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Lot 721
THE EMPIRE COLLECTION - A limited edition 3233/10,000 full set of gold plated solid sterling silver 925 replicas of British Empire stamps . 25 in total, each with a detailed image of the original postage stamp .The stamps represented are from a range of countries from the Empire, marking the reigns of Queen Victoria through to QEII. Produced by R.C Frankcom. In leather presentation case with certificate.
Lot 102
Robert Ballagh (b.1943) Portrait of J.P. Donleavy Oil on canvas, 89 x 68.5cm (35 x 27'')Signed lower right Born to Irish immigrants in New York, James Patrick Donleavy (1926-2017) served in the US Navy during WWII and moved to Ireland in 1946 to attend Trinity College, which he did for several years, leaving without a degree. Invigorated by the work of Jack B Yeats, he took up painting, which was gradually supplanted by writing. His first novel, The Ginger Man, published in 1955 (its caddish title character generally thought to be based on one of his college contemporaries), established his literary reputation and was an enormous commercial success. It financed his purchase of a country estate on Lough Owel near Mullingar. Donleavy never gave up painting or drawing and began to exhibit more in the early 21st century. To mark his 60th birthday, the dealer Damien Matthews commissioned a portrait by Robert Ballagh.Ballagh visited Donleavy at his home and took a number of reference photographs. His outstanding portrait positions the writer seated with relaxed formality before a window flanked by white-painted shutters. The composition subtly references Edward McGuire’s iconic 1974 portrait of Seamus Heaney, seated at a table and holding a book. In the Ballagh painting, a small stack of books on the floor is topped by a first edition of The Ginger Man. Outside, budding montbretia add a dash of warm colour, though while a wry smile plays at the edge of Donleavy’s lips, his reflective gaze is cool and slightly sardonic - rather like his literary style. Soon after completion, the portrait was included in a retrospective of Ballagh’s work at the RHA Gallagher Gallery.One of the best-known and popular contemporary Irish artists, Ballagh is renowned for his portraiture, in which the detailed realism of his style is often leavened by wit. A Dubliner, he initially studied architecture at Bolton St but then diverted into playing bass guitar for a group called The Chessmen. A friend, artist Micheal Farrell, took him on as an assistant when he won a large commission. Ballagh’s natural facility, drafting skill and enthusiasm for Pop Art won him over to the visual arts and launched him on a remarkable and versatile career. Apart from many ambitious, large-scale subject paintings, his output has included more personal, autobiographical works, portraits, photographic work and design projects, from stamp design to book jackets and theatre sets - the latter including, most famously, Riverdance.Aidan Dunne, November 2019.
Lot 14
William John Leech RHA ROI (1881-1968)Boats Oil on panel, 37 x 46cm (14½ x 18'')SignedProvenance: Sent by W.J. Leech to Leo Smith, Dawson Gallery, via Bourlet, 20/03/51. Recorded in the list, for death duties, by Leo Smith, No. 26 'Boats', as works retained in the Dawson Gallery.Leech stayed at Christchurch, when May Botterell, then his long term partner, was ill and was cared for by her family at Burnley in the New Forest, which was close by. He wrote to his New Zealand friend S.L.Thompson, dated 5 May 1948; ‘I am not, however, at 20 Abbey Rd at the moment but at Christchurch, Hants,…..it is in sight of the Isle of Wight, on a land locked sea ….’ He painted the region, the old Church and graveyard and the River Stour, which is joined by the River Avon before it flows through the harbour into the English Channel. The harbour at Christchurch was used to land oysters, crab, lobster and cuttle fish and the river is navigable up to Tuckton where Leech also did a series of paintings ‘Tuckton Creek - Sunlight’ and ‘Tuckton Creek’ (Municipal Art Collection, Drogheda) which depict similar boats moored in the harbour as in ‘High tide on the Stour’, 1949 (Coll. Parknasilla Hotel, Kerry) which is a freely painted scene of still water with boats moored along the far bank. In the present work, ‘Boats’ similar, small, flat-bottomed rowing boats, moored along the banks of a river are depicted. Leech captures sunlight on the boats and water, using light tones of yellow and Cerulean blue. He paints the water and the reflections of the boats, bathed in sunshine, in a free, fluid style, rendering the viscosity of the water in strokes of light blues and soft greens. On the back of the painting, in Leech’s handwriting, he has written ‘Flake White’ and ‘Aureolin’ which is sometimes referred to as Cobalt Yellow, which may have been guidance to a picture restorer. Characteristically he has written in block letters ‘WAXED’ to prevent anyone varnishing the work. There is a stamp from the art supplier, L.Rontani, Rue de President, Nice on the back of the panel but Leech used materials he had previously purchased in France, where he had been unable to visit after the outbreak of the war in 1939. There is also a label referring to the Centenary Exhibition in Wellington, N.Z, 1939-1940 which Leech participated in, but it had to have been an earlier work than ‘Boats’. In his letter to S.L.Thompson, he wrote that ‘There is quite a lot of sunshine here, it must be one of the sunniest places in England, and there are boats and water……’ Leech has regained some of his former confidence in using light and colour and now, out of London, after the war, he is motivated by the colour of the boats on the water along the quiet estuary. There is a Bourlet Label on the back and checking the transport agents, Bourlet records, the firm brought in 8 works on 17:3:51. In a letter to Leo Smith on 20th March 1951, Leech wrote that he had ‘despatched to Bourlet’s yesterday for you. It may be necessary to add a little to the prices to help cover the expense of framing if that is rather a heavy item as it may be these times.’ One of these 8 works, No.3, is titled ‘Boats’, which is oil on panel and which is the same size as the present work. These 8 works were sent to the Dawson Gallery for Leech’s solo exhibition of thirty-three works, planned for May 1951 with Sean Keating opening the show. Leech had already sent over eighteen paintings in August 1950 and a further fourteen paintings in October 1950. In his letter to Leo Smith he wrote: ‘I do hope you will like them, I think they are rather a good lot myself…. I hope you will let me know how you like the pictures, and that they will arrive quickly and safely.’ Dr Denise Ferran, October 2019.
Lot 182
Olympics, Munich 1972, a collection of 40+, 8x10", b/w press photos all by George Herringshaw each one with photographers stamp and details to reverse inc. track & field action, medal ceremonies, swimming, weightlifting events etc, noted Mark Spitz, David Wilkie, Teofilo Stevenson, Alan Minter, Mary Peters, Kip Keino, Lasse Viren, David Jenkins etc (all vg)
Lot 183
Olympics, Mexico 1968, a collection of approx 20, 8x10", b/w press photos all by George Herringshaw for track, field & equestrian events each one with photographers stamp and details to reverse inc. Jim Hines, Kip Keino, David Hemery, Marion Coates, David Broome, Bob Beamon, Dick Fosbury etc, sold with typed photo listing (vg/ex)
Lot 55
Motor Cycle Sport, a large collection of Motor Cycle event programmes, booklets etc, mostly 1940's onwards including Scrambling, Moto-Cross, Isle of Man TT, Grass Track etc, National & local events, noted programmes, Newbury v South Reading Grass Track meeting 24 July 1948, West London Scramble 1946, Brands Hatch Grass Track meeting 1947, Thruxton 7th International Motor Cycle Meeting 1956, Longmoor Trial & Scramble 19 Dec 1948, South Reading Scramble Meeting Beenham 20 June 1948, several issues of South Eastern Centre Gazette from 1938 onwards & others. Sold with a selection of colour photos 1970's onwards, a few motor cycle stamp sets & a set of Lambert & Butler Motor Cycles cigarette cards (gen gd) (1 large box)
Lot 301
PROPERTY FORMERLY OF THE HABSBURG IMPERIAL FAMILY AN AUSTRIAN IMPERIAL SILVER-MOUNTED GALA COACH HARNESS SET FROM THE PRINCIPE DI CAMPOFRANCO (1861-1924), LATE 19TH CENTURY together with eight harnesses, fifteen leather straps, twelve horse bridles, two sets of stirrups straps with one stirrup, one feeding bridle, two horse whips and one baton whip, one set of twelve chains, one large bundle of leather straps for various types of tack, two small decorative crowns to attach to tack, three part brown leather bridles, one red decorative head piece and chest piece, one decorative headpiece and chest piece, one numnah in two pieces with two brass decorative plates, two equine/tack tools, two miscellaneous decorative pieces, together with eight decorative plaques in two sets of four with the crowned cypher for Archduke Rainer Joseph of Austria (1783-1853), one document in German with an inventory, dated from July 1922, with the stamp of Frau Fürstin di Campofranco
Lot 38
‡A 32 BORE OTTOMAN MIQUELET-LOCK RIFLE (SHISHANA), TURKEY, LATE 18TH CENTURY with late 17th-century etched twist sighted barrel retained by five silver bands, rifled with seven grooves, cut with raised cartouche-shaped panels at the breech and muzzle, the former with brass-lined maker's stamp, tall standing back-sight pierced with a vertical arrangement of seven apertures, iron lock decorated with silver flowers, wooden full stock profusely inlaid with pierced and engraved silver plaques decorated with flowers and scrolls, and faceted butt impressed with a silver-lined mark on the spine, with a brass-tipped wooden ramrod 83.5 cm; 32 7/8 in barrel
Lot 11
ARCHITECTURESOANE (JOHN) Sketches in Architecture. Containing Plans and Elevations of Cottages, Villas, and Other Useful Buildings with Characteristic Scenery...[with] Six Designs for Improving and Embellishing Grounds. With Sections and Explanations by an Amateur [George Parkyns], 2 parts in 1 vol., second edition,54 engraved and aquatint plates, 4pp. publisher's advertisements at end, some spotting, half calf over marbled boards [Abbey Life 74; Harris 844], folio (412 x 283mm.), J. Taylor, 1798; Designs for Public and Private Buildings, FIRST EDITION, half-title, engraved pictorial title, 55 engraved plates, some spotting, 'The North Devon Atheneum, Barnstaple' stamp on title, spotting, modern half calf over marbled boards [Fowler 338], folio (488 x 290mm.), Priestley and Weale, 1837 (2)This lot is subject to the following lot symbols: •
Lot 130
LYCOPHRON?????????. Alexandra, sive cassandra, cum versione Latina Gulielmi canteri, text in Latin and Greek, woodcut device on title, title with part of blank area at fore-edge and upper margin torn away with old repair resulting in some discolouring, abrasion to device and old ink stamp partly erased [Adams L2108], [Heidelberg], Hieronymus Commelin, 1596--BAILE (GUILLAUME) Libellus de quantitate syllabarum Graecarum. Ejusdem alter de dialectis Graecorum libellus,, 2 parts, woodcut device on each parts title, woodcut ornament on colophon at end, some words in Greek, Lyon, Jean Pillehotte, 1590, 2 works bound in 1 vol., near contemporary brown morocco gilt, sides elaborately tooled with 3-line outer rule border, 2 inner borders of trailing fern and leaves, and flower heads (including thistle-head), enclosing central panel of leaf pattern around the arms of Nicolas de Villars, Bishop of Agen [Olivier 1519] with flowers in corners, flats spine with similar tools, joints neatly repaired, short thin old horizontal crack to spine, 8voThis lot is subject to the following lot symbols: •
Lot 21
HOPPUS (EDWARD)Practical Measuring Now Made Easy to the Meanest Capacity, FIRST EDITION, author's certification signature (worn) on verso of title, one engraved plate (without blank stub), part loss to one letter of imprint, early ink ownership struck through on title, pencil inscription of J.B. Purser (1869) on front free endpaper [ESTC T179483, 4 copies only; Harris 359], 1736; idem, second edition, author's certification signature on verso of title, folding engraved plate, without advertisement leaf, armorial bookplate of Peter Peckard (c.1718-1797, Master of Magdalene College, Cambridge), later bookplate of Philip Samuel, rebacked [ESTC T133665; Harris 360], 1738; idem, third edition '... Greatly Improved', author's certification signature on verso of title folding engraved plate (slightly shaved touching rule border), ownership inscription of Thomas Mitchell (1757) on title, small loss to extremities of spine [ESTC T133676, BL and Private Collection only; Harris 361], 1751; idem, fifth edition, folding engraved plate, lower cover detached, upper joint repaired [ESTC T44136, 2 copies only; Harris 363], 1759; idem, eighth edition, folding engraved plate, ownership inscription of Ino. Adcock, Leicestershire (1771) on front free endpaper [ESTC T174202], 1767; E. Wicksteed; idem, another edition, folding engraved plate, early inscription of Edmund Kitching, and later inscription of W. Rambord? on half-title, [ESTC T128241, 3 copies], for Messrs. Hawes, 1765; idem, another copy, ninth edition, variant with date on title-page, folding engraved plate, binding scuffed and worn [ESTC T78261; Harris 366; Kress 6798], J. and F. Rivington, 1771; idem, ninth edition, variant without date on title-page, folding engraved plate [UNRECORDED VARIANT, NOT ON ESTC], J. and F. Rivington, [?1771]; idem, tenth edition, variant with no date on title-page, folding engraved plate, ownership inscriptions ('Nov. 5th 1776, Matthew Bellen', and 'Johnson How, July 31 1815') on front free endpaper, small loss to head of spine [ESTC N20506, 2 copies], J. and F. Rivington, [?1776]; idem, tenth edition (variant with date on title-page), folding engraved plate, covers worn [ESTC T117426], J. F. and C. Rivington, 1777; idem, twelfth edition, variant with no date on title, folding engraved plate, ownership inscription of Josiah Barrat (1787) on front free endpaper [ESTC T133672], J. and F. Rivington, [?1780], idem, twelfth edition, folding engraved plate, rebacked [ESTC N20676; Harris 369], J.F. and C. Rivington, 1790; idem, thirteenth edition, folding engraved plate, ownership stamp of N. Hudleston, of Malton inside upper cover [ESTC N20485], A. Law [and others], 1792; idem, thirteenth edition (variant imprint and date), folding engraved plate (creased), rebacked [ESTC T128240; Harris 371], T. Longman, 1795, contemporary calf, worn, narrow 8vo; and 56 others, Hoppus' Practical Measuring, printed in London, Derby, Manchester, Edinburgh, York, Denbigh (in Welsh, 1816) and elsewhere, ranging from 1803 into the twentieth century (70)This lot is subject to the following lot symbols: •
Lot 257
ELIZABETH IInitial letter portrait, showing the Queen enthroned with orb and sceptre, with historiated first line incorporating the Tudor rose, drawn in pen-and-ink, on what appears to be an exemplification of common recovery pertaining to the Manor of Cheppeley, or Clopton, by Chipley Abbey, Poslingford, Suffolk, held by William Clopton of Long Melford and by Francis and his wife Elizabeth Clopton of Long Melford, Suffolk, subscribed in the name of Thomas Meade, Francis Wyndham and William Periam, Justices of the Common Pleas; collection stamp on verso of Erik Borje Israelson (1881-1931), Swedish manuscript collector and bookseller, on one sheet of vellum, Great Seal and associated tab lacking, some slight marking but overall in unusually fine, fresh and attractive condition, c.320 x 615mm., Westminster, 31 May [1583]
Lot 269
MONTAIGNE (MICHEL EYQUEM DE)The Essayes or Morall, Politike and Militarie Discourses, 3 parts in one vol., third edition of John Florio's translation, additional engraved title, with letterpress leaf of explanation, library stamp on verso of engraved title, a few leaves resized, library bookplate, modern quarter roan, rubbed [ESTC S114977], folio (280 x 170mm.), M. Flesher for R. Royston, 1632This lot is subject to the following lot symbols: •
Lot 284
GIACOMETTI (ALBERTO)Paris sans fin, FIRST EDITION, NUMBER 157 OF 250 COPIES, with the artist's signature stamp, 'sur velin d'Arches' paper, 150 lithographs by Giacometti, loose as issued in publisher's printed wrappers, glassine wrappers, cloth chemise and slipcase, folio (422 x 320mm.), Paris, Tériade, 1969This lot is subject to the following lot symbols: •
Lot 347
ARDIZZONE (EDWARD)The complete original artwork for 'Diana and Her Rhinoceros', on 18 sheets (of which some 2 parts joined), comprising: 14 original watercolours on 9 sheets (including front and back cover design, and 2 large double-page images); 16 original pen and ink illustrations on 9 sheets, most with printed text pasted in margins, occasional proof correction notes in pencil or pen relating to text and layout, 'Bodley Head' pictorial stamp on verso of most sheets, overall double-page sheet dimensions approximately 257 x 570mm., [c.1964]This lot is subject to Artist's Resale Right.
Lot 52
DARWIN (CHARLES)CAMERON (JULIA MARGARET) Portrait photograph of Charles Darwin, near half-length, facing left, albumen print, signed by the photographer under image 'From Life Registered Photograph (Copy Right)/ Julia Margaret Cameron', mounted on card (with embossed stamp of Colnaghi), framed and glazed [Cox & Ford 644], image 340 x 280mm., mount size 510 x 407mm., [Freshwater, I.O.W., copyright 23 July 1868]
Lot 56
FUCHS (LEONHARD)Primi de stirpium historia commentatiorum tomi vivae imagines, woodcut printer's device on title, 516 full-page woodcut illustrations with names at head in roman and gothic, 2 with early hand-colouring, B4 and last two leaves blank, opening gatherings slightly shaken, neat ink annotations in an early hand on several pages (usually a few words, more substantial on opening 3 cuts), contemporary blindstamped pigskin over boards, covers with roll-tool stamp of Lucretia, Justice and Prudence and date '1539', with larger date '1546' on upper cover, remnants of ink lettering on spine, fragment of old illuminated manuscript binding waste visible at opening hinge, slightly rubbed [Adams F1127; Nissen BBI 661], (170 x 110mm.), Basle, [Michael Isingrinius], 1545This lot is subject to the following lot symbols: •
Lot 83
ITALY - PHOTOGRAPHYMACPHERSON (ROBERT TURNBULL) A collection of eight large views of Rome comprising: Arch of Titus; Horse of Marcus Aurelius; Temple of Antonius and Faustina; 'Fresco on the Roof of a Church'; Church, and Museum of St. John Lateran; Column & Forum of Trajan; Cloaca Maxima; Stone Pines in the Garden of the Villa Pamphili, blindstamped signature (pencil number, and caption) on mount, approximately 300 x 400mm. or similar, [c.1860]--ALINARI (LEOPOLDO) Giotto's Bell Tower at Florence, Fratelli Alinari, blindstamp on the mount, image 432 x 322mm., [c.1860]--Cathedral of Santa Maria Assunta and the leaning Tower at Pisa (attribution by Camfield Wills), image 262 x 340mm., [c.1860], all mounted on original card--LOMBARDI PAOLO) A good group of 28 views of Siena (street scenes and churches with several fine interiors), together with architectural details, each with the blindstamp of Paolo Lombardi (1827-1890), images ranging from 340 x 258mm. to 248 x 198mm., 1860s and later--LUNGHI (P.) Seven views of churches, and two larger images of the Giotto fresco at Assisi, most with the stamp of Lunghi of Assisi on versos, images mostly 260 x 200mm., [c.1880], albumen prints; and approximately 83 other albumen prints, including views in Venice (21), Verona (30), Rome, Naples, Florence, Pavia, Milan, Monza, and others, most loose (a few on mounts), varying tones, various sizes (large group)
Lot 84
ITALY, EUROPE AND GREAT BRITAIN - PHOTOGRAPHYA collection of approximately 24 views in Italy including Rome, Venice, Naples and nearby coast by Carlo Ponti, and Robert Rive, albumen prints, various sizes, [1880s]--Album of views in Derbyshire (including Chatsworth, Haddon Hall, Bakewell, Alfreton, Wingfield Manor, Hardwick Hall, dated August 1877), and some neighbouring counties (Newstead Abbey, Chester), 59 albumen prints, a few by Frith Series, ownership stamp of H.C.J. Bunbury on upper cover, [c.1877]; Album of views in Great Britain (19), United States and Canada (24, photographers including J.S. Johnston, N.Y., and W. Notman, Montreal), and Northern Europe (20), albumen and gelatin silver prints, [late nineteenth century]--Album of views in Rome, Italy, approximately 70 albumen prints (of which 25 of paintings and artworks), mounted one per page, original white and red boards gilt, [1880s]--Album of views in Great Britain, upwards of 150 albumen prints, some professional (J. Valentine, and others), some amateur (including Blackheath, Lee and areas of outer parts of South London), [1880s/90s], unless otherwise mentioned contemporary half morocco, spines defective, folio; and 8 other albums of photography, mostly European/British views and artworks, with other loose photographs, including Switzerland (3 by Charnaux frères), Egypt and elsewhere (quantity)This lot is subject to the following lot symbols: •
Lot 90
SHEFIK (AHMED)Notes on a Visit to Sinai Monastery and a Motor Car Tour in Sinai Peninsula, in January 1926, first edition in English, AUTHOR'S PRESENTATION COPY, inscribed 'To Kaimakam L.H.C. Hatton Bey, [with mauve stamp] Lewa Director General, Frontier Administration' on the title, photographic portrait frontispiece of Fouad I, King of Egypt, 123 photographic illustrations on 85 plates, very short tear in fore-margin of a few plates, publisher's cloth-backed printed boards, light soiling, 4to, Cairo, Government Press, 1926; with 3 other items, including articles relating to the Nubian and Western Deserts extracted from Annales du Service des Antiquités de l'Egypte, and a typescript article (with pencil annotations) entitled 'Kufu's Treasure' (4)This lot is subject to the following lot symbols: •
Lot 188
Catholic Liturgy Breviarium Romanum ex Decreto Sacrosancti Concilii Tridenti restitutum. Venice: Apud Cieras, 1674. 4to (in 8s), full early tree calf, sometime sympathetically rebacked retaining original spine, spine decorated in gilt, contrasting morocco lettering-piece, two metal clasps (one detached but present), a.e.g.; printed in red and black, 11 full page eng. illus; provenance: Nashdom Abbey, Burnham (blind stamp to ffep). Occasional signs of restoration with slight affect to text. Bound with Officium de Septem Doloribus B. Mariae Virginis and Officium S. Caietani Confessoris (both same imprint) and with Officia Propria Sanctorum (seemingly from an unknown smaller work, mounted on larger paper to fit the binding). Horae Diurnae Breviarii Romani ex Decreto Sacrosancti Concilii Tridenti restituti...Venice: Sumptibus Pauli Balleonii, 1707. 8vo, full black leather,sometime rebacked, boards ruled in gilt with two metal clasps, marbled endpapers, a.e.g.; printed in red and black, eng. vignette to title, 4 eng. plates. Bound with a 54-page MSS Festa Sanctorum, dated 1709 at head of p.1. Missale Romanum Ex Decreto Sacro-Sancti Concilii Tridentini Restitutum. Lugduni: Petrus Valfray, 1730. 4to, full later leather, later fabric place holders to margins; printed in red and black, vignette to title, 3 full-page engravings, decorative woodcut tailpieces in red, plainsong to text. Bound with Supplementum Speciale ad Missale Romanum. J. Booker, 1811 and Missae Propriae Sanctorum Ordinis S. Benedicti. James Marmaduke, 1758. Some signs of restoration throughout. The Liturgy of the Hours New York: Catholic Book Publishing Corporation, 1975. 8vo (4 vols). Full limp leather (different colour for each vol), upper boards with central cross in blind, spines lettered directly in gilt, coloured markers, with loosely inserted bookmarks in each, also with Supplement in org. wrappers, all in black slipcase decorated with gilt cross as boards. Ordinis Fratrum Servorum Beatae Mariae Virginis Proprium Missarum. Curia Generalis O.S.M., 1965. 4to, red cloth, place markers to page edges, three coloured markers; printed in red and black. [5]
Lot 2200
'The Stamps of Royalty' a complete collection, issued by Hallmark Replicas, of 25 x sterling silver replicas of rare & famous stamps & comprising 5 x Victoria (including 1d red 1854, 4d carmine 1855 & £5 'Telegraph' stamp 1882), 3 x Edward VII (including £1 'Long Green' 1902), 4 x George V (including £1 'Sea Horses' 1913), 1 x Edward VIII 1d red definitive 1936, 6 x George VI (including 5 shillings 'Coat of Arms' 1939, £1 brown 1939 & 10 shillings 'St George & the Dragon' 1951) & 6 x Elizabeth II (including penny blue definitive 1953 & 10 shillings Ultramarine Definitive 1969); total sterling silver weight 480g, with certificate of authenticity & detailed information on the philatelic significance of each stamp (except the 1d red Definitive 1912); in an attractive fitted display cabinet, satinwood & afrormosia inlaid with rosewood; FDC
Lot 351
FILM POSTER: 'STAR WARS: EPISODE IV: A NEW HOPE' (1977) Paramount Pictures, Style A, One Sheet, International poster, Litho in USA. next to Union logo, NSS no. 77 / 21 - 0, three line NSS paragraph, without PG ratings box lower left, purple stamp lower centre 'Kenya Film Censorship Board, Nairobi, Approved', artwork Tom Jung, 103cm x 67.5cm within mount, framed and glazed. 1890
Lot 368
'PINOCCHIO' ANIMATION CEL AND 'SNOW WHITE AND THE SEVEN DWARFS' POSTER: an original hand-painted, production animation cell, from the 1987 fantasy adventure film 'Pinocchio and the Emperor of the Night', created by Filmation Associates Productions, California, the Filmation stamp l.h., 19.5cm x 28cm within mount, with the animator's original pencil sketch beneath, 19.5cm x 28cm, framed and glazed: sold with 'Snow White and the Seven Dwarfs', a 1983 re-release film poster, marked Bueno Vista Distribution Co. Inc, 1937, Technicolor, 53cm x 66cm, framed and glazed. (2) 4986
Lot 385
ALFRED HITCHCOCK / PATRICIA HITCHCOCK EPHEMERA: a collection of publicity photographs and personal letters written to British actor Peter Halliday from Patricia Hitchcock, 1950s - 1983, and an Order of Service for Alfred Hitchcock's Memorial Service, June 1980; the small collection includes a group of eight publicity photographs, depicting Alfred Hitchcock with his wife (film editor) Alma Reville, daughter Patricia, son-in-law Joseph E. Connell Junr, and grandaughters, CBS photo. by Gabor Rona red stamps on versos, and images of the director on various film sets with Joseph Cotton, Farley Granger, Ingrid Bergman, a sepia toned portrait of Patricia Hitchcock, Bill Doll & Company, Anita Playhouse, New York blue stamp on verso, mostly 25.5cm x 20cm, a group of six letters written by Patricia Hitchcock, from 1950 - 1983, to her close friend, British actor Peter Halliday, five handwritten, and one typed and signed, a few undated in their original California postmarked envelopes, approx. 360 lines on 20pp, two on printed headed notepaper from 1097 Belagio Road, Bel Air and 5227 Avenida Hacienda Tarzan, California, the contents are full of newsy Hollywood snippets, writing of her amusement Peter had seen 'Stage Fright' in German, the shock at the sudden death of Al Jolson, . . . 'I'd seen him the night before at a restaurant', . . . and Alan and Sue Ladd's accounts of 'terribly young soldiers returning from the front (Korea) battered and exhausted', a few casual references to her father, . . . 'Hitch has bought another car. A Chevrolet, we've left it in New York . . . , . . . 'still no work but I hope to be doing something in one of Daddy's shows in February', . . . together with a 10pp. Order of Service, and invitation card for Alfred Hitchcock's Memorial Service, Westminster Cathedral, Tuesday 3 June, 1980, with the LA Times newspaper obituary cutting loosely inserted.provenance: from the collection of British actor Peter Halliday by descent to the vendor.
Lot 399
ALEC GUINNESS: AN ORIGINAL SCRIPT FOR HIS PLAY 'GREAT EXPECTATIONS', ca.1939: approx. 34pp.of mimeographed typescript, later annotated in pencil throughout, believed by actress Sheila Roy, bound in buff coloured card covers with typescript title, and actress May Hallatt's name handwritten in pen above, first title page reads, 'Great Expectations, A Play By Alec Guinness, Constructed on the novel by Charles Dickens, Alec Guinness, Waddington, Lodsworth, Sussex', with embossed stamp of Mrs Marshall's Typewriting Office on The Strand.. * Alec Guinness adapted Charles Dickens's novel in 1939 for the stage, also playing the character 'Herbert Pocket', the play was a success, a young British film editor David Lean was one of the viewers, later casting Alec Guinness in his film adaptation of the play.Provenance: the script inherited by the vendor's wife, niece of film director Richard (Dick) McNaughton and actress Sheila Roy
Lot 402
CECIL B.DEMILLE PRODUCTIONS: a pre-production colour costume design for a gladiator, ca. 1950s, production ink stamp C.B. Demille Productions Art Dept., pencil annotations on verso 1. arm must move, 2. sew material to leather, 3. add thongs, 4. add felt at bottom or fix to sandal, 55.7cm x 36cm, framed and glazed. 2037
Lot 433
THE LONG GOOD FRIDAY (1980) FILM PRODUCTION SHOOTING SCRIPT: 116pp. a production shooting script, 116pp. of mimeographed typescript, including the pink, blue and green script revision pages made throughout July - August 1979, annotated throughout, bound in yellow card covers, front cover numbered 4 top l.h., cut out window showing the film title on first page, title page reads 'The Long Good Friday by Barrie Keefe, A Calendar Production for Black Lion Films Ltd., 5 - 7 Carnaby Street, London W1V 1PG, marked in pencil 'A/P Chris Griffin', final page with the black stamp 'Printed by Scripts Ltd. 8 Gerrard Street, London W1', the British gangster film starring Bob Hoskins and Helen Mirren, 30cm x 22cm.Provenance: the personal working script, as used on the film production by Associate Producer Chris Griffin.
Lot 23
A modern 9ct gold sapphire and diamond cluster ring, with central oval cut sapphire, measuring 6.4mm x 4.6mm x 2.6mm, totalling approx 0.57cts, in a rub over platinum setting, surrounded by twelve round brilliant cut diamonds, of two sizes the largest approx 0.06cts each, the smaller approx 0.04cts each, totalling approx 0.60cts, in platinum claw setting, with rubbed border, and side splayed shoulders, makers stamp V & Co, London 1997, ring size O½, 3g all in.
Lot 26
An late 20thC 18ct gold emerald and diamond ring, with central square cut emerald measuring 6mm x 5.8mm x 3.4mm, approx 0.74cts, in four claw setting, flanked by two round brilliant cut diamonds, each approx 0.30cts, in six claw platinum setting, of raised design, with pierced shoulders, with rubbed makers stamp, London 1970, ring size L½, 3.1g all in.
Lot 27
A modern emerald and diamond half hoop eternity ring, set with four round cut emeralds and three square cut diamonds, all in rub over setting, the emeralds measuring 2.8mm dia, 2mm deep, approx 0.07cts each, the diamonds measuring 2.4mm x 2.4,mm x 1.8mm, approx 0.10cts each, on plain band, hallmarked with 2000 memorial stamp, maker JDT, Birmingham, ring size M½, 3.3g all in.
Lot 30
An 18ct gold emerald and diamond set heart shaped pendant and chain, the heart set with thirteen round cut emeralds and sixteen illusion set diamonds, with openwork pierced back, the pendant drop set with four tiny diamonds, makers stamp TP, with 750 import marks, the pendant 2cm high x 1.4cm wide, on a modern 18ct gold chain, 42cm long overall, 7.2g all in.
Lot 688
Various books on nature, etc. Stamp (Sir Dudley) Nature Conservation In Britain, first edition with dust wrapper, various other similar, varying editions to include Dragonflies, Flowers of The Coast, Insect Natural History, Ramsbottom (John) Mushrooms and Toadstools, Yonge (CM) The Seashore, revised edition 1966, Moths, Axel (Herbert) and Husking (Eric) Minsmere Portrait of A Bird Reserve, signed by both authors, various other natural history books, David Attenborough, Skinner (Bernard) Moths of The British Isles, other books on beetles, land and water bugs, etc. (a quantity)
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