ONE HUNDRED AND ONE DALMATIANS (1961) - Roger Radcliffe Original Production Cel and Pencil Drawing Signed by Frank Thomas and Ollie Johnston - An original animation cel and signed production drawing featuring Roger Radcliffe from Walt Disney's 1961 animated film One Hundred and One Dalmatians.Original cels featuring Roger are increasingly scarce, and paired with a signed drawing like this featuring clean linework, classic expression, and excellent preservation, it is a must-have for collectors.The xerographic line and hand-painted cel show Roger in a defining pose, tall, expressive, and pipe in hand, in his London flat with the famous family portrait of Pongo and Perdita behind him. The cel is placed over a colour-printed presentation background.The accompanying drawing, rendered in graphite on 16-field animation paper, captures the same elegant line and caricature that made Roger one of the most successful examples of Disney's stylised human animation. He is pictured holding his pipe in a fun pose that reflects the lean, angular animation style introduced in the film. A notation on the upper right reads "Dialogue Only". The drawing is numbered "11", with Disney's three-peg registration punched along the bottom edge.The drawing is signed by Frank Thomas and Ollie Johnston, two of Walt Disney's Nine Old Men and core directing animators known for their expressive, emotionally grounded character work. There is a minor tear along the top edge of the drawing. Dimensions (cel): 28 cm x 43 cm (11" x 17"); (drawing): 31.75 cm x 39.5 cm (12.5" x 15.5")Sold without copyright; see copyright notice in the Buyer's Guide.The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M
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PINK FLOYD: THE WALL (1982) - Framed The Judge Production Cel Display - A hand-painted production cel of The Judge, from the notorious animated trial sequence in Alan Parker's film adaptation of Pink Floyd: The Wall (1982), designed and directed by artist Gerald Scarfe.The character of The Judge is one of the most memorable and disturbing of the animated figures Scarfe created for the film - part theatre of the absurd, part nightmarish authority figure. Rendered with a raw anatomical style and a lip-lined chasm where a face should be, The Judge acts as both a grotesque caricature and a symbolic enforcer of psychological punishment.This cel was sourced from the 1990 charity auction held at Christie's South Kensington, created to coincide with Roger Waters' The Wall - Live in Berlin. Only a small number of production cels were released at this time, each accompanied by a certificate of authenticity personally signed by both Gerald Scarfe and Roger Waters, as seen here.This cel, used in the film's production, depicts the grotesque character in his full fleshy form as he prepares to render his damning verdict on Pink. It shows him mid-movement, painted in vivid tones against a beautifully airbrushed starry background. This is a rare opportunity to acquire a screen-used production cel from arguably one of the most visually daring and culturally significant animated sequences ever committed to film. The cel comes displayed within a frame with the certificate situated underneath. Dimensions (framed): 83 cm x 56 cm x 2.5 cm (32.75" x 22" x 1")Sold without copyright; see copyright notice in the Buyer's Guide.VAT Status: M
A collection of items relating to the Rt. Hon. John Silkin MP (1923-87), Labour Cabinet politician under Jim Callaghan; including a model cannon presented to him in 1981, in glazed case, 20 x 38cm; his 'Treasurer of the Household' wand or staff when Privy Councillor with presentation inscription; with a collection of 14 political cartoons, certificates and prints all related to John Silkin, including a photograph of Jim Callaghan's Cabinet, signed by the members below; and a glass cased caricature model of Silkin as John Bull, 39 x 33cm (case)
Twelve assorted 19th century and later prints, hunting prints and caricatures, including four late Victorian Vanity Fair 'Spy' caricature prints including 'Bradford Goods', 'Pompo', 'The Recorder' and 'An Attributer', all 35 x 21cm, also a set of five black and white caricature prints from the New Statesman and Nation, 1933, all 32.5 x 22.5cm, all framed and glazed, a pair of hunting prints including 'Woodcock Shooting' and 'Pheasant Shooting', both 13.5 x 18cm, both framed and glazed (12).
JOHN DOYLE; a set of three 19th century caricature prints, comprising 'A Melancholy Consolation', 'The House Wot Keeps Bad Hours' and 'The Judgment of Midas', all Thomas McLean, 26 Haymarket, May 11th 1832, largest 27.5 x 42cm, framed and glazed, and a further political caricature print, 'Public House Politicians', 23 x 33cm, unframed (4).
AN ILLUSTRATED DOUBLE-SIDED FOLIO OF A NEPALESE MANUSCRIPT: THE DAKINI VILASINI AND THE VEDIC GOD INDRA PROPERTY FROM A CANADIAN COLLECTION Nepal, second half 17th centuryOpaque pigments and red and black ink on wove paper, the horizontal-format folio depicting on one side a blue-skinned female figure holding a flower garland and a black string with pom-poms in her hands, the subject accompanied by a double caption in red and black ink Devanagari script reading Vilasini, a reference to the Buddhist dakini or the Hindu shakti goddess bearing the same name, the Playful One, servant of Kama, the Lord of Love, with three further lines of script; and on the reverse a crowned and bejewelled deity with halo - likely Indra, God of Rain and King of the Heavens, riding a caparisoned white elephant, followed by three lines of text and a smaller, later-added red line drawing at the bottom corner depicting a nobleman or courtier holding a lotus blossom, likely a caricature or humorous portrait, the overall composition and design inspired by Medieval Pala illustrated palm-leaf manuscripts.11.5cm x 18.5cm Provenance: Private German collection, acquired in the 1970s. For a similar group of loose illustrated Nepali folios dated 1650 - 1675, please see Christie's London, 25 May 2017, lot 27. 11.5cm x 18.5cm Qty: 1
Saint-Exupéry (Antoine de, 1900-1944). Pilote de guerre (Flight to Arras), 1st edition, New York: Reynal & Hitchcock for Éditions de la Maison française, [February 1942], uncut and unopened, ink signed presentation inscription to Dido Freire from the author at head of half-title, ‘En souvenir d'une vielle amitié ... et pour qu'elle me pardonne d'être falument insupportable dans les discussions ... Antoine de Saint Exupéry ’, (‘In memory of an old friendship... and so that she would forgive me for being so unbearably annoying in discussions...’), with a fine pencil self-portrait caricature in pencil beneath, showing a ‘winged poet’ standing on a fluffy cloud with the sun and two stars, the torso of the figure inscribed ‘Ca c’est moi’, and in the lower right corner below is drawn the curve of Earth featuring two trees and a church with a plume of rising smoke, to which the author has captioned, ‘Ca c'est la fumée de l'incendie d'Arras’ (‘That's the smoke from the Arras fire’), the blank endpaper facing with a pen and ink and pencil sketch of the head of Saint-Exupéry in profile, a cigarette in his mouth, ink signed 5-line presentation inscription from the artist beneath, ‘Ca c'est St Ex vu par moi, Bernard Lamotte, à Dido Freire, très amicalement’, (‘This is St Ex as seen by me, Bernard Lamotte, to Dido Freire with kind regards’), original light grey wrappers printed in red and black, some marginal toning to covers and light toning at head and foot of spine, chipped and fragile glassine dust jacket with blind-stamped spider-web design, lacking the spine but otherwise largely present and including turn-ins, 4toQTY: (3)NOTE:Provenance: From the family of Jean Renoir, by descent.Limited edition, 11/50 copies on Text paper, after a unique copy on vellum for the author (lettered ‘A’) and 25 lettered copies (B-Z) on Strathmore. A further 450 copies (51-500) were printed on Corsican paper.First edition of this celebrated war novel in which Antoine de Saint-Exupéry tells the story of the aerial reconnaissance mission he flew over Arras in 1940 aboard his Bloch MB.174 aircraft, published at the same time as the English translation. The first edition in France was published by Gallimard in November 1942. Bernard Lamotte, who met Saint-Exupéry at the Ecole des Beaux-Arts in 1920, moved to New York in 1935. They remained close friends and it was Lamotte who illustrated the first appearance of Pilote de guerre when it was published in the Atlantic Monthly magazine in January 1942. These illustrations do not appear in this French language edition but were reproduced in the simultaneously published original English edition of Pilote de guerre (Flight to Arras).A highly significant association copy, the book is accompanied by two Autograph Letters Signed by Saint-Exupéry. Both are undated [early 1942] one-page quarto letters to Dido Freire. The first is in pencil (the same as used for the drawing in the book), the second in ink, and featuring a small full-length self-portrait caricature at the head. Like the self-portrait in the book the drawing foreshadows the figure of the Petit Prince, about whose exploits Saint-Exupéry was to write a year later.Letter one:Chere Didot Voulez vous accepter ce petit souvenir en souvenir des jours heureux que j'ai reçu Hollywood Boulevard. Embrasser Jean Renoir pour moi et envoyer à ma profonde reconnaissance. Pardonnez moi ce mot si court mais je suis encore tout raplapla... StEx.(‘Will you accept this little souvenir in memory of the happy days I received on Hollywood Boulevard? Give Jean Renoir a kiss for me and send it with my deep gratitude. Forgive me for this short note, but I am still all worn out...’)Letter two:Chere Dido Pardonnez moi de n'avoir fait faire d'exemplaire nominatif que pour Jean mais je ne rispesais que des 26 lettres de l'alphabet pour dire mon attachement aux miens et à tous mes vieux amis de France. (Mais je vous envoi le meilleur des papiers que je retienne en delors des 26.) Embrasser Jean pour moi et charger le de vous embrasser de ma part (vous n'y parviendrez jamais toute seule.) StEx.(‘Forgive me for not having a personal edition made just for Jean, but I only had the 26 letters of the alphabet to express my affection for my family and all my old friends in France. (But I'm sending you the best of all the materials I've retained beyond the 26). Kiss Jean for me and ask him to kiss you on my behalf (you'll never succeed at it alone.’)The relationship between Jean Renoir, his then second wife-to-be, Dido Freire, and Saint-Exupéry was a very close one. Both Renoir and Saint-Exupéry had a great sense of humour and big appetites for life.After Germany invaded France in May 1940, Jean Renoir fled to the United States with Dido Freire. ‘Dido and I travelled by sea from Marseilles to Algeria, Morocco and Lisbon... At Lisbon we got places on an American ship, and I was delighted to find myself sharing a cabin with none other than the writer Saint-Exupéry.’ (Jean Renoir, Life and Letters). On the voyage, Renoir read Saint-Exupéry’s Terre des Hommes (Wind, Sand and Stars) and was overwhelmed by it. Renoir, (son of the artist Pierre-Auguste Renoir), was an aviation fan himself and had flown reconnaissance missions in World War I. Renoir became determined to make a film of the book, with Saint-Exupéry as the script writer. They worked on it together for a year but Renoir could not get the backing and the project was eventually abandoned.During the course of 1941 Saint-Exupéry spent time living with Jean and Dido as their house guest. During this time he was writing Pilote de Guerre, and this special presentation copy is a token for the Renoirs’ hospitality and friendship.It was a year later that Saint-Exupéry was to write Le Petit Prince, (first published in April 1943), so the finalised figure of the Little Prince did not exist at this point. However, Saint-Exupéry was well-known for doodling in margins of everything he wrote and there are numerous prototype figures, many based on himself, a ‘winged poet’, that bear resemblance to the famous creation. These two drawings offered here are striking in their similarities to the prince, (though without the golden hair), and indicate that his famous creation was already in embryo form when he presented these letters and books to Dido and Jean Renoir in early 1942. Indeed, the iconic cover illustration for Le Petit Prince (The Little Prince) might be taken as plagiarism of the drawing in this book, were it not also Saint-Exupéry’s own work.The Little Prince became Saint-Exupéry's most successful work, translated into over 500 languages, and selling an estimated 140 million copies worldwide. For more information about the Little Prince manuscript and drawings, see https://www.themorgan.org/collection/little-prince.
An early to mid 20th century autograph and sketch book, with various drawings or paintings of period sketches, one by Hilda Heathcote (January 7th 1920), a drawing of a Lion by E.M. Lane 14/6/35; a caricature of golf intertest titled "And He Did!"; an Art Deco watercolour titled The Bathing Girl! dated 1922, with various signatures and autographs from 1910 - around 1930. In one album.
A rare English pearlware caricature mug, circa 1780, printed and hand-coloured with 'Signor Gruntinelli playing on a new instrument (call'd a Swinetta)', unmarked, 12cm high and 8cm diameter (restored)Provenance: With purchase receipt from Aurea Carter dated 2014 for £800.Footnote: Matthew Darly published the original print of this subject in 1774.Condition:Several restored long body cracks noted
Lotteries Collection of printed and manuscript ephemera, mainly 19th century Including: Thomas Bish (stockbroker), handbill advertising his the New State Lottery, 1811 (25 x 19.5cm); ‘Anticipation’, c.1813, original etched caricature (23 x 37cm), unsigned but in the manner of James Gillray etc., depicting men carousing round a table, celebrating British military victories over France, an advertisement for a lottery (dated 1813) on wall, speech bubbles reading ‘Great News!! Twenty Thousand Pounds, Peace & Plenty, Wellington for Ever, No Bonaparte, and Long Life to the Lottery’, etc.; Hornsby & Co., handbill advertising State Lottery tickets, 1790; printed advertisement for the Royal Exchange State Lottery Office with large woodcut vignette of the Royal Exchange (10 x 11.5cm); and 15 others similar, nearly all mounted (tipped or inset) (a folder)
* Gillray (James). The Plum Pudding in Danger;-or-State Epicures taking un Petit Souper..., H. Humphrey, 1805 [but H. G. Bohn impression circa 1851], hand-coloured etching, 260 x 365 mm, with another uncoloured caricature to versoQTY: (1)NOTE:British Museum Satires 10371. Arguably the most famous of Gillray's caricatures. William Pitt carves away the Americas from a plum pudding globe whilst a minuscule Napoleon cuts away Europe.
![* Schroeder (F.). Rundgemälde von Europa im August MDCCCXLIX, originally published in the Düsseldorfer Monatshefte [1849], li](https://cdn.globalauctionplatform.com/1abd0abd-582c-4c6b-bc15-b2f400ff235f/2598efad-548a-46b0-ad97-b2f4011cdf15/468x382.jpg)
* Schroeder (F.). Rundgemälde von Europa im August MDCCCXLIX, originally published in the Düsseldorfer Monatshefte [1849], lithographic caricature, trimmed to the neatline along the upper sheet edge, margin replaced and extended, with another four stiral caricatures from the same publication. each approximately 190 x 230 mm, together with Appleyard (E. publisher). A Warning to John Bull !!! Not to be caught napping, or he'll Nap it as the French did. published in The Cat O' Nine Tails Cartoons, 1871. woodblock caricature of Otto von Bismarck & Emperor Wilhelm 'dining' on the spoils of their recent territorial conquests, slight marginal soiling, old folds strengthened on verso, the whole backed with archival tissue, 265 x 345 mm, with Belloguet (A.). Pilor - Phrenologie - Bismarkoff I, Paris, 1871, wood engraved caricature of Otto von Bismarck with his face composed of various maps with blood dripping from his moustache, slight marginal soiling, sheet size 310 x 250 mmQTY: (7)
* Gillray (James). A New Map of England & France. The French Invasion;-or-John Bull bombarding the Bum-Boats, H. Humphrey Nov 5th 1793 [but H. G. Bohn edition, circa 1851], hand-coloured etched allegorical map, 350 x 250 mm, together with Fighting for the Dunghill;-or-Jack Tar settling Buonaparte, H. Humphrey Nov. 20th. 1798 [but H. G. Bohn edition, circa 1851], hand coloured engraved caricature showing Jack Tar/John Bull giving a bare-chested Napoleon a bloody nose as they straddle the northern hemisphere of a globe showing Europe, uncoloured caricature on verso, 280 x 365 mmQTY: (2)NOTE:The first item described is a gloriously rude caricature which shows a stylised map of England and Wales with the county of Durham turned into the face of King George III. The king is shown defecating on France; his faeces gradually evolving into warships which threaten the coast of northern France. One of Gillray's most vulgar cartoons which captures the belligerent spirit of 'John Bull' in the face of the tyranny of France and Napoleon.
* Williams (Charles). Boney Bothered or an Unexpected Meeting, published by Thos. Tegg, July 9th, 1808, etched caricature with bright contemporary hand-colouring, slight marginal soiling and spotting, 345 x 245 mmQTY: (1)NOTE:This uncommon map-themed Napoleonic caricature references supposed French military intentions to extend the European war to Bengal and British India. In 1801, the Russian Tsar Paul I proposed secret plans for a joint Franco-Russian expedition against British India, with the idea being resurrected in 1807-8. Napoleon had been fascinated by the Orient since an early age and was a great admirer of Alexander the Great and his vast empire, and ever since his expedition to Egypt in 1798, he had harboured plans to form alliances with many of the native Indian princes, most notably Tipu Sultan, with the idea of fostering rebellion and overthrowing the British administration in Bengal. Napoleon's ambitions were thwarted by skilful British diplomacy combined with lavish gifts and incentives, together with the East India Company agreeing to train and modernise the Persian army, and following a new treaty agreed in 1809, Britain blocked any chance of French troops invading British India through Persia.
* Napoleonic Caricature. La Restitution ou Chaqu'un son Compte, circa 1815, anonymous etched caricature with contemporary hand-colouring, old folds, manuscript number '74' to the upper right corner, near contemporary manuscript ownership signature to the verso, 230 x 320 mmQTY: (1)NOTE:A rare map-themed caricature which alludes to the redrawing of the territorial boundaries of Europe after Napoleon's defeat at the Battle of Leipzig in 1813, the ensuing campaign in France, culminating in the occupation of Paris in March 1814 and Napoleon's abdication under the terms of the treaty of Fontainbleau in April 1814 and his subsequent exile to the Isle of Elba. The formal agreement for the redistribution of these territories was agreed at the Congress of Vienna in 1814 - 15.A seated Napoleon, enthusiastically helped by the Duke of Wellington, 'regurgitates' all the territories that had been subsumed into his empire. Parts of France, the Netherlands, Poland, Italy, Germany and Spain gush forth and spread across the floor, falling into a large sack of 'spoils'. The King of Spain (who had been imprisoned by Napoleon) strides away in the lower left, carrying his repossessed lands and territories under his arm. The red-jacketed figure of Joachim Murat - the King of Naples - and Napoleon's brother-in-law holds a rolled-up map of Sicily, though the one marked Naples has slipped from his grasp. Murat would eventually be captured by the Allied forces and executed by a Firing squad in October 1815. The Austrian Emperor, kneeling by the sack, holds aloft the territory of the Low Countries, but already in his back pocket are the maps of Venice and Piedmont. Adjacent to the Emperor, the King of Prussia, Frederick William III, stoops to pick up the town of Erfurt, whilst maps of Switzerland and Rosbach protrude from his coat pocket. In the background, a French delegation including a likeness of Napoleon's former Justice Minister, de Cambacérès, and two comic acolytes exit the scene by the Porte de Derrière, a less than subtle reference to de Cambacérès' openly acknowledged homosexuality.Though the caricature is listed in several French institutional collections, including the Bibliothèque Nationale, the Louvre, the Musée Carnavalet and the Musée de l'Armée, and copies are held by the Bodleian and the British Museum, it is rarely seen on the open market.
CHAGALL MARC: (1887-1985) Russian-born French artist. A good book signed, incorporating several original pen and ink illustrations by Chagall, being a softcover edition of Lumières allumées by Bella Chagall, First Edition of the French translation (by Ida Chagall), published by Editions des Trois Collines, Geneva-Paris, 1948, and featuring forty-five illustrations by Marc Chagall. Limited Edition of 2690 numbered copies (this copy being No. 1426) printed on wood-free vellum paper. Signed by Chagall in blue ink to the front free endpaper and dated Vence-Bern, 1958 in his hand. Above his signature Chagall has added three simple, attractive original black pen and ink illustrations of spruce trees and, continuing with the Christmas tree theme, has also added a pen and ink drawing of a bauble to the base of the page, incorporating an appealing self-caricature within the glass ornament. Bound in the publisher´s illustrated paper wrappers. VG
FOUJITA TSUGUHARU: (1886-1968) Japanese-French painter and printmaker. A charming illustrated A.L.S., Foujita, one page, 8vo, Villiers-le-Bâcle, Gif, 1st August 1963, to Georges Prade and his wife (´Mon éternel voyageur´), in French. Foujita writes, in full (spelling and grammatical errors retained) ´Tu es vraiement coquet, tu me gate trop, les cartes par partout Reims, Davos, Milan, Suisse......etc. Merci, merci, fait bonne vacance avec Jip et Jean Noel. Amuse toi bien, mange bien dormir beaucoup. Il ne faut pas travailler car tu travaile trop en general, l´été c´est repos, fiche eu l´air, peter eu plein l´air. Voila c´est bon conseil. Moi est Kimiyo est clovés a la village. Je ne bouge pas je t´aime´ (Translation: ´You're really cute, you're too much for me, cards from everywhere Reims, Davos, Milan, Switzerland...etc. Thank you, thank you, have a good holiday with Jip and Jean Noel. Have fun, eat well and sleep a lot. You shouldn't work because you work too much in general. Summer is for resting, enjoying the outdoors and getting some fresh air. That's good advice. Kimiyo and I are crazy about the village. I'm not moving, I love you´). To the lower left corner of the page Foujita has drawn an amusing self-caricature depicting him naked, lying prone in a garden of flowers and with a house in the background. A large nail is driven into Foujita´s back, preventing him from moving. Accompanied by the original envelope hand addressed by Foujita. VGGeorges Prade (1904-1992) French journalist for the gastronomic press, and a Commander of the Order of the Coteaux de Champagne.
GERSHWIN IRA: (1896-1983) American lyricist who collaborated with his younger brother, composer George Gershwin. An attractive and amusing original blue pen and ink self-caricature signed by Gershwin to an oblong 12mo piece (approximately 11 x 7.5 cm), n.p., n.d. To the centre of the paper Gershwin has drawn a full-length sketch of himself elegantly taking a bow towards the viewer, adding the sentiment ´with every good wish´ in his hand above the caricature, and signing his name ´from Ira Gershwin´ below. Neatly laid down, G
AUTOGRAPH ALBUM: An autograph album containing over 60 signatures by various film and theatre actors and actresses, entertainers etc., including Margaret Lockwood, Michael Redgrave, Mai Zetterling, Jack Hawkins, Noel Coward, Ann Todd, Jean Kent, Vivien Leigh & Laurence Olivier (a good pair of signatures together on one page), Margot Grahame, Herbert Lom, Joyce Grenfell (with a charming self-caricature), Jon Pertwee, Robertson Hare, Sally Ann Howes, Alec Guinness, Helen Cherry, Alan Wheatley, Valerie Hobson, Anthony Steel, Terry-Thomas, Sid James, Richard Todd, Sydney Tafler, Patricia Dainton, Derek Bond, Lana Morris, Coleen Gray, Douglass Montgomery, Jeremy Spenser, John Mills, Roger Livesey etc.. A few signatures are in pencil and some pages are multiple signed. The majority of pages are neatly annotated in the hand of the collector to the corner indicating the venue and date when the signatures were obtained. Some light age wear, VG
TEMPLE SHIRLEY: (1928-2014) American child actress, recipient of the first special Juvenile Academy Award in 1935. Vintage signed and inscribed sepia 8 x 10 photograph of the young teenage actress in an engaging head and shoulders pose. Signed in dark fountain pen ink with a signature from the period, ´To Maxine, Love, Shirley Temple´. One very slight, minor corner crease; Jane Withers (1926-2021) American child actress. Vintage signed and inscribed sepia 8 x 10 photograph of the juvenile actress reclining in a half-length pose. Signed in dark fountain pen ink to a lighter area of the image, and further adding a small self-caricature in her hand at the base of the image. VG, 2
A LATE VICTORIAN/EARLY 20TH CENTURY WHITE METAL LOUIS WAIN STYLE CARICATURE CAT BABY RATTLE, coffin shape white metal rattle displaying a cat with monocle and walking stick, stamped 'Depose', fitted with a celluloid teething ring, approximate gross weight 24.5 grams (Condition Report: general light wear in keeping with age)
Birmingham City FC, a collection of 10 books and booklets inc. Players Souvenir Handbook 1956, 'Ten Years to Remember The Trevor Smith Story' 1960's, 'The Blues Are Back' Birmingham City Players Souvenir Booklet 1955/56, 'The Blues 1875-1956' caricature booklet by Norman Edwards, also 'Birmingham City A Complete Record' by Tony Matthews, 1995 etc (mostly gd/vg)
![[HOLLYWOOD - WALT DISNEY and OTHERS]An autograph album with numerous signatures of Golden Age stars. A 1930s oblong green lea](https://cdn.globalauctionplatform.com/63d3e3f8-fe96-4a18-98cf-b2ea011467be/b624b8fe-87cf-4f63-96bc-b2ea0116fa93/468x382.jpg)
[HOLLYWOOD - WALT DISNEY and OTHERS]An autograph album with numerous signatures of Golden Age stars. A 1930s oblong green leather autograph album with Art Deco clasp and vari-colored sheets within signed by Walt Disney and about a dozen other Golden Age stars. The album 4 1/2 x 6 1/2 inches. Some rubbing and stains to the album exterior, some spotting within and a faint tideline from an old dampstain to the upper page extremity and album rear.The signatures within this album were collected in 1939 by a young woman "brought to California by her great Aunt Mary Hildreth whose husband Samuel Clay Hildreth was a famous horse trainer in the early part of the 20th century. They attended the races at Santa Anita and many of the ‘stars’ were there." The album includes sheets signed by Walt Disney, Hal Roach (the producer/studio owner who was good friends with Disney), Joan Blondell, Mickey Rooney, Dick Powell, Ginger Rogers, Shirley Temple (on a mounted slip), tennis champion Helen Wills Moody with a small caricature and the date of 1939, Conrad Nagle, Joan Fontaine, Edward Arnold, Leslie Howard, and Olivia de Havilland.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
* EMILIO COIA (SCOTTISH 1911 - 1997), LEONARD BERNSTEIN ink on papermounted, framed and under glassimage size 23cm x 17cm, overall size 43cm x 36cm Note: Emilio Coia was born in Glasgow on 13 April 1911, the son of Giovanni Coia, an Italian immigrant who owned ice-cream shops and cafes in the city. Educated at St Mungo’s Academy, Glasgow, Coia began studying at the Glasgow School of Art in 1927, at the age of sixteen, under Maurice Greiffenhagen who quickly recognised his talents as a caricaturist. While still a student Coia drew for GUM – the Glasgow University Magazine, and was the first artist to cover the General Assembly of the Church of Scotland, for the Scots Observer. After five years at art school, and in the face of parental opposition to his marrying a protestant, Coia eloped to London with a fellow student. With just twelve pounds to his name, Coia touted his drawings around Fleet Street, selling his first caricatures to the Sunday Chronicle. He also contributed to Everybody’s, Bookman, the Daily Express, Tatler, Sketch, Passing Show, Sunday Referee, Week-end Review, News Chronicle and others. Coia was hailed as “the first Cubist caricaturist”, but in 1932 his association with the Sunday Chronicle came to a sudden end when the paper’s most influential columnist, Beverley Nichols, objected strongly to Coia’s drawing of his friend the novelist Ethel Mannin. He demanded that it be removed from the artist’s first one-man show at the Reid & Lefebre Gallery, London, and when Coia refused he was sacked by the Chronicle’s editor James Drawbell. Coia got a job as assistant advertising manager and later personnel manager at a heavy engineering firm in Rochester in Kent, which during the war years produced anti-aircraft shells and winches for the Admiralty. “The war divided me,” he later recalled: “I felt a Britisher, but my blood is Italian. I actually tried to join the British Army at Chatham Labour Exchange but I was told I was doing too important a job at the factory.” After the war he returned to advertising, working for the Dolcis Shoe Company and later for Saxone in Kilmarnock, before turning full-time freelance once more. Coia worked at first mostly for the Glasgow Evening Times, but when Roy Thomson bought the Scotsman in 1953, he was taken on by the editor Sir Alastair Dunnett as the paper’s first caricaturist. According to Coia, Dunnett assured him “I will never tell you who to draw”: “I will never disapprove of who you choose to draw and I will never interfere with your work.” From 1956 he produced daily drawings during the annual Edinburgh Festival, and was later also art critic for the Evening Times. From 1966 he was art adviser to the newly formed Scottish Television – for which he also produced live TV sketches. Coia was a flamboyant character. He enthusiastically kissed those he met on both cheeks, irrespective of gender, and always signed his letters “con amore”, although he could not speak Italian. His friend Jack McLean, columnist on the Scotsman, called him “Caesar in a Gucci blazer”, and claimed that Coia made his money “the way gypsies do, a bit of this, a bit of that, a lot of charm.” Stimulating and argumentative, he could be caustic, with a waspish wit, but he was also very generous and had many friends. Coia also drew and contributed art criticism for Scottish Field and lectured on art and caricature for the Scottish Arts Council and others. Elected President of the Glasgow Arts Club three times, he was a Fellow of the Royal Society of Edinburgh. In 1986 he was also awarded an Honorary Doctorate in Arts from the University of Strathclyde and in 1995 received an Honorary Fringe First from the Edinburgh International Festival. An admirer of Max Beerbohm, he drew in ink and pencil. Emilio Coia died of cancer in Glasgow on 17 June 1997.
* EMILIO COIA (SCOTTISH 1911 - 1997), SCOTTISH OPERA PRODUCER ANTHONY BESCH ink on paper, signed and titledmounted, framed and under glassimage size 33cm x 24cm, overall size 50cm x 40cm Note: Emilio Coia was born in Glasgow on 13 April 1911, the son of Giovanni Coia, an Italian immigrant who owned ice-cream shops and cafes in the city. Educated at St Mungo’s Academy, Glasgow, Coia began studying at the Glasgow School of Art in 1927, at the age of sixteen, under Maurice Greiffenhagen who quickly recognised his talents as a caricaturist. While still a student Coia drew for GUM – the Glasgow University Magazine, and was the first artist to cover the General Assembly of the Church of Scotland, for the Scots Observer. After five years at art school, and in the face of parental opposition to his marrying a protestant, Coia eloped to London with a fellow student. With just twelve pounds to his name, Coia touted his drawings around Fleet Street, selling his first caricatures to the Sunday Chronicle. He also contributed to Everybody’s, Bookman, the Daily Express, Tatler, Sketch, Passing Show, Sunday Referee, Week-end Review, News Chronicle and others. Coia was hailed as “the first Cubist caricaturist”, but in 1932 his association with the Sunday Chronicle came to a sudden end when the paper’s most influential columnist, Beverley Nichols, objected strongly to Coia’s drawing of his friend the novelist Ethel Mannin. He demanded that it be removed from the artist’s first one-man show at the Reid & Lefebre Gallery, London, and when Coia refused he was sacked by the Chronicle’s editor James Drawbell. Coia got a job as assistant advertising manager and later personnel manager at a heavy engineering firm in Rochester in Kent, which during the war years produced anti-aircraft shells and winches for the Admiralty. “The war divided me,” he later recalled: “I felt a Britisher, but my blood is Italian. I actually tried to join the British Army at Chatham Labour Exchange but I was told I was doing too important a job at the factory.” After the war he returned to advertising, working for the Dolcis Shoe Company and later for Saxone in Kilmarnock, before turning full-time freelance once more. Coia worked at first mostly for the Glasgow Evening Times, but when Roy Thomson bought the Scotsman in 1953, he was taken on by the editor Sir Alastair Dunnett as the paper’s first caricaturist. According to Coia, Dunnett assured him “I will never tell you who to draw”: “I will never disapprove of who you choose to draw and I will never interfere with your work.” From 1956 he produced daily drawings during the annual Edinburgh Festival, and was later also art critic for the Evening Times. From 1966 he was art adviser to the newly formed Scottish Television – for which he also produced live TV sketches. Coia was a flamboyant character. He enthusiastically kissed those he met on both cheeks, irrespective of gender, and always signed his letters “con amore”, although he could not speak Italian. His friend Jack McLean, columnist on the Scotsman, called him “Caesar in a Gucci blazer”, and claimed that Coia made his money “the way gypsies do, a bit of this, a bit of that, a lot of charm.” Stimulating and argumentative, he could be caustic, with a waspish wit, but he was also very generous and had many friends. Coia also drew and contributed art criticism for Scottish Field and lectured on art and caricature for the Scottish Arts Council and others. Elected President of the Glasgow Arts Club three times, he was a Fellow of the Royal Society of Edinburgh. In 1986 he was also awarded an Honorary Doctorate in Arts from the University of Strathclyde and in 1995 received an Honorary Fringe First from the Edinburgh International Festival. An admirer of Max Beerbohm, he drew in ink and pencil. Emilio Coia died of cancer in Glasgow on 17 June 1997.
Glenda Jackson signed 14x12 limited edition caricature by the artist Charles Griffin no 27/50. Good condition. 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
MARY TYLER MOOREScripts for Mary Tyler Moore television appearances including her final performance on Hot in Cleveland. About 12 stapled or paper-clipped scripts and related materials, the sheets 8 1/2 x 11 inches. Some wear and markings; Together with a caricature of Mary Tyler Moore, black ink on paper, signed indistinctly, 12 x 9 inches.Present is: A script for Mary Tyler Moore's role as Diane in "Hot in Cleveland," 2013, with Diane's lines marked in black (likely by Mary Tyler Moore), this was Mary Tyler Moore's final television appearance; a script for "The Ellen Show" dated 2001 signed on the top sheet "MT Moore" by Mary Tyler Moore; a script for Love Letters by A.R. Gurney signed on the top sheet "MT Moore" by Mary Tyler Moore and with some annotation; a script by Carl Reiner for The Dick Van Dyke Show Revisited, dated 2003; and materials relating to the "Mary & Rhoda," including a six page description of the show, this likely a fax, with an original pencil sketch of a flower in the lower margin in Mary Tyler Moore's hand; and four scripts for the pilot episode (including the "Writer's First Draft," two "Network Drafts," and one "Network Second Draft).
WW1 BRITSH PROPAGANDA 'KULTUR CROSS'. Scarce large size First World War British Anti German propaganda 'Kultur Cross', roughly cast in iron with caricature of Kaiser Wilhelm II and legend 'For Culture, Kaiser', 9.3 x 7.2 cm together with later length of iron cross ribbon. CR* Good overall condition with wear commensurate with age.
Great Britain 1890 Post Office Jubilee envelope - the 'Post Office Jumble' caricature by Harry Furniss, superb used in far better condition than usually seen and scarce as such, this example addressed to Major Evans, the author of 'The Mulready Envelope, with card enclosure. Accompanied by unused envelope and card.
Signed original lithograph titled Tehuantepec River by Miguel Covarrubias, created in 1951 and published by Associated American Artists. This limited edition lithograph of 250 presents a powerful image of a Tehuana woman balancing a basket atop her head, surrounded by others washing and gathering water along a riverbank. Covarrubias' distinctive style combines anthropological sensitivity with refined draftsmanship, portraying indigenous Mexican culture with grace and dignity. Miguel Covarrubias was a celebrated Mexican artist, author, ethnologist, and anthropologist. Born in Mexico City, he gained early prominence after moving to New York in 1923, contributing illustrations to Vanity Fair and The New Yorker. Covarrubias published influential works, including Island of Bali and Mexico South, and created acclaimed murals for the 1939 San Francisco World's Fair. His artwork often explored themes of cultural identity, Afro-Caribbean heritage, and Mexican indigenous life, blending caricature with modernist sensibilities. His maps and illustrations are especially prized for their educational and aesthetic value.The work is signed in pencil lower right and remains housed in its original black frame with gallery backing and extensive documentation, including artist biography and past auction records. Artist: Miguel Covarrubias (Mexican 1904-1957)Issued: 1951Dimensions: 14.75"L x 19"HCountry of Origin: MexicoCondition: Age related wear.
Three-piece Michael Jordan collectible lot featuring two trading cards mounted on individual plaques and a stylized figurine of Jordan in action. The cards are preserved under clear acrylic on wooden plaques, each with an engraved nameplate. One card is from the "Cards on Collecting" series showing Jordan in mid-play, while the other features bold typography with "Jordan is Back" and his #45 jersey. The figurine presents a caricature-style representation of Michael Jordan in motion, dribbling a basketball in uniform. A unique blend of display-ready tribute pieces ideal for any fan of the basketball legend.Dimensions: Largest item measures 6.25"HCondition: Age related wear.
‡ PAUL PETER PIECH (American, lived / worked Wales 1920-1996) four colour woodcut print - caricature of American diplomat and political scientist Henry Kissinger with the slogan, 'Gwleidydd Rhagrith / Hypocritical Politician', signed and dated 1990, 64 x 45cmsProvenance: private collection NetherlandsComments: unframed
§ Nathaniel Sparks RE (1880-1956) A Native of Sierra Leone oil on canvas, unframed and unstretched 110 x 83.5cm; together with the original copper printing plate, 16.5 x 13cm, and the signed, unframed etching, 23.5 x 16cm (3) Provenance: From the collection of Celia Barclay, close friend and biographer of the artist This striking half-length side-profile portrait, titled A Native of Sierra Leone, stands as the masterpiece of London etcher Nathaniel Sparks RE (1880–1957). Sparks, a cousin of the poet Thomas Hardy and the son of a violin restorer, lived much of his life overshadowed by his family's literary associations. Reserved in nature and often self-conscious about his slight build and unkempt appearance, Sparks remained largely out of the spotlight. Yet in this portrait, he makes a bold artistic declaration to both his contemporaries and modern viewers: 'This is my hand; this is my talent'.Painted during his student years at the Royal College of Art, c.1900–05, the work reflects a difficult period in Sparks’s life. He endured bullying and cruel caricatures from classmates, retreating into his studies and frequently copying Rembrandt prints. The painting reflects a growing academic and market interest in the Black model—long present in European art, yet historically overlooked. Artists have long sought to depict African sitters in ways that avoid caricature, instead capturing dignity and individuality. Sparks achieves this balance with remarkable sensitivity.The composition is simple but effective: a teal blue drapery suggests the sitter’s status or role, while a flat yellow background enhances the figure’s presence. Most notably, Sparks renders the sitter’s face with a high degree of finish, focusing on youthfulness and quiet beauty rather than embellishment.This portrait is a rare and important work within Sparks’s limited painted output. It is accompanied by the original copper etching plate, and the etching, of the same composition, created with equal technical finesse. The etching was selected by Sparks as his submission piece for membership in the Royal Society of Painter-Etchers and Engravers in 1905—a society he would formally join four years later. A copy of this etching is held in the Victoria and Albert Museum (RCAL.834-1916). Canvas is unstretched and has masking tape adhering the canvas selvedge to cardboard at the rear. There is a layer of dirt and fine craquelure networks throughout, both from impact and age. There is paint loss, particularly to the head of the sitter and to the edges of the canvas. The paint layer appears reasonably brittle. As the canvas is unstretchered there is undulation throughout. Please see additional images.
A collection of assorted ephemera, including album containing approx 34 C19th albumen views mainly of Egypt, including pyramids of Giza, Suez canal etc, some Hippolyte Arnoux, images mainly a little worn, creases at edges etc, housed in very worn oblong folio album; another album 40 mounted photographs c.1903-1907, some larger format approx 22 x 28cm, including Eton College, Windsor, various images of Etonians including group shots of pupils/classes, football XI 1906 with players captioned beneath in contemporary m/s, several images RMC Aldershot including "Old Etonians at RMC Winter 1907", with m/s captions listing names of those in photograph to card leaf abopve and below image, etc, oblong folio, old half calf worn; another similar C19th album containing mounted albumen print views Lynmouth, Clovelly, Monaco, Nice, Sark, Switzerland etc, plus many mounted 'Ape' caricature prints, folio, old half calf worn; plus a quantity of Victorian chromolitho scraps housed loose in plastic sleeves, some large including leaves, children etc; plus a 1941 manuscript album "Amusing trivialities", and two manuscript travel diairies, Spain 1949, and Sicily 1950
* Battle of Britain. Various ephemera belonging to Battle of Britain "Ace Flight Lieutenant Maurice "Mark" Mounsdon, 56 Squadron, a pencil drawn caricature portrait of Mounsdon by the renowned WWII RAF artist Pat Rooney, dated 1943 and inscribed "Mark", 39 x 26 cm, the wooden backboard inscribed '417871 F/Lt M.H. Mounsdon No.4. FIS at Cambridge (Marshalls) 1943, The Guinea Pig Club by Edward Bishop, 1963, dedicated to Mounsdon by the the author, a side profile colour print of a Hurricane I of 56 (Fighter) Squadron RAF North Weald, signed by Mounsdon, sheet size 29.5 x 44 cm, unframed, plus various related items including a black and white photograph of Mounsdon holding a rabbit, facsimile combat reports etcQTY: (1)NOTE:Provenance: The remaining items from the estate of Maurice Hewlett Mounsdon.Mounsdon's medals were sold at Dominic Winter Auctioneers in May 2022, lot 54 for premium inclusive £30,000.Flight Lieutenant Maurice Hewlett "Mark" Mounsdon (1918-2019) was born in Lichfield, Staffordshire he started training in the RAF on 24 August 1939 and joined 56 Squadron on 3 June 1940 in which Mounsdon flew Hurricanes during the Battle of Britain.On 25 July 1940, he probably destroyed a Ju87 "Stuka". On 13 August he destroyed a Me110, on 18 August he destroyed another Me110, he damaged a He111 on 24 August and destroyed a Me109 on 26 August.Mounsdon was shot down over Colchester on 31 August 1940. He survived but was badly burned and spent nine months recovering in Queen Victoria Hospital, East Grinstead from reconstructive surgery by a pioneering medical unit also known as the Guinea Pig Club.
A group of scrapbook pieces, collected by a British soldier based in India during the 1850s/60s, including: Pencil portrait of a W. G. Jalland, in military uniform, dated 1846, 11 x 8.8cm - Pencil drawing depicting 'Jalland after tiffin', 18 x 25cm - Pencil sketch of a bungalow in Cannanore (Kannur) - Pencil sketch of bungalow interior - 2 watercolour paintings depicting views of Fort St. George, Madras (Chennai) dated 1847 - Pen and ink picture of 'Labyrinth in the Soldier's Garden', surrounded by ink cartoons and riddles, tear and loss at fold - 2 watercolours of Indian temples/buildings - Pen and ink drawing of Indian building, 25.5 x 35.5cm - Watecolour of 'Punkah cooly', some loss - Full length portrait in pencil and watercolour, depicting 'Cuffy' - Cartoon caricature of British soldier - Pencil drawing of artillery mess house, 1867 - Pencil sketch of a skirmish - Pencil drawing of a bungalow - Manuscript of 'Charades', with cartoons and riddles - Large poster 'Punjab Almanac' for 1853, 84 x 50cm, some tears and loss - Map of Cawnpoor (Kanpur), 1842, some tears at folds - Manuscript map 'Plan of the House and Grounds Occupied by J. MacCarthy at Cannanore', dated 1849 - Manuscript architectural plan 'Of Our House at Cannanore', 1849, some loss at edges - Manuscript layout of bungalow, paper watermarked 1851 - Manuscript plan of military formation, paper watermarked 1860 - 2 documents 'Musketry Drill and Practice Return', headed 'Captain E. J. MacCarthy', 1862 - 2Watercolours depicting aspects of shells, very detailed and technically proficient, signed by W. J. MacCarthy, 1821 - Humorous cartoon in ink 'A Dance of Crotchets and Quavers', doodles and signature on verso for James MacCarthy - Pencil drawing of dog - Pencil drawing of oak leaves and acorns - Pencil drawing of residential street, some loss at edge - Pencil drawing of cottage, some loss at edges - Watercolour of trees, some loss at edges - Watercolour of coastal scene, some loss at edges - Manuscript copy of poem 'Palaemon's Dying Address to Arion (34)
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