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Lot 113
STAR WARS: RETURN OF THE JEDI (1983) - Cast and Crew-Autographed Original UK Quad - A cast and crew autographed original UK quad from the promotion of Richard Marquand's Star Wars: Return of the Jedi. This poster features an extensive collection of 79 signatures. Interestingly, Carrie Fisher signed the poster "Mrs Han Solo" below her autograph, which she only did at two signing events. The poster has been autographed in either black, blue, or silver marker by the following:David Prowse (Darth Vader); Mark Hamill (Luke); Carrie Fisher (Leia); Peter Mayhew (Chewbacca); Ian McDiarmid (Emperor); Kenny Baker (R2D2); Billy Dee Williams (Lando); Warwick Davis (Wicket); Anthony Daniels (C-3PO); Jeremy Bulloch (Boba Fett); Denis Lawson (Wedge); Derek Lyons (Medal Bearer); Jim Dowdall (Bespin Guard); Christopher Muncke (Cpt Khurgee); Angus McInnes (Gold Leader); Brian Johnson (SFX); Hugh Spight (Gamorrean Guard); Tim Rose (Admiral Ackbar); Paul Markham (Imperial Officer); Peter Roy (Imperial Officer); Simon J Williamson (Gamorrean Guard); Nelson Hall (Model Maker); Chris Bunn (Stormtrooper); Dickey Beer (Boba Stunts); Alan Swadon (Hoth Rebel); Russell Brooke (Rebel Pilot); Darrell Brooke (Rebel Pilot); Alan Austin (Stormtrooper); David Stone (B-Wing Pilot); Harley Cokeliss (2nd Unit Director); William Hoyland (Commander Igar); Richard Sidoli (Hoth Rebel); Eileen Roberts (Mosep); Robert Watts (Producer); Jack McKenzie (Cal Alder); Al Lampert (Daine Jir); Mike Edmonds (Logray); Paul Blake (Greedo); Danny D'Arcy (A-Wing Pilot); Catherine Munroe (Zuckuss); Ken Colley (Admiral Piet); Jonathon Oliver (Cpt Yorr); Bill Westley (2nd Unit Director); Andy Bradford (Lt Tanbris); Tim Dry (J'quille); Ron Hone (R2D2 SFX); Sean Crawford (Yak Face); Alan Harris (Bossk); Jim Marlow (C-3PO/Props); Nick Maley (Yoda Guy); John Coppinger (Jabba Sculptor); Peter Ross (Nikto); Stephen Calcutt (Chewbacca); Tina Simmons (Rebel Tech); Katie Purvis (Ewok); Gary Kurtz (Producer); Colin P Hunt (Prune Face); Pamela Betts (Ewok); Mark Capri (Officer M'Kae); Rusty Goffe (Ewok); Brian Wheeler (Jawa); Paul Weston (Nikto Vedain); Femi Taylor (Twilek); Garrick Hagon (Biggs); John Simpkin (Klaatu); Julian Glover (General Veers); Michael Carter (Bib Fortuna); Quentin Pierre (Royal Guard); Corey Dee Williams (Klaatu); Alan Tomkins (Art Director); Anthony Forrest (Sandtrooper); Pam Rose (Leelub); Robin Grantham (Make-up); John Cummings (Ewok); Michael Henbury (Ewok); Richard Oldfield (Rebel Pilot); Mike Stevens (Rebel Gunner); Shane Rimmer (Rebel Crew Chief) and Brian Muir (Vader Sculptor). Dimensions: 76.25 cm x 101.5 cm (30" x 40")Artist: Josh KirbyCondition: Very Fine+The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: M
Lot 397
PUP ON A PICNIC (1955) - Spike and Tyke Original Camera Layout Pencil Drawing - An original camera layout drawing showing Spike and Tyke used in the production of the beloved Tom and Jerry short Pup on a Picnic, directed by William Hanna and Joseph Barbera.This layout represents the opening scene and sets the stage for one of the most iconic recurring duos in animation history: Spike the Bulldog and his son Tyke. We see Spike proudly instructing his son ("That's my boy!") beside their kennels, with multiple position marks for Tyke across the sequence. To the left, outlines of Tom can be found, just follow his curling tail to where he's shown diving into the picnic basket and disrupting the peace. Even Jerry makes several outlined appearances in red pencil, dashing across the setup from right to left in his escape.This drawing is not just a scene layout; it's a piece of visual choreography. The artwork reveals how spatial design, timing, and movement came together before a single frame was painted. These layouts were foundational to story pacing and gag delivery, especially in a studio like MGM, where visual comedy was king. A rare survivor from a now largely lost production archive, this layout is dynamic, charming, and packed with historical significance.It is drawn in graphite with additional red and blue animation notes. This panoramic field sheet shows multiple placements of characters and actions. The annotations and camera instructions offer further insight into the animation process. "SAFETY LINE," "ADD 2'00," and references to props like the "basket-onion bag" and "table cloth" capture the layered, collaborative nature of Golden Age Animation production. A note in red describes a key moment of comic timing: "Tom pitches food up + hits Spike w/ tomato". There is a tiny tear on the bottom edge. Dimensions: 26.75 cm x 63.5 cm (10.5" x 25")Sold without copyright; see notice in the Buyer's Guide.VAT Status: M
Lot 363
HOW TO FISH (1942) - Goofy Original Production Cel - An original production cel from How to Fish, one of Disney's beloved "How To" shorts starring Goofy. The "How To" series began in the early 1940s and became one of Goofy's defining formats. These shorts, narrated with a mock-serious instructional tone, placed Goofy in a series of sporting situations intent on showing everyone 'how to' do it properly and encourage outdoor endeavours, like fishing, skiing, or golfing. The Goofy comedy unfolds through his bumbling but earnest attempts to master each task. The dry gravitas of the narration, offset by Goofy's slapstick chaos, became an enduring hallmark of the series.Goofy's character development through the 1930s and 1940s saw him evolve from a gangly background comic figure into a full-fledged star. Under the guidance of animators like Jack Kinney, who directed many of the "How To" shorts, and the voice talent of Pinto Colvig, Goofy was shaped into the lovable "everyman" audiences still cherish today. His clumsy resilience and good-natured optimism have made him one of Disney's most relatable and enduring characters.Artwise, these cels are beautifully crafted, with expressive linework, physical comedy, and fluid motion. The addition of effects like water splashes or props like the fishing rod added extra technical challenge and artistry to the production, making a cel setup like this especially appealing.This cel has been beautifully trimmed to the image, including the delicate splash effects and Goofy's fishing rod, and is presented on a Disneyland background that complements the action perfectly. With its fantastic pose and expression, this piece captures classic Goofy charm at its best. It comes presented in a card mount. Dimensions (mounted): 39.5 cm x 45.75 cm (15.5" x 18")Sold without copyright; see copyright notice in the Buyer's Guide.This item will ship from our LA facilityVAT Status: US
Lot 22
Wending Our Way Down West Bay'My design features a family herd of elephants walking together on the beach in front of the iconic cliffs of West Bay. It is a celebration of family, mutual support and cooperation, and the beautiful landscape of the area. Each elephant is unique, with distinctive personality and characteristics, yet they clearly belong together. 'by Julia KerrisonJulia Kerrison is an artist and illustrator living in Cornwall, but working all over the country - one of her favourite things about her job is that it allows her to travel and work with new people. She trained initially in the theatre before moving into fine art and illustration, and now specialise in murals and community art. She has a Masters degree in Authorial Illustration from Falmouth University, works regularly for festivals, circuses and theatre companies producing scenic art and props, and is a Trustee for the Lafrowda Arts Festival.Trail Location West Bay: Discovery Centre.
Lot 284
A Bassett-Lowke style scale model of a Royal Navy Destroyer, hand carved grey painted hull and wood decks with metal and tinplate fittings including 4.7 guns, anti-aircraft guns, torpedo tubes, , masts, deck rails, removable lower decks, approx. L.78cm (30 ¾ ”) long in fair to good original condition, missing props, no motor or makers plate/decal.
Lot 5
After Giovanni Francesco Venturini 'Fontana del Tritone a capo il Viale delle Fontanelle nel Giardino';'Fontana detta la Galera nel Giardino di Belvedere del Palazzo Pontificio'two engravings, published by Giovanni Giacomo de Rossi20.5 x 28.5cm and 21.5 x 30.5cm (2)Provenance: A private collection, Kensington, London.Condition ReportFramed: 31 x 38.5cm and 26 x 35cmFontana del Tritone appears to be in good order. Fontana detta la Galera has some discolouration, the print has been cut down and appears to be laid down. Not viewed out of glazed frames.
Lot 4
After Giovanni Battista Falda Fontane del Teatro della Villa Aldobrandina, Belvedere, Frascati;Fontana Rustica della Villa Aldobrandina, Belvedere, Frascati two engravings, published by Giovanni Giacomo de Rossiplate 21 x 28.5cm (2)Provenance: A private collection, Kensington, London.Condition ReportFramed: 29.5 x 37cm and 30.5 x 38cmTime staining. Discolouration and foxing to margins of Fontana Rustica. Not viewed out of glazed frames.
Lot 156
Fascinating pair of hand assembled miniature artist studio shadow box, each enclosed in a glass front wooden frame. The vertically oriented box depicts a detailed painter's studio complete with easel, artworks, palette, brushes, and scattered supplies beneath loft style rafters. The horizontally oriented scene showcases a theatrical dressing room with vanity, costume accessories, makeup details, flowers, and portraits. Each display exhibits highly detailed handcrafted props and layered backdrops. La Ruee Vers L'Art stamped to back. Issued: 20th c. Dimensions: Largest: 9"L x 12"W x 4.75"HCountry of Origin: France Condition: Age related wear.
Lot 315
Phillip Roth Three Publications WHEN SHE WAS GOOD By Phillip Roth (1967) First edition. Random House New York. Clean copy in VG dustwrapper. Not price clipped. Together with THE GREAT AMERICAN NOVEL By Phillip Roth (1973) Jonathan Cape. First edition No dust jacket and THE PLOT AGAINST AMERICA (2004) First edition Not price clipped (3)
Lot 324
Miniature Works POETICAL WORKS OF JOHN MILTON PARADISE LOST PARADISE REGAINED THE MASK OF COMUS L’ALLEGRO IL PENSEROSO By Elijah Fenton (1805) and THE SHIPWRECK By William Falconer (1806). Contemporary calf. Both published by W. Suttaby and C.Corrall, London. Together with POEMS By Ella Wheeler Wilcox (nd) Nimmo Hay & Mitchell and GEMS from Ella Wheeler Wilcox (1916) London: Hay &Hancock and one other minature (5)
Lot 314
20th Century Fiction WATERLAND By Graham Swift (1983) Reprint. Not price clipped. Together with THE HOBBIT By J.R.R. Tolkien (1990) George Allen & Unwin. Seventh impression. Clean copy in fine dust wrapper and PASSIONS OF THE MIND SELECTED WRITINGS By A.S.Byatt(1991) Chatto & Windus. First edition ANOTHER PART OF THE WOOD By Beryl Bainbridge (1979) Duckworth. Price clipped and FROM THE HEART OF THE COUNTRY By J.M. Coetzee (1977) First US edition and THE SECRET PILGRIM By John Le Carre (1991) Guild Publishing. Good clean collection (6)
Lot 1260
A 19th century hand made cream kid leather ladies ankle boot and four differing cream silk and satin single wedding shoes. All with leather soles. Possibly a traveller's sample range. Boots 24.5cm long ( heel to toe). Condition - fair. Could be of interest for costume designers, or as window props, or for collectors.
Lot 520
THE PHANTOM OF THE OPERAA Broadway Stage Worn Phantom's Mask. Mounted in a black shadowbox frame. This mask stage worn in a late Broadway production of The Phantom of the Opera. The mask about 9 x 6 inches, the shadowbox frame 12 x 12 x 5 inches. Light wear and small losses from stage use, not examined out of frame.Perhaps the most identifiable silhouette in Broadway history, the adaptation of the mask worn in The Phantom of the Opera has a complicated history. In Gaston Leroux's original novel, the Phantom, a tortured musical genius named Erik, is first introduced to us wearing a full black mask to cover a facial deformity. For the 1925 film adaptation, Lon Chaney famously rarely wore his mask, revealing his ghastly deformed face in full view in nearly every scene. In the 1943 remake starring Claude Rains, a bluish-white mask, stolen from the theater's prop department, covers 3/4 of the Phantom's face. But for Andrew Lloyd Webber's 1986 musical adaptation of Phantom, the famous split mask that we know today was not originally intended, and in fact a half mask was featured in previews and on the show's original poster (a discrepancy that remains to this day). According to the article Behind the Mask: The Evolution of the Phantom's Makeup on Andrew Lloyd Webber's website, it dawned Director Harold Prince during development that a full mask not only stifled star Michael Crawford's to fully belt out his songs but restricted the range of emotion the character could show with this face. Further, a split mask would visually juxtapose "the two conflicting sides of the Phantom’s character. The light and the dark, the good and the bad." The split mask was realized by original designer Maria Bjornson, who, as opposed to the earlier versions that had relied on stage props, envisioned the mask as made of porcelain with a glass eye, similar to the custom-made masks worn by World War I soldiers to obscure facial disfigurement caused by battle.Technical Production Manager Jake Bell's memories of The Phantom of the Opera:This Phantom mask was presented to Technical Production Manager Jake Bell upon the closing of the musical in April 2023, by then the longest running in Broadway history at 13,981 performances. Jake Bell had been with Phantom from the beginning, having been first hired by British Producer Cameron Mackintosh for the Broadway production in 1988 and continuing through decades of national and international tours. The show’s technical requirements were so advanced that many theaters had to undergo extensive renovations to accommodate it. An excavator was brought in to dig the basement 10 feet deeper, allowing the candles and candelabras—212 in total—to rise seamlessly from the stage floor. The expanded basement also provided space for a trap door, a retractable staircase, and the rising Paris Opera House roof dome. Further, steel support structures were installed to hold the massive proscenium and chandelier both of which hung over the audience. Suspended above the audience, the chandelier dramatically crashed onto the stage in one of the show’s most spectacular effects. The original Broadway chandelier remained in use throughout the show’s 35-year run. It was never replaced, thanks to meticulous maintenance—including rewiring, re-welding, replacing globes, repainting, and continuous cleaning. The chandelier was named “Ruthie II” after its London counterpart, “Ruthie I.” The name was in honor of Ruth Mitchell, Hal Prince’s formidable assistant, who was known for her strong personality and unmatched dedication.At the Majestic Theatre on 44th Street, Phantom was one of the first major productions to incorporate a fully computer-automated system. With 52 computer operated automated effects controlling both the deck scenery and fly system, manual operation would have been impossible due to the sheer volume of simultaneous cues. Computerization became essential.The show’s costumes were equally legendary. The beading, fabric selections, and intricate designs were breathtaking. The Masquerade Ball scene alone featured 50-60 costumes, with some discreetly placed on mannequins to enhance the grandeur. Christine’s wedding dress bustle weighed nearly 35 pounds. The U.S. National Tour required 1.5 full 48-foot tractor-trailers solely for transporting costumes. With its technical achievements, Phantom became a global phenomenon, captivating audiences across the world.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
Lot 530
CATSJake Bell’s Annotated Production Book and Script from Cats. An early production book with dates and notes relating to both the first Broadway production and the first National tour of Cats in 1983. The production book an old blue cloth covered three ring binder with a label to the upper cover reading "CATS NEW YORK COMPANY/PRODUCTION BOOK JAKE'S COPY," this without a general title leaf but opening with the Contact Sheet for the show dated 10 October 1983 (listing producers Cameron Mackintosh, David Geffen, The Shubert Organization), the Broadway cast list and contract assignments, prop list, the "Magic Sheet" breaking down each role, this all preceding the script (about 58 pages with hand-annotation), at the end is the contact list for the first national Cats tour, dated November 1983. Some wear and soiling from use. The script is brad-bound and the black cover is lettered in gold, the title page is dated October 1982 from the Winter Garden Theatre (this the month the musical opened on Broadway). 52 pages. A fine and clean copy, without annotation. Cats was a remarkably innovative show when it first opened on Broadway in October 1982. Perhaps the first Broadway musical to do so, the show broke down the proscenium, offering some seats on stage around the revolving stage for an immersive viewing experience. The technical requirements of the show demanded renovations to the theaters in both London and New York, and when the costs of John Napier's costumes are added in, Cats was the most expensive show to open on Broadway to that date, but it was profitable quickly. In 1997, Cats overtook A Chorus Line as the longest running show in Broadway history, a record until 2006 when surpassed by another Andrew Lloyd Webber musical produced by Cameron Mackintosh and technically managed by Jake Bell: The Phantom of the Opera. Cats remains the fifth-longest show in Broadway history. A national tour of Cats opened in 1983, running through 1987, and this book relates to both the first Broadway and first national tour of Cats. Technical Production Manager Jake Bell's memories of Cats:Created by Andrew Lloyd Webber, Cats was first produced in London by Cameron Mackintosh, directed by Trevor Nunn, choreographed by Gillian Lynne, and designed by John Napier. It opened on Broadway in 1982 at the Winter Garden Theatre. Based on T.S. Eliot’s poetry collection Old Possum’s Book of Practical Cats, at the time Cats was conceptually groundbreaking in that, unlike traditional musical,s it was not about human characters - it was about cats - and the story was told entirely through music, dance, and poetry, with no spoken dialogue.The set was an oversized junkyard, designed to make the human actors appear cat-sized. Key set pieces included a giant sneaker, the trunk of a broken-down car (often used as a cat slide), an enormous Heinz Baked Beans can, and a large tire—creating an immersive, whimsical playground for the feline characters. Audience interaction was another defining element. Select tickets were sold for onstage seating, allowing some audience members to be a direct part of the performance. The onstage seating allowed these guests to experience their own immersive "theater in the round." During intermission, other audience members were invited onstage to explore the set and interact with Old Deuteronomy, who remained seated on the oversized junkyard tire.Cats was arguably the introduction of the "mega-musical" to the world, delivering an unprecedented visual and theatrical spectacle that stunned audiences, particularly those in middle America, who had never seen anything like it before.Beyond Broadway, Jake worked on four national tours of Cats. Unlike the Broadway production, where the theater was physically renovated to accommodate the show, the touring companies had to adapt to each venue. The team pre-surveyed theaters across the country, modifying the set to fit within different proscenium sizes while covering existing architecture to create a seamless illusion. The orchestra pit was concealed, and the set decoration pieces were mounted on a frame customized to each specific theater. As on Broadway, the orchestra itself was positioned offstage.Cats was one of the first Broadway productions to fully embrace wireless microphone technology. Every principal character wore a wireless microphone, which was discreetly embedded into their wigs—an innovation at the time. The hydraulic lift for the giant tire, which carried Grizabella to the "Heaviside Layer," was the single most expensive item in the production budget. However, just as crucial to the show’s identity were its elaborate makeup and costuming. A Makeup Bible was created for all Cats productions worldwide. Each actor’s makeup design, paired with a handmade wig (crafted from yak hair), was carefully documented with a photograph and matched to John Napier’s original sketches. Napier, who designed not only the scenery and props but also the costumes, hair, and makeup, ensured that this signature look remained consistent across all productions.Cats was the first show to completely rethink the layout of an entire theater, from the audience seating to the back wall of the stage. The Winter Garden Theatre was permanently remodeled to accommodate the production. Seats were removed, the orchestra pit was eliminated, and the proscenium arch was taken down. The orchestra itself was relocated offstage, positioned upstage left in the wings. The immersive junkyard set extended out into the audience, enveloping theatergoers in the world of the show. This was particularly exciting for children, who felt as if they were truly inside a cat's domain. Even the dry ice used to mask the hydraulic lift as it raised Grizabella floated into the front rows, further blending the stage with the audience. The cast frequently entered from the rear and sides of the house, reinforcing the illusion that the entire theater was part of their world.When the Broadway production of Cats closed in 2000 after 18 years and 7,485 performances, the stage and house crews had to restore the Winter Garden Theatre to its original state. The removed seats were reinstalled, the orchestra pit was rebuilt, and the proscenium was reconstructed to prepare the venue for future productions. 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
Lot 529
CATSA stage-used newspaper and much promotional material from Cats. Includes a stage-used fabric newspaper used as part of the "junk yard" scenery and made of scrim material, about 30 x 36 inches with irregular edges; the printed large-format Cats Chorus Book, 1982, being a reproduction of the manuscript of the score, 13 x 11 inches, this likely for cast use, tears and small losses, the spine tape repaired, stain to first leaf; a Cats Now & Forever plastic tray, 18 x 11 inches; a large format program; a rehearsal photograph; a felt Cats bag with marbles; two Cats watches in cases; the Playbill from show 6,138 when Cats overtook A Chorus Line as the longest running show in Broadway history; the Playbill from Cats last performance on September 10th, 2000; and a Playbill from a Chicago performance; a luggage tag; a signed show poster from the last performance of Cats in September 2000, framed, 22 x 14 inches; a poster from an early tour; an assembled cast photograph, framed; and handwritten note from choreographer Gillian Lynne dated 2006.Technical Production Manager Jake Bell's memories of Cats:Created by Andrew Lloyd Webber, Cats was first produced in London by Cameron Mackintosh, directed by Trevor Nunn, choreographed by Gillian Lynne, and designed by John Napier. It opened on Broadway in 1982 at the Winter Garden Theatre. Based on T.S. Eliot’s poetry collection Old Possum’s Book of Practical Cats, at the time Cats was conceptually groundbreaking in that, unlike traditional musical,s it was not about human characters - it was about cats - and the story was told entirely through music, dance, and poetry, with no spoken dialogue.The set was an oversized junkyard, designed to make the human actors appear cat-sized. Key set pieces included a giant sneaker, the trunk of a broken-down car (often used as a cat slide), an enormous Heinz Baked Beans can, and a large tire—creating an immersive, whimsical playground for the feline characters. Audience interaction was another defining element. Select tickets were sold for onstage seating, allowing some audience members to be a direct part of the performance. The onstage seating allowed these guests to experience their own immersive "theater in the round." During intermission, other audience members were invited onstage to explore the set and interact with Old Deuteronomy, who remained seated on the oversized junkyard tire.Cats was arguably the introduction of the "mega-musical" to the world, delivering an unprecedented visual and theatrical spectacle that stunned audiences, particularly those in middle America, who had never seen anything like it before.Beyond Broadway, Jake worked on four national tours of Cats. Unlike the Broadway production, where the theater was physically renovated to accommodate the show, the touring companies had to adapt to each venue. The team pre-surveyed theaters across the country, modifying the set to fit within different proscenium sizes while covering existing architecture to create a seamless illusion. The orchestra pit was concealed, and the set decoration pieces were mounted on a frame customized to each specific theater. As on Broadway, the orchestra itself was positioned offstage.Cats was one of the first Broadway productions to fully embrace wireless microphone technology. Every principal character wore a wireless microphone, which was discreetly embedded into their wigs—an innovation at the time. The hydraulic lift for the giant tire, which carried Grizabella to the "Heaviside Layer," was the single most expensive item in the production budget. However, just as crucial to the show’s identity were its elaborate makeup and costuming. A Makeup Bible was created for all Cats productions worldwide. Each actor’s makeup design, paired with a handmade wig (crafted from yak hair), was carefully documented with a photograph and matched to John Napier’s original sketches. Napier, who designed not only the scenery and props but also the costumes, hair, and makeup, ensured that this signature look remained consistent across all productions.Cats was the first show to completely rethink the layout of an entire theater, from the audience seating to the back wall of the stage. The Winter Garden Theatre was permanently remodeled to accommodate the production. Seats were removed, the orchestra pit was eliminated, and the proscenium arch was taken down. The orchestra itself was relocated offstage, positioned upstage left in the wings. The immersive junkyard set extended out into the audience, enveloping theatergoers in the world of the show. This was particularly exciting for children, who felt as if they were truly inside a cat's domain. Even the dry ice used to mask the hydraulic lift as it raised Grizabella floated into the front rows, further blending the stage with the audience. The cast frequently entered from the rear and sides of the house, reinforcing the illusion that the entire theater was part of their world.When the Broadway production of Cats closed in 2000 after 18 years and 7,485 performances, the stage and house crews had to restore the Winter Garden Theatre to its original state. The removed seats were reinstalled, the orchestra pit was rebuilt, and the proscenium was reconstructed to prepare the venue for future productions. 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
Lot 30
* WILLIAM GEAR RA FRSA RBSA (SCOTTISH 1915 - 1997), STUDY, BLACK & SEPIA mixed media on paper, signed, titled and dated '64 versomounted, framed and under glassimage size 71cm x 50cm, overall size 99cm x 76cm Note: William Gear was a painter born in Fife, Scotland, on 2nd August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932 – 6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936 -7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger. After serving throughout the Second World War as an officer in the Royal Corps of Signals he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the COBRA group, Europe’s most important avant-garde movement of the mid – twentieth century. COBRA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude. The COBRA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm. William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with COBRA he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale. He became a Senior Royal Academician in 1995 and his work is held in many major public and private collections around the world. In our auctions of 1st August and 12th September 2024, five examples of William Gear's work were offered and sold achieving £2000, £2400, £2400, £4000 & £4000 (all hammer prices).
Lot 127
2nd century A.D. Modelled in the round, the goddess standing on a rectangular base; wearing a flounced floor-length robe draped from the shoulders and gathered at the waist, her sandaled feet emerging from beneath the hem; collar with scooped lower edge and centrepiece the gorgoneion disc with mask; at her left side and reaching from base to waist-height, a disc shield with figural tondo and broad rim; to the reverse a deep loop handle enmeshed in the coils of a large serpent with head rearing towards the forward edge of the shield's rim; tondo with high-relief scenes including combat between armed and armoured warriors, fleeing females, cloaked figure hurling a rock and other events surrounding the central gorgoneion motif; scooped socket at the neck to accept a separately-carved head. Cf. Harrison, E.V., ‘The composition of the Amazonomachy on the shield of Athena Parthenos’ in American School of Classical Studies at Athens, Hesperia, Volume 35, Issue 2, pp.107-133, plates 36-41. 100 kg, 84.5 cm (33 1/4 in.). [A video of this lot is available to view on Timeline Auctions Website]Acquired on the German art market, early 1970s. German private family collection; by gift to the owner's son in 2015. Private collection, London, UK. Accompanied by an academic report by Dr Marina Mattei, former curator of the Capitoline Museums for over 40 years. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12623-234557. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.The statue represents the Athena Parthenos of Phidias, a cult statue in gold and ivory, placed inside the Parthenon in Athens. The copy, from the Roman era, is of remarkable workmanship in Pentelic marble, realised in a faithful way to the original. The statue is conceived as a cult figure, rigidly frontal; it wears a Doric peplos open on the right side with an apoptygma, a voluminous tuck, tightened at the waist by a belt of small snakes knotted with their tails and tied at the front with the heads. The aegis, skin of the goat Amalthea, protects the bust like a breastplate; divided into two parts on the chest, it is closed in the centre by a gorgoneion (head of a Gorgon, Medusa) with snakes coiled along the edge. Along the left side, two props secure the shield characterised by an external relief with Amazonomachy, a battle between Greeks and Amazons.TimeLine Auctions follows a rigorous vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: See our website for further information.
Lot 188
A Collection of Magicians props, to include two cake pans, two funnels, two pairs of comedy scissors, a pair of hand cuffs, various cups, a floating wand illusion, two Piatnick forcing desks of cards, a Fantasio appearing candle, Drink to silk, a egg bag, a Devil handkerchiefPlease note that none of the magic tricks listed have instructions and we cannot guarantee they are complete or working, although they were used by a working magician.
Lot 7087
James Bond Dr No (1962) - Le Cercle £50 casino yellow plaque / chip. Le Cercle plaques were used as film props in the scene where Sean Connery utters the characters name for the first time: Bond, James Bond. This £50 plaque was previously owned by Robert Mills, son of Le Cercles owner: John Mills. Comes with LOA. Condition Report: Please note that the plaque is slightly warped.
Lot 7088
James Bond Dr No (1962) - Le Cercle green £500 casino plaque / chip. Only 100 x £500 plaques were ever made. Le Cercle plaques were used as film props in the scene where Sean Connery utters the characters name for the first time: Bond, James Bond. This plaque was previously owned by Robert Mills, son of Le Cercles owner: John Mills. Comes with LOA. Condition Report: Please note that the plaque is warped.
Lot 5376
Raven (BBC) TV Show Props Collection of props from the CBBC adventure series Raven, to include; Large gold raven (1), rope of golden rings (1) solid resin tokens (with Raven insignia to front) (2). Believed to have been used in the popular BBC childrens TV gameshow series in 2008. (4) Condition Report:
Lot 5188
Revolution (1985) Screen used props and production materials.A collection of screen used props, set dressing and production materials that were used during the production of the 1985 Goldcrest film.Items used during the shooting of the film or pre-production, to include; Rolled Set Design Plans (Kings Lynn) (4), Papier-mache Severed Leg (Battle scene) (1), Lightweight break-away trolley parts for stunt use (New York set) design department drawings, A set of official production business cards Goldcrest Revolution Limited and other items.
Lot 5441
Driven (2001) Prop Racing Passes2 prop racing passes, including their respective lanyards that were used in the Film. Notably, used in the scenes with the PacWest teams, two cars were used by Joe Tanto (Sylvester Stallone) & Jimmy Bly (Kip Pardue). Includes COA. Provenance: Letter from Rare Props, explaining that the Props were acquired from the Production Company in 2004.
Lot 4249
The Borrowers (1997) Spud Spillers costume shoulder pads from the 1997 motion picture The Borrowers starring John Goodman and Jim Broadbent. Made of foam rubber. 20 x 18cm each. With Movie Props COA. Provenance: from the collection of Tony King, an avid movie prop collector, many items purchased at auction and collected over the past 30 years
Lot 150
Patrick HAYMAN (1915-1988) Gardens (New Zealand), 1938 Oil on board, signed, titled and dated to verso, 39 x 31cm (unframed)The artist's estate. The board appears to have suffered water damage which has caused it to buckle. The water damage is only evident to the reverse of the piece, yet the buckling is present throughout. The bottom right hand corner displays paint loss, as do the top two corners. The top left-hand corner has a fold.
Lot 1
A Columbia 'Powder Pass' vest (S) , with stitched design 'Peaky Blinders - The Final Series-'.Provenance: donated by the Peaky Blinders production team on behalf of The Christie Charity. Note - although every effort has been made to correctly identify and appropriate props to characters - we cannot categorically guarantee each item has been screen worn or used in production by the named actor or character.
Lot 30
A men's wide-brimmed fedora hat, purchased for use by 'Curly' during filming of Peaky Blinders. Supplied in hat box with label to lid reading 'Curly'. Images show scenes with Curly wearing a similar version. This is believed to be a 'stock' or reserve hat.Provenance: donated by the Peaky Blinders production team on behalf of The Christie Charity. Note - although every effort has been made to correctly identify and appropriate props to characters - we cannot categorically guarantee each item has been screen worn or used in production by the named actor or character.
Lot 9
A wool fedora style hat by Jaxon (size M) used and likely screen worn during production of Peaky Blinders. With initials in pen to hat label seemingly to read 'BC' or possibly 'BG'.Provenance: donated by the Peaky Blinders production team on behalf of The Christie Charity. Note - although every effort has been made to correctly identify and appropriate props to characters - we cannot categorically guarantee each item has been screen worn or used in production by the named actor or character.
Lot 28
A tailored shirt by 'Williams & Gill' shirtmakers of Manchester, produced for Cillian Murphy as Tommy Shelby during production of 'Peaky Blinders'.Provenance: donated by the Peaky Blinders production team on behalf of The Christie Charity. Note - although every effort has been made to correctly identify and appropriate props to characters - we cannot categorically guarantee each item has been screen worn or used in production by the named actor or character.
Lot 19
A tailored shirt by 'Williams & Gill' shirtmakers of Manchester, produced for Cillian Murphy as Tommy Shelby during production of 'Peaky Blinders'.Provenance: donated by the Peaky Blinders production team on behalf of The Christie Charity. Note - although every effort has been made to correctly identify and appropriate props to characters - we cannot categorically guarantee each item has been screen worn or used in production by the named actor or character.
Lot 24
A tailored shirt by 'Williams & Gill' shirtmakers of Manchester, produced for Cillian Murphy as Tommy Shelby during production of 'Peaky Blinders'.Provenance: donated by the Peaky Blinders production team on behalf of The Christie Charity. Note - although every effort has been made to correctly identify and appropriate props to characters - we cannot categorically guarantee each item has been screen worn or used in production by the named actor or character.
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