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Peter Cushing (1913-1994) Three Mabel Lucie Attwell colour postcards - each sent at the same time by the actor to his wife Helen, handwritten in pencil, dated '20.vii.52'.The first reads, 'In a café ‘on the front, Worthing, having a HARLICKS!! My dearest dear - thank you ever so much for your lovely letter . . . Cushing advised her he had just finished rehearsing a new scene with Bolling, 'I made them laugh by suggesting that Edith ? should be offered a special wish to play the ? Brown role in Cardiff . . .';The second postcard continues, 'with a Welsh accent! I’ve got a seat for you for the evening performance, darling, on Saturday and I’ve enquired about your trains from Victoria direct to Worthing (Central I think) so you don’t have to change at Brighton. I wasn’t sure if you would like to come earlier so as to have the morning here . . .' Cushing has also listed three Pullman train times departing from Victoria and arriving at Worthing arrival times;The third postcard (with a slight stain at top continues) '. . . it would be lovely to have you here dearest as long as it’s not a BARR FAR MUMMAR' and 'if (she) arrives in the morning I can meet you at the station, if you come in the afternoon will you come along to the theatre . . . Thank you for taking my shoes dear, the pairs I have are not comfy. I loved what Benhams said! All my love xxx', Cushing signs off with a doodle of a dog bone and paw print. (3)Peter Cushing was a prolific writer to his wife whilst they were apart, and frequently used pet names as in this case, and often sent postcards by Mabel Lucie Attwell. He was famously devoted to his wife, Violet Hélène Beck, and in later years Cushing became increasingly reclusive following her death in 1971.Provenance: ex- Peter Cushing Collection: Canterbury Auctions, 2023.

Six British Quad and US One Sheet film posters and related memorabilia - British Quads include: Deadpool, Matrix Reloaded, Spiderman, and The Hulk, all rolled, 30 x 40 inches; US One Sheets include: The Matrix Reloaded and Assassin's Creed, all rolled, ; together with framed European The Dark Knight theatre poster, 14 x 21 ½ inches, framed and glazed, 15 x 22 inches; Suicide Squad Harley Quinn and The Joker mounted poster 24 x 16 ½ inches overall; Matrix Reloaded postcards (x6 in x2 designs); Matrix Reloaded desk-set; Eragon holographic notebook; Superman Returns spiral-bound notebook, and Reign of Fire lobby cards. (17)From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

Kill Bill Volume One (2003) Four British Quad, US One Sheet and Mini Movie film posters - British Quads (x2 different designs), 30 x 40 inches, UK One Sheet for the British premiere at The Empire Theatre, October 10 2003, 27 x 41 inches, and a Mini Movie poster, 7 ¾ x 27 ¾ inches, all rolled. (4) From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.

An onyx cameo ring, 19th century, set with an oval onyx cameo depicting a tragic Greek theatre mask over the double-faced god Janus, to a gold mount with engraved floral shoulders, size M1/2, case stamped John Elkan, Liverpool Street, London

Photography (SIGNED): Redfern, David: The Unclosed Eye: The Music Photography of David Redfern. Expanded Edn. Dw. Signed by Redfern. 4to. Fine; Robert Altman (photo): The Sixties. Santa Monica Press, 2007, 1st. Edn. DW. SIGNED by Altman, 4to. Fine; Mankowitz, Gered: The Experience: Jimi Hendrix at Mason's Yard. 2010, 1st. Edn. DW. Inscribed and Signed by Mankowitz. 4to. Fine, Plus a 'Bowstir Ltd' Headed paper, 4 lines, also signed; Mick Rock exposed: the faces of rock 'n' roll. San Francisco: Chronicle Books, 2010 1st. Edn. DW. Front black endpaper SIGNED in bold Silver by Mick Rock, Fine; Nobby Clark's Theatre: 25 Years of Photographs. 1994, Signed. 4to. Soft covers, fine; Goodbye Look: Photo Designs of Hipgnosis (6)

Laurel & Hardy signed business card, also signed by their wives, the card with printed crest of the Mayor of Morecambe, with whom they attended a reception when appearing at the Winter Gardens Theatre in 1947, with Fraser's Certificate of Authenticity,

A large quantity of music and theatre programmes, signed by the stars of the shows (qty.)

*FRANK PHELAN (1932-2023) 'I Denizen, 22/1/06', abstract composition in blues, mixed media on paper, titled verso, 55cm x 74cm,  Framed dimensions: 71.5cm x 84cmProvenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.

*FRANK PHELAN (1932-2023) ‘Sursum Corsa (Lift Your Heart)’, 2003, abstract composition, mixed media on paper,56cm x 74.5cm,  Framed dimensions: 71.5cm x 85.5cm'Sursum Corda' is the motto of the Royal Brompton Hospital, where the artist underwent heart surgery, Provenance: The estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).Note: Born in Dublin, Frank Phelan was educated by the Christian Brothers and in Tipperary at Rockwell College, before studying at The Royal Architectural Institute of Ireland. He then worked as a draughtsman in a Dublin firm of structural engineers until 1953, when he, his father and his brother Brian emigrated to Canada. For six years, he worked in Ontario at various jobs while taking classes at the Doon School of Fine Arts in Kitchener.Around 1959, he returned to Ireland briefly before moving to London, where he lived with the sculptor Frank Morris. He found work as a stagehand at Joan Littlewood’s innovative Stratford East Theatre, and designed sets for the Unity Theatre and for Charles Marowitz’s Open Space Theatre Company. His theatre contacts eventually led to an introduction to Nancy Wynne-Jones, who invited him to be an artist-in-residence at Trevaylor, the Georgian house at Gulvel, near Penzance she had converted to a kind of artist’s colony.It was here that Phelan befriended the painter Tony O’Malley, who introduced him to many of the key figures in the early St Ives circle, including Roger Hilton, Bryan Wynter, Patrick Heron and Conor Fallon. Phelan also was particularly impressed by the work of Peter Lanyon. Throughout the decade, he worked between Cornwall and a rented studio off the Fulham Road, developing highly abstracted, compositional style.By 1966, he had had his first solo show of paintings at the Traverse Theatre in Edinburgh, organised by Richard Demarco. This partnership was one of the most fruitful of his early career, and he also showed his work at Demarco’s inaugural exhibition in Glasgow, in another solo show the following year at Demarco’s Edinburgh gallery, and in several important group shows, including an exhibition of contemporary British painting and sculptors at the Museum of Modern Art, Warsaw.During the past two decades and up to his death in 2023, Phelan re-engineered and re-energised his style and technique, exhibiting new works in Dublin, Cork London, Bath, Provence, Granada, and of course, St Ives. His paintings and mixed media works are now in private collections in England, Ireland, France, the United States, as well as in State Collection of Ireland (OPW) and the Cork Institute of Technology & Arts.

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) RUST AND HUMOUR Collage Signed (lower right) Image: 20 x 16cm (7¾ x 6¼ in.) Executed in 1960.Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 75 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)     Condition Report: There are some possible minor areas of glue residue surrounding the lower edge of the collage. Otherwise there are no significant condition issues. The work appears to be in good original condition. Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) FOGGIA Collage Signed (lower right) 19 x 14cm (7¼ x 5½ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 70 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)     Condition Report: Evidence of minor glue residue to the edges of the collage. Otherwise appears to be in original condition. Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) HARP (COLLECTION OF G.A. REISNER) Collage Signed (lower right) Image: 15.2 x 12.7cm (5 x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 57 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)      Condition Report: Glue residue causing some staining scattered across the sheet. Otherwise in original condition. Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) OTTO MASCHENFABRIK Collage Signed (lower right) 12 x 14.5cm (4½ x 5½ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 59 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)     Condition Report: Very slight discolouration caused by glue residue to the edges of the collage. Otherwise appears to be in good original condition.  Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) TABLE OF CHARYBDIS Collage Signed (lower right) 16 x 13.5cm (6¼ x 5¼ in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 55 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)      Condition Report: A very minor surface scratch to the lower right corner. Otherwise appears to be in good original condition. Condition Report Disclaimer

λ&nbspOLIVER MESSEL (BRITISH 1904-1978) STUDY OF MICA ERTEGUN Oil on canvas, laid to board 74 x 61cm (29 x 24 in.) Unframed Provenance: Direct from the artist By descent to Thomas Messel, the artist's nephewMica Ertegun was a Romanian-American philanthropist and, like Messel, an accomplished interior designer, co-founding the extant firm MAC II in 1967. She donated widely to cultural causes, including humanities teaching at the University of Oxford, restoration efforts in the Church of the Holy Sepulchre, and the Lincoln Center for the Performing Arts, New York. In 1993, Ertegun was inducted into the Interior Design Hall of Fame; in 2011, Ertegun was appointed CBE by Queen Elizabeth II. In the 1970s, Ertegun visited Messel in Barbados, where she sat for this portrait (see University of Bristol Theatre Collection OHM/2/5/8). It is a testament to Messel's taste that Ahmet Ertegun, Mica's husband and the co-founder of Atlantic Records, chose the Oliver Messel Suite at the Dorchester Hotel as his London base (Robert Greenfield, The Last Sultan: The Life and Times of Ahmet Ertegun (2012), p. 208).

λ SIR EDUARDO PAOLOZZI (BRITISH 1924-2005) WELCOME PROFESSOR RUHRBERG Collage Signed (lower right) Image: 21.5 x 15.5cm (8¼ x 6 in.) Executed in 1960.Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 71 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)      

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) RACHEL'S TOMB, NEAR BETHLEHEM, PALESTINE Collage Signed (lower right) Image: 20.2 x 25cm (7¾ x 9¾ in.)Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)    Condition Report: Very undulation to the sheet. Two small spots of staining. One to the centre of the sheet the other to the strings of the parachute. Otherwise appears to be in good original condition.Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) SPIRIT OF THE MOTHERLAND Collage Signed (lower right) 22 x 13cm (8½ x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 25 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)     Condition Report: Some scattered area of staining, most likely caused by glue residue around the edges of the collage. Otherwise in good original condition. Condition Report Disclaimer

λ&nbspSTEVEN SPURRIER (BRITISH 1878-1961) THE CRITICS Oil on canvas Signed and dated 53 (lower right) 71.5 x 92cm (28 x 36 in.)Exhibited: London, Royal Academy, 1953 London, The Arts and the Cafe Royal,1956 (1st prize) Condition Report: Light surface dirt throughout. An area of loss to the theatre programme being held by the lady in white, approx. 2cm, bear canvas showing. An area of paint thinning to the lower right corner. Inspection under UV reveals some very light scattered retouching. Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) BEDROOM WITH PORTRAIT Collage Signed (lower right) Image 17.8 x 16cm (7 x 6¼ in.) Provenance: Freda Paolozzi and by descentLiterature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 47 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)     Condition Report: Some light discolouration to the centre of the cupboard door. The artist appears to have changed their mind during the execution of the work and there is evidence of glue residue and minor areas of loss to both left and right sides of the work. This is evident in the original History of Nothing series. The work appears in original condition. Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) UNTITLED, HISTORY OF NOTHING Collage Signed (lower right) Image: 21.5 x 16cm (8¼ x 6¼ in.) Executed in 1960.Provenance: Freda Paolozzi and by descentLiterature: J. Drew, Photographer as Printmaker: 140 Years of Photographic Printmaking, London, 1981 M. Middleton, Eduardo Paolozzi, London, 1963, illustrated (page unnumbered)    Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54) Condition Report: A crease with associated surface skinning to the lower right corner to the artist's signature. And a further minor area of surface skinning to the left side of the upper edge. Otherwise in original condition. Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) THE CITADEL, CAIRO, EGYPT Collage Signed (lower right) 20 x 25.5cm (7¾ x 10 in.) Executed in 1960. Provenance: Freda Paolozzi and by descent.  Exhibited:London, Anthony D'Offay, Eduardo Paolozzi, Collages and Drawings, 23 March - 22 April 1977. Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 99 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)    Condition Report: Slight undulation to the sheet, possibly handling creases. Otherwise work appears to be in good original condition with no significant issues. Condition Report Disclaimer

λ&nbspOLIVER MESSEL (BRITISH 1904-1978) PORTRAIT OF LADY KELVEDON, INGRID CHANNON Oil on canvas-board Signed (lower right) 51 x 40.5cm (20 x 15¾ in.) Unframed Provenance: Direct from the artist By descent to Thomas Messel, the artist's nephewIngrid Channon was born to the painter Richard Wyndham, scion of the Barons Egremont. In 1963, she married Paul Channon, President of the Board of Trade under Margaret Thatcher. Messel was acquainted with Channon's father-in-law, Sir Henry 'Chips' Channon, from London society; there, they enjoyed the company of prominent men of their day, including Cecil Beaton and Noel Coward (for a comprehensive account of these circles, see Thierry Coudert, Café Society: Socialites, Patrons, and Artists, 1920 to 1960 (2010)). Beaton would later photograph Channon. Paul and Ingrid Channon remained close to Messel, exchanging Christmas cards after his move to Barbados (see University of Bristol Theatre Collection OHM/2/3/19).

Vintage Peter Patter ventriloquist doll, in original box, Padgett Brothers Puppet Theatre & Fairy Tale Hand Puppets (3)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

A collection of various objets de vertus including a late 19th / early 20th Century carved water deer tusk decorated with dog's head, formerly as a cane handle, 9.8 cm long, together with a plated mug "HRH Prince Charles - Lady Diana Spencer 1981", a 19th Century mother of pearl cased yellow metal mounted magnifying glass / loupe, an early 20th Century ebony paperknife, a black lacquered and chinoiserie decorated rectangular box, a cased set of Elizabeth II Waddington's playing cards, a leather covered prayer book (incomplete) and a "Les Miserables" souvenir brochure published by Dewynter's Ltd circa 1986, together with "Les Miserables" poster and a "Her Majesty's Theatre" programme for "The Phantom of the Opera" circa 1988

A Royal Crown Derby Mansion House Dwarf, painted by S. P. Slack, richly attired in 17th century cavalier costume, with a long moustache, his left hand on his hip and grasping a staff in his right, wearing a pale blue decorated waistcoat and a pointed hat advertising the playbill at the Theatre Royal, Haymarket, 18cm high, signed, printed marks in red, boxed

Wayong Theatre, 2 Indonesian puppets, carved and painted wood heads.

Peter Rice (b. 1928), 'Arabella Act 3', pencil ink and wash costume design for a theatre production, inscribed, signed and dated 64, 15" x 12" (38 x 30cm).

Peter Rice (b. 1928), 'Scaramuchio', ink and wash costume design for a theatre production, inscribed, signed and dated 60, 18.5" x 11.5" (47 x 29cm).

Peter Rice (b. 1928), 'Dryad', ink and wash costume design for a theatre production, inscribed, signed and dated 60, 18.5" x 11" (47 x 28.5cm).

Two Halcyon Days enamel musical boxes, the first decorated with Christ in Majesty with Angels of the Pendentives after Mosaics Above the High Altar in St Pauls Cathedral, playing extracts from the Messiah by Georg Friedrich Handel, 8cm diameter, the other commemorating Royal Shakespeare Theatre Centenary, limited edition no.169/250 (musical movement and lid damaged), both boxed (2) 

SPEAR OF DESTINY: A group of eight LPs and 12" singles to include 'Come Back' 12" with Kirk Brandon autograph to cover (TA6445), 'Grapes Of Wrath' LP (EPC 25318), 'One Eyed Jacks' LP (EPC 25836), 'World Service' LP (EPC 26514), ''Never Take Me Alive / Land Of Shame' 12" limited edition two record set (TENX 162), 'The Wheel' 12" (TA 3372), 'All My Love (Ask Nothing) 12" (QTA 6333) and 'Strangers In Our Town' 12" (TENT 148), together with THEATRE OF HATE: 'Revolution' LP (T.O.H.2.) (9, vinyl generally VG-VG+, sleeves VG+)

Three cinema lobby cards for Carry On Films, to include 'Carry On Cabby' (1963), 'Carry On Camping' (1969) and 'Carry On Up The Jungle' (1970), together with a 1960s theatre programme for 'Pillar To Post' (4)

Punk / New Wave / Indie - Two cases containing a collection of approx. eighty assorted 7" singles including Notsensibles - 'Death To Disco' (Bent Records Big Bent 5), The Damned - 'Love Song' (Chiswick CHIS 112, Scabies sleeve), Dead Kennedys - 'California Uber Alles' (Fast Product F12), The Undertones, Siouxsie and The Banshees, Generation X, UK Subs, The Specials, The Stranglers, The Ruts, Joy Division, Stiff Little Fingers, The Revillos, Skids, Madness, Elvis Costello & The Attractions, Mink DeVille, Bad Manners, Spizzenergi, The Police, The Alarm, The Smiths, The Jam, Bruce Foxton, Sex Pistols, The Members, X-Ray Spex, Ian Dury & The Blockheads, Sham 69, XTC, Theatre Of Hate, The Clash, PIL etc. (approx. 80, vinyl and picture sleeves generally VG-VG+)

The Praxinoscope-Theatre New Optical Toy, contained in original box, 24.5cm x 26.5cm x 13cm.Provenance: The Christopher Hawkings Collection of Curiosities.

Old Theatre programme collection. 20+ in collection. Good condition. All autographs come with a

Bill Haley autographed with a New Victoria Theatre ticket display, size 38x37cm.

Lego - A boxed factory sealed 2022 'Friends' #41714 Andrea's Theatre School. The set is presumed to be in Mint condition being in a factory sealed box which appears to be in a Fair Plus - Good overall condition with some storage related creasing and wear. (This does not constitute a guarantee) (K)

ONE BOX AND SIX CASES OF VARIOUS LPs to include a case of assorted Christmas compilations to include classical albums from Elvis, Nat King Cole, UK cathedrals, a case of continental classical music to include Mozart, Mendelsohn, Beethoven, two cases of mostly theatre TV, and film soundtracks to include Sound of Music, Jesus Christ Superstar, My Fair Lady, etc, six box sets comprising classical and operettas, a large quantity of easy listening albums, etc (1 box and 6 cases) (s.d)

A SMALL QUANTITY OF PRINTS, to include a Joshua Reynolds engraving of the Prince of Wales, a map of Italy and Sardinia published 1785, a reproduction map of Europe after Willem Blaeu, black and white photographs Drury Lane theatre productions circa 1930s with notes attached to the front, framed Alberto Berti prints, print reproductions of George Stubbs 'Mare and Foals in a Landscape' and 'Grey Hach with Greyhound and Groom', other assorted prints etc

Early 20th century child's theatre with various background scenes, cut out figures and other set, 53cm high x 68cm wide x 58cm deep

French late 19th / early 20th century folding mahogany and iron framed theatre / cinema seat with enamel number plaque ' 42 ' above red velvet seat, 80cm high x 53cm wide x 24cm deep (unextended)

Collection of posters, predominantly advertising posters for theatre performances and gallery exhibitions in Leeds

A selection of hardback and other books, most first editions, all signed by the authors, titles including: The Canterbury Tales, by Peter Ackroyd; The Tide of Life, by Catherine Cookson; The Invisible Cord, by Catherine Cookson; The Gambling Man, by Catherine Cookson; Skulduggery Pleasant: Midnight, by Derek Landy; A Theatre for Dreamers, by Polly Samson; and others, contained across two boxes.

Theatre & Photography - Angus McBean (1914-1990), a quantity of gelatin silver photographic prints comprising Vivien Leigh as Viola (Twelfth Night, 1961); as Blanche DuBois (A Streetcar Named Desire), etc, some annotated, the largest 38cm x 30cm

Interior Decoration - a papier mache wall applique or boss, modelled after an Ancient Greek theatre mask with the face of a satyr, inscribed to verso Masques of Imagination, 33cm long, mid-20th century

Theatre.- Zinkeisen (Doris Clare) Two costume designs of Japanese and Middle Eastern inspired dress for "Samarkand", Richmond Theatre, An Oriental fantasy in 2 acts & 10 series, watercolour and pencil, signed, with pinned fabric samples to sheet, each sheet approx. 350 x 270 mm (13 3/4 x 10 5/8 in), under glass, minor surface dirt, [c. 1972] (2) *** Zinkeisen's last work in the Theatre.

Printed on silk.- McVickers Theatre. Souvenir programme commemorative of Lincoln's Birthday, February 12th, 1898, small portrait of Abraham Lincoln, spotted, 252 x 230mm., [Chicago], W.H. Hennessy, 1898; and another printed on silk for a Toscanini performance, v.s. (2)

Logic.- Education.- Bentham (Edward) Reflections upon the nature and usefulness of logick as it has been commonly taught in the schools, first edition, occasional spotting, lightly browned, disbound, 8vo, Oxford, Printed at the Theatre; and sold by Mary Fletcher Bookseller in Oxford, 1740.   *** Rare in commerce. Bentham (1707-1776) was Regius Professor of Divinity at the University of Oxford.  Provenance: Rev. ?M. Daunt (contemporary ink inscription to final verso). 

Theatre.- Motley Group (The) Two original costume designs for 'Adventures of the Scarlet Pimpernel', Elstree Film Studios, watercolour on cream wove paper, both with pencil inscriptions 'The Scarlet Pimpernel', each sheet approx. 375 x 240 mm (14 3/4 x 9 1/2 in), under glass, minor surface dirt, [circa 1955] (2)Provenance:Marius Goring (with his library stamp)Private collection, London*** Other similar designs are held in the University of Illinois

STEPHENS FRANCES.  Theatre World Annual, London. Vols. 1, 2 & 4 to 13. Illus. Orig. cloth, some in torn d.w's, mixed cond. 1949-1962.

Theatre World Monographs.  8 vols. on individual actors, in d.w's; also Theatre World, 5 vols. in torn & chipped d.w's, circa late 1940's.  (13).

GARRICK CLUB.  A Catalogue of the Pictures in the Garrick Club. Illus. Folio. Qtr. vellum, damp stng. to brds. but contents clean. Supplement slipped in. 1936; also 2 bound vols. of Theatre World & 2 vols. G. B. Smith, Illustrated British Ballads, 1881.  (5).

GREGORY LADY.  Our Irish Theatre, A Chapter of Autobiography. Port. frontis & illus. Cloth backed brds., some mkg. & wear. 1914.

IRISH UNIVERSITY PRESS.  British Parliamentary Papers - Stage & Theatre. 3 vols. Folio. Qtr. morocco. Ex lib. with stamps. 1968-1970.

NATHAN GEORGE JEAN.  The Theatre Book of the Year. A run of 8 vols., mainly in torn d.w's. 1942/1943 to 1949/1950.

WHYTE FREDERIC.  Actors of the Century, A Play-Lover's Gleanings from Theatrical Annals. Frontis & many illus. Tall quarto. Orig. blue cloth gilt. 1898; also G. W. Bishop, Barry Jackson & the London Theatre, tipped in frontis & col. plates, quarto, orig. grey cloth in d.w., 1933.  (2).

FLETCHER AIMEE M (Compiler).  "Theatre Programmes amd Names of Plays and Actors Seen".  Edwardian album in poor. cond. & loose but containing 100 plus pasted in theatre programmes, cast lists & playbills. London, Liverpool, New York & German performances. With manuscript  annotations & details of famous actors seen by the compiler. 1905-1911.

Theatre Programmes & Ephemera.  A bound vol. of London theatre programmes with cast lists, illus. & many adverts, c.1930; also Forbes-Winslow, Daly's, The Biography of a Theatre, 1944; A Chronicle of the St. James's Theatre (published by The Guild of Women Binders), silvered green cloth; & 9 other items.  (12).

SCOTT CLEMENT (Ed).  The Theatre, A Monthly Review. 5 bound vols. Mounted photograph & other plates & illus. Rubbed half red morocco. New Series, vols. 8 to 12. 1886-1888.