janeiro & Cape of Good Hope but I am not so sanguine about the content of the letter…..If the answer was flattering to my wishes in my destitute situation I have the hopes that His Lordship will have sent a duplicate…..As soon as the French shall evacuate the Peninsula I expect insurrections, rebellions & riots of every description. The extreme parties will agree in the work of destructions, but even men of the same principles will disagree upon what is to be substituted. No one can trust the oaths or pledges given by any of the Bourbons & any constitution imposed or forced upon them must I fear prove anarchical. The nation will sink deeper & deeper in distress & misery; to avoid this there is no other remedy but to unite the whole Peninsula under D. Pedro & send D. Miguel to the Brazils. This is a most desirable plan for the balance of power & to restore to both kingdoms by their union part of the strength & weight which they have lost with their colonies. The present unpopularity of the Bourbon makes this plan possible which in any other circumstances would be rash & impracticable. What Liberal can be imprudent enough to re-enter Spain with no other security but an amnesty from the King?......I for one will not trust myself to such a frail security as Ferd[inan]d's word' (31st March 1828). Each of the letters with integral address leaves (some minor tears and small areas of paper loss caused by the original breaking of the seals). Generally about VG, 3     William Henry Clinton (1769-1846) British General who served in the French Revolutionary and Napoleonic Wars. Lord William Bentinck (1774-1839) British Lieutenant General who served as Governor-General of India 1828-35.

[WORLD WAR I]: EDWARD VIII: (1894-1972) King of the United Kingdom January - December 1936. Later Duke of Windsor. A fine autograph manuscript, unsigned, four pages, 4to and slightly smaller, n.p. (London), n.d. (July 1919). The boldly penned holograph manuscript, with a number of corrections, is the draft of a speech made by the Prince of Wales at a dinner in honour of Marshal Foch following the end of World War I and states, in part, 'This is an occasion of such unique & historical interest that I find it very difficult to address such a so distinguished an assembly. It is indeed a great honour for me to be presiding here this evening & that it should fall to my lot to propose such a wonderful toast; it is almost impossible for me to find adequate words……to welcome so many famous allied commanders…..At this dinner are gathered together, comrades in arms drawn from many nations…..who have been engaged in a long & desperate (sic) struggle against the most powerful military combination that the World has ever known & who have emerged from the struggle completely victorious……France & Paris have already celebrated peace & our overwhelming victory; the other allied nations & their capitals will doubtless do the same. But just now we are celebrating it all in the British & London way & I feel that yesterdays triumphal pageant was a brilliant success. We feel that it represented the great war, that it represented victory in every sense of the word & that no one who was present could fail to carry away but the proudest & most inspiring memories which will last a life time……To me as one of the younger generation these memories will be specia particularly vivid as during my periods of active service in several theatres of war I often had the priviledge (sic) & good fortune of being closely associated with many of our allied armies army corps divisions & even regiments…….It is obvious that this last greatest of world struggles has broken all records from every point of view but I would venture to point out that never before has so large a number of allies been fighting & working together…..Now that the great war is over & the powerful enemies that have so long disturbed the peace of the World & menaced our freedom are finally overthrown & subdued we all rejoice to welcome here those who have shared with us the perils & sufferings of the trying & strenuous campaign & who now share with us the joy of our victory. Representative of every allied power are present this evening but there is one power whose representative has occupied a unique position. In Marshall (sic) Foch we salute the great captain…..His position as a Supreme C. in C. has no comparison in history either from the point of view of power or responsibility. In this position he has revealed a genious (sic) for war equal to the greatness of his task & the magnitude of his difficulties'. Together with a further selection of holograph notes, unsigned, four pages, oblong 4to and 8vo, n.p. (London), n.d. (July 2019), being the Prince's briefer manuscript notes prepared in composing his speech, with various corrections and the different sections each marked with an ink and blue indelible pencil line, the notes concluding with a passage in French, 'C'est pour moi un tres grand honneur et tres grande joie de vous acceuillir ici au nom du Roi et de boire a la sante des grandes nations allies dont vous etes les representants distingues Je n'ai qu'une pensée ce soir “vive nos braves allies”' and his Toast to Foch, 'The Commanders & representatives of the armies forces of our allies coupled with the name of Marshall (sic) Foch'. A rare manuscript with interesting content. A few slight stains and minor age wear to the preparatory notes, the manuscript speech VG, 2  Ferdinand Foch (1851-1929) French Marshal, a General and military theorist who served as the Supreme Allied Commander from March 1918.  The 'triumphal pageant' which the Prince of Wales describes as having taken place the day before in the present manuscript was undoubtedly the Victory Parade Peace Day held in London on 19th July 1919. Although fighting on the Western Front had ceased in November 1918, peace negotiations would continue for many months and the Treaty of Versailles was not signed until June 1919. When negotiations were reaching their conclusion and a 'proper peace' was within sight, a peace committee was founded to decide how Great Britain would publicly mark the end of World War I and acknowledge the widespread feelings of jubilation within the country.  With a Bank Holiday having been agreed upon, on the morning of the 19th July thousands of people gathered in London to participate in a spectacle, the likes of which had not been witnessed before. Almost 15,000 troops participated in the victory parade which was led by the Allied commanders Douglas Haig (British Commander-in-Chief), John Pershing (Head of the United States Expeditionary Force) and Ferdinand Foch (Allied Supreme Commander). The latter received the honour of being created a Field Marshal in the British Army on the same day and, on 20th July 1919, was the guest of honour at a dinner for the British and Allied Commanders and their staffs at the Carlton Hotel. It was at this dinner, attended by around 400 people, that the Prince delivered his speech. It was published in The Times on 21st July 1919. A monument to those killed and wounded, designed by Edwin Lutyens, was unveiled in Whitehall to mark the end of the victory parade. Although it was a temporary construction, another made from Portland stone and designed by Lutyens was to replace it in 1920 and, known as the Cenotaph, still stands today.

SANTA CRUZ ANDRES: (1792-1865) Andres de Santa Cruz y Calahumana. President of Peru 1827 & 1836-38, and President of Bolivia 1829-39. An excellent L.S., `Sta Cruz´, one page, 4to, La Paz, 22nd December 1831, to Colonel Pedro Torres, in Spanish. Santa Cruz to his correspondent´s letter and states in part `..you refer to the part of the million reward which has been approved by decree for the Liberatory Army at the 1st Bolivian Assembly…the only amount I have been authorized to distribute as been 80.000 p..and having received so many requests, it has been necessary to share the whole proportionally.´, further saying `Nothing would have made me feel better than showing to you my personal consideration, and I will never forget the merit of all the good officers who under my lead have served with such honesty to the American Liberty cause…´ A letter of very interesting historical content. Folded, with small overall age and staining, mostly to edges. G   

MENUHIN YEHUDI: (1916-1999) American-born British Violinist. T.L.S., Yehudi Menuhin, one page, 4to, London, 3rd June 1959, to Mr Francois Schapira in Bucarest. Menuhin refers to the forbidden movements of population in Rumania, stating in part `I have had the great pleasure of seeing your mother during these days in Florence and in this joy I have felt somehow guilty knowing that you her son and daughter-in-law are not able to share her in the natural and rightful way which is a child´s and mother´s birth right.´, and further explaining his contacts with Rumanian authorities, saying `… as I cannot help but believe the genuine intentions of the Rumanian government as they were formerly expressed to me… As you know I was assured that nothing would stand in the way of family reunion and this was a recognised principle of all movements of population.´ Small overall creasing and a stain to the upper left corner, not affecting the text or signature. G    

[CHALIAPIN MARINA]: (1912-2009) Russian ballerina & actress, daughter of Feodor Chaliapin and wife of Luigi Freddi, the Italian Minister of Culture. Marina Chaliapin was crowned Miss. Russia in 1931. The personal autograph album of Marina Chaliapin, the leather bound 4to album containing 48 signatures (most with personal inscriptions to Chaliapin) by a variety of famous individuals including musicians, singers, actors, artists etc., including (in order of appearance) Feodor Chaliapin (1873-1938, Russian opera singer; signed Daddy and with a lengthy inscription in Cyrillic, in part, 'To my dear daughter Marinka - Words, words…where to find them…. No! I have to sum up my life, multiply my love, fuse my feelings, to share all this with you….. Then, I will maybe get to what I want to say…', Kitzbuhel, 1st August 1934), Fritz Kreisler (1875-1962, Austrian-born American violinist and composer; dated at Salzburg, 22nd August 1935), Charles B. Cochran (1872-1951, English theatrical manager and impresario; 'To the daughter of my greatest hero, Charles B Cochran', 1935), Gianna Pederzini (1900-1988, Italian mezzo-soprano; April 1936), Louis Jouvet (1887-1951, French actor & theatre director), Max Dearly (1874-1943, French actor; Salzburg, July 1936), Lotte Lehmann (1888-1976, German soprano; Salzburg, 1936), Bronislaw Huberman (1882-1947, Polish violinist; August 1936), Hannes Schneider (1890-1955, Austrian ski instructor), Joseph Paul-Boncour (1873-1972, French Prime Minister 1932-33), Luigi Freddi (1895-1977, Italian journalist and politician, husband of Marina Chaliapin; Venice, August 1937), Ugo Ojetti (1871-1946, Italian writer, journalist & art critic; Venice, August 1937), Vittorio Cini (1885-1977, Italian entrepreneur and politician), Italo Balbo (1896-1940, Italian fascist politician, Marshal of the Air Force 1929-33 and Governor-General of Italian Libya 1934-40), Rouben Mamoulian (1897-1987, Russian-born American film director; a fine example in Cyrillic, 1937), Luis Trenker (1892-1990, Austro-Hungarian film producer, director & actor; November 1938), Trilussa (1871-1950, Italian poet, writer & journalist; 1942), Edward VIII (1894-1972, King of the United Kingdom January - December 1936. Later Duke of Windsor; A.N.S., Edward P, as Prince of Wales, in pencil, on a small oblong 12mo card, n.p., n.d., in full, 'With many thanks for a most charming evening from Edward P', neatly laid down to the page), Massimo Bontempelli (1878-1960, Italian poet, playwright, novelist & composer; A.M.Q.S., being two bars of music which he identifies as being from Monescia), Eleonora Duse (1858-1924, Italian actress; A.N., unsigned, on her personal printed visiting card, in Italian, neatly laid down to the page), Issay Dobrowen (1891-1953, Russian-Norwegian pianist, composer & conductor; Rome, 1946), Alexander Borovsky (1889-1968, Russian-American pianist; 1946), Tullio Serafin (1878-1968, Italian conductor; A.M.Q.S., being several bars of music, with words beneath, marked Proprio cosi ('Just like that') in his hand and with a further sentiment in his hand, Musica - ragione di vita ('Music - reason for life'), Rome, 31st October 1947), Gino Cervi (1901-1974, Italian actor famous for his performances as 'Peppone' in the Don Camillo movies of the 1950s and 1960s, and later as the detective Maigret), Akim Tamiroff (1899-1972, Russian-born American actor), Paul Robeson (1898-1976, American singer and actor; ink signature on a small piece a little crudely cut from a printed programme for Black Boy, neatly laid down), Tullio Carminati (1894-1971, Italian actor), Ronald Colman (1891-1958, English actor, Academy Award winner), Umberto Spadaro (1904-1981, Italian actor), Renato Rascel (1912-1991, Italian actor & singer), David Lichine (1910-1972, Russian-American ballet dancer and choreographer; 1953), Jean Cocteau (1889-1963, French poet, playwright, novelist, designer & artist), Jose Greco (1918-2000, Italian-born American flamenco dancer; the page also signed by his sister Norina Greco, and Nila Amparo), Gina Cigna (1900-2001, French-Italian soprano), Oswald Mosley (1896-1980, British politician, leader of the British Union of Fascists), Witold Malcuzynski (1914-1977, Polish pianist; A.M.Q.S., being several bars from an unidentified work, November 1961), Earl Warren (1891-1974, American jurist and politician who led the Warren Commission that investigated the 1963 assassination of John F. Kennedy), Roloff Beny (1924-1984, Canadian photographer; an original black ink drawing of several long, elegant leaves, inscribed 'For Marina, Remembering “Death is a name for Beauty not in use”, with admiration and affection, Roloff Beny', April 1981) etc. The vast majority of the signatures are on individual leaves, and most are neatly annotated to the lower corners in ink by Marina Chaliapin. Her Ex-Libris plate appears to the front free endpaper and her initials ('M.F.C.') are stamped to the upper right corner of the front cover. An interesting collection of signatures with fine provenance. Some very light, extremely minor age wear and slight age toning at the edges of the pages, the covers slightly worn and stained. VG 

BERKOWITZ DAVID: (1953- ) American Serial Killer and Arsonist, known as Son of Sam. A.L.S., Hobo Dave, four pages, 4to, n.p. (Sullivan Correctional Facility, Fallsburg, New York), 22nd January 1988, to Pete Connolly. Berkowitz states that he has received his correspondent's letter and photographs, commenting 'I see you're relaxing as usual on a comfortable bed of nails. I sleep on something similar.' He continues to ask 'Who the heck is Roland the Commie? He doesn't look like a communist guerilla at all. To be honest with you, he looks like a momma's boy instead of a partisan freedom fighter.' and further states 'No, I'm not the dude who sends you crank calls. It's probably the black dude who used to teach you Kung Fu. I guess he's pissed because you wouldn't share chrissy with him'. Berkowitz also refers to two books by Frederick Forsyth that he'd like to read, including The Day of the Jackel (sic), and also makes a reference to Mark Chapman, the assassin of John Lennon, 'Pete, I hate to tell you this, but I think Miss Sardine got beat for her photo. You should've sought my advice before you wrote to M. Chapman. You learned a lesson. Don't be sending photos to strangers. I don't know what will happen to that photo - he probably rubs against it at night. But there's no way you can get it back. I can ask "Big J" - he is big - 300lbs! The problem is that "J" is in general population and Chapman is in isolation/protective custody. There's no way for J to see Chapman. Also, my friend "J" is scheduled for a transfer soon. He should be leaving Attica any day now. I'll see what I can do. Next time, just take a photo of a "bag lady" on some street corner. Then mail it with a letter: "Hi Mark, my name is Darlene. I'm a 75 year old hobo bag lady who lives in Queens. I love you, Marky pooh".' Accompanied by the original envelope hand addressed by Berkowitz and signed by him in full in the return address. Together with Richard Ramirez (1960-2013) American Serial Killer, known as the Night Stalker. A.L.S., Richard, one page, 4to, n.p. (San Quentin State Prison, California), 2nd July n.y. (1995), to Ken K. Ramirez writes a social letter, assuring his correspondent that he won't reveal his problems and asking how old his sister is, 'Why would she freak out w/ me?', further sending a drawing (no longer present) and explaining 'If it's gone it's cause someone took it out. I thought it was one drawing I owed you not 2.' Accompanied by the original envelope hand addressed by Ramirez and signed by him in full in the return address. VG, 2    Mark David Chapman (1955- ) American Murderer of John Lennon on 8th December 1980. Chapman is imprisoned in the Attica Correctional Facility, New York.

Dowding receives messages from deceased airmen DOWDING HUGH: (1882-1970) British Air Chief Marshal, Commander of RAF Fighter Command during the Battle of Britain. An extraordinary war date A.L.S., H. C. T. Dowding, two pages, 8vo, Wimbledon, London, 25th April 1943, to Lord Beaverbrook. Dowding thanks his correspondent for their birthday telegram and continues to refer to his Spiritualist experiences, 'If you have an hour to spare one day soon I wonder if you would like to see a number of messages from men killed on the battlefield in this war. They are extraordinarily vivid & interesting. They came from men killed in Greece, Crete & Libya, in the Malay Jungle & on the high seas, they also include messages from airmen killed in action & there is one from a Battle of Britain pilot addressed to me personally', further remarking 'This is definitely not an attempt to involve you in plans for publication, only I feel sure that you would share my own intense interest in reading them'. A letter of remarkable content and good association. Two file holes to the left edge, only very slightly affecting a couple of letters of text, otherwise VG     Max Aitken (1879-1964) 1st Baron Beaverbrook. Canadian-British newspaper publisher who served as Minister of Aircraft Production 1940-41. Dowding's interest in Spiritualism is well documented, however autograph letters on the subject are extremely rare (see also following lot). At the time of the present letter Dowding was writing his first book on the subject, Many Mansions, and described meeting dead 'RAF boys' in his sleep - spirits who flew fighters from mountain-top runways made of light.

ISABELLA I OF CASTILE: (1451-1504) Queen of Castile 1474-1504. Catholic Monarch who ruled jointly with her husband Ferdinand II of Aragon as The Catholic Monarchs 1475-1504. They are recognized for laying the foundations for the political unification of Spain, and also for completing the Reconquista as well as their support and financing of Christopher Columbus´ voyage of 1492 which led to the opening of the New World. An exceptional manuscript letter, dated in 1483, signed by the Queen `Yo la Reyna´ ("I the Queen"), one page, oblong 4to, Miranda de Ebro, 2nd September 1483, to Sancho de Vergara, in old Castilian. The document bears at the heading the written text `The Queen´, stating below `Sancho de Vergara, I have discussed with Johan de Luxan, Knight of my Household, certain matters that he will share with you on my behalf. I do beg and trust you to fully believe him. Given at the town of Miranda de Ebro, 2nd of September 1483´. Countersigned at the base by Fernando Alvarez `As ordered by the Queen´. With a registration annotation to the verso, referring to the order given by the Queen and the matter related, being a lawsuit regarding property in the town of Corella, in Navarra. Only four months prior to our letter´s date, Castilian forces captured the last ruler of the Muslim Emirate of Granada, Muhammad XII, known as Boabdil, at the battle of Lucena. Overall age wear, with very slightly irregular edges, and very small toning, otherwise G    

A rare Venetian small cruet, circa 1700Of hourglass form with a flared trumpet neck with a vermicular collar, two trailed turquoise bands to the rim, the slender ribbed spout with a pulled band to the tip in turquoise glass, the double-loop handle also delicately ribbed and applied with pincered ornament, the body trailed with five concentric threads and applied with opposing gilt mask prunts flanked by smaller prunts in turquoise, a further gilt mask prunt below the spout, the base moulded with 'nipt diamond waies', 11.9cm highFootnotes:ProvenancePaul Gresswell-Wilkins CollectionThe origin and dating for cruets of this type stems from comparisons to pieces with similar trailed threads presented to Frederik IV, King of Denmark, in 1709, now in the Danish Royal collection at Rosenborg Castle, which all share similar decorative elements including mask prunts drawn up into points and ribbed handles with pincered ornament. See Gudmund Boesen, Venetianske Glas på Rosenborg (1960), nos.6, 9 and 12. A very similar cruet is illustrated by Barovier Mentasti et al., Mille Anni Di Arte Del Vetro a Venezia (1982), p.143, no.205. Compare also to the footed example in the Musée Ariana in Geneva (inv. no.MF 4088) illustrated by Erwin Baumgartner, Reflets de Venise (2015), pp.202-3, no.95.For further information on this lot please visit Bonhams.com

Grand Sunderland Bridge Lottery, 1816, an original ticket, No.1041, signed by Cuthbert Ellison on behalf of the Trustees, vignette of bridge at top left. Extremely fine £40-£60 --- Provenance: Bt May 2006. The Sunderland Bridge lottery was to raise money for Rowland Burdon, the town’s MP, who had largely funded the iron bridge across the river Wear, which opened in August 1796 and appears on his tokens. The prize was a share in the toll money paid to cross the bridge or the rights to ferry people across the river. Burdon was a partner at a bank in Berwick and had advanced £30,000 on the bridge. When the bank failed in 1806, and to avoid any losses, a further Act of Parliament was obtained in order to allow the bridge commissioners to sell shares to the public in a lottery. The £30,000 was divided into 150 prizes, with the highest being £5,000. The draw took place on 1 December 1816 and each of the 6,000 ticket holders was presented with a commemorative medal. The prize winners were given a 5% payment from the bridge tolls, which operated for pedestrians until 1846

Please note that you will require specific approval in advance to bid on this lot.Omega Auctions are proud to present the former childhood home of George Harrison. George and his family moved into the property in 1950 when George was just 6 years old and here they spent 12 important and happy years prior to moving in 1962. During this period the house became a regular rehearsal venue for The Quarrymen and then latterly The Beatles. There are numerous pictures of George inside and outside the property (example pictures included in the listing).A truly unique opportunity to own the property where George spent his formative years and that played an important part in helping The Beatles flourish soon after the Harrison family moved in 1962. Whether you want to live here yourself or be able to share the space with fellow fans this represents an excellent investment opportunity. Our current vendor bought the property in 2014 and according to Zoopla average house prices in the area have risen 20% since that date.This spacious 3 bedroom family home has undergone a complete renovation. The ground floor comprises a hallway, lounge, kitchen/dining room. The first floor includes three spacious bedrooms, bathroom and WC. There is a family-sized rear garden. According to the vendor, a number of original features from George's time at the property still remain and include the bath, sink, some original doors, hanging rails in wardrobes and outbuildings with original doors and decor. In addition to this, the vendor will also be including a large kitchen dresser unit that was found in the outbuildings and would most likely have originally been in the kitchen when George and his family lived there. IMPORTANT NOTE - any successful buyer could apply for a blue plaque from November 2021.Location: Upton Green is located in the suburb of Speke which is approximately 8 miles South East of Liverpool City Centre. Liverpool Airport is nearby and the area is well served by public transport and local amenities including supermarkets and retail parks.IMPORTANT NOTE: Viewing will be by appointment only during the 2 week period ahead of the auction. Legal pack including contract are available to view for all prospective bidders. Proof of funds and bidding deposit will also be required prior to being approved to bid.BUYERS PREMIUM: Significantly reduced for this lot to 10% inclusive of VAT. Buyers will also need to factor in the legal costs of purchasing the property along with any other costs as set out in the legal pack. Omega Auctions will assist the buyer as much as possible throughout the buying process.OTHER CHARGES PAYABLE BY THE BUYER: 1.5% (inc VAT) Seller Commission, £650+VAT seller's legal fees, seller's disbursements associated with the sale (eg Official Copy entries, filed plan and associated documents)EXCHANGE OF CONTRACTS: As is standard with UK property auctions, legal exchange of contracts will occur on the fall of the hammer and a 10% Property Deposit plus the Buyer Premium and Seller Commision is payable immediately after the auction. Completion is required within 30 working days of the sale date.View more images on our Youtube channel - https://www.youtube.com/watch?v=TlUuhNFqoYo&t=35s

An Interesting Collection of Thirty Oil and Gas Company Share Certificates, dating from 1923-1990, including: Midwest Texas Oil Company 100 shares, various Atlantic Richfield Company shares, The Prairie Pipe Cine Company 100 shares, etc.

A Large Group of Saffron Waldon Cheques, and a group of other assorted items, such as Share Certificates from various countries, and a few other financial instruments, mixed grades (around 600-800 cheques, around 50 other items) £150-£200

Metal Deed Box and Contents - Coins and Share Certificate etc

19th century needlework sampler decorated with central panel of a stag and animals under vines and marked 'Be Christ my pattern and my guide, his image I may bear, Oh I tread his sacred steps and his bright glories share', surrounded by a geometric and floral border, signed Elizabeth Gittoes, 1822, set into a narrow painted frame and glazed, image size 41 x 31cm

Large 19th century needlework sampler decorated with a large garden scene with animals and angels, plus various vases of flowers and religious text marked 'Be Christ my pattern and my guide, his image may I bear, Oh may I tread his sacred steps and his bright glories share', signed Ann Stringer, November 2nd 1829, image size 44 x 41cm, framed and glazed

Eric Hosking Library. Collection of modern ornithology and natural history titles inscribed by the author or illustrator to Eric Hosking, including:1) Green (Roland, 1890-1972). How I Draw Birds. A Practical Guide for the Bird-Watcher, 1st edition, London: Adam and Charles Black, 1951. 4to, original cloth, dust jacket, inscribed by the author 'Best wishes, to my old & valued friend Eric, Roland Green', and illustrated by him with an original pencil-drawing of a bald eagle to front pastedown and a pen-and-ink sketch of a wader to front free endpaper, 2) Kirkman (F. B., 1869-1945). British Birds, 1st edition, London: T. Nelson & Sons, Ltd, 1935. 4to, original cloth, dust jacket (toned on spine, a few spots and tears), inscribed 'E. J. Hosking, from F. B. Kirkman',3) Hollom (P. A. D., 1912-2014). The Popular Handbook of Rarer British Birds, 1st edition, London: H. F. & G. Witherby, 1960. 8vo, original cloth, dust jacket, inscribed 'To Eric Hosking, with best wishes for a successful conclusion to our Bulgarian adventure, Phil Hollom, June 1960', 4) Smith (Stuart, 1906-1963). How to Study Birds. Photographs by the Author, Eric Hosking, and A. G. Britten, 1st edition, London: Collins, 1945. 8vo, original cloth, dust jacket, inscribed 'To Eric Hosking, with best wishes and thanks, November 1945, Stuart Smith',5) Steyn (Peter, c.1936-?). Hunters of the African Sky, 1st edition, Winchester: Struik, 1990. Folio, original cloth, dust jacket, inscribed 'For Eric and Dorothy who share my love for these magnificent hunters of the African sky, all best wishes, Peter Steyn',and 34 others, including James Fisher, The Birds of Britain, 1942, Desmond Nethersole-Thompson, The Snow Bunting, 1966, 3 further works by Peter Steyn, 3 by Heather Angel, 2 by J. Morton Boyd, and similar, most works in lot with bookplate of Eric Hosking (qty: 39)THE LIBRARY, PICTURES & CAMERA COLLECTION OF ERIC HOSKING OBE HON. FRPS FBIPP (1909-1991)

Bond and share certificates collection including The Felted Fabric Depot Limited, The Argus and Australasian Limited, The New Transport Company Limited, Imperial and Foreign Corporation Limited, Brown and Polson Limited, Mission Development Company, The New York Central Railroad Company, Reiter Foster Oil Corporation, The Cleveland and Pittsburgh Railroad Company, The Anglo California National Bank of San Francisco, The Atlantic Refining Company, Spencer Shoe Corporation, Beaver Creek Distillery, Trump Hotels and Casino Resorts, etc.

Bond and share certificates collection including Lung Tsing U Hai Railway China, The London Assurance, Madeira Mamore Railway Company, The Lake Shore and Michigan Southern Railway Company, Antwerp Portland Cement, Banco Peninsular Mexicano, etc.

Provenance: from a now local vendor now reducing his collection, who lived and worked in Ghana and other West African countries up to 2014 and travelled extensively, many items were sourced from a well known bead trainer Hudu Moro. The following 35 number of lots share this provenance. Carved West African hardwood figures, male and female, believed to be Sanufo. 60cm high approx. (2)(B.P. 21% + VAT)

A 9ct gold double-sided share locket with hallmarks on an associated metal chain. Gross weight of locket 5.0 grams.

Estate of Dave Prowse - Star Wars - a large format Birthday card for Prowse, sent to him from Sci Fi South Collector's Convention some years ago. Signed by all those guests present (many Star Wars colleagues), and many writing messages with good wishes. Autographs / messages include; Jeremy Bulloch (1945-2020) 'Have A Good One Dave!', Gerald Home (1950-2021) 'Keep going strong - you ARE Darth Vader', Tim Rose, Caroline Blakiston 'Good to share the space with you again,' Colin Baker (Dr Who) 'Happy Birthday Dave! Who's counting?' Peter Davison (Dr Who), Mike Edmonds - ' To Dave - May The Beers Be With You!', Pam Rose, Peter Roy, Richard Bonehill (1948-2015), Shane Rimmer (Thunderbirds - 1929-2019), Chris Barrie (Red Dwarf), John Chapman 'To The Main Man!', Alan Flying, Vicki Michelle (Allo Allo), and others. A unique item from Prowse's estate. Measures approx; 45cm tall. 

A SECOND WORLD WAR SPECIAL FORCES COCKLE MK 7 TWO MAN SAILING CANOE. A two man light alloy canoe in three sections with adjustable catamaran type alloy outriggers, with two original paddles, each in two sections, much original painted surface, residual elements of the rudder, seat bases, a cover for the front cockpit (in poor condition), bilge pump, a number of securing pins and mast cover. Each of the three sections of the canoe are marked with the manufacturers number WC47 and with a military identification number of WC217 to the exterior. WC47 suggesting it is an early production from the 200 or so Mk 7s that were made. A round bilge canoe designed to be an ocean-going craft manufactured in three sections with bulkheads, the centre section being 8' in length, the front and back each 5' making it a sizeable craft when assembled. Although designed to be carried by Submarines it seems likely that the majority travelled in Catalina or Sunderland aircraft. The sections weighing 26lbs, 63lbs and 28bls with a further 34lbs for the outriggers. Interestingly the outriggers which could be deployed to either side were filled with ping pong balls so that in the event of damage from enemy guns they would retain their buoyancy and the holes patched with chewing gum. It seems likely that this example retains the original balls. The history of canoes during the Second World War of this type is best known through the heroic actions of the group of men who have become known as 'The Cockleshell Heroes'. Much of their use has been blanketed in secrecy for many years. The operation to design and manufacture the canoes began in 1941 and was categorised as 'Most Secret' during the War, the canoes were of vital importance and the Mark 7 were upgraded from 'first preference' to list 'A' being primarily used in the Eastern Theatre and South West Pacific. Produced by the Ministry of Aircraft Production, these canoes were manufactured by Warwick Aviation in a material known as Brimabright (Duraluminium), built by qualified aero engineers with each component having the individual engineers own stamp of certification. Built to aircraft standards these canoes were built to exacting standards. The Mk 7 prototype was produced in 1944 with trials taking place at Hayling Island and Ceylon. Production began in 1945 with the craft seeing service in Ceylon and Burma and ceasing c1954 by which time they had been superseded by later models. This example was purchased by the vendor's Father who serving in the army at the time directly as army surplus. This explains the probably unique matching numbers on this craft, with the handful of others known probably having been purchased from scrap yards where the best example of each section was chosen giving them non matching numbers. Purchased by the vendors father for duck hunting on the Somerset levels it is thought that it last saw active service collecting the post from a nearby post office during the floods of 2012. I am very grateful to Quentin Rees, author of the definitive work on Second World War Canoes 'The Cockleshell Canoes British Military Canoes of World War Two' published by Amberley Publishing in 2008 for his assistance in identifying this canoe and cataloguing assistance. Mr Rees, who also wrote a definitive history of the Cockleshell Heroes, has described this example as 'a rare beast' and has generously offered to share his experience of restoring canoes of this type with the purchaser of this lot. Mr Rees further confirms that Mk 7 canoes are a delight to sail and paddle well. A level of experience that very few living share.

A LARGE COLLECTION OF BANK NOTES AND SHARE CERTIFICATES. Numerous share certificates, many Russian and banknotes to include German, Straits Settlement, Japan, Russia and other countries.

Ramones - Original hand painted artwork on thick paper by John Judkins, signed and dated 85, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.

Led Zeppelin' - Original hand painted artwork on thick paper by John Judkins, signed and dated 70, flat, 51 x 69 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.

The Rolling Stones 'Its only Rock + Roll but I like it' - Original hand painted artwork on thick paper by John Judkins, signed and dated 75, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.

Led Zeppelin 'Volume 4' - Original hand painted artwork on thick paper by John Judkins, signed and dated 72, flat, 56 x 76 cm.Background: I Was Lord Kitchener's Valet was a swinging 60's boutique, originally based in Portobello Road & later Carnaby Street. The boutiques became famous for selling military style clothing & for a celebrity clientele including the likes of Jimi Hendrix, Eric Clapton & Paul McCartney. Artist John Judkins was commissioned to design posters for the boutique, the most collectable of which are his posters for Bob Dylan & Mick Jagger.These posters were later produced by John Judkins but share the same flair and style of the early artwork.

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – AN EARLY FILM TREATMENT BY RONALD HARDYAnearly mimeographed typescript of Ronald Hardy’s treatment for the screenplay,entitled The Spy Who Loved Me, Ronald Hardy, undated [but pre 5 Nov.1975], 126 pp. [p.121missing] in blue card covers fastened by two circularmetal clips, the cover with white paper typescript label annotated in black inkwith a small arrowhead symbol, 13 pages with annotations in both pencil andballpoint pen, mostly underlining, probably in Gilbert’s hand, giving emphasisto key elements in Hardy’s story; the plot centred on a Soviet threat whichtook the form of a sophisticated electronic tracking device which enabled thevillains to pinpoint and capture enemy nuclear submarines from any distance. Ronald Hardy came approximately second in line in the order of twelve different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me until he got the script he wanted.Hardy’s plot involved a Soviet threat of unprecedented danger to the Western World. The threat took the form of a device called ‘Neptune’ fitted to three small submarines and linked to a reconnaissance satellite which could then lock and hold onto enemies’ nuclear submarines at any distance. M sent 007 and two other 00s, 006 and 008 [the latter who set himself as an intense rival to Bond] to find and neutralise Neptune in the USSR without being detected.  The West had been tipped off about Neptune by a Russian double agent - beautiful prima ballerina Helen Andreyevna who danced for the Kirov State Ballet Company of Leningrad. Helen and Bond’s stories become intertwined with dramatic sequences involving skis and sleds in Kitzbuhel, Troikas in Leningrad, chases and amusing interludes with Bond’s discus-thrower KGB minder, Olga Gunk in Leningrad; undercover episodes on the Island of Kotlin in the Gulf of Finland,  and numerous fights, most notably in an airship above the sea with the main KGB foe Colonel Sukov, when the microfilm of Neptune’s plans obtained by the two Spy Lovers, and housed by Helen in a famous Faberge egg made for the Tsar, falls into the water, and the finale, a savage fight in Helsinki in a sauna room in the Hotel Finlandia-Royal, when 008, who’s been despatched by M to kill 007’s lover double-agent Andreyevna, tries to kill 007 telling Bond: ‘You said I had to kill you first’ 007 prevails over 008 - the mission is over. The story ends with the two Spy Lovers going their separate ways, Helen as a famous ballerina, could not go into hiding, and Bond admits he couldn’t protect her. Helen tells 007  “I love you my James... but I have to dance…So we must go our separate paths...One night I’ll look up from the stage and you’ll be there. You can throw me a rose. A red rose” . She leaves alone on the Stockholm ferry.Thus here, in Hardy’s treatment, the foundations were laid for a few key plot elements that were continued and developed throughout the later re-writes of the screenplay for The Spy Who Loved Me.ConditionReport: Overall good. Blue card cover with small area of paper loss on left hand margin and creased at corners.. A number of inside pages rubbed at corners, some corners folded Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007 series, initiated a number of records for the James Bond franchise. It was Cubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, and he was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to success was beset with numerous difficulties and the screenplay itself went through more adaptations and revisions than any production during the 40-year history of 007 on screen. Problems began with Ian Fleming’s source material for the film’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 it is told from the viewpoint of a young Englishwoman who only meets the famous spy in the last few chapters of the book. For this reason, Fleming never wanted this book to be sold as a film project. His estate, however, gave Broccoli permission to use the novel’s title only. The book and film do also share one significant common element – Jaws,  who is loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth. Nevertheless, the screenplay for The Spy Who Loved Me is considered to be the first Bond film whose story is completely original. After a visit to Russia, Broccoli devised a plot for a  new story which suited the film’s title and focused on a beautiful Russian 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 ScriptWars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp.Chicago, 2021GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay SomeKind Of Hero, The Remarkable Story of The James Bond Films, CheltenhamGlouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.comBellmans 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 – TWO EARLY DIRECTOR’S SCRIPTS BY RICHARD MAIBAUM (2)Twoseparate mimeographed typescripts of Richard Maibaum’s screenplay, bothdifferent versions; one entitled The Spy Who Loved Me, Draft Screenplay,Richard Maibaum and dated Nov.5,1975, 154 pp. in grey card covers,contained in a red imitation leather binder; the other entitled The SpyWho Loved Me, Richard Maibaum, undated, the title page inscribed inblack ink in an unidentified hand Mr Lewis Gilbert and annotated with asmall arrowhead symbol, 129 pp. in buff card covers, contained in a blackimitation leather binder;  Both screenplays share a number of key plot elements woven around a threat to the West from a mysterious evil force with the ability to use satellite technology to detect and capture submerged nuclear submarines; and involving interference with the world’s oil supplies using nuclear submarines, adapted super tankers and oil platforms; in both, a new look SPECTRE, run by a group of young idealists all under the age of 30, are headed by a character called [Elroy] Kronk, who kills ‘Number One’ the old wheelchair-bound SPECTRE leader; then, backed by Jaws and six other International terrorists they overthrow the SPECTRE old guard. Kronk takes control for his own fiendish ends; both scripts feature a dramatic fight finale between Jaws and 007 in which 007 triumphs aided by electro-magnetic assistance; significant characters both scripts share include: steel-teethed-assassin Jaws, beautiful Russian agent Anya Amasova, General Gogol her KGB boss, new SPECTRE ‘Number One’   Kronk; and Gita, a tall beautiful assassin with a lethal butterfly pin brooch;   shared locations include: Sardinia, Geneva and Egypt; Key differences between the two scripts include: the location of the first appearance of Jaws, in the script dated 1975 [red binder] this occurs in Egypt in the ‘City of the Dead’, and in the undated script [black binder] in Prague where a lot of this script’s early action takes place; apart from a number of location and character variations, the most notable difference between the two scripts is that only the undated script [black binder] features the ‘Underwater Car Sub’ over a 20 page action sequence [pp.68-88]. In this script the car is a new model Ford modified by Q and delivered by him to Bond in Oslo.Richard Maibaum was the penultimate writer in the order of twelve different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me until he got the script he wanted. Maibaum worked on all but three of the Bond Films from Dr No (1962) to Licence to Kill (1989), and is the co-author with Christopher Wood of the final draft screenplay for The Spy Who Loved Me. The two scripts in this lot, both early variants of the final script, are a particularly interesting record of the development of this screenplay. It is fascinating to note which elements, included here, were omitted or adapted for use in the final version: -Firstly, the overthrow of SPECTRE’S `Number One’: In both scripts Number One is described as a heavy imposing man seated in a mechanised wheelchair which, in the dated script [red binder], has a mini communication system in its arm. In the undated script [black binder], Number One has a white cat on his lap. The new arch-villain Kronk manipulates Number One’s chair so that it and its occupant (without the cat) plunges to his death out of the window of the high-rise building. It is then that Kronk introduces his young radical supporters, described in the undated script as his ‘family’, and named in both as: Jaws, Gita (tall and beautiful), Marco, Rolz (American), Kazi (Japanese), Turner (a black) and Djabi (Arab terrorist type). Interestingly, in the undated script [black binder] Kronk is a woman disguised as a bald-headed, bespectacled man.  Kronk’s coterie of young idealists are said to have represented members of the Red Brigade, the Baader-Meinhof Gang, the Black September Organization and the Japanese Red Army. Their aim was to form a new SPECTRE no longer interested in blackmail and extortion, but intent on destroying civilization by capturing a nuclear submarine and wiping out the world’s oil fields.  This plot line of Maibaum’s with the young SPECTRE radicals was regarded by Cubby Broccoli as being too politically controversial at the time, and was consequently dropped from the final storyline;- Another significant difference between the two scripts is the appearance of the ‘ Underwater Car Sub’ in one and not the other. Q himself is reportedly killed off in the dated script [red binder] going down with a nuclear sub, an incident recounted to 007 by Moneypenny when, due to Q’s absence, she’s sent to delivers Bond’s reconnaissance kit to him at Oslo airport. In the undated script [black binder], Q himself meets 007 off the Oslo night train and delivers a new model Ford sports car with numerous vital modifications. The cars underwater features are not specified in the dialogue between the two, and become obvious when pursued by SPECTRE hoodlums on a death-defying cliffside rode, Bond with Anya beside him drives off the end of a jetty into the sea; it is during this ‘Underwater Car Sub’ sequence in the undated script that the two agent lovers believe they are going to die as they are trapped deep beneath the sea in the malfunctioning sub with only three hours of oxygen left. Bond removes two miniature bottles of Armagnac ‘27 from inside the car door and they toast each other: “To the spy who loved me”, Anya’s toast to Bond in English, Bond’s to her in perfect Russian. [pp.87-88]. In the dated script, the two agents make the same toast with the same vintage Armagnac following the dramatic action finale at the villain’s oil refinery [p.107]. In both instances they are of course miraculously saved. ConditionReport: Red binder script: Overall very good. Grey card cover has small tear to front edge, and some folding at edges of corners on both front and backBlack binder script: Overall very goodFootnote: 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...

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – A STORY OUTLINE DICTATED BY LEWIS GILBERT, PRELIMINARY SET LIST AND TWO DIRECTORS’ SCRIPTS BY CHRISTOPHER WOODAmimeographed typescript of Lewis Gilbert’s dictated summary of the storyentitled The Spy Who Loved Me, Story Outline No:1, (Dictated by LewisGilbert at a meeting on 5.Apr,76.), nine unbound pp. fastened by a staple,the title page labelled at the top in red typescript Lewis Gilbert; anda corresponding Preliminary Set List (Based on Story Outline No:1 datedthe 5th April, 1976), this dated 7 Apr.76, five pp.mimeographed typescript, the title page labelled at the top in red typescript LewisGilbert; the Story Outline is preceded by a note: “The ‘heavy’ willbe referred to as “THE GREEK” – who owns the biggest tanker fleet in theworld..”; the story is broken into 59 numbered scenes, beginning with thecapture of two nuclear submarines, one British, the other Russian; and theintroduction of beautiful Russian special agent Zyk, Major Anya Amasova; theplot focuses on a tracking system, the plans of which a mysterious party, whotranspires to be a SPECTRE traitor [Fetish] in Cairo, has offered to sell tothe British under the watchful eye of the Russians; the Greek’s headquarters isreferred to as SPECTRE HQ an underwater structure which rises from the ocean;Jaws appears in Cairo, when on the Greek’s orders he despatches ‘Fetish’, Gilbertdictates: “ We see [Jaws] pounce on Fetish…and here we use a special soundeffect (e.g. crunching of celery) which we associate with Jaws…”. ; Bond andAnya are ordered to work together against the Greek, who in addition to histracking device runs a North African drug trafficking operation. Drama ensueswith Jaws, Bond and Anya on the night train to a Greek tourist resort. Q meetsthe train and hands over:  “a (Lotus?)car” which, following a dramatic chase involving a helicopter and two pursuingcars, is driven into the sea by Bond and “…changes miraculously into a small submarine: “NEPTUNE”..”;  one of The Greek’s vast tankers, the“Tabriz/Kaonus”, has opening bow doors which swallow up British and Russiannuclear subs. The drama continues on the tanker where Bond and Anya and thecrews of both nuclear subs are captive. Bond with the aid of an explodingpencil, ignites the oil in the hold and frees the British and Russian prisonersbut he can’t find Anya; the drama concludes with Bond returning to the Lotusdriving it into the sea in pursuit of Anya who is the hostage of The Greek andJaws. Bond finds the villain’s under-water city and manages to get inside, hedisposes of Jaws with an electro-magnetic device, and The Greek is killed.  Gilbert concludes; “…the structure starts toturn on its side like “The Poseidon Adventure” – Bond and the Girl escape…”;and- Two separate mimeographed typescripts of Christopher Wood’s screenplay, both identical partial versions of the first draft, both entitled The Spy Who Loved Me, First Draft, Christopher Wood, one dated 12 April 1976, 25 unbound pp. fastened by a paper clip, the title page inscribed in black ink in an unidentified hand Mr Lewis Gilbert; the other dated 22 April 1976, 75 unbound pp. fastened by a large paper clip, the title page initialled in pencil at the top B.C.; in this earlier version, Bond is summoned from his holiday in the Alps, making a dramatic exit on skis from a tryst in an Alpine hut culminating in a leap over a 3000 foot sheer drop using a union Jack parachute, a feature not mentioned in Gilbert’s story outline above; other differences include Jaws’ first victim’s name the SPECTRE traitor, is changed from Fetish to Farwagi; the chief SPECTRE villain ‘The Greek’ is identified as the shipping magnate ‘Markos Stavros’ described by M as: “Arguably the richest man in the world.” owning “..most of the coastline along the Polyphemos peninsular ..” ; a number of  differences to the ‘Story Outline’ described above include: an amusing scene where the British and Russian collaboration of Bond and Anya extends to Q’s boffin counterpart P, the latter introducing a dart firing suspender belt for Anya’s use; Stavros’ mobile underwater lair is called the ‘Aquapolis’, complete with a lethal shark tank. Christopher Wood came last in line in the order of 12 different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me. Wood was brought in at the suggestion of new director Lewis Gilbert who had himself been appointed on 18 December 1975. Gilbert had inherited Richard Maibaum’s script which had at its core a megalomaniac intent on dominating the world. Gilbert described Maibaum’s plot as: “…the good old standby in which the arch villain sets Russia and America at each other’s throats, then steps in to claim the prize. For this one, he had come up with a tanker that swallowed submarines and one of the best henchmen villains ever, the mighty Jaws, whose steel teeth could bite through anything..”. Despite these heady ingredients, Gilbert felt that Maibaum’s script lacked humour, hence his suggestion to bring in Wood. When Wood took the job on he had been unaware that he was following in the footsteps of many writers. In interviews Wood described how the evolution of his plot was very much a collaborative effort. Gilbert and Wood worked together daily in Cubby’s office at Eon. Sometimes they were joined by Cubby, or Ken Adam or Michael Wilson. Wood developed Maibaum’s script and incorporated ideas from the previous writers and drafts and from Broccoli’s original ideas. He wrote on his own and then went back to discuss things with the others, he compared the process to “..putting together a jigsaw puzzle..” The new plot angle, Wood and Gilbert came up with was the idea of a villain obsessed with oceans, whose lair was a palace under the sea. The plot providing marvellous opportunities for Ken Adam’s set design and some of the most eye-catching gadgets in the history of Bond films.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...

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – TWO FILM SCRIPTS BY CHRISTOPHER WOOD, ONE LABELLED ‘MICHAEL WILSON’ (4)Twoseparate mimeographed typescripts of Christopher Wood’s screenplay, bothsimilar versions,  the earlier one of thetwo an incomplete script missing the final 29 pages, entitled The Spy WhoLoved Me, Third Draft, Christopher Wood and dated 25 May,1976, 111unbound pp. fastened with a bull dog clip; the other complete script entitled TheSpy Who Loved Me, Fourth Draft, and dated 3rd June,1976, the title page inscribed at the top in blue ballpoint pen in anunidentified hand Michael Wilson, 140 unbound pp. fastened by a metalclip; the storyline in both scripts is largely the same, a number ofdifferences include:-Inthe 3/6/76 script only a new character wealthy Sheik Hosein is introduced closeto the beginning in a desert oasis in Egypt, an entertaining old Cambridgecolleague of Bond’s who lavishes him with exotic ‘Arabian Nights’ stylehospitality after tipping him off about Fekkesh; in the 25/5/76 script there’san additional fight between Jaws, Bond and Anya at the Temple of Karnak, andthe meeting with M, Moneypenny, Gogul, Bond and Anya at M’s Egyptianheadquarters in the interior of the burial chamber of Tomb of Rameses II atLuxor occurs approximately 50 scenes after the same meeting in the laterscript; -in the 25/5/76 script Bond asks Q if he can have “Wet Nellie” on thisassignment. In the later script, the adapted Lotus is not named, and isdescribed as “ a bright red car – The Lotus Special..”; and-Two separate sheaths of mimeographed typescript pages, both fragments from unidentified versions of The Spy Who Loved Me screenplay, one 49 unbound pages of mostly dialogue script for a scene between Anya and Bond at the Luxor Hotel and Country Club, with a few minor annotations in an unknown hand in black and blue ballpoint pen, fastened by a red paper clip; the other 46 unbound pages showing variations in the storyline and a Bond girl called Hannah not seen in the final version, some pages with a few minor annotations in black ballpoint pen in an unknown hand; fastened by a bulldog clip;Christopher Wood came last in line in the order of 12 different scriptwriters Cubby Broccoli employed to tackle the screenplay for The Spy Who Loved Me. Wood was brought in at the suggestion of new director Lewis Gilbert who had himself been appointed on 18 December 1975. Gilbert had inherited Richard Maibaum’s script which had at its core a megalomaniac intent on dominating the world. Gilbert described Maibaum’s plot as: “…the good old standby in which the arch villain sets Russia and America at each other’s throats, then steps in to claim the prize. For this one, he had come up with a tanker that swallowed submarines and one of the best henchmen villains ever, the mighty Jaws, whose steel teeth could bite through anything..”. Despite these heady ingredients, Gilbert felt that Maibaum’s script lacked humour, hence his suggestion to bring in Wood. When Wood took the job on he had been unaware that he was following in the footsteps of many writers. In interviews Wood described how the evolution of his plot was very much a collaborative effort. Gilbert and Wood worked together daily in Cubby’s office at Eon. Sometimes they were joined by Cubby, or Ken Adam or Michael Wilson. Wood developed Maibaum’s script and incorporated ideas from the previous writers and drafts and from Broccoli’s original ideas. He wrote on his own and then went back to discuss things with the others, he compared the process to “..putting together a jigsaw puzzle..” The new plot angle, Wood and Gilbert came up with was the idea of a villain obsessed with oceans, whose lair was a palace under the sea. The plot providing marvellous opportunities for Ken Adam’s set design and some of the most eye-catching gadgets in the history of Bond films. Michael Wilson, Cubby Broccoli’s stepson held the official title of Special Assistant to the Producer when working on The Spy Who Loved Me. Broccoli had brought him in as a long-term replacement for Harry Saltzman who had sold his share of Eon in 1975. Wilson played an integral part in the film’s success from the outset. Broccoli’s initial task for his stepson was to conduct protracted negotiations with the Fleming estate for the use of the book’s title. And, Lewis Gilbert, recounted in his memoir, that it was Wilson who came up with the idea for the remarkable parachute ski jump used in the film’s opening sequence, another notable feather in Michael Wilson’s The Spy Who Loved Me  cap. [See lot 17]. Footnote:The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007 series, initiated a number of records for the James Bond franchise. It was Cubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, and he was determined that it should become the biggest and best Bond yet.  From the outset, the film’s path to success was beset with numerous difficulties and the screenplay itself went through more adaptations and revisions than any production during the 40-year history of 007 on screen. Problems began with Ian Fleming’s source material for the film’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 it is told from the viewpoint of a young Englishwoman who only meets the famous spy in the last few chapters of the book. For this reason, Fleming never wanted this book to be sold as a film project. His estate, however, gave Broccoli permission to use the novel’s title only. The book and film do also share one significant common element – Jaws,  who is loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth. Nevertheless, the screenplay for The Spy Who Loved Me is considered to be the first Bond film whose story is completely original. After a visit to Russia, Broccoli devised a plot for a  new story which suited the film’s title and focused on a beautiful Russian 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.

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – TWO DIRECTOR’S SHOOTING SCRIPTS AND PRODUCTION PAPERWORK REGARDING THE OPENING SKI PARACHUTE JUMP STUNT (3)Lewis Gilbert’s mimeographed typescriptshooting script entitled The Spy Who Loved Me, Revised Final Shooting Scriptwith copyright details Copyright of Danjaq S.A., dated 23August,1976, the title page inscribed at the top in ballpoint pen with asequence of 10 numbers 2403886804, 133 pp. a few pages annotated inpencil, black and blue ballpoint pen in an unidentified hand; this scriptincluding 60 yellow and pink coloured pages of later script revisions datingbetween 14 September – 6 December 1976, one yellow page dated 20thSeptember 1976 depicting an intimate scene between Bond and Anya on thesleeper train, inscribed at the top in green ink Lewis Gilbert in anunidentified hand, in bright blue card covers, the front cover inscribed LewisGilbert in black felt pen in an unidentified hand and numbered 56 atthe top right; and-Another mimeographed typescript shootingscript entitled The Spy Who Loved Me, Final Shooting Script withcopyright details Copyright of Danjaq S.A, dated 12 July 1976, 142unbound pp. including 56 coloured pages of script revisions dated 30.7.76; and - Lewis Gilbert’s xeroxed copy of amimeographed typescript Memo on Eon Productions Ltd headed stationery, fromJohn Glen to Cubby Broccoli, dated Wed. 4th Aug.76 tellinghim that he’s enclosing a xerox of a letter from Rick Sylvester [stunt skierfor the famous opening ski jump parachute sequence] giving details of skiequipment used, and telling Broccoli that he’d brought back: “ one complete setof skis, poles, bindings and goggles, plus the parachute…and the original skisuit…as a  reference” adding that thesame red ski boots with their sophisticated binding will need to be ordered forRoger Moore” and “a special haversack will have to be made or adapted.”;- The Memo stapled to the enclosed 2pp.xeroxed letter from Rick Sylvester which states: “…I think it would be onlyfair to use the same ski equipment, in the close ups with Roger Moore, that Iused in the actual jump, even though they weren’t photographed closely enoughto reveal the markings and details. Certain personnel at the various companieswent out of their way to get the equipment to me in time for the jump, onrelatively very short notice (unavoidably as the planning so closely precededthe actual filming) and during their off season when their stocks are verylow…I’d guess they would be willing to supply the gear at no charge, as itsappearance in the film would naturally be of promotional value to them…”- A call sheet dated 6 August 1976; and ahandwritten list of timings and actor’s names in black ink in an unidentifiedhand including; “Felicity York – Arab Girl” In his autobiography All My Flashbacks,Gilbert recalled how it was Michael Wilson’s idea to use a dramatic ski jumpsequence in the film. He’d seen an ad in Playboy magazine which had aphoto of a young man skiing off the edge of a mountain over water. They trackedthe skier, Rick Sylvester, down in Canada and invited him to England to discussthis stunt. On arrival Sylvester informed them that the photo they’d seen was afake, he’d been photoshopped in over the sea, however he said he could do itfor real and knew exactly the right mountain for it. The precipice Bond was togo over, had to be dead vertical. The spot Sylvester chose for the stunt wasAsgard Peak on Baffin Island in the Canadian Arctic. The ski chase that lead upto the jump was shot elsewhere in Switzerland. When it was time to leave forCanada in July 1976, it was second unit director John Glen who set off withRick. They had to wait five weeks for the optimum conditions for this immenselydangerous stunt. Even with perfect conditions Sylvester had to reach the rightspeed in order to project himself clear of the precipice. He did and down hefell until, at the last moment, he pulled the cord to a parachute concealed onhis back, which when opened revealed a Union Jack (Christopher Wood’s cleverdetail). Despite the parachute opening successfully, Rick was still in immensedanger, as Gilbert recounts: “As soon as the parachute opened, Rick had tojettison his skis. What he didn’t bargain for was the skis shooting straightupwards. They missed the parachute by a matter of inches. If they had becomeentangled…that would have meant an end to Rick, who was only 24..”. AlthoughRick was contracted to do two jumps, everything that was needed was captured inthe first take, and one of the most memorable openings to any Bond film was inthe can. It’s interesting to note that in both these final versions of the script, the arch-villain’s name has been changed from Stavros. In the Final Shooting Script dated 12 July 1976 it is Markos Landros, a SPECTRE character in previous script versions, who was their chief drug trafficker in north Africa. And in the Revised Final shooting script dated 27 August 1976 it has become Karl Stromberg, the name that was used in the film. Also, in both scripts all references to SPECTRE have also been removed. These amendments were made on the instruction of Cubby Broccoli in order to avoid threatened legal action from Kevin McClory who owned the film rights to Thunderball and was planning a new Bond adaptation of it. Broccoli had insisted that the name Stavros was changed due to its similarity to Ernst Stavro Blofeld’s middle name, and that all references to SPECTRE were taken out. These two elements had been introduced into the Bond universe with Thunderball and by removing them, Cubby hoped to dodge the pending legal issues.  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...

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHIC REPRODUCTION STORYBOARDS FOR THE LOTUS AND MOTORCYCLE SIDECAR MISSILE CHASE SEQUENCEThirteenoriginal photographic reproductions of storyboards for Scenes 176 – 206, thefilm’s most spectacular chase sequence on death-defying coastal roads featuringBond driving Q’s specially adapted Lotus with Anya at his side, being pursuedby Spectre heavies, on a motorcycle equipped with a detachable teleguidedsidecar missile, a car, and in a helicopter overhead, and culminating in Bonddriving the Lotus off a jetty into the sea; each photographic print a life-sizereproduction of six 9 x 14 cm. scene drawings which had been pinned to a boardand annotated with scene number, camera and action details, each print overallmeasurements: 31 x 38 cm.; housed in a green card sleeve inscribed on the frontin black felt pen and ballpoint in an unidentified hand Lewis Gilbert,Storyboard, The Spy Who Loved Me.  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 two 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 ScriptWars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp.Chicago, 2021GILBERT, Lewis All My Flashbacks TheAutobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds &Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay SomeKind Of Hero, The Remarkable Story of The James Bond Films, CheltenhamGlouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.comBellmans 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.

JAMES BOND ‘THE SPY WHO LOVED ME’, 1977 – A COLLECTION OF PRODUCTION PAPERWORK AND ASSOCIATED MATERIAL (QTY)Aquantity of Lewis Gilbert’s production paperwork, majority mimeographedtypescript including:- A xeroxed copy of a three-page letter on Eon Productions Ltd. headed stationery,dated 8 April,76 from production manager David Middlemas to Lewis Gilbertconcerning Facilities Required For Shooting On Board And Around The “Tabriz”- A mimeographedtypescript Unit List, dated 21 April 1976 – 21 June 1976, 6pp. - A mimeographed typescript film unit telephone directory dated 6 May 1976, 1p.attached to a corresponding call sheet entitled: Recce No. 5 (Gareloch,Scotland; and a Unit List, dated 21April, 1976, 4pp. majority ofpieces labelled Lewis Gilbert in red typescript;-A typescript letter on Eon Productions The Spy Who Loved Me illustratedheaded stationery, from Derek Coyte to Lewis Gilbert, dated 4 July, 1977,enclosing a running order and a seating plan for rows A and B; attached to amimeographed typescript 2pp. Programme of Timings for The Royal CharityPremiere of “The Spy Who Loved Me” at the Odeon Leicester Square on ThursdayJuly 7th.1977; a corresponding Appendix of Ladies andGentlemen to be presented to HER ROYAL HIGHNESS THE PRINCESS ANNE, LewisGilbert’s name No.20 in the running order of 25, Roger Moore’s name in theultimate position No.25; and the two page seating plan mentioned in the letter;- And two tickets for The Spy Who Loved Me, Royal Charity Premiere in thepresence of H.R.H. The Princess Anne, Mrs. Mark Phillips G.C.V.O onThursday July 7th, at the Odeon Leicester Square WC2, the ticketsfor Stalls seats Nos. 20 & 21; and a corresponding illustrated souvenirprogramme;- A 20-page mimeographed typescript document on Eon Productions The Spy WhoLoved Me illustrated headed stationery, entitled Production Notes,labelled in green felt pen on the 1st page Mr. Lewis Gilbertin an unidentified hand- A Second Draft Schedule, based on Yellow Script 12.July. 76, Covering 1stand 2nd Unit work up to: Sunday, 7th November, 76, 19pp. mimeographed typescript, labelled on the front cover Lewis Gilbert inblack felt pen in an unidentified hand; - Four call sheets, various dates and locations: 2 June 76, Gareloch, Scotland, Clyde Submarine Base, Faslane; 3June, 76 Sardinia And Egypt; 2nd Nov.1976 The AtlantisBoardroom and 15 Nov.1976 Int. Atlantis – Sitting Room;- A folder inscribed ‘The Spy Who Loved Me, General Hopeful Letters For Work’,containing seven letters (some file copy responses from LG) from actors / crewhoping for work, Feb – May 1976 - A red folder titled ‘International Artistes Representation’ – an agency portfolioof actors to be considered for roles with information on seven actors includingLeslie Caron, including their photo and bios - An8x10 in. black and white press still of Roger Moore blowing out candles on a007 cake at a party with Lewis Gilbert’s wife Hylda; and related material.Photographs Sold Without CopyrightFootnote: 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.comBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.

Dia Azzawi (Iraq, born 1939)Shakl Ihtifali (Celebration Form) acrylic on canvassigned 'Azzawi', dated '84' (lower right) and titled on the verso, executed in 198491.5 x 71.5cm (36 x 28 1/8in).Footnotes:Provenance:Property from a private collection, GermanyAcquired directly from the Artist by the above in 1985Exhibited:Hotel Meridien, Abu Dhabi, N°9, 1985'These are the colours of the Bedouins, of the desert. Almost all tribes, from Morocco to the Gulf, share a preference for warm colours - reds, oranges, yellows - in contrast to Europe, where pastels are more common. Such colours stand out against the neutral tones of the desert, and, indeed, Bedouins will often surround a black tent with textiles of vibrant colours, as if replicating a garden'- Dia AzzawiThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Attributed to Baccio (Bartolommeo) Bandinelli (Italian, 1493-1560): A good mid-16th century Florentine carved white marble oval profile portrait relief of a gentlemanpossibly depicting the Duke Cosimo I de'Medici the sitter with curling hair and beard and elaborate scroll embroidered collar, 34cm high x 26cm wide overallFootnotes:Baccio or Bartolommeo Bandinelli, actually Bartolommeo Brandini (1493-1560) was a Renaissance Italian sculptor, draughtsman, and painter.Comparative literatureVolker Krahn in, Baccio Bandinelli, Scultore e Maestro (1493-1560), exh. cat, ed. Detlef Heikamp and Beatrice Paolozzi Strozzi, Museo Nazionale del Bargello, Florence, 2014, pp. 352-55, nos. 26-27 (the small bronze busts); compare for the large busts of Cosimo in marble and bronze, pp. 304, no 17 and p. 310, no.20); for a 'young' marble bust in New York, p, 582, no. XI; and for a chalk portrait of Cosimo in three-quarters view, pp.42-21, no 53.The imageThis intimately conceived portrait oval is of good quality and is possibly from the world of the great Medicean sculptor and bitter rival of Cellini, Baccio Bandinelli. The chips at the edge of the oval edge suggest it might have been roughly prised out of a tight frame or setting into a wall, perhaps on a Mannerist tomb or mantelpiece.The subject, wearing a contemporary lace-trimmed collar, resembles Cosimo I de' Medici, who was Bandinelli's employer as a court sculptor, though the profile of the nose varies slightly from other marble portraits and small bronze medals commemorating the Duke's reign and principal successes in public architectural and sculptural projects. Bandinelli's career and aspirationsBorn eighteen years after Michelangelo (1475-1564) who was his hero and the target of his emulation and seven years before Cellini (1500-1571) who conversely was his arch-rival, enemy and nemesis in terms of reputation, Bandinelli was a major sculptor of the High Renaissance in Florence and later in Rome. It was however his fate to be overshadowed by the 'divine' and 'terrifying' Michelangelo however hard he tried to match his achievements and to be blackguarded by the jealous Cellini in his autobiography. Bandinelli's and Cellini's professional rivalry and personal animosity famously deteriorated into schoolboy behaviour with the two making rude gestures and shouting insults at one another in the street much to the disapproval of the strait-laced Spanish grandee and Duchess, Eleonora da Toledo. To add to Bandinelli's misfortunes on the public relations front, Giorgio Vasari, painter, impresario of Medici commissions and latterly biographer of Florentine artists, also took against him, on account of his social pretensions and obsession with outdoing their joint hero, Michelangelo. In artistic terms this led him obsessively to produce self-portraits, emphasising his status as a Florentine aristocrat and a Knight of the Order of Santiago.The Identity of the sitterBandinelli's oeuvre in marble is to be found mainly in Florence and Rome, runing to some twenty commissions comprising many individual statues and reliefs (e.g. the 88 panels of the choir enclosure in Florence Cathedral, some of which are signed and dated 1555) as well as several portrait-busts or reliefs of Duke Cosimo made in rivalry with Cellini, and of the Duke and his wife on their tomb in SS, Annunziata, as well as other distinguished, affluent or noted Florentines.The depiction of the gentleman on the present oval for which no very distinguished provenance can be claimed at present closely resembles a similarly small portrait relief of Cosimo that seems to have been cut down into a neat rectangle of even smaller size - 22 x 17.5cm (Fig. 1). The two portraits share the same intense stare which seems to have been a specific feature of the sitters face with the eyes sometimes shown as exophthalmic, perhaps owing to an over-active thyroid. This comparable turned up in the posthumous sale of the distinguished collection of Giorgio Uzielli (1903-1984) after the death of his widow at Sotheby's New York on the 26 January 2012, lot 303. A decade or so later the same relief was subsequently re-offered at Christie's New York, on 22 April 2021 catalogued more positively by Eike Schmidt (Director of the Uffizi Gallery in Florence) and Janet Sisk as 'attributed' to Bandinelli, rather than to 'his workshop'. The unusually bulbous line of the upper forehead (with a shock of hair combed forward over it) rising above a distinct indentation is very close to the Uzielli image. As such if this is also a portrait of the Duke, it could be that the slightly aquiline ridge of the nose here is truer to the sitter in real life with the straighter and thus more flatteringly Grecian and 'ideal' line shown on most of his portrait depictions. Here the chin is strong and firm although perhaps a little less projecting than in the other portraits and the hair of the beard is less closely cropped and more curling.For further information on this lot please visit Bonhams.com

Sir Michael Codron: A Group of Theatre Posters for Sir Michael Codron Productions,1956-1959,ten posters including Share My Lettuce (Comedy Theatre, 1957), Pieces of 8 (Apollo Theatre, 1959), and Fool's Paradise (Apollo Theatre, 1959), each framed and glazed, each 21 1/4in x 14in (54cm x 35.5cm) framed, (10)For further information on this lot please visit Bonhams.com

A large quantity of railway related paperwork for sorting. Including; 1950s-80s Timetables, Engine Workings Timetables, LMS and BR Rule Books. Acts of Parliament documents. Isle of Man Steam Packet Co. tickets. BR Privilage Tickets. Share Certificates for The Highland Railway Co. GNR Engineers Dept. Notes. GWR Way Bills, Goods Dept. docs, Excursions Programme, etc. Southern Railway leaflets, timetables, correspondence and other papaerwork. Together with some railway related photos, etc. GC. £40-60

"JOSE FIN", JOSÉ VILATÓ RUIZ (Barcelona, 1916 - Paris, 1969)."Composition à la poire" 1949.Oil on canvas.Relined.Signed in the lower right corner: "J.Fin Atelier".Provenance: family of the artist and Sala Dalmau Gallery, Barcelona.Included in the Catalogue of the exhibition "J.Fin" in Sala Dalmau, 2008.Measurements: 68 x 83,5 cm; 85 x 100 cm (frame).This abstract painting by Jose Fin was made by the artist (one of the most singular figures of the so-called Spanish School of Paris) shortly after his liberation from the Argelés concentration camp. It was through the mediation of his uncle Pablo Picasso that Fin, alias José Vilató Ruiz, managed to escape. He then settled in Paris, and would share his studio withArchipenko, Chagall, Foujita, Max Jacob and Modigliani, among others. It was the mythical Le Ruche, a pavilion for Bordeaux wines converted into a meeting place and workshop for the most representative post-war artists. The Parisian stage would be for Fin his most fruitful period: if the first stage (Barcelona) had been characterized by its figurative but anti-academic freshness, in Paris he entered into a dark abstraction without concessions. The painting we are dealing with here bears witness to the expressive power of an artist who was ahead of many of his contemporaries, his imagination and experimental zeal being spurred on by the precariousness in which he lived, which led him to work with newspaper and extra-artistic supports (an "artista povera" a decade before the emergence of "arte povera"). We are before a composition with a post-cubist background but from which emanates a subjugating force that elevates it beyond any influence or legacy. For the path that José Fin took throughout his life was always alien to militancy and avant-garde.Son of the neuropsychiatrist Juan Vilató and Lola Ruiz, Pablo Picasso's sister, Fin was initiated in art in the family home. He trained at the School of Fine Arts of Sant Jordi in Barcelona, and participated for the first time in a group exhibition in the early date of 1932. In 1934 he resided in Mahón, Menorca, where he painted a series of works that he later exhibited in Barcelona. Mobilized, he fought in the war, and in 1939 he went to France. He returned the following year, when he became friends with Manolo Hugué. In 1943 he exhibited in Barcelona, in the Reig Galleries, with his brother Javier, A. Fabra and R. Rogent, in an exhibition that was considered the first artistic revulsive of the postwar period in Barcelona. With a grant from the French government, he settled in Paris in 1946. In the French capital, together with his brother, he frequented the Kahnweiler circle, with friends such as Matisse, Miró, Braque, Lam Leiris, Giacometti, Domínguez, Bores, Viñes, Eulard, Cocteau and, above all, his uncle Picasso. He also held several solo exhibitions during the fifties and sixties, in Paris, Saint Raphael, Barcelona, Bern, Madrid and Mallorca. He also worked in sculpture and mural painting, the latter discipline in which his works for the church of Coscojuela de Sobrarbe (1944) and the CSF factory in Paris (1960) stand out. In 1971 a posthumous anthological exhibition was dedicated to him in Barcelona. The Sala Dalmau in Barcelona held in 2008 the exhibition "Els anys de la Ruche 1946-49", focused on the years that J.Fín spent in the emblematic building of La Ruche in Paris.

FOOTBALL, original Cardiff City Share certificate with seal, 15th August 1932, signed by two directors and Fred Stewart as Secretary, corner missing, a few tears to folds, staple marks, FR

FOOTBALL, Dipolma from Brazilian FA for 1972 tournament celebrating the independence of Brazil, signed by Joao Havelance (17.5 x 12), some foxing and slight tears to top edges, together with 2003 signed Chelsea Village plc commemorative share certificate (16.5 x 11.75), G to VG, 2

Taunton Cars A portfolio compiled by J. B. Taunton in 1946, in support of his early manufacture of the Taunton Car, beginning with a typed short biography, photograph of the second experimental chassis of 1913, cars manufactured, offices, power-house, colour options, an original schedule of parts, images of the cylinder block, third car with a test seat, share certificate, list of shareholders, two 1914 production catalogues, publicity material and other personal photographs. (Qty) N.B. One volume and a brochure and vesta case..

A Photograph of Workers in an aircraft factory, c1920, 23 x 28 cms; a photograph of an open drive limousine, 10 x 15cms, a Kings Engineering Share certificate and five other various pictures, some framed. (8)

A collection of Egyptian Delta Light Railway share certificates etc:

EPHEMERA, a large metal trunk containing several hundred documents, items include conveyances, leases, deeds, assignments, agreements, invoices, share certificates and even a transcript of evidence from a divorce court hearing, documents range from the early 19th Century- mid 20th Century, viewing recommended