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Lot 66
A Large Chinese Han Dynasty Glazed Stoneware Jar with Incised Patterns. This type of ware is often referred to as “proto-porcelain”. The upper part of the wide globular body is decorated with three raised bands and incised scrolling patterns. On opposing sides of the shoulder are handles decorated with stylized animal motifs, above which are scrolling appliqués and below which are rings. The lower body remains unglazed and is burnt to a dark reddish-brown in places. Diameter 34cm, height 30cm. Western Han Dynasty (206 BC – AD 8).Reference: an almost identical example, although lacking the incised decoration of this jar and with less elaborate handles, is described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 76
A Rare Chinese Western Han Dynasty Miniature Pottery Cocoon Jar. The body burnished smooth and decorated with eight bands of vertically triple-incised bands and pronounced ridges surrounding the neck and base. Length of body 14cm (5.5 inches), height 13cm (5.25 inches). Qin (221 – 206BC) or Early Western Han Dynasty (206 BC – AD 8).Reference: similarly decorated, albeit larger, cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 80
A Fine Chinese Western Han Dynasty Painted Pottery Cocoon Jar. Made from a relatively highly-fired grey pottery and decorated with coloured pigments in a design featuring cloud patterns within vertical bands. Length of body 26cm, height 25cm. A fine and untouched example. Western Han Dynasty (206 BC - AD 8).Reference: similarly decorated cocoon jars are described and illustrated in the 1991 Southeast Asian Ceramic Society book “Spirit of Han”.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 192
The Tooth Fairy's (Antony Burrows) mask from Jonathan Liesbesman's horror fantasy Darkness Falls. After a fire left her sensitive to light, Matilda Dixon, known as the Tooth Fairy, wore a mask to protect her face, even as a spirit haunting the town of Darkness Falls. This mask, fabricated by Steve Wang Studio with updates from Stan Winston Studio, comes from an SFX makeup artist on the film. It is constructed of hand-painted and aged white plaster with fiberglass backing and an elastic strap. The mask is marked "2" and inscribed with a note of thanks from Stan Winston Puppeteers on back. It is in excellent overall condition with minor signs of wear from production. Dimensions: 9" x 6" x 4 1/2" (23 cm x 15.25 cm x 11.5 cm)Estimate: $2,000 - 3,000
Lot 275
A hand-painted Vigo the Carpathian illustration from the production of Ivan Reitman's action-comedy sequel Ghostbusters 2. The spirit of the evil tyrant sorcerer was reanimated in a painting housed at the Manhattan Museum of Art.This visual effects concept illustration of Vigo emerging from the canvas is rendered in mixed media on board signed "2/7/88 SWAIN" by Industrial Light & Magic (ILM) concept artist Kathleen Swain and labeled "PAINT SURFACE BUBBLES ALONG EDGE AS VIGO EMERGES", "FF 10", and "ILM 89". It is in excellent overall condition with minor wear along the edges and a small stain to the board.Dimensions: 15" x 10" (38 cm x 25.5 cm)Sold without copyright; see notice in the Buyer's GuideEstimate: $1,200 - 1,800
Lot 276
A hand-painted Vigo the Carpathian illustration from the production of Ivan Reitman's action-comedy sequel Ghostbusters 2. The spirit of the evil tyrant sorcerer was reanimated in a painting housed at the Manhattan Museum of Art.This visual effects concept illustration of Vigo emerging from the canvas is rendered in mixed media on board signed "2/7/88 SWAIN" by Industrial Light & Magic (ILM) concept artist Kathleen Swain and labeled "ELECTRICAL ACTIVITY OCCURS ALONG EDGE AS VIGO EMERGES", "FF11", and"ILM 1989". It is in excellent overall condition with wear along the edges and minor signs of age.Dimensions: 15" x 10" (38 cm x 25.5 cm)Sold without copyright; see notice in the Buyer's GuideEstimate: $1,200 - 1,800
Lot 281
A hand-painted museum in slime illustration from Ivan Reitman's action-comedy sequel Ghostbusters 2. Tyrant sorcerer Vigo coated the museum where his spirit hung in a painting in an evil supernatural slime.This visual effects concept illustration of the Ghostbusters and the Ecto-1 in front of a slime-covered museum is rendered in mixed media on board signed and dated "10/13/88" by Industrial Light & Magic (ILM) concept artist Kathleen Swain and labeled "Ghostbusters arrive at 'Slimed' museum" and "J5". It is in good overall condition with some wear and discoloration from age and use.Dimensions: 20" x 15" (50.75 cm x 38 cm)Sold without copyright; see notice in the Buyer's GuideEstimate: $1,500 - 2,500
Lot 283
Ray Stantz's (Dan Aykroyd) Ghostbusters uniform patch from Ivan Reitman's action-comedy sequel Ghostbusters 2. Stantz reunited with the other members of the original team of New York City-based paranormal investigators as they wore their revamped uniforms to face off against the reanimated spirit of tyrant Vigo the Carpathian. Each of the Ghostbusters wore their identification patches over the left breast pockets of their uniforms.This custom-made fabric embroidered patch features a stitching of the name "STANTZ" in dark red against a black, rectangular border. This patch was removed from a uniform and retains the black threads that originally held it in place. It is in good overall condition with minor wear.Dimensions: 4 3/4" x 2 1/4" x 1/4" (12 cm x 5.75 cm x.75 cm)Estimate: $1,500 - 2,500
Lot 284
Winston Zeddemore's (Ernie Hudson) Ghostbusters uniform patch from Ivan Reitman's action-comedy sequel Ghostbusters 2. Zeddemore reunited with the other members of the original team of New York City-based paranormal investigators as they wore their revamped uniforms to face off against the reanimated spirit of tyrant Vigo the Carpathian. Each of the Ghostbusters wore their identification patches over the left breast pockets of their uniforms.This custom-made fabric embroidered patch features a stitching of the name "ZEDDEMORE" in dark red against a black, rectangular border. This patch was removed from a uniform and retains the black threads that originally held it in place. It is in good overall condition with minor wear. Dimensions: 4 3/4" x 2 1/4" x 1/4" (12 cm x 5.75 cm x.75 cm)Estimate: $1,500 - 2,500
Lot 285
Egon Spengler's (Harold Ramis) Ghostbusters uniform patch from Ivan Reitman's action-comedy sequel Ghostbusters 2. Spengler reunited with the other members of the original team of New York City-based paranormal investigators as they wore their revamped uniforms to face off against the reanimated spirit of tyrant Vigo the Carpathian. Each of the Ghostbusters wore their identification patches over the left breast pockets of their uniforms.This custom-made fabric embroidered patch features a stitching of the name "SPENGLER" in dark red against a black, rectangular border. This patch was removed from a uniform and retains the black threads that originally held it in place. It is in good overall condition with minor wear.Dimensions: 4 3/4" x 2 1/4" x 1/4" (12 cm x 5.75 cm x.75 cm)Estimate: $1,500 - 2,500
Lot 529
Billy Cranston's (David Yost) promotional Blue Ranger suit from Bryan Spicer's big screen adaptation of the hit children's television series Mighty Morphin' Power Rangers: The Movie. This costume was specifically made for promotional events in support of the film and differs from the film-used costumes.The blue suit features foam rubber armor for the chest, back, thighs, and shoulders, as well as a Spandex undersuit, a goldtone resin chest emblem depicting Cranston's wolf spirit, and a replica belt apparatus produced by the maker of the promotional touring suits. The suit is held together with a combination of glue and Velcro, and its original color and sheen have faded from age and wear. It comes with matching pairs of boots and gloves, the latter pair of which are also replicas. The helmet, a replica molded off of an original production helmet, features a padded interior, dark tinted visor, and vents under the nose and on the back. It opens at the center to allow the wearer to fit it onto their head. This lot is in fair overall condition with wear from aging, including a large amount of deterioration to the foam rubber, glued sections loosening, and paint flaking throughout (most notably on the neck). The helmet has a few cracks to the finish, most notably on the right horn, and glue residue on the inside.Estimate: $3,000 - 5,000 Δ
Lot 26
* MARGARET MORRIS (BRITISH 1891 - 1980), DOMED BUILDING, SOUTH OF FRANCE, 1924 pencil on paper 20.5cm x 16cm Mounted, framed and under glass. Exhibited: Glasgow, Cyril Gerber Fine Art, 'The Art of Margaret Morris', April, 1984. Cat no 41. Label verso: Cyril Gerber Fine Art, 148 West Regent Street, Glasgow. Note: Morris's personal life was colourful; she was bohemian in spirit. She had an affair with the writer John Galsworthy as a young woman, and her long-term partnership with the Scottish Colourist artist John Duncan Fergusson did not rule out other liaisons, for either of them. She met Fergusson in Paris in 1913 and he later became her husband and was an important influence on her work. He introduced her to the Paris art world and with her in 1915 founded the Margarent Morris Club in Chelsea, which quickly became the focus for the remnants of the pre-war avant garde in London. Members included Augustus John, Jacob Epstein, Katherine Mansfield, Ezra Pound, Siegfried Sassoon, Wyndham Lewis and Charles Rennie Mackintosh among others.
Lot 93
HUGH MUNRO RGI (SCOTTISH 1873-1928), A STROLL THROUGH THE MEADOW oil on canvas, signed 61cm x 46cm Framed. Label verso: Anthony Woodd (Gallery), 4 Dundas Street, Edinburgh. Note: the figure in "A Stroll Through The Meadow" is almost identical to one of the three figures in a known painting "Harvest Moon" by Munro. Harvest Moon is a significantly smaller picture and it's likely that the artist realised this individual figure "worked" and painted her again on a larger canvas. As the painting isn't titled, other than on the gallery label, it's possible that it's a "gallery title" rather than the artist's original title. The Glasgow Boys/Cockburnspath influence is obvious in the composition, style and "feel" of this picture and there's also a nod to the French painter Jules Bastien-Lepage. Bastien-Lepage was a major influence on the Glasgow Boys and a leader of the naturalist artistic style. Hugh Munro was born in Glasgow. He married the niece of The Earl of Minto and developed into a fine painter. "His beach and riverside scenes with figures are often excellent and his figure painting captures the spirit of the period" ( Dictionary of Scottish Painters ). He also served as Art Critic for The Glasgow Herald. After Munro's death, his widow (Mabel, Victoria) married the Kirkcubright School painter William Stewart MacGeorge RSA (1861 - 1931). Provenance: Private Glasgow collection.
Lot 31
Wally Mandarrk (Australian 1915 - 1987) Arnhem Land, Australia Mimi spirit woman Eucalyptus bark with natural pigment, with a Maningrida Arts & Crafts certificate to the verso, stating artist, group - Cune/Dangbon and clan - Barabba, painted at Birba during Dry season 1980, 105 x 31cm. Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet
Lot 40
‡ Guy Taplin (b.1939) Black Winged Stilt, painted wood on driftwood base, incised Black Winged Stilt and Guy Taplin signature, 36.5cm. high Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet Guy Taplin's 'Birds' have become sculptures to me. Here you see a wing raised, or some other characteristic movement of the bird transposed into wood. They are not static but full of movement and the spirit of the bird…We are lucky to own several Taplins from different periods and I think the new departure is exciting. - Dame Elisabeth Frink
Lot 41
‡ Guy Taplin (b.1939) Grebe painted wood sculpture incised signature Guy Taplin and titled Grebe 71cm. wide, 26.5cm. high Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet Guy Taplin's 'Birds' have become sculptures to me. Here you see a wing raised, or some other characteristic movement of the bird transposed into wood. They are not static but full of movement and the spirit of the bird…We are lucky to own several Taplins from different periods and I think the new departure is exciting. - Dame Elisabeth Frink
Lot 42
‡ Guy Taplin (b.1939) Mallard painted wood bird sculpture with applied eyes incised signature Guy Taplin and titled Mallard, 35cm. wide Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet Guy Taplin's 'Birds' have become sculptures to me. Here you see a wing raised, or some other characteristic movement of the bird transposed into wood. They are not static but full of movement and the spirit of the bird…We are lucky to own several Taplins from different periods and I think the new departure is exciting. - Dame Elisabeth Frink
Lot 43
‡ Guy Taplin (b.1939) Canvas Back Painted wood bird sculpture incised signature Guy Taplin and titled Canvas Back, 34cm. wide, 28cm. high Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet Guy Taplin's 'Birds' have become sculptures to me. Here you see a wing raised, or some other characteristic movement of the bird transposed into wood. They are not static but full of movement and the spirit of the bird…We are lucky to own several Taplins from different periods and I think the new departure is exciting. - Dame Elisabeth Frink
Lot 44
‡ Guy Taplin (b.1939) Blue Winged Teal Painted wood bird sculpture incised Blue Winged Teal and Guy Taplin signature, 27cm. wide, 13cm. high Provenance: The Estate of Dame Elisabeth Frink & Lin Jammet Guy Taplin's 'Birds' have become sculptures to me. Here you see a wing raised, or some other characteristic movement of the bird transposed into wood. They are not static but full of movement and the spirit of the bird…We are lucky to own several Taplins from different periods and I think the new departure is exciting. - Dame Elisabeth Frink
Lot 580
A Mamod Live Steam Spirit-fired TE1a Traction Engine, in standard green/red, with water level plug, pull-type whistle, reversing lever, safety valve, spirit burner and scuttle, overall G-VG, appears lightly used, in original box with broken steering extension rod, (brass screw-on fitting broken off)
Lot 151
SPIRIT LABELS. Three various modern silver spirit labels, including a pair (Sherry & Port) & a silver plated spirit label. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING.
Lot 334
SEVEN BOXES AND LOOSE MISCELLANEOUS ITEMS to include Leonardo Collection figures and ornaments, Juliana Collection, glassware to include pink pressed glass dressing table set, wine glasses, candlesticks, etc Chilson China part tea service, boxed spirit level by J Rabone & Sons, box of books, two Bretby style wall plates, cased binoculars, treen items, pictures, etc
Lot 289
Dan Fern (British, B. 1945) "Board Games" Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover of the Great Britain 19p Toys and Games stamp issued May 16, 1989. Zipping round and round with dazzling speed, new toy trains and racing cars are always a source of excitement -- and by time honored tradition sometimes more so to the father than his son. Still, when dad steps in and takes over, he can claim a certain amount of historical precedent. Originally, a "toy" was a pretty trifle made for adults, not children. Only in the 19th century did the word "toy" come to specifically mean a child's plaything -- and that was a long time after the first toy train had brought enjoyment. In fact, the earliest toy trains actually preceded the invention of the "Iron Horse" itself, with a line of wheeled playthings pulled along by hand. After the steam engine was invented, mechanical power gradually entered the toy box, too. Water-filled boilers were heated by methylated spirit burners, and the old toy pull trains were soon transformed into shiny lines of railroad cars hauled on miniature rails by chugging toy steam locomotives. Toy electric locomotives ensued in due course. Then, after the automobile was invented, toy "Tin Lizzies" also soon were delighting children of all ages. And it wasn't just the children's cars and racing car sets that became popular -- though America's fascination with the automobile is amply reflected in its toy boxes. Finely crafted precision miniature automobiles, some with intricate moving parts and costing hundreds of dollars, have become favorites with adult collectors. Image Size: 17.5 x 18.25 in. Overall Size: 21 x 22.75 in. Unframed. (B12017)
Lot 366
Mel Crawford (Canadian, B. 1925) "Santa Village/Child with Toys" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. The merry, generous spirit of the Christmas season is demonstrated by Americans in many ways -- through joyful yet reverent religious observances, brightly-decorated streetlights and home fronts, and gift-giving. In many western countries, mythological figures visit homes on moonlit nights during the yuletide season and leave presents for each slumbering inhabitant. In the United States, this figure is Santa Claus, a fictional character originally based on a bishop of the early Christian church. The kindly Nicholas often strolled his village streets at night and left presents for children on their doorsteps. For many centuries, the anniversary of his death was celebrated throughout Europe on December 6 with feasting and merrymaking. Over the next several centuries, this figure appeared in many other incarnations: Europe's Christkindli or the Christ Child, England's Father Christmas and, ultimately, America's Santa Claus. Irrepressibly jolly and unfailingly punctual, Santa visits every home each Christmas Eve to bring its children their hearts' desires -- perhaps new bicycles or playthings such as the intricate riverboat toy featured in this painting. Image Size: 14 x 12.25 in. Overall Size: 17.25 x 14.75 in. Unframed. (B06531)
Lot 395
Chris Calle (American, B. 1961) "Marshall Islands Christmas" Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands Christmas 2000 stamp issued October 26, 2000. On Christmas Day, men and women around the world set aside their differences and come together to celebrate the birth of Christ. The festive tradition of trimming the Christmas Tree originated in 16th century Germany. By the mid-1800s, the practice had spread throughout the world. Many holiday traditions have found their way across the vast reaches of the Pacific Ocean. Christmas has been celebrated in the Marshall Islands since the 1850s, when the first American Protestant missionaries arrived. In the Marshall Islands the Christmas spirit comes alive as colorful lights and ornaments decorate streets, shops, homes and trees. The Marshall Islanders have some of the most beautiful Christmas Trees in the world -- majestic palm trees showered with sparkling lights. Christmas is the most anticipated holiday in the Marshall Islands and is celebrated with festive foot-stomping dances and music. Image Size: 14.5 x 8.75 in. Overall Size: 17.75 x 12.25 in. Unframed. (B16881)
Lot 85
Erik Nitsche (Swiss, 1908 - 1998) "Graphic of Flags of United Nations" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Germany 80pf International Year of Peace stamp issued June 20, 1986. Since its founding in 1945 -- following the horrible struggle and destruction of World War II -- the member-countries of the United Nations have dedicated themselves to the mediation of international disputes to avoid armed conflict, and to engendering a spirit of peaceful cooperation between goverments around the world. During the celebration of the fortieth anniversary of the United Naitons, the General Assembly proclaimed 1986 as "The International Year of Peace." The year highlighted and promoted the joint efforts of United Nations member-countries in increasing the climate for world peace and cooperation. This artwork represents the national flags of the United Nations members in a cathedral-like abstraction, highlighted with the blue and white colors of the United Nations flag. Image Size: 12 x 14 in. Overall Size: 15 x 20 in. Unframed. (B10463)
Lot 8
A GEORGE III SILVER AND PATTERNED GREY STONE SNUFF BOX, c.1797, hallmarks missing, makers mark rubbed, of oval form, with presentation inscription on the bottom Patrick Teare of Tralee Esq., Co. Kerry. For thy public spirit and thy domestic virtues from the Landowner and farming Community of Tralee [...] 20th October 1797 6.5 cm wide
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