Charles Dickens related - Original artwork on paper, pencil sketch, titled 'Quilp' and initialled lower right by production designer Keith Wilson (possible design for The Old Curiosity Shop) 59.2 x 42 cm.Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) Victoria and Albert (2001) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: creased and stained to l.h. edge and corner, red staining above Quilp's hat, light creasing overall with further light staining to r.h. edge.
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Charles Dickens related - Original artwork on board, a pencil sketch by Keith Wilson, production designer, showing pigeon boxes up on a roof with a London skyline and St. Paul's cathedral dome in the background, (possible Oliver Twist) 52 x 73 cm.Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) Victoria and Albert (2001) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: finger marks and marks to margins, corners of board a little bumped.
Gerry Anderson related - Two Original artworks on board, a pencil sketch showing designs for three space craft by production designer Keith Wilson, 53.2 x 75 cm; and another similar. (2)Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) The Seventh Scroll (1999) Dinotopia (2002) A Christmas Carol (2004) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: marks and finger marks, corners to boards bumped.
Charles Dickens related - Original artwork on board, watercolour, pen and ink, showing a moonlit graveyard with a white ghost rising out of a grave, initialled lower right by production designer Keith Wilson, 45.3 x 59.5 cm.Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) Victoria and Albert (2001) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: light marks and smudges to margins, white paint to lower margin over sketch board text.
Charles Dickens related - Original artwork on board, a pencil sketch by Keith Wilson, production designer, showing steps leading down under a bridge by a river with ships in the background, (possible Oliver Twist) 52 x 77.3 cm.Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) Victoria and Albert (2001) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: light finger marks, corners of board a little bumped.
Charles Dickens related - Original artwork on board, pencil sketch showing two men on a roof standing behind a chimney, titled 'Ext. Roof Tops' and initialled lower right by production designer Keith Wilson, 51.8 x 77.3 cm.Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) Victoria and Albert (2001) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: light marks and smudges to margins.
Gerry Anderson related - Three original artworks on paper, comprises a pencil sketch showing a Medusa concept design, 59.2 x 42 cm; and 2 others, initialled lower right by production designer Keith Wilson, 42 x 59.2 cm. (3) Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) The Seventh Scroll (1999) Dinotopia (2002) A Christmas Carol (2004) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: marks and finger marks, creasing and chips to corners (some loss).
Charles Dickens related - Original artwork on board, a pencil sketch by Keith Wilson, production designer, showing an interior of a room with a man standing by a chair, 54.4 x 76 cm. Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) Victoria and Albert (2001) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: light marks and finger marks, blue staining to lower centre edge of board, corners of board a little bumped.
Charles Dickens related - Original artwork on board, a pencil sketch, titled 'Int. Hideout' and initialled lower right by production designer Keith Wilson (possible Oliver Twist) 51.8 x 77.3 cm.Provenance: From the archive of British production designer Keith Wilson (1941-2011). Wilson had a long association with AP Films and Gerry Anderson from the 1960s and was highly regarded within the science-fiction genre. Keith Wilson's set designs for numerous film and television productions included Thunderbirds (1965) UFO (1970) Space 1999 (1975-78) Great Expectations (1989) Oliver Twist (1997) Victoria and Albert (2001) and The Ten Commandments (2007). He was awarded an Emmy for Outstanding Individual Achievement in Art Direction for Starlin (1992) and a Cable ACE Award for Art Direction for The Old Curiosity Shop (1995).Condition Report: small pin holes to corners, light marks to margins.
ROBJENT, Richard, and MARTIN, Brian. The Pheasant: Studies in Words and Pictures. 4to, Fine Sporting Interests Ltd., Holt, Norfolk, 1995. With 24 colour plates and 65 sepia sketches by Richard Robjent and an original sepia sketch signed by the artist. Copy 'D' of 6 lettered copies reserved for presentation. Full red morocco, moire endpapers, gilt inner dentelles, all edges gilt, in a custom quarter morocco drop-back box with a velvet lined and padded interior.The edition was limited to 300 signed and numbered copies, each with an original sepia drawing by Robjent. Numbers 1-26 and lettered copies A-F were bound in full morocco (copies 27-300 were bound in half morocco) and in addition came in a matching solander box. Fine copy
Late 19th Century diary and sketch book by E.C. Bowden-Smith on her voyage to Australia in 1896/97, containing illustrations of ships, references to other voyages, and various flora and fauna seen on the voyages.Emily Cecilia Bowden-Smith (nee Sandeman) was the wife of the distinguished Naval Officer Vice-Admiral Nathaniel Bowden-Smith who was promoted to Commander-in-Chief of the Australian Station 1892-95. She sailed on the clipper ship "Torrens" to accompany her husband when he was appointed a Knight Commander of the Order of the Bath. The ceremony took place on the 22nd of June 1897 on the occasion of Queen Victoria's Diamond Jubilee.The Torres was the flagship of the Elder Line, being the fastest and most luxurious on the London to Port Adelaide run, taking only first and second class passengers and once completed the journey in 65 days.
GEORGE WRIGHT; oil on canvas board, 'Sketch on the Lleda, North Wales', signed lower right, 19.5 x 29cm, framed, with a further 19th century oil on canvas of a highland landscape, indistinctly signed lower left, framed (2).Additional InformationBoth pictures are tired and both frames with losses to the gesso, particularly the smaller picture.
Spanish master; first half of the 17th century."The Good Shepherd.Oil on canvas.Size: 97 x 75,5 cm.This composition testifies the hand of a skilful painter, it presents a theme that became popular in the religious painting of the baroque period. Following the iconography that identifies Jesus with the Good Shepherd, and the sheep with humanity, the flock is here crowded around the representation of Christ in full body and in adulthood, a characteristic feature since the idea of a Child Jesus as the Good Shepherd was more widely accepted. In the foreground the figure of Christ, dressed in a red tunic in allusion to the Passion, holds a lamb on his shoulders, an heir to classical antiquity, specifically to the representation of Hermes Christophorus, and the pose with the leg forward and the knee slightly bent also refers to the classical aesthetic tradition. The landscape develops in depth, and although the foreground is taken up by the presence of the flock swirling around the figure of Jesus, located in the strict centre. On the left, located in a clearing, we can see the sketch of two figures, perhaps alluding to Saint Michael, a frequent figure in this type of representation, but there are no recognisable attributes that might make these figures recognisable. The scene is very similar to the work belonging to the Museo del Prado collection, "The Good Shepherd", painted by the artist Cristóbal García Salmeron (Cuenca, 1603 - Madrid, 1673).The theme of the Good Shepherd is a very ancient one in Christian art, and has its roots in ancient Western art, specifically in the Muscophores of Ancient Greece. Christians would follow these iconographic models for their first representations, as we see in examples such as the catacombs of Saint Callixtus. In terms of meaning, the Good Shepherd is a biblical allegory, originally referring to Yahweh and later to Jesus Christ. The good shepherd is interpreted as God, who saves the lost sheep (the sinner). The theme appears in the Old Testament, and in the Gospels the same allegory is applied to Jesus as the Son of God. This iconography shows the Parable of the Good Shepherd in the Gospels (John 10:1-6; Luke 15:3-7), which speaks of the shepherd who goes in search of the lost sheep, and which was foreshadowed in Psalm 23 and in the Book of Ezekiel (34:12), linking God with the figure of the shepherd who cares for the sheep, his flock. In art, the theme is the most widely represented in early Christian iconography, and testimonies can be found from the 2nd century onwards. From the 4th century onwards, its representation declined until it disappeared completely in the Middle Ages, but it finally recovered between the 15th and 16th centuries. In the 17th century, it shared the limelight with the Divina Pastora, a theme that became popular in the Baroque period.
A Cased .650 (16-Bore) Percussion D.B. Sporting Rifle By J. Purdey, 314½ Oxford Street, London, No. 2489 For 1833With rebrowned twist sighted barrels signed in full along the rib, each rifled with ten spiral grooves, and leaf-sighted from '70' to '150' yards, each leaf with central platinum line, border engraved breeches each with short platinum line and pierced platinum plug, and engraved with a symmetrical foliate motif on the flat between, tang engraved with symmetrical foliate scrollwork and with a tiger's mask on the sighting flat, signed engraved serial numbered detented flat locks each retaining traces of case-hardening and decorated with foliate scrollwork and a stag in a landscape, dolphin hammers with foliate scrollwork en suite and engraved safety-catch, the mechanisms retaining their burnished finish, highly figured half-stock with cheek-piece, chequered grip and fore-end, border engraved steel mounts comprising butt-plate very unusually dated '1833' and decorated with a stag's head and scrolling foliage on the heel tang, serial numbered trigger-guard with chequered spur and decorated on the bow with a running stag in a landscape between borders of ropework, trigger-plate with a scallop shell above a flower-head on the pointed finial, and hinged circular patch-box cover decorated with a landscape scene depicting Lord Ossulston shooting a Chillingham bull from horseback, all within a border of ropework, border engraved barrel-bolt escutcheons, chequered forward trigger, sling button engraved with foliage, and original brass-mounted ramrod: in its fitted and partly relined mahogany case (compartment box and lid replaced) with accessories including G. & J.W. Hawksley brass-mounted powder-flask with bag-shaped planished tin body, and retaining most of its lacquered finish, steel bullet mould and sprue-cutter, and bullet-starter with leather-faced mallet-head (chipped), the interior of the lid with maker's trade label, the exterior (some old scratching) with circular vacant escutcheon centred on a flush-fitting circular brass carrying handle, London proof marks and Purdey's barrelsmith's mark 75 cm. barrels Footnotes:LiteratureUnsworth, p. 149. Recorded as sold on 27 July 1833 for £73.10.0. Unsworth notes 'The first rifle to have Purdey's upright style of hammers'. Built for Lord Ossulston (see footnote to lot 93)Dallas, p. 191The scene on the patch-box cover is immortalised in the portrait entitled 'Scene in Chillingham Park: Portrait of Lord Ossulston' or 'Death of the Wild Bull', by Sir Edwin Landseer and probably commissioned by Charles Augustus, 5th Earl of Tankerville. The portrait was exhibited at the Royal Academy in 1836, and was last sold at Christie's in 2003 for £1,272,000 including premiumLord Ossulston appears to have met Landseer for the first time at Glenfeshie, in the Scottish Highlands, where Landseer was staying with his close friends the Duke and Duchess of Bedford. In his essay, The Chillingham Wild Cattle, Reminiscences Of Life In The Highlands, published in 1891, Lord Ossulston described the amusing circumstances of his first encounter with the artist. Lord Ossulston, who had just arrived from staying with the Duke of Atholl at Blair Atholl to stay with his friend Horatio Ross, on the other side of Glenfeshie, had set out in the morning to go stalking in the company of the forester Charlie Mackintosh. They had just spotted a large herd of hinds and a big stag grazing near a burn beneath them when they heard the crack of a rifle shot which scared away the herd and felled the stag. Thinking this was likely to be the work of a poacher they set off to see who was responsible: 'Upon this we dived into a hollow close to our right that took us down to the burn and crawling under its banks we soon ensconced ourselves behind the heathery knoll within a few yards of our poacher, to watch his proceedings before we finally pounced upon him. He was a little, strongly built man, very like a pocket Hercules or Puck in the ''Midsummer Night's Dream''. He was busily employed in gralloching his deer. This he did with great quickness and dexterity... He next let the head hang over, so as to display the horns, and then squatting down on the stone opposite, took out of his pocket what I thought would be his pipe or whisky flask; but it is a sketch book! Seeing that we had mistaken our man, I came out into the open, and then found myself face to face with my friend of many years to come - Landseer.'According to Ossulston's account, a few days after having met Landseer, and having spent much time together in the company of the Duke and Duchess of Bedford and their house party, he left Glenfeshie together with him to go to Chillingham. At Chillingham he recalled that Landseer 'at once devoted himself to the wild cattle as keenly as he had done to his beloved deer observing them with his glass for days from some hiding place, and noting minutely their ways and characteristics'.Lord Ossulston evidently soon decided that Landseer should have the opportunity to take a closer look at the cattle and a decision was taken to shoot one of the bulls to make this possible. As it was considered 'ignoble' to kill such a bull by a 'pot shot' a more sporting plan was hatched to chase a bull out of the herd on horseback and thereby to bring him to bay. This, however, could not be done in the upper park at Chillingham, where the woods, bogs, and ravines provided unsuitable ground for horses, so it was decided to first separate the selected bull from the herd in the lower park, which provided open space much more suitable for horses. The lower park and the upper park were separated from each other by a fence and advantage was taken of the fact that at night the gates between them were left open and the herd allowed to graze freely in the lower park. A keeper was placed in ambush beside a gate, which was to be shut on one of the bulls after the main herd had returned to the upper park in the early morning. Unfortunately the plan went badly wrong and the bull charged and tossed one of Lord Tankerville's keepers breaking four of his ribs and piercing his chest with its horn. The keeper was only saved by the prompt action of Ossulstons's deerhound, Bran which held the bull off the keeper's body. Ossulston recorded that the keeper called Barnes, survived his wounds and lived to be eighty, but that the bull was forthwith shot and together with Bran and the other personages concerned, was the subject of Landseer's picture of the ''Dead Bull''.Landseer's monumental composition is dominated by the handsome and aristocratic figure of the young Lord Ossulston, standing beside his pony Hotspur, with a rifle in his left hand, his right foot resting on the majestic Chillingham bull lying at his feet. Ossulston looks towards his deerhound, Bran, who has proved the hero of the occasion. Lord Ossulston's head keeper Coles, kneels beside the dead bull, to the left of the composition, with his arm around his master's deerhound, looking at the lifeless bull. A bloodhound beyond the head keeper imitates his master by putting his paw on the dead bull, while the right hand side of the composition is closed off by another bloodhound with a weary gaze.For further information on this lot please visit Bonhams.com
BLOOMSBURY & BERTRAND RUSSELLGroup of incoming correspondence to Bertrand Russell, comprising: autograph letter signed ('Virginia Woolf') to Bertrand Russell ('Dear Mr Russell'), regarding some stories 'about an old Pattle who was, I think, our great grandfather...', sending him a book containing a sketch she wrote of Julia Margaret Cameron his daughter ('...I have told what I could remember of family gossip about him; but I expect other people know a good deal more...'), one page, creased at folds, 8vo (203 x 165mm.), 52 Tavistock Square, W.C.1, 3 December [19]35; two autograph letters from E.M. Forster to Russell regarding the letters of Goldsworthy Lowes Dickinson ('Goldie') for whom he was acting as literary executor, 2 pages, rust marks from old paperclip at head, 8vo (203 x 128mm.) and smaller, West Hackhurst, 5 January and 29 January [19]33; autograph letter from H.G. Wells, signed with monogram, putting the behaviour of Russell's by then ex-wife Dora down to '...that phase in a woman's life when motives become moody & incalculable...', thanking his stars that men do not go through that stage and pronouncing Marie Stopes' The Change of Life to be '...a perfectly crazy book...', two pages on a bifolium, creased at folds, light dust-staining, 8vo (178 x 140mm.), 13 Hanover Terrace, N.W.1, 4 July [19]36; autograph letter from Clive Bell signed ('Clive'), to 'My dear Bertie', asking for letter of introduction for his son Julian as he applies to teach at a Chinese university ('...Osbert Sitwell, who is just back from China, tells me that your name is one to conjure with amongst the Chinese intelligentsia...'), 2 pages, 8vo (200 x 127mm.), 50 Gordon Square, Bloomsbury, 24 July 1934; autograph letter signed ('Aldous Huxley'), thanking him for the Causes of War and allowing him more space for his article, one page, dust-staining at folds, spotting, 4to (260 x 202mm.), Mount Royal, W.1, 14 December [19]36; with letters from the Aga Khan ('...Western Philosophy explains matters...'), and three others including one from Russell to his secretary Sheila announcing his marriage to his fourth wife Edith Finch (10)Footnotes:'I HAVE TOLD WHAT I COULD REMEMBER OF FAMILY GOSSIP ABOUT HIM': letters from Virginia Woolf, E.M. Forster, H.G. Wells, Clive Bell and other figures at the centre of the Bloomsbury group to philosopher & writer Bertrand Russell. The letters were collected by Sheila Zinkin who acted as Bertrand Russell's secretary in 1951, and touch on a wide-range of subjects ranging from Virginia Woolf on the Pattles, her maternal family, to E.M. Forster enquiring after the letters of Goldsworthy Lowes Dickinson (whose sisters were the inspiration for the Schlegel sisters in Howards End), to H.G. Wells expressing relief that men to not have to suffer the menopause. Zinkin only worked for him for a short time but her holiday plans formed the inspiration for Russell's short story The Corsican Ordeal of Miss X, a fantastical tale of a conspiracy to assassinate twenty-one heads of state, published anonymously in Go, London, December 1951-January 1952. The story was later published in Satan in the Suburbs, a copy of which he inscribed to her as '...'the onlie begetter of the ensuing Corsican Ordeal from her well-wisher BR'. He had then written the story, he humorously recalled, 'as a warning of what might befall her'...' (Bone, A.G. ed., Collected Papers, 2020, vol.26, p.328). The collection has remained in the family until now.For further information on this lot please visit Bonhams.com
LAWRENCE (D.H.)Lady Chatterley's Lover, FIRST EDITION, NUMBER 498 OF 1000 COPIES SIGNED BY THE AUTHOR, H.G. WELLS' COPY WITH AN INK SKETCH, publisher's boards, rebacked preserving original spine lettering label, extremities of spine and corners refurbished, new endpapers [Roberts A42a], 8vo, Florence, Privately Printed, 1928Footnotes:'MY GOD WHAT STUFF!' - H.G. WELLS' COPY OF THE FIRST EDITION OF LADY CHATTERLEY'S LOVER, ENLIVENED WITH TWO INK DRAWINGS MOCKING D.H. LAWRENCE. An important association copy, bringing together two of the most important English authors of the twentieth century. Both men are noted for their liberal views on matters relating to sex, and are here conjoined in one of the most notorious books of the century; Lady Chatterley was banned for obscenity in the United Kingdom until 1960.Wells inscribes 'My God what stuff!' on the colophon, and also draws two cartoons, one depicting Lawrence (captioned 'D.H.L. by himself') depicting the author naked with an enormous phallus, urging on his erection with a shout of 'Up Jenkins!', the other depicting Lawrence ('The real D.H.L.') lying at the foot of a tall obelisk staring at his minuscule phallus asking the question 'Well, has any other man the equal of it?', a bottle labelled 'tonic' at his side.In his early life Lawrence was a keen reader and admirer of H.G. Wells, writing of Tono-Bungay (1909) that it was 'the best novel Wells has written - it is the best novel I have read for - oh, how long?'. Wells was likewise a supporter of Lawrence, but it appears that this mutual admiration withered, Lawrence writing a negative review of Wells' The World of William Clissold (1926), and Wells undermining Lawrence's self-image in our volume - suggesting Lawrence may have more in common with the character of the impotent Sir Clifford Chatterley, than Mellors the virile gamekeeper.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
PHOTOGRAPHY, CORFU AND CRIMEAAlbum compiled by Lady Emily Ponsonby, née Bathurst (1798-1877), containing a collection of some 45 early photographs, the majority taken by her son Lt. Col. Arthur Edward Valette Ponsonby (1827-1868), salt and lightly albumenised prints, many captioned in ink, including a group taken in Corfu in 1858 of landscapes and personalities ('The Citadel with Bridge across the Ditch/ Corfu', 'A View from the College of the Citadel', 'A Montenegro. Photographed by Arthur at Corfu 1858', 'Lord High Commissioner', 'Group at Corfu', 'HM Ship 'Terrible' Corfu' and 'Sir George Buller K.C.B.'), others taken at Hampton Court and elsewhere ('Fred by Barby. Ht Ct Palace. 1854', 'The Gravel Walk to the House at Coolhurst July 1859', 'The Gateway at Lord Bathurst's Cirencester', 'Julia photographed by Arthur at Holland's Field October 1857 printed by Barbara January 1858 at Hampton Court', 'Hath[e]rop Castle... 1859');Other subjects include a wild boar and the fallen spire of Chichester Cathedral, February 1861, accompanied by Henry Ponsonby's pen and ink sketch of Mrs Verschoyle taking a photograph in Eaton Square, July 19 1855, and a printed flyer for 'Photographic Sketches of People & Places in Corfu by Arthur Ponsonby', printed by Silver, Hypo & Son., Printers, 1859; interspersed with watercolours and ephemera, some relating to the Crimea ('cover of a Russian document found at Hertch in the house occupied by Lieut. General Sir George Browne, May 1855', a telegram from General Simpson to General Codrington warning 'The Russians are attacking the Sardinians reinforce your attack with one Brigade. Keep your civilians in Camp' 16 August 1855, autograph note from Sir Spencer Ponsonby-fane ('Sebastopol is taken – no details'), watercolours of soldiers, Ponsonby's ink plan of the attack on the Redan ('for Gen. Codrington and used by him'), watercolour map of Europe titled 'The Seat of War 1859', pencil sketch by Italian artist Gerolamo Induno, amusing extracts from Arthur Ponsonby's letters from the Crimea, printed advertisement for Roger Fenton's Crimea photograph 'The Tombs of the Generals on Cathcart's Hill', playbills etc.;With the official programme for the first distribution of the Victoria Cross, June 1847, letters and drawings from South Africa, 1853, and much royal memorabilia (menu for the Queen's birthday dinner, 24 May 1856, the wedding of the Princess Royal, 1858, souvenirs of an audience with Emperor Napoleon III in 1853, telegrams sent to Henry Ponsonby as Equerry to the Prince Consort on his visit to Prince & Princess Frederick of Prussia, June 1858, a trip to Balmoral in 1858, printed plan of 'Carriages on the Royal Train', etc.);Illustrated with over 20 watercolours (including family portraits and 'Boar Hunting His Majesty Present/1860') and pen and wash illustrations (pull-out ink drawing of 'View of Quarantine Harbour of Malta taken from Mr Bourchiers house' by Miss Bourchier, 'Waggons going down a hill... in Kaffirland'); with various playbills, menus, poetry, puzzles and much else; printed ownership label inside front cover ('Lady Emily Ponsonby/ Hampton Court Palace' with manuscript addition '4th scrap book'), above label with illuminated initials 'E.P.' in red, white and blue, 110 leaves, contemporary marbled boards, paper label on upper board with title 'Lady Emily Ponsonby/ Hampton Court Palace', amended in black ink to read 'Scrap Book 1852', marked and worn, spine partly detached, remains of label on spine, folio (278 x 220mm.), [1840's/1850's]Footnotes:THE CRIMEA, ROYALTY & EARLY PHOTOGRAPHS OF CORFU: An attractive album of illustrations, photographs, letters and printed ephemera compiled by Lady Emily Ponsonby (1798-1877), documenting the family's position at the heart of Queen Victoria's court and reflecting the activities of her sons, Arthur Edward Valette Ponsonby (1827-1868) and Henry Ponsonby (1825-1895), long-serving private secretary to Queen Victoria, and whose wife Mary was a close correspondent of the Victoria Princess Royal, Empress of Prussia (see corresponding lot in this sale).Arthur was commissioned into the Grenadier Guards, served in the Kaffir war and the Crimea, as shown here, and was quartered in Corfu in 1858-9, where he acted as aide-de-camp to General Sir George Buller, the Garrison Commander. He was a keen photographer, and the album contains unusual early photographic depictions of the island, of landscapes and architecture (such as 'The Citadel with Bridge across the Ditch/ Corfu' and 'A View from the College of the Citadel') and a number of portraits. Also included in the album are fine prints of English country house scenes and a photograph of his quarters at Aldershot. An amusing pen and ink sketch by his brother Henry depicts the pioneering photographer Catherine Verschoyle (1803-1871), only the fourth woman to join the Photographic Society (later the Royal Photographic Society) in 1853, its inaugural year, and renowned for her botanical and tree studies. She is shown under the cloth of her camera, skirts billowing behind, taking his portrait outside her house in Eaton Square in July 1855. She later used her considerable photographic skills to raise money for widows and orphans of the Crimean War. There is evidence in the album of female members of the family assisting him in his work – one caption for example notes that a portrait of Julia (possibly Julia Ponsonby) was taken by Arthur but printed by Barbara (possibly his sister Selina Barbara Ponsonby). Also of note in the album is the programme for the first distribution of the Victoria Cross in 1857 and much royal memorabilia.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
OLYMPIA PRESS, BURROUGHS AND GREEK LOVEROBINSON (C.J. BRADBURY) Williams Mix, ONE OF ONLY SIX UNCORRECTED PROOF COPIES, THIS COPY SIGNED BY WILLIAM BURROUGHS on the dedication leaf, and additionally inscribed by him on the title-page 'I'd rather read Winny the Poo [sic] Bradbury Robinson', printed on recto only, publisher's brown printed wrappers, small 4to (215 x 180mm.), The Olympia Press, [1971]; together with a small group of manuscript and printed material (including cover design, and TLS from Maurice Girondia) relating to proposals for the publication of the book, see footnote (small quantity)Footnotes:EXTREMELY SCARCE UNCORRECTED PROOF COPY OF WILLIAMS MIX signed by the dedicatee William Burroughs, who also wrote the introduction and was instrumental in persuading the Olympia Press, which had published The Naked Lunch, to accept the work for publication. Having produced this uncorrected proof in only six copies, such was the controversy of the pederast subject matter that the Olympia Press eventually withdrew their support and never published the title - there being 'no getting away from the fact that this is a book whose literary engine is fuelled by the pleasures and pains of sexual desire for 10 to 12 year old boys, in much the same way that Burroughs' own work is driven by an obsession with addiction and control' (Matthew L. Stevens, Beatdom website, which provides a detailed history of the work and Burroughs' contribution).Bradbury Robinson, at the time a young Cambridge graduate working as Head of the English Department at a Home Counties prep school, had written a first draft in 1967 but, despite interest from Calder & Boyers, not found a publisher at that time. In 1974 Bradbury Robinson and Timothy d'Arch Smith again looked close to publishing the work, as attested to by the material accompanying the lot. Additional material comprises:1. Typed letter signed from Maurice Girodias, founder of the Olympia Press, 13 March 1974, to Bradbury Robinson, discussing a proposed publication of a limited edition.2. Two typed letters signed, from the proposed printers (Morrison & Gibb Ltd.), 13 and 30 September 1974, addressed to Timothy D' Arch Smith, about printing costs, etc. for a proposed edition of the book.3. Manuscript description by Bradbury Robinson of his book for the proposed inside flap of the dust wrapper, one-page, on the headed note paper of Ampleforth Abbey, with a printed proof of the text including proposed price of £4.4. An original pencil sketch for the proposed design for the dust-jacket, depicting an indolent school boy seated upon a chair piled high with books.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
INDIAN SCHOOL, CIRCA 1920-30, THE MASSACRE AT JALLIANWALA BAGH, ink with pencil on paper, probably a preparatory sketch for a painting, inscribed 'Jalianwalabagh II (Rough)' on the reverse, 16 x 33cm The Amritsar Massacre of 1919 instigated by Brigadier-General Reginald Dyer, in which it is thought more than a thousand unarmed protesters were killed and many more injured, was probably the most notorious episode of the colonial period in India, marking a turning point in the independence movement.
The outstanding Second War ‘North West Europe’ D.S.O., 1940 Dunkirk ‘Immediate’ M.C. group of eleven awarded to Brigadier A. J. D. Turner, Suffolk Regiment, later Commanding Officer of the 1st Battalion, Hampshire Regiment, who was awarded the D.S.O. for his gallantry and leadership as a Battalion Commander during the attack at Bemmel in Holland on 4 October 1944; he had previously been awarded the M.C. for his gallantry on the Dunkirk beachhead Bray Les Dunes on 29 May 1940. He later served as Commanding Officer of the Worker’s Brigade of the Ghanaian Army Distinguished Service Order, G.VI.R., silver-gilt and enamel, reverse officially dated 1945, with integral top riband bar; Military Cross, G.VI.R. reverse officially dated 1940; 1939-45 Star; Africa Star; Burma Star; France and Germany Star; Defence and War Medals 1939-45; General Service 1918-62, 2 clasps, Cyprus, Near East (Brig. A. J. D. Turner. D.S.O. M.C., Staff.), minor official correction to unit; Coronation 1937, unnamed as issued; Coronation 1953, unnamed as issued, mounted court-style for display purposes; together with the recipient’s three card identity discs, all stamped to him in the rank of Lieutenant Colonel, good very fine and better (11) £5,000-£7,000 --- D.S.O. London Gazette 1 March 1945: The original Recommendation, dated 8 October 1944, states: ‘At Bemmel on 4 October 1944 Lieutenant Colonel Turner was in command of 1st Hampshires who were taking part in an attack. Just as the attack started violent and very concentrated artillery fire was brought to bear by the enemy on Lieutenant Colonel Turner’s command post, knocking him down and killing and wounding most of the Officers and men in the command post. It also destroyed all his communications. He soon realised that the command post was under direct observation, and any movement brought more fire. Lieutenant Colonel Turner showed outstanding courage by successfully organising evacuation of the command post under very heavy fire. Knowing that he was temporarily out of touch by signal with his company, he immediately went forward on foot to the forward companies and personally directed the attack. By his outstanding courage and leadership all the Battalion objectives were gained despite intense artillery and mortar fire, and very stubborn resistance by the enemy.’ M.C. London Gazette 27 August 1940: ‘For valuable services during the evacuation of the Dunkirk beaches. This officer showed a fine disregard of his personal safety throughout the evacuation. Always extremely fit, he did an immense amount of hard and dangerous work, showing a fine readiness to face any sort of unpleasant and difficult task without question. He proved himself utterly reliable and steady in most trying circumstances - his coolness being remarkable, and a grand example to the men.’ Arthur James Dillon Turner was born in Abbottabad, North West Frontier Province, India, on 19 September 1907, the son of Brigadier General A. J. Turner, C.B., C.M.G., D.S.O., and was educated at the Royal Military College, Sandhurst. He was commissioned Second Lieutenant into the Suffolk Regiment on 2 February 1928, seeing service with the 1st Battalion. At the time his Battalion was based at home, and he served as a Platoon Commander, being promoted to Lieutenant on 2 February 1931. He was then seconded for service to the Royal West African Frontier Force in Sierra Leone where he served as a Platoon Commander from 10 August 1932 to 2 February 1935, and during which period he returned home to represent Sierra Leone at Bisley, shooting as part of the team captained by Sir A. Hodson, and won for the team The Barrett Imperial Challenge Cup of which he wrote: ‘I tried the last shot at 1,000 yards and got a bull which gave Sierra Leone a one point win’. Turner was also the highest scorer on his team. Turner rejoined the 1st Battalion, Suffolk Regiment at Blackdown Camp, but then proceeded overseas to Madras in India to serve as a Platoon Commander with the 2nd Battalion, Suffolk Regiment, and whilst out there was seconded to the Staff from 16 February 1936, and then served as a Station Staff Officer 1st Grade in India from that date till 13 December 1937, during which period he was promoted to Captain on 1 May 1936. He was posted home to attend the Staff College at Camberley from 21 January 1938, and on 15 February 1939 was appointed a Staff Captain with the Aldershot Command, which role he performed till 1 September 1939. Two days later the Second World War was declared. Retreat from Dunkirk - Immediate M.C. Turner was appointed Deputy Assistant Adjutant General of 1st Corps from 2nd September 1939 through to 1st July 1940, having been promoted to Acting Major on 3rd September 1939, and then to Temporary Major from 3rd December 1939, he then saw service out in France with the British Expeditionary Force in 1940, and was involved in the retreat to Dunkirk, and then assisted in the evacuation of men from the beaches at Dunkirk, being based in the White House at Bray Les Dunes, it was here that he performed the deeds which led to the award of the Military Cross. Further details of his time at Dunkirk comes from correspondence at a later date, one of which confirms that he won his Military Cross for his actions at Bray Les Dunes on 29 May 1940, and one of his fellow officers was John Spencer Churchill, nephew of the Prime Minister, who later led a charmed life as a Commando Officer in the Mediterranean during the war, but who at the time sketched an image of the evacuation at Dunkirk, including of the White House at Bray Les Dunes, which was later published in the Daily Telegraph on 15 June 1954, which prompted Turner, by then a Brigadier, to write and enquire about this image, and in return received as response from not only John Churchill himself, promising to forward an image of the scene discussed, but also detailing ‘I saw F.M. Alexander at Winston’s birthday party last year…’ As Turner confirmed in his original letter to the Daily Telegraph ‘for me your sketch has a particular value for it was at Bray Les Dunes on 29th May (according to the citation) that I was honoured with an immediate award of the M.C. At the time of Dunkirk I knew John Churchill well…’, he additionally mentions that ‘the last four officers to leave the little white house were Lieutenant-General (later Field Marshal Lord) Alexander, Lieutenant-Colonel (later Major-General Sir) John Winterton, Major (later Major-General) Bob Ransome, and myself - then Captain’. Further to this, Turner received a letter from one Mr. H. Hickman, who was then in June 1954 an Established Civil Servant at the Base Ordnance Depot in Bicester, but he been, at the time of Dunkirk, a Sergeant in the King’s Own Royal Regiment, and as he writes: ‘although you may not remember me I had the pleasure of getting certain instructions from you on the night of 30 May 1940. You may remember ordering me to get the French troops out of the queues and tell them to move further along the beaches where they were to be taken off. I had quite an interesting time carrying out this order in the semi darkness…’ Initially in May 1940 Turner had been based with 1st Divisional Headquarters at Douai, but with the advance of the German forces, was pushed back to Armentieres and then to the Dunkirk beaches at Bray Les Dune’s where the Headquarters took over the White House. As his diary recalls: ‘On 10 May left Douai and went to advanced Corps HQ just south of Belgian border for night’; ‘on 11 May advanced into Belgium spent night near Grammont billeted on Flemish couple…’ From 13 to 15 May he was in Brussels, and on ‘15 M...
Anthony Vandyke Copley Fielding (1787-1835), Near the Devil's Bridge, Cardiganshire, watercolour, 20.9 x 30.4cm; together with a watercolour sketch by John Keeley, titled on the mount 'At the Foot of Cader Idris' (2)Provenance: with The Fine Art Society Ltd, London. February 1967. The colours of the A.V.C.Fielding are reasonably fresh in parts , but there is some general fading of the greens within the landscapeWith the Keeley the colouring is reasonably in the sky but there is significant fading in the landscape
English School, c.1782A portrait purporting to be Benjamin Franklin (1706-1790)oil on board, handwritten verso 'Benjamin Franklin probably painted as a sketch for a big picture, November 30th 1782'19.5 x 16cmCondition ReportFramed: 26 x 23.5cm. Some signs of restoration to face. Board slightly bowed. Presents well overall.
Mathew Horne signed 10x8 colour Gavin and Stacey photo. Horne (born 6 September 1978) is an English actor, comedian, television presenter and narrator. He is best known for appearing on several BBC sketch shows and sitcoms, most notably Gavin and Stacey (as Gavin Shipman), The Catherine Tate Show, Horne and Corden, and Bad Education. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Late 19th Century and Later Cigarette and Trade Card Odds Humorous and Caricatures, various examples, American Tobacco silk issue Zira Girls, Zira Cigarettes (L5), Kinney USA 1889 Magic Changing Cards (1), Anglo Cigarette Tariff Reform Series (2), Sinclairs Smiler Series (2), Hunt Cropp Characters from Dickens 1912 (1), Tower Tea Illustrated Sayings 1910 (1), F & J Smiths Phil May Sketches (brown back 1), Faulkner's, Sporting Terms 1900 (1), Ation Series 1901 (3), Coster Series 1900 (1) Frys advertisement cards (1), Godfrey Phillips Novelty Series 1924 (11) American Tobacco Songs H 1900 (1) and a part set of humorous sketch cards, blank backs and unbranded possibly proofs that were unissued (17), F-G, (47)
Attributed to Anton Mauve (1838-1888), pencil and pastel sketch of cows, 22cm x 43cm, unsigned, in glazed frame. Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms.
TEN 19TH CENTURY PENCIL SKETCHES TOGETHER WITH ENGRAVING PORTRAIT PRINTS OF HISTORICAL FIGURES ETC, the sketches are signed M Harding and mostly date to 1873, subjects are topographical and maritime, all are mounted to card, largest sketch approximately 23cm x 34cm, portraits include Daniel O'Connell, David Livingstone, General Sir Robert Sale, Major General Sir Henry Havelock, George Byng, Oliver Goldsmith, Sir Sterndale Bennett, Luther etc and an engraving print 'Whalers attacked by bears' showing whalers in a sinking boat being attacked by several polar bears and a 19th Century watercolour landscape signed D.G. Green
Unleserlich signiert (XIX) Kaffeehaus-Szene. Frankreich. Ende 19. Jahrhundert.Circa 38 x 28 cm. Circa 65 cm x 53 cm mit Rahmen. Kohlezeichnung mit Pastell auf Papier. Anmutige Darstellung/Skizze zweier junger Damen im Café im Gespräch mit dem Kellner. Impressionistische Zeichnung. Die Signatur unten rechts ist schlecht leserlich. Charakteristisch in die Epoche der französischen Impressionisten zuzuordnen.Illegibly signed (XIX) Coffee house scene. France, end of the 19th century.Circa 38 x 28 cm. Circa 65 cm x 53 cm with frame. Charcoal drawing with pastel on paper. Graceful depiction (sketch) of two young ladies in a café talking to the waiter. Impressionistic drawing. The signature at lower right is hardly legible. Attributed to the environment of the french impressionists. With passepartout behind glass in a golden border.
Friedrich LOOS (1797 - 1890), Pflanzenstudie. 1860.Circa 39 cm x 49,5 cm. Aquarellierte Zeichnung. Studie (wohl) einer Weg-Distel. Daneben eine weitere kleine Bleistiftskizze dieser Pflanze. Rechts unten signiert und datiert. Friedrich Loos war ein österreichischer Maler, der seine letzte Schaffensperiode in Kiel verbrachte. Blatt am Rand etwas beschädigt. Altersbedingte Spuren. Zustand siehe Fotos.Friedrich LOOS (1797 - 1890), Study of plants. 1860Approx. 39 cm x 49,5 cm. Watercolour drawing. Study (probably) of a thistle. Next to it another small pencil sketch of this plant. Signed and dated lower right. Friedrich Loos was an Austrian painter who spent his last creative period in Kiel. Sheet somewhat damaged at the border. Traces of age. For condition see photos.
Max SLEVOGT (1868 - 1932). "Frauenraub im Walde". Um 1905/06.Circa 15 cm x 11 cm. Circa 62 cm x 52 cm mit Rahmen. Ätz- und Kaltnadelradierung auf Papier. Darstellung eines Paares beim Kampf. Originaltitel „Frauenraub im Walde“ (aus der Serie „Schwarze Szenen“). Wohl Entwurf oder Skizzenauszug für Slevogts Gemälde "Frauenraub" aus dem Jahr 1905 (Öl/Leinwand) aus der Sammlung des Niedersächsisches Landesmuseums in Hannover. Minimale Stockflecken.Max SLEVOGT (1868 - 1932). "Frauenraub im Walde" (Woman's Rape in the Forest). Around 1905/06.Approx. 15 cm x 11 cm. Approx. 62 cm x 52 cm with frame.Etching and drypoint on paper. Depiction of a couple fighting. Original title "Frauenraub im Walde" (from the series "Schwarze Szenen"). Probably draft or sketch for Slevogt's painting "Frauenraub" from 1905 (oil/canvas), from the collection of Niedersächsisches Landesmuseum in Hannover (The Lower Saxony State Museum in Hanover). Minimal stains.
Leopold BODE (1831 - 1906). Junge Italienerin in Tracht. Studie.Circa 44,5 cm x 30 cm. Doppelseitiges Studienblatt. Hauptseite zeigt die Darstellung einer jungen Frau in Campagna-Tracht und Kopftuch. Bleistiftzeichnung mit weißer Erhöhung. Verso weitere Studie einer anderen Frau. Rückseitig mit Inventarnummer und Zuschreibung. Aus Nachlass des Künstlers.Leopold BODE (1831 - 1906). Young Italian woman in traditional clothes. Sketch.Circa 44,5 cm x 30 cm. Double-page sketch sheet. Main page depicting a young woman in Campagna dress and headscarf. Pencil drawing with white heightening. Verso further study of a woman. With inventory number and attribution on the reverse side. At the back side another study of a girl. From the artist's estate.
A small collection of pre-War race programmes and other motoring ephemera,the programmes for Donington: 2 Oct 1937; Crystal Palace: Coronation Trophy 24 Apr 1937; London Grand Prix 17 Jul 1937; Coronation Trophy 2 Apr 1938:, London GP, 25 June 1938; Composite Meeting 13 Aug 1938; Imperial Trophy 8 Oct 1938; Crystal Palace Cup 1 Jul 1939; 3rd Imperial Trophy 26 Aug 1939 (x2); Shelsley Walsh programmes for 1936-39, and some post-War programmes for Shelsley Walsh 27 Sep 1947; Jersey International Road Race 29 Apr 1948 and Brighton Hill Climb 5 Jun 1948; nine pre-way Motorcycle and Speedway programmes; and other ephemera including two Pratt's High Test Race Game, One with cardboard car counters; Casques Sketch B Book and More Sketches by Casque; assorted Maps, Diaries, and other ephemera, various conditions. (Qty)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Frank Wootton (1911-1988) 'The Bridge over the River Bybrook, Castle Coombe',signed, watercolour and gouache on paper, preliminary sketch for the front cover of Country Life Magazine, depicting an open tourer driving into Castle Combe at twilight, 18.5 x 23cm, mounted, framed and glazed. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Peter Helck (American 1893-1988), two preliminary artworks for 'Grant Leads Chevrolet - 1910 Vanderbilt Cup',each an overworked preliminary artwork by the artist on paper over a photostat copy of an original outline sketch drawn by Helck, the first in graphite, signed in ink lower right and with additional handwritten details in pencil to margin, 21 x 34cm, the second in gouache, unsigned, 18.5 x 31cm, each an alternative composition for a later proposed final artwork depicting eventual winner Harry Grant and mechanic Frank Lee in the Alco 'Black Bess' at speed over the brow of the hill at the Long Island Motor Parkway circuit, each mounted, framed and glazed. (2)Footnotes:An image of the graphite sketch offered in this lot is reproduced in the book 'Great Auto Races - As Told and Painted by Peter Helck' published by Harry N. Abrams of New York, 1975. (see page 63).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A 'Heraldic Lion' mascot, formerly the personal car mascot of British Conservative politician The Right Honourable Sir Arthur Steel-Maitland, 1910s,believed unique mascot, finely detailed solid cast nickel-plated bronze in the form of a seated lion holding a curved dagger and Fleur-de-Lys emblem, modelled on the Maitland family crest, 12cm high, mounted on a Bakelite radiator cap above a turned wooden base, offered together with a cut-out pencil, watercolour and gouache on paper sketch of the full 'Consilio et Animus' Maitland Coat of Arms featuring the Heraldic Lion emblem, 27cm high, mounted on manila envelope addressed to Lady Steel-Maitland, within glazed wooden frame. (2)Footnotes:Sir Arthur Herbert Drummond Ramsay Steel-Maitland (1876-1935) was a British Conservative politician, first Chairman of the Conservative Party 1911-1916, and held junior office 1915-1919 in the coalition government under David Lloyd George, and later served as Minister of Labour under Stanley Baldwin. He was created Baronet of Sauchie in Stirling, Scotland, in 1917.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
BATMAN (1989) - Derek Meddings Hand-drawn Pencil Concept Sketch for the BatwingA concept sketch hand-drawn by legendary visual effects artist Derek Meddings from the production of Tim Burton's superhero film Batman. Meddings supervised the construction of the Batwing, which was flown by Batman (Michael Keaton) as he took on the Joker (Jack Nicholson). The sketch comprises two pencil drawings of the Batwing, with "842117" handwritten in blue ink along one edge. Dimensions: 26.5 cm x 33 cm (10 1/2" x 13") Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £800 - 1,200 MThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.
BATMAN RETURNS (1992) - Set of 18 Hand-Illustrated Storyboards18 hand-drawn sketch storyboards from the production of Tim Burton's superhero sequel Batman Returns. Batman (Michael Keaton) was trapped in the Batmobile as it rampaged across Gotham.This set of storyboards for the sequence is rendered in ink, paint, pastel, graphite, and other media on paper and vellum. They are hand-numbered and feature annotations in the margins detailing various actions and angles. These storyboards exhibit hole-punching, some smudging, and ink transfer with pieces intentionally cut out from and attached to several pages by production. Dimensions (each): 28.75 cm x 23.5 cm x 0.75 cm (11.25" x 9.25" x 0.25")Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £1,000 - 1,500 ΩThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.
FRIDAY THE 13TH PART VII: THE NEW BLOOD (1988) - List of "Birthday Bash" Production Related QuestionsA list of "Birthday Bash" production questions from the production of John Carl Buechler's slasher sequel Friday the 13th Part VII: The New Blood. Dated "December 28, 1987", the two sheets feature the film's working title, "Birthday Bash" and a list of questions. The name of credited production manager Rebecca Greeley is handwritten in black ink at the top right corner. Adorning the back is a hand-drawn sketch showing details about the camera set-up for the sequence where Tina (Lar Park-Lincoln) used her telekinesis to electrocute Jason (Kane Hodder) as he lay in a puddle. There are signs of discolouration down the left side. Dimensions: 28 cm x 21.5 cm (11" x 8 1/2")Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner. Estimate: £700 - 900 ΩThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.
FRIDAY THE 13TH PART VII: THE NEW BLOOD (1988) - Hand-drawn Jason SketchA hand-drawn sketch of Jason (Kane Hodder) from the production of John Carl Buechler's slasher sequel Friday the 13th Part VII: The New Blood. This lot originally came from the collection of director and special effects supervisor John Carl Buechler, and was sketched on the back page of his script.Rendered in ink on light blue paper, the sketch shows Jason dressed in his mask and tattered clothing, while wielding his machete. The sheet also features a rough sketch of Jason unmasked. It is presented in a silver-coloured frame, and there are signs of discolouration around the edges of the paper. Dimensions: 41 cm x 31 cm x 2 cm (16 1/4" x 12 1/4" x 3/4")Sold without copyright; see copyright notice in the Buyer's Guide.Additional Provenance:This lot comes from the personal collection of Friday the 13th collector and historian Mario Kirner. Estimate: £400 - 600 ΩThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.
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