The Angus McBean Collection Friday 12 April at 12pm

Transcription

The Angus McBean Collection
th
Friday 12 April at 12pm
On View
Thursday 11th April
10am - 7pm
th
Friday 12 April from 9am – 12pm
Every lot is illustrated on our website www.lsk.co.uk
Many lots with additional images & all can be magnified
Please note that lots in the Photographs & Studio Prints section will be subject to
Droit de Suite (ARR)at 4% of the hammer price if in excess of €1000 (app.£850).
With the exception of lot 30, the visitors book, the sale is entirely without reserve.
Your contact at the Saleroom is Edward Crichton ASFAV- Fine Art Manager
All enquiries to the Auction Centre
Tel: (01284) 748 623 / 624
Fax: (01284) 748 620
Catalogue web site: WWW.LSK.CO.UK
E-mail: FINEART@LSK.CO.UK
Results available on line approximately one hour following the sale
Buyer’s Premium charged on all lots at 17.5% plus VAT
Live bidding available at
The Angus McBean Collection at Lacy Scott & Knight
Friday 12th April at 12pm
The vast majority of this sale has been consigned by David Ball, Angus McBean’s partner and studio assistant of many years until his
death in 1990. It must be with a heavy heart that he bids goodbye to this stunning collection of an artistic genius’ lifetime work in
which he met and photographed most of the leading theatrical lights and film stars of the mid 20th century. It is impossible not to
be awed by the beauty and sheer creative brilliance when looking through these images and we are privileged to have been
instructed to conduct this sale.
Angus McBean was born in Newport, South Wales, in 1904. As a child he was a
devotee of the cinema, spending hours watching the early silent films and
experimenting with photography. At the age of 15 he sold a gold watch left to him by
his grandfather in order to buy his first camera, a Kodak Autograph, and started
taking pictures of local landscapes and architecture. McBean also had a great
interest in the theatre, make-up, costumes and making masks. After a brief attempt
at a career in banking he moved to London after the death of his father and began
work as a restorer of antiques at Liberty’s department store, while continuing his
“hobbies” of mask-making and photography.
In 1932 he left Liberty and grew his distinctive beard to symbolize the fact that he
would never be a wage-slave again. He worked as a maker of theatrical props,
including a commission of medieval scenery for John Gielgud's 1933 production
of Richard of Bordeaux. His photographs and theatrical masks were also exhibited
at a teashop in West London where they were noticed by prominent society
photographer Hugh Cecil. Cecil offered McBean a job as an assistant at his
Edinburgh studio where he stayed for 18 months before opening his own studio in
London to specialize in theatrical photography.
In 1936 Ivor Novello asked McBean to make masks and take pictures for his play "The Happy Hypocrite." Novello was so impressed
with McBeans’ photographs that he commissioned him to take a set of production photographs, including of the young actress Vivien
Leigh. The results, taken on stage with McBeans’ idiosyncratic lighting, were chosen to replace the set already made by the
long-established but uninspired Stage Photo Company. McBean now had both a new career and a photographic leading lady: he
was to photograph Vivien Leigh on stage and in the studio for almost every performance she gave until her death in 1967.
Over the course of the next 25 years McBean photographed all the British theatre stars including John Gielgud, Peggy Ashcroft, and
Laurence Olivier. He soon became famous for his star portraits in well-known magazines of the time including Tatler, Picture Post
and the Sketch. In the 1930s McBean embraced surrealism; with his flamboyance, love of theatre and the ability to create fantastic
studio props he was similar to contemporary American photographer Man Ray. By the late 1940s McBean was the official
photographer for a number of major British theatres including Stratford, the Royal Opera House, Sadler Well’s and the Old Vic.
In the early 60’s he began taking pictures for EMI and shot various record covers for Cliff Richard and the Shadows, Shirley Bassey and
the Beatles album Please, Please Me. McBeans’ later works also included portrait photographs of individuals such as Agatha
Christie, Audrey Hepburn, Laurence Olivier and Noël Coward. But by the mid 60’s he had semi retired to mediaeval Flemings Hall in
Suffolk which he was restoring.
In the early 1970s he sold his London home and last studio in Islington; to Harvard University he
sold much of his collection of eight tons of glass negatives. His last few pictures were taken in 1988 and include Vivian Westwood
and Jean Paul Gaultier. He died on the night of his 86th birthday in 1990.
His fame has been somewhat overshadowed by that of Cecil Beaton (thanks to his work for Vogue and the Royal Family) and David
Bailey, despite being arguably more artistically and technically gifted. McBeans’ works are now eagerly sought by collectors and are
displayed in major collections around the world.
IMPORTANT NOTICES
Special attention is drawn to the Conditions of Sale printed in this catalogue.
The staff at the Auction Centre welcome your custom and hope that the following information makes your
buying visit as simple and enjoyable as possible.
Paddle Bidding
All buyers need to register at the office for a paddle number to enable them to bid, this process is simple and takes approximately 30 seconds, however,
we do require some form of identification i.e. driver's licence.
Absentee Bidding
Buyers unable to attend the sale are welcome to submit commission bids, simply fill in a commission bidding form and hand this to a member of staff or
telephone your bids through and we will bid on your behalf. Commission bids can also be emailed to fineart@lsk.co.uk . It is helpful if buyers allow
sufficient time for commission bids to be processed when leaving bids. A Commission Bidding form is printed at the back of this catalogue. Lacy Scott &
Knight offer an online bidding service via the-saleroom.com for bidders who cannot attend the sale.
In completing the bidder registration on www.the-saleroom.com and providing your credit/debit card details and unless alternative arrangements are agreed
with Lacy Scott & Knight you authorise Lacy Scott & Knight, if they so wish, to charge the credit/debit card given in part or full payment, including all fees,
for items successfully purchased in the auction via the-saleroom.com, and confirm that you are authorised to provide these credit/debit card details to Lacy
Scott & Knight through www.the-saleroom.com.
Please note that any lots purchased via the-saleroom.com live auction service will be subject to an additional 3% commission charge +
VAT at the rate imposed on the hammer price
Condition
Neither the Auctioneers nor the Vendor are responsible as to the condition of lots listed. The absence of any such reference does not imply that a lot is
in good order or free from imperfections or repairs. Intending purchasers are advised to satisfy themselves by inspection prior to the sale of the condition
of any lot. Purchasers are reminded that goods become the sole responsibility of the buyer at the fall of the hammer.
VAT
VAT at the prevailing rate is payable on top of the hammer price on those lots marked (*) in the catalogue.
Buyer's Premium
All lots are sold with a Buyer's Premium of 17.5% (unless otherwise stated), this figure is also subject to VAT at the prevailing rate e.g. a buyer with a
hammer total of £100 will have a gross invoice of £121.
Selling Rate
Our auctioneers sell at approximately 120 lots per hour, buyers are advised to make sure they are in the saleroom at least 20 minutes before a lot is
expected to be offered in case the auctioneer is ahead of schedule.
Droit de Suite
Please note that purchasers of works of art subject to Droit de Suite (ARR) will pay Lacy Scott & Knight a 4% (inclusive of VAT) premium on the hammer
price in addition to the buyer’s premium. Lacy Scott & Knight will then pass this onto the Design & Artists Copyright Society. A painting or work of art is
subject to Droit de Suite in the UK whilst the artist is living and 70 years after the artists death. A percentage of 4% is payable on lots with a
hammer price in excess of €1000 (approx. £850). For further details please contact the Auctioneers or visit www.dacs.org.uk.
Payment
We accept all methods of payment including cash, cheques supported by valid banker's card, debit cards and credit cards. Please note all credit card
payments are subject to a surcharge of 2% inclusive of VAT.
Collection/Delivery
All lots must be removed from the Auction Centre by midday on the Tuesday following the sale unless prior arrangement has been made with the
auctioneers. Lacy Scott & Knight offer a full local collection and delivery service which is charged at £40/hr plus VAT.
Packing and Postage
We are pleased to inform you that we have made arrangements with a company called Mail Boxes Etc. to organise the packing and shipping of goods
purchased in our sales. To arrange a collection contact John Shipley at Mail Boxes Etc. giving the lot number(s) and address to which the package will be
sent. Mail Boxes can be contacted at Tel: 01245 262 527 or info@mbeessex.co.uk
If you prefer to use alternative shippers, please let us know in advance so that we can make your item(s) accessible. We are also willing to pack and post
by special delivery small items such as watches and jewellery for a flat rate of £10 plus costs
How to find us
The Auction Centre is situated in the heart of historic Bury St Edmunds, directly behind the arc shopping centre and close to main bus/coach and train
stations and the A14 dual carriageway. 10 Risbygate Street, Bury St Edmunds, Suffolk, IP33 3AA. Why not make a weekend of it and enjoy some of the
attractions which this beautiful and historic market town has to offer?
Parking
We have our own large car park adjacent to the Salerooms which is free of charge to all buyers (sale days and viewing only), when this car park is full
we suggest using the large Borough car parks close to the Auction Centre.
Refreshments
The saleroom is next door to a Costa Coffee and 50yds from Tesco Express and the town centre with many cafes, restaurants etc.
SPECIAL NOTES
Please note that measurements are approximate only and indicate the actual image size –
not any mounts or margins which may be present
Please note that there is a very small number of included lots in this sale
– these are marked with an asterisk (*) in the catalogue
BOOKS & ALBUMS
Please note that books are sold subject
to no return
1
Michael REDGRAVE, Mask
or Face, 1958; Richard FINDLATER,
Michael REDGRAVE, 1956, both signed
and inscribed to Angus MCBEAN by
Michael REDGRAVE; Giles
BRANDRETH, John Gielgud A
Celebration, 1984; Arnold HARWOOD
(Ed.), The Ages of Gielgud, 1984, both
signed by John Gielgud and inscribed to
Angus, all 8vo, 1st editions in
dustwrappers (4)
2
Noel COWARD, The Noel
Coward Songbook, London 1953, 4to
in dustwrapper; The Plays of Noel
Coward, first series, New York 1928,
8vo, 1st edition, both signed by Noel
Coward; David VAUGHAN, Frederick
Ashton and his Ballets, London 1977, 1st
edition in dustwrapper, signed by
Frederick ASHTON and inscribed to
Angus (3)
inscribed to 'Erasmus Glohwurm from
Ego' in the authors hand; a photograph of
Erasmus Glohwurm as Lohengrin by
'Knupfer and Schram' is opposite page
240 looking amazingly like Angus
MCBEAN in ancient armour and
sunglasses (2)
6
Small box, Quentin CRISP, The
Naked Civil Servant, in dustwrapper,
thought to be 1st edition, several press
cuttings pasted in at ends and over
publication date, also a signed typescript
letter from Quentin CRISP to Angus
MCBEAN, 5 other books by Quentin
CRISP; John LAHR's The Orton Diaries
and Prick Up Your Ears and two others
(10)
4
Two boxes, large collection of
actor biographies and theatre related
books including several Shakespeare
Memorial Theatre volumes in which
Angus MCBEAN took all of the
photographs, several of the others give
him photo credits (66)
5
James AGATE, Ego 8,
London 1946, 1st edition, inscribed to
Angus MCBEAN by the author 'his
obliged sitter'; Ego 7, London 1945, a full
morocco bound presentation copy
12
Two boxed, Helmut
GERNSHEIM, Creative Photography,
London 1962; Beaton Portraits National
Gallery 2004, and 41 others relating to
photography (43)
13
John MORTIMER
(introduction, SNOWDON
SITTINGS 1979-1983, London 1983,
4to dustwrapper, inscribed to 'My dear
friend, mentor, Angus... from Tony' (Lord
Snowdon), also with handwritten, signed
postcard from Tony (1)
7
Box, Julie KAVANAGH,
Nureyev, New York 2007, 1st edition,
signed by the author; Patrick WHITE,
The Twyborn Affair, New York 1980, 1st
edition, author signed and inscribed to
Angus MCBEAN, both in dustjackets, and
10 other author signed books (12)
8
David SYLVIAN,
Perspectives, 1984, large 4to inscribed
by author to Angus MCBEAN with a
letter and photos pasted in at back; Judy
BRITTAIN and Patrick KINMONTH,
Living in Vogue; John HEDGECOE
photos in Robert Burns; Denis HEALEY,
Healey's Eye, all 1st editions in
dustwrappers, signed and inscribed by
authors/photographers to Angus
MCBEAN (4)
3
Terence RATTIGAN,
Adventure Story, London 1950, 1st
edition, signed Terry; Emlyn WILLIAMS,
Accolade, London 1951, 1st edition,
inscribed to Angus and signed Emlyn,
both small 8vo in dustwrappers (2)
SMITH, Physique - Life of John S
Barrington, with author signed letter (3)
9
Richard MARSHALL, Robert
Mapplethorpe, New York 1988, large
4to, inscribed to 'Angus and David... from
Robert Mapplethorpe' (1)
10
John ERITH, Erith on
Portraiture, London 1948; Erith on
Pictorial Photography, London 1951;
Andreas FEININGER, Advanced
Photography, New York circa 1952; Fi
MCGHEE, Photographers and their
Images, London 1988, all inscribed to
Angus MCBEAN and signed by authors
(4)
11
James GARDINER, Who's A
Pretty Boy Then, 1997 with typescript
signed letter from Gardiner; Daniel
LEDDICK, Naked Men, New York 1997,
signed and inscribed by author; Rupert
14
Angus MCBEAN, Masters of
photography Series, signed and
inscribed by Angus to David 'who helped
with the making of many of the pictures';
Adrian WOODHOUSE, Angus McBean
Face-Maker, London 2006; and Angus
McBean, London, Quartet Books 1982,
both 1st editions in dustwrappers (3)
15
Angus MCBEAN, Vivien - A
Love Affair in Camera, Oxford 1989,
4to dustwrapper, inscribed for David
from Angus; Frederick Woodbridge
WILSON, The Theatrical World of
Angus McBean, Boston 2009, oblong 4to
and The Photographs of Angus McBean
from the stage to the surreal, London
2009, oblong 4to, all in dustwrappers (3)
16
Box, Text Adrian
WOODHOUSE, Foreward
SNOWDON, Angus McBean, London
1982, Quartet Books, 11 hardback copies
and 3 card covers; Masters of
Photography series Angus McBean,
London 1985, 9 copies, 7 of which still in
sealed wrapping; Angus MCBEAN, Vivien,
Oxford 1989, 3 copies; Woodbridge
WILSON, The Photographs of Angus
McBean from the Stage to the Surreal,
London 2009, 4 copies; Terence PEPPER
(Ed.), Angus McBean, Portraits, 1 copy,
most are new unused copies (31)
17
Four albums containing
press cuttings, to include magazines
and theatrical programmes, from
throughout McBean's career spanning
1937 to 1987
18
Mixed ephemera, to include;
Vivien Leigh's funeral card with signed
photograph from Leigh to David (Ball), a
small number of letters to McBean
including from Quentin Crisp, gallery
invites, small number of personal
photographs and related ephemera etc
19
No lot
20
Box, magazines including
Harpers and Vogue, and other material
featuring Angus McBeans' work or
making reference to him (15)
21
Visitors Book from Flemings
Hall, Suffolk, with entries from 1962
to 1983, notable signatures include;
Constance Cummings, Penelope Keith,
Irene Worth and Eric Crozier; and East
Anglian celebrities Benjamin Britten and
Peter Pears, Frederick Ashton, Robert
Carrier; Suffolk writers Angus Wilson
and W G Arnot; and photographer John
Hedgecoe. The book is oblong format
leather bound, the spine being split down
one edge (1)
same size format and binding as lot 22,
personal album of photos taken during a
holiday in Italy, some full page, quite a lot
of David and friends with some good
architectural backgrounds, signed by
Angus McBean on the last page (1)
26
Angus MCBEAN, Italy 1958,
a duplicate of lot 25 in all respects, but
unsigned (1)
22
Angus MCBEAN, Flemings
Hall 1962-3, personal photograph
album, oblong format approx. 30 x
45cm, ½ leather with photos on boards,
several of the photos are full page and
one double page spread of the hall,
photos include restoration work, views
around the hall and grounds, as well as
visitors and friends, some ephemera
relating to the hall is loosely inserted
including the 1958 sale catalogue (1)
23
Angus MCBEAN, Round
England, undated, personal photograph
album, same format, size and binding as
lot 22, photographs taken around England
frequently featuring Angus himself and
David, some good scenic and
architectural shots as well (1)
24
Angus MCBEAN, Round
England, a duplicate of lot 23, appearing
alike in every way (1)
25
Angus MCBEAN, Italy 1958,
27
Angus MCBEAN, Portugal
1966, same size format and binding as lot
22, personal album of photos taken on
holiday with David in Portugal, includes
architectural shots and some of local
people as well (1)
28
Angus MCBEAN, undated
album of photos, approx. 30 x 45cm,
oblong format, ¼ green cloth photos on
boards, this album features Marika
RIVERA and her family at their Dorset
home. Some full page shots of Marika
RIVERA posing in various costumes as
well as her home and family, and one of
Angus' classic surreal shots of himself at
the end. After the war Marika RIVERA
appeared on the West End stage and in
films and also modelled for Angus (1)
29
Angus MCBEAN, album of
photos, unnamed and undated, similar
size, format and binding to lot 28, this
appears to be an album of photos shot
entirely on a holiday in Venice featuring
Angus and David with a lot of
architectural background and views (1)
30
Angus MCBEAN - Studio
Visitors Book with over 1100
signatures from 1949 to 1968, almost
all associated with the entertainment
industry, some having added comments.
Singers including The Beatles - Paul
McCartney, John Lennon, George
Harrison and Ringo Starr;
Cliff Richard (twice); Tommy Steele;
Adam Faith; Maria Callas;
Joan Sutherland; Kathleen Ferrier; and
ballerina Margot Fonteyn
Comedians including Spike Milligan;
Frankie Howerd; Bruce Forsyth; and Ken
Dodd with some typical Knotty Ash
comments.
Playwrights including Agatha Christie;
John Osborne; T S Eliot; Tennessee
Williams;
and Ivor Novello. A full page flourishing
Cecil Beaton signature. Actors and
Film Stars including John Gielgud;
Marlene Dietrich; Katherine Hepburn;
Richard Burton; Alec Guinness; Laurence
Olivier;
Mary Martin; and Larry Hagman.
The book is approx 33 x 25cm, bound in
full green morocco with gilt edges by
Sangorski & Sutcliffe, the front hinge
(internal) is damaged, otherwise very
good. The Beatles signatures appear
very early in 1963 and this is almost
certainly their first major photo shoot for
the cover of their debut LP Please Please
Me which was done by Angus McBean.
The purchaser of the Visitors Book will
also get two 'Rotation Books' which were
negative indexes with dates on which
sitters were photographed; however not
all names in the rotation books are in the
album as some were photographed at
different venues and some did not sign.
The rotation books have been of some
use identifying signatures and some of the
other interesting signatures are listed as
follows; Peggy ASHCROFT, John
ASHTON, Ruby M AYRES, Hermione
BADDELY, Michael BATES, James
BAXTER, BEVERLEY SISTERS, Claire
BLOOM, Denys BLAKELOCK, Elizabeth
BOWEN, Bernard BRADEN (and
Barbara KELLY), James BRIDIE, Tony
BRITTON, Brenda BRUCE, Dora
BRYAN, Ursula BLOOM, Pearl CARR,
Phyllis CALVERT, Eddie CALVERT, Russ
CONWAY, Billy COTTON, George
CHISHOLM, Alma COGAN, Peggy
CUMMINS, Cicely COURTNEIDGE,
Anne CRAWFORD, Denis COMPTON,
Jeanne de CASALIS, Linda CHRISTIAN,
Florence DESMOND, Norman DEL
MAR, Maurice DENHAM, Edith EVANS,
Fred EMNEY, Jimmy EDWARDS, Polly
ELWES, Tudor EVANS, Lovat FRASER,
Peter FINCH, Bryan FORBES, Fenella
FIELDING, Douglas FAIRBANKS, Patricia
FOY, Ann FORD, Andrew FAULDS,
FREDDIE & THE DREAMERS, Hermione
GINGOLD, Peter GELHORN, Ram
GOPAL, Joyce GRENFELL, Max
GELDRAY, Marius GORING, Robert
HELPMANN, Edmund HOCKRIDGE,
Gilbert HARDING, Gerard HOPKINS,
Michael HORDEN, Robert HARDY,
Irene HANDL, Jack HULBERT, Jane
HYLTON, Laurence HARVEY, Stanly
HOLLOWAY, Anthony IRELAND, Glynis
JOHNS, Rosamund JOHN, Isabel JEANS,
Helen JACOBSEN, Max JAFFA, Eileen
JOYCE, Collie KNOX, Kay KENDAL,
Maurice KAUFMAN, Ted KAVANAGH,
Billy J KRAMER, Lupino LANE, Hugh
LATIMER, Vanessa LEE, John LE
MESURIER, John LEHMANN, Eric
LANDER, Roger LIVESY, Vera LYNN,
Geoff LOVE, Margaret LEIGHTON,
Oliver MESSEL, John Mills (and Mary
Hayley BELL), Sandy MACPHERSON, W
MCQUEEN POPE, Kenneth
MACKINTOSH, Compton MACKENZIE,
Robert MORLEY, Ruby MURRAY,
Millicent MARTIN, Walter MIDGLEY,
Charles MORGAN, Jessie MATTHEWS,
Geraldine MCEWAN, Hank MARVIN,
Hayley MILLS, Beverley NICHOLLS,
Robert NESBITT, Dennis PRICE, Wilfred
PICKLES & Mabel PICKLES, Donald
PEERS, Eric PORTMAN, Anna
POLLOCK, Tyrone POWER, Dorita Y
PEPE, Joan PLOWRIGHT, Val PARNELL,
Derek QUINN, Beryl REID, Terence
RATTIGAN, Vanessa REDGRAVE,
Michael REDGRAVE, Corin REDGRAVE,
Edmundo ROS, Denise ROBINS, Paul
ROBESON, Penelope REED, Nancy
SPAIN, Robert SEWELL, Ronald SHINER,
Victor SILVESTER, Jean SIMMONS,
Rosemary SQUIRES, John SLATER, Helen
SHAPIRO, Dorothy TUTIN, Sybil
THORNDIKE, David TOMLINSON, Ann
TODD, Malcolm VAUGHAN, Marty
WILDE, Emlyn WILLIAMS, Irene
WORTH, Elizabeth WELCH, Diana
WYNARD, Chester WILMOT, Mat
ZETTERLING and Doris ZINKEISEN (1)
£5,000-10,000
PHOTOGRAPHS &
STUDIO PRINTS ETC
Please note that lots in this section will be subject to
Dirt de Suite (ARR) at 4% of the hammer price if in
excess of €1000 (app.£850).
31
Angus McBean - Milligan
Preserved, gelatin silver print, signed,
dated and titled to the margin London
'60, inscribed verso 'Shot done for a
record sleeve, Milligan Preserved, Spike
Milligans studio 1960', 45 x 36cm,
mounted
32
Angus McBean - The Birth of
Venus, gelatin silver print, signed and
dated to the margin London '59,
inscribed verso 'The Birth of Venus with
apologies to Botticelli, a nude model was
sent to 6 photographers by the magazine
Lilliput for their comment; this was mine.
The 30 year old negative is badly
damaged but I thought the image amusing
though to print, 45 x 36cm, mounted
33
Angus McBean Experimental Surrealist portrait,
gelatin silver print, signed and dated to
the margin London '48, inscribed verso
'An experiment into genuine Surrealism
using only lighting and one photographic
plate, and no photographic fakery', 45 x
35.5cm, mounted
34
Angus McBean - Dorothy
Dixon surrealised 1938, Frances Day
surrealised 1938 note; 'God help sailors
on a day like this' was the caption
intended for it, she was in revue 'The
Fleets Lit Up', and Penelope Dudley-ward
surrealised 1938, three gelatin silver
prints, each approx. 40 x 32cm
35
Angus McBean - Neptune
Christmas card 1940, gelatin silver
print, signed and dated to the margin
London '39, 44.5 x 35.5cm, mounted
36
Angus McBean - Neptune
Christmas Card 1940, gelatin silver
print, inscribed verso, 37 x 28cm,
mounted; one other smaller example of
the same study, 25 x 19.5cm (2)
37
Angus McBean - Christmas
card surrealist study, circa 1939 and
later, four gelatin silver prints and one
other monochrome print, the largest 37
x 28cm (5)
38
Card 1983 Surrealist self-portrait,
the margin London '83, inscribed verso 'A
return to self-portrait Christmas cards,
this one sent out 1983', 45 x 35.5cm,
mounted
39
card 1950, gelatin silver print, inscribed
verso ‘The only time I ever used cash the fish couldn't be told to keep still!’ 37
x 28cm, mounted
42
Card 1960, gelatin silver print, signed
and dated London '60 to the margin, 30 x
38cm; and one other Christmas Card
1982, 32 x 25.5cm (2)
43
Card 1946, gelatin silver print, signed to
the picture and the margin, dated '46,
annotated verso 'I don't care what they
say, "it's lying" Christmas 1946' 37.5 x
28cm; one other matching example but
unsigned; and an untitled double
exposure self-portrait, 30 x 40cm (3)
47
card 1949, four gelatin silver prints,
various sizes, two annotated verso, the
largest 24 x 28.5cm (4)
48
card 1961, eleven various gelatin silver
prints being four different interpretations
- some presumably unpublished, various
sizes, the largest 30 x 25cm (11)
49
Angus McBean - Diana
Churchill surrealised 1940, from the
cover of Picture Post; Frances Day
surrealised 1938; Penelope Dudley-Ward
surrealised 1938; Bea Lilley surrealised;
and The Birth of Venus, five gelatin silver
prints, each approx. 40 x 32cm (5)
50
Angus McBean - Vivien Leigh
surrealised, four gelatin silver prints,
various sizes, the largest 44 x 34cm (4)
40
Angus McBean - Surrealist
Christmas card, on board the deck of a
ship with porcelain dolls, two examples,
gelatin silver prints, one signed and
annotated verso 'Copyright Angus
McBean Christmas card', each 28 x 39cm
44
Card 1948, gelatin silver print,
annotated verso, 25 x 19cm; and two
others - Christmas Card 1965, 20 x 25cm
and Christmas Card 1962, 30 x 39cm (3)
41
Angus McBean - Alfred
Drayton and Robertson Hare
surrealised, gelatin silver print, signed
and dated to the margin London '38,
annotated verso, 45 x 36cm; and the
same example again but lacking signature
51
Angus McBean - Rene Ray
surrealised 1938, three gelatin silver
prints, two signed to the margin and
dated '37 and '38, one with interesting
annotation verso, the largest 45 x 36cm
45
card 1954, two gelatin silver prints, one
annotated verso and signed to the print,
38 x 28cm; and a smaller example in its
original card slip (3)
46
card 1951, gelatin silver print, 30 x
40cm; and three smaller examples in
their original card slips, two inscribed by
McBean (4)
52
Angus McBean - Audrey
Hepburn surrealised, four gelatin
silver prints, various sizes, one signed and
dated to the margin London '51, three
smaller examples each with interesting
annotations verso, the largest 40 x 32cm
54
Angus McBean - Seven
various surrealised gelatin silver
prints to include; Ivor Novello in the
series Man & Theatre published in Tatler
July 1947 x2; surreal portrait of
Hermione Baddeley 1958; Toumanova
surrealised as La Sylphide 1938; Beatrice
Lillie surrealised 1938; Laurence Olivier
surrealised; and Bea Lillie surrealised
1940, each approx. 25 x 20cm (7)
55
card 1939, three gelatin silver prints, the
largest 40 x 30cm; two other Christmas
cards 1949, signed to the margin, 12 x
15.5cm; and Christmas card 1954, 25 x
20cm (5)
57
Hepburn, close-up portrait gelatin silver
London '51, annotated verso
'un-retouched print of Audrey Hepburn
done for a beauty product which wanted
a before and after application picture.
At the time Miss Hepburn was in the
chorus of Revue and was paid a model
fee of £4', 40 x 30cm, mounted. Note: this
example appears to be re-touched despite
the text
56
Angus McBean - The Beatles,
two test shots for the Blue album sleeve
1970, gelatin silver prints, 23.5 x 19cm and
17 x 12.5cm (2)
53
Angus McBean - The
Academy Cinema London, two
gelatin silver prints, the largest 29 x
39cm; Diana Churchill surrealised, two
gelatin silver prints, the largest 45 x 36m,
one with detailed annotation verso; and
one other Binky Beaumont 1947 (5)
58
Hepburn studio portrait, gelatin silver
London '60, annotated verso, 37 x 28cm,
mounted
59
Angus McBean - Marlene
Dietrich on the set of No Highway
at Pinewood, four gelatin silver prints,
one signed and dated to the mount '52,
two annotated verso, the largest 30 x
24cm (4)
60
with Ivor Novello on stage, in The
Happy Hypocrite, April 1936, gelatin
silver print, signed and dated to the
margin, extensively annotated verso, 45 x
36cm, mounted
61
Angus McBean - Angus
McBean with Vivien Leigh, making
the Greek dress from cheap flannelette
and plaster of Paris for the surreal
picture of Leigh, April 1938, gelatin silver
print, signed and dated to the margin,
extensively annotated verso, 45 x 36cm,
mounted
63
Angus McBean - Vivien
Leigh's second visit to the studio
which she used to open the bid to
play 'Scarlett', signed and dated to the
margin London '38, extensively annotated
verso, 42 x 32cm, mounted
70
as Blanche DuBois in A Streetcar
Named Desire, The Aldwych Theatre,
London, October 1949, gelatin silver
annotated verso, 45 x 35.5cm, mounted
64
Angus McBean - Studio
portrait of Vivien Leigh, gelatin silver
print, 1940, signed and dated to the
margin, annotated verso, 44.5 x 35.5cm,
mounted
65
as Jennifer Dubidat in Shaw's The
Doctor's Dilemma, gelatin silver print,
signed and dated to the margin, London
'42, annotated to label verso, 45 x
35.5cm, mounted
66
as Jennifer Dubidat in Shaw's The
Doctor's Dilemma, gelatin silver print,
signed to the margin London '42,
annotated verso, 44 x 34cm, mounted
67
in Antigone, gelatin silver print, signed
and dated to the margin, London '48,
annotated verso, 36.5 x 28cm, mounted
62
Angus McBean - Piquancy of
Vivien Leigh (first studio sitting
1938), gelatin silver print, signed and
dated to the mount, extensively
annotated verso, 38 x 25cm
68
as Antigone, gelatin silver print, signed
and dated to the mount 1949, 35 x 24cm
69
on stage in A Streetcar Named
Desire, The Opera House, Manchester
1949, gelatin silver print, signed and dated
to the margin, annotated verso, 45 x
35.5cm, mounted
71
Named Desire, taken at Manchester,
the margin London '49, extensively
72
portrait of Vivien Leigh, 1949 and
reprinted 1986, gelatin silver print,
45x36cm
73
in A Streetcar Named Desire,
photographed in Manchester, gelatin
margin London '49, annotated verso, 45 x
36cm, mounted
74
portrait of Vivien Leigh, gelatin silver
print, 1950, signed and dated to the
margin, annotated verso, 45 x 36cm,
mounted
75
and Laurence Olivier in Caesar and
Cleopatra, taken on the pre-London
tour at the Opera House, Manchester,
to the margin, annotated verso, 45 x
36cm, mounted
77
and Laurence Olivier in Antony and
Cleopatra, gelatin silver print, signed
and dated to the margin London '51,
78
and Laurence Olivier in Antony and
Cleopatra, taken in Manchester 1951,
the margin, annotated verso, 45 x 36cm,
mounted
84
in Antony and Cleopatra, taken at
The Opera House, Manchester,
December 1951, gelatin silver print,
signed and dated to the margin,
85
in Caesar and Cleopatra, 1951, gelatin
mounted
79
in Caesar and Cleopatra, taken on
stage at Manchester 1951, gelatin silver
80
in Caesar and Cleopatra, on stage in
Manchester, 1951, gelatin silver print,
86
with Laurence Olivier in The
Sleeping Prince, gelatin silver print,
signed and dated to the margin, 1953,
extensively annotated verso, 45 x
35.5cm, mounted
76
and Laurence Olivier, the death scene
at the Monument in Antony and
Cleopatra, gelatin silver print, signed and
dated to the margin London 1951, 36 x
45cm, mounted
81
Named Desire, gelatin silver print
(reprinted 1968) annotated verso, 45 x
35.5cm, mounted
82
83
87
and Laurence Olivier in The
Sleeping Prince, taken at The Phoenix
Theatre, London, November 1953,
the margin, annotated verso, 45 x
35.5cm, mounted
88
portrait of Vivien Leigh, London
1954, signed and dated, 38 x 28cm,
mounted
93
and Laurence Olivier in Titus
Andronicus at Stratford, gelatin silver
97
as Viola in Twelfth Night at
Stratford, gelatin silver print, signed and
dated to the margin '55, annotated verso,
40.5 x 30.5cm, mounted
89
and Laurence Olivier on stage in
Twelfth Night at Stratford, 1955,
the margin '56, annotated verso, 45 x
36cm, mounted
94
as Viola disguised as a boy (Cesario)
in Twelfth Night at Stratford upon
Avon, April 1955, gelatin silver print
reprinted '86, annotated verso, 45 x
35.5cm, mounted
98
Angus McBean - Portrait of
Vivien Leigh taken in her Stratford
upon Avon apartment, 1955 reprinted
1986, gelatin silver print, extensively
99
as Lady Macbeth at Stratford upon
Avon, 1955, signed and dated to the
margin, gelatin silver print, annotated to a
label verso, 45 x 34.5cm, mounted
90
and Laurence Olivier in Macbeth at
Stratford, 1955, gelatin silver print,
100 Angus McBean - Vivien Leigh
as Lady Macbeth at Stratford, 1955,
the margin, annotated to label verso, 45 x
36cm, mounted
91
with Laurence Olivier in Titus
Andronicus at Stratford, 1955, gelatin
mounted
as Lady Alexandra Shotter in Noël
Coward's South Sea Bubble, at the
Lyric Theatre 1956, gelatin silver print,
95
portrait of Vivien Leigh, 1955
reprinted 1986, gelatin silver print
96
as Lady Macbeth at Stratford, 1955,
the margin, annotated verso, 45 x 36cm
92
on stage in Twelfth Night at
Stratford, 1955, gelatin silver print,
as Paola in Duel of Angels at the
Apollo Theatre, London April 1958,
35.5cm, mounted
as Viola in Shakespeare's Twelfth
Night, taken during rehearsal at The Old
Vic in 1961, gelatin silver print, reprinted
1986, annotated verso, 45 x 36cm,
mounted
32.5cm, mounted
104 Angus McBean - Studio
portrait of Vivien Leigh, 1961, gelatin
margin, extensively annotated verso, 45 x
36cm, mounted
margin, extensively annotated verso, 44.5
x 36cm, mounted. Note: Taken three
weeks before her death
silver print, before the filming of The
Roman Spring of Mrs Stone, signed and
dated to the margin '62, annotated verso,
35 x 36cm, mounted
margin, 45 x 36cm. Note: Taken three
weeks before her death
portrait of Vivien Leigh, before filming
The Roman Spring of Mrs Stone, gelatin
silver print, signed and dated '62 to the
mounted
portrait of Vivien Leigh, 1962, taken
for press before the making of the film
The Roman Spring of Mrs Stone,
reprinted 1986, gelatin silver print,
extensively annotated verso, 45 x 36cm,
mounted
portrait taken at her flat before the
filming of A Ship of Fools, 1964,
the margin, annotated verso, 45 x 37cm,
mounted
portrait taken at her flat before the
filming of A Ship of Fools, 1964,
and Laurence Olivier in Macbeth at
Stratford upon Avon, two gelatin
silver prints, each 45 x 36cm; and one
other studio portrait of Vivien Leigh, 38 x
28.5cm (3)
and Laurence Olivier in
Shakespeare's Antony and
Cleopatra, taken at Manchester, gelatin
margin London '51, annotated verso, 45 x
35cm; and one other of Vivien Leigh in
Antony and Cleopatra, 45 x 35cm (2)
114 Angus McBean - A quantity
of Vivien Leigh theatrical gelatin
silver prints, some annotated, to
include; as Lavinia at Stratford 1955, as
Viola in Twelfth Night at Stratford x2, as
Blanche DuBois in A Streetcar Named
Desire x2, and with Peter Wynyard in
Duel of Angels at the Apollo Theatre
1958, each approx. 24 x 20cm with one
larger, some annotated verso (6)
in 1938, her first visit to the Belgrave
Road studio; this was one of the pictures
which she sent to Hollywood when she
was angling for the part of Scarlett
O'Hara, two gelatin silver prints, each 30
x 32cm and 30 x 23cm
in 1938, her first visit to the Belgrave
Road studio; this was one of the pictures
which she sent to Hollywood when she
was angling for the part of Scarlett
O'Hara, gelatin silver print, 40 x 32cm;
and one other Vivien Leigh from her first
studio sitting in 1937, signed and dated to
the margin, 25 x 20cm (2)
mounted
portrait of Mae West, 1948, gelatin
margin, 50 x 40cm
119 Angus McBean - Frankie
Howerd on stage at Wyndhams in
Charlie's Aunt, 1954, two gelatin silver
prints, one signed to the mount, the
larger 44 x 34cm
120 Angus McBean - Sean
Connery on stage, two gelatin silver
prints, one signed, the larger 44 x 36cm
124 Angus McBean - Helen Wills
Moody surreal studio portrait,
published in the Sketch 29th June 1938,
gelatin silver print, annotated to label
verso, 46.5 x 37.5cm; with matching
monochrome print on paper, both
mounted (2)
125 Angus McBean - The Beverly
Sisters studio portrait, 1950, gelatin
silver print, signed in pencil to the mount,
126 Angus McBean - Vera Lynn
as used for the 7" single sleeve 'Sing
Again with Vera', reverse image gelatin
silver print, 1958, signed in pencil to the
mount, 37 x 30cm
128 Angus McBean - Cousin
Jerry, 1941, gelatin silver print
(distressed), signed in pencil to the
mount, 60 x 49.5cm; one other portrait
of a young man, 1939, signed and dated
to the mount, 37 x 29.5cm (2)
129 Angus McBean - Richard
Burton as Hamlet at the Old Vic,
the margin '58, 38 x 28.5cm; and one
other from the same showing, 44 x 36cm
(2)
130 Angus McBean - Richard
Burton as Hamlet taken on stage at
the Old Vic, 1951, gelatin silver print,
signed and dated to the margin; and three
other matching smaller examples, the
largest annotated verso and measuring 43
x 32cm (4)
131 Angus McBean - Diana
Wynyard as Portia at Stratford
upon Avon, gelatin silver print, signed
to the mount and annotated verso, 50 x
38cm; and one other studio portrait of
the dancer Martha Graham, signed and
dated to the mount '59, 40 x 48cm (2)
121 Angus McBean - Shirley
Bassey studio portrait, 1952, three
gelatin silver prints, the largest signed and
dated to the margin, annotated verso, 44
x 36cm, all three mounted
127 Angus McBean - Harold
(Howard) Keel as Curley in
Oklahoma, August 1947, two gelatin
silver prints, one signed to the margin,
annotated and mounted, each 45 x 36cm
122 Angus McBean - George
Robey studio portrait, 1949, two
gelatin silver prints, one signed and dated
to the margin the other to the mount,
the largest 50 x 40cm (2)
123 Angus McBean - Lady
Margaret Strickland studio portrait,
two gelatin silver prints, each signed to
the mount, each 37.5 x 30cm
132 Angus McBean - Tommy
Steele as Tony Lumpkin in She
Stoops to Conquer at the Old Vic,
to the mount, annotated verso, 30 x
38cm; one other studio portrait of
Tommy Steele, signed in pencil to the
mount, 50 x 40cm; and one other
unidentified male playing an HMV vinyl
record, 60 x 49cm (3)
135 Angus McBean - Ingrid
Bergmann, photographed at The Savoy
Hotel, 1959, gelatin silver print, signed
and dated to the mount, annotated verso,
39.5 x 29cm
140 Angus McBean - Bea Lillie,
'The Lillie-Phone', published Tatler 1958,
the mount, annotated to label verso, 39 x
32cm
133 Angus McBean - Michael
Redgrave & Alan Badell in the
Tempest, Stratford 1952, gelatin silver
print, signed in pencil to the mount,
136 Angus McBean - Joan
Sutherland, gelatin silver print, signed
to mount, 38 x 29cm
137 Angus McBean - Claire Luce
as Becky Sharp, studio portrait 1949,
the mount, 30 x 38cm
141 Angus McBean - Bernard
Braden and his wife Barbara Kelly,
1957, gelatin silver print, signed to the
mount, annotated verso, 50 x 39.5cm
142 Angus McBean - Stephen
Murray, Ruth Lodge, Catherine
Lacey, and Robert Harris, in J B
Priestley's Dangerous Corner, at the
Westminster Theatre, 1937, gelatin silver
print, signed and dated to the mount,
annotated to label verso, 40 x 28.5cm
134 Angus McBean - Peter
O'Toole as Hamlet, at The Old Vic,
to the mount, annotated verso, 30.5 x
25cm
138 Angus McBean - Claire Luce,
as Cleopatra at Stratford, published in
Tatler July 1945 (the first issue after
WWII), taken in McBean's studio, gelatin
silver print, signed and dated in pencil to
the mount, annotated verso, 38 x 29cm
139 Angus McBean - Bea Lillie,
on the stage at Bournemouth (double
exposure), the pre-London run of Miss
Beatrice Lillie Entertains, 1950, gelatin
silver print, signed to the mount,
annotated verso, 46 x 54.5cm
143 Angus McBean - Cousin
Rowena, photographed in Bath 1940,
gelatin silver print, signed in pencil to the
mount, various labels and briefly
144 Angus McBean - portrait of
Marika Rivera, photographed at dusk
with two spotlights in the garden of her
house, 1946, gelatin silver print, signed to
148 Angus McBean - Peggy
Ashcroft, photographed at the Belgrave
Road studio in London, 1938, gelatin
mount, annotated verso, 29.5 x 38.5cm
149 Angus McBean - James
Mason, as Lord Bryon in The Heart was
not Burned, photographed at The Gate
Theatre 1938, two gelatin silver prints,
44 x 36cm and 24.5 x 20cm
153 Angus McBean - Jean Renoir,
self-portrait with his father Claude
Renoir, two gelatin silver prints, each
signed and dated to the mount (one
1959, the other 1961), 39 x 29cm and 25
x 20cm, both annotated verso (2)
150 Angus McBean - Margaret
Leighton, as Rosalind on stage at
Stratford, 1952, gelatin silver print, signed
and dated to the mount, 38 x 30cm
151 Angus McBean - Glynis
Johns, studio portrait, 1949, gelatin silver
print, signed to the mount, annotated
verso, 29 x 35.5cm
145 Angus McBean - Vivien
Leigh, untitled portrait, gelatin silver
print, 50 x 40cm; and one other of Vivien
Leigh, untitled, 24 x 19cm (2)
146 Angus McBean - Robert
Carrier, in his garden kitchen in
Islington, 1962, two gelatin silver prints,
both signed and dated to the mount, 29.5
x 24.5cm (2)
147 Angus McBean - Peggy
Ashcroft, as Portia in Shakespeare's
Merchant of Venice, Stratford on Avon,
published in The Sketch June 8th 1938,
154 Angus McBean - Alec
Guinness as T E Laurence, in Ross at
the Haymarket Theatre, 1959, gelatin
silver print, signed in pencil to the mount,
24 x 29.5cm; and one other of Alec
Guinness on the stage in The Cocktail
Party, 1968, 25 x 20cm (2)
152 Angus McBean - Gertrude
Niesen, studio portrait, 1938, gelatin
mount, annotated verso, 36 x 24.5cm
155 Angus McBean - Dame Edith
Evans, studio portrait published in The
Sketch March 6th 1949, gelatin silver
print, signed to the print, annotated
verso, 37.5 x 30cm
156 Angus McBean - Edith Evans,
studio portrait, 1949, gelatin silver print,
signed in pencil to the mount, extensively
157 Angus McBean - Pamela
Stanley, as the old Victoria in the play
Victoria Regina, studio study 1938, gelatin
margin, extensively annotated verso, the
photograph was taken as a virtual copy of
Sir William Nicholson's famous woodcut
of the old queen, however Sir William
would not give his consent to the
publishing of this image. His solicitor
described it 'this vedicieous travesty of
Sir William's famous picture and has
decided not to publish', the only one of
the whole series not to be published for
The Sketch magazine, 45 x 35.5cm
159 Angus McBean - Moira
Sherer, as Sally Bowles in I Am A
Camera, 1955, gelatin silver print, signed
and dated to the mount, annotated verso,
31 x 26cm
160 Angus McBean - Marika
Rivera, in the garden of her home in
Dorset, 1945, gelatin silver print, signed
in pencil to the mount, 50.5 x 40cm; and
one other of Rivera in the great hall of
her Dorset home, signed and dated in
pencil to the mount, 1950, 41 x 37cm,
both annotated verso (2)
164 Angus McBean - Dame
Margot Fonteyn, surreal portrait,
1951, gelatin silver print, 25 x 19.5cm
165 Angus McBean - Celia
Johnson, as Rebecca, gelatin silver print,
signed and dated '38 to the mount,
32x25cm
161 Angus McBean - Christmas
Card 1962, gelatin silver print, signed in
pen to the mount, 28 x 39cm
158 Angus McBean - Lupe Velez,
in Transatlantic Rhythm, published in The
Sketch September 30 1936, gelatin silver
print, signed and dated in pencil to the
mount, annotated verso, 30 x 24cm
162 Angus McBean - Lupe Velez,
in Transatlantic Rhythm, gelatin silver
163 Angus McBean - surreal
portrait of Margaret Lockwood,
published in The Sketch August 24th
in pencil to the mount, annotated verso,
38 x 29cm
166 Angus McBean - Katherine
Hepburn, in The Millionaress, 1952,
four gelatin silver prints, one signed and
dated, 41 x 32cm, two 50 x 40cm, the
other 19 x 16cm (4)
167 Angus McBean - Joan
Sutherland and Richard Boyning,
studio portrait, 1952, gelatin silver print,
signed and dated to the mount, 40 x
31cm
171 Angus McBean - Sir John
Gielgud, as Leontes in The Winter's
Tale at The Phoenix, 1951, gelatin silver
print, signed in pencil to the margin,
168 Angus McBean - Ruth
Draper montage, gelatin silver print,
signed and dated to the mount 1947, 37.5
x 30cm
Gielgud, as King Lear at The Old Vic,
1940, gelatin silver print, annotated
verso, 49 x 39cm
the margin, annotated verso, two 38 x
29cm, five 24 x 19.5cm (7)
176 Angus McBean - Quentin
Crisp, studio portrait, 1939, gelatin silver
print, signed and dated to the mount, 38
x 29cm
177 Angus McBean - Quentin
Crisp, studio portrait, 1938, gelatin silver
print, signed to the mount, 39 x 29cm;
and one other studio portrait of Crisp,
24 x 18cm (2)
169 Angus McBean - Paul
Scofield, in Hamlet at The Phoenix
Theatre, gelatin silver print, signed and
dated to the mount 1952, annotated
verso, 39.5 x 32cm; and one other of
Scofield in the same production,
unsigned, 39 x 29cm (2)
Gielgud, as Angelo in Measure for
Measure at Stratford, 1950, gelatin silver
print, annotated verso, 49 x 39cm
Gielgud, as Thomas Mendip in The
Ladies not for Burning, published in The
Sketch July 20th 1949, two gelatin silver
prints, annotated verso, 48 x 39cm and
28 x 23cm (2)
Gielgud, as Cassius at Stratford, 1950,
gelatin silver print, signed in pencil to the
mount, annotated verso, 38 x 30cm
Gielgud on stage, seven various
gelatin silver prints, signed and dated to
178 Angus McBean - Maud Lloyd,
gelatin silver print, 36 x 23cm; and
Kathleen Ferrier as Orpheus, 1950, two
gelatin silver prints, 36.5 x 46cm (2)
179 Angus McBean - The girl
next door, 1922, gelatin silver print,
signed in pencil to the mount, annotated
verso, one of the only two pictures which
survive from this period, 30 x 25.5cm
187 Angus McBean - Four gelatin
silver prints, to include; Lupe Velez,
Elizabeth Taylor as Helen of Troy in
Doctor Faustus, 1966, and two others,
various sizes, the largest 44 x 36cm
188 Angus McBean - A set of 34
reproduction prints, on matt paper, to
include; Audrey Hepburn, Flora Robson,
Christmas Card 1950, Peggy Ashcroft as
Portia, Elizabeth Taylor, Bea Lillie, Noël
Coward etc, each mounted on board, var
ious sizes but each approx, 36 x 30cm
183 Angus McBean - Jessie
Matthews, 1951, gelatin silver print, 43
x 28cm, housed in glazed display frame
180 Angus McBean - Jessie
Matthews, studio portrait, 1951, gelatin
mount, annotated verso, 24.5 x 20cm
184 Angus McBean - Pair of
coloured gelatin silver prints;
self-portrait with David Ball, and Marika
Rivera in Greek mask, each 27 x 20cm,
framed and glazed
185 Angus McBean - Ivor
Novello surrealised, 1947, two gelatin
silver prints; and Diana Winyard, Rex
Harrison and Anton Walbrook
surrealised on Noël Coward's Design for
Living, 1939, two gelatin silver prints,
each approx. 38 x 31cm (4)
186 Angus McBean - Toumanova
surrealised, as Lady Sylphide x2, 1938,
Flora Robson surrealised, 1938; and
Danny LaRue on stage, four gelatin silver
prints, each approx. 42 x 32cm (4)
181 Angus McBean Toumanova, surrealised as La Sylphide,
1938, gelatin silver print, 28 x 23cm
189 Angus McBean - Collection
of theatrical stills, to include; Richard
Burton x3, Vivien Leigh as Viola in
Twelfth Night x2 etc, silver gelatin prints,
some annotated verso, each approx. 24 x
19cm (9)
of theatrical stills, to include; Joan
Plowright as Saint Joan at Chicester x2,
Paul Scofield as Hamlet, Anthony Quayle
as Henry VIII, Michael Redgrave as
Hamlet, James Mason as Byron etc,
gelatin silver prints, each approx. 24 x
19cm (13)
182 Angus McBean - Hermione
Baddeley surrealised, gelatin silver
print, signed and dated to the mount
1938, 38 x 29cm, housed in glazed frame
of theatrical stills, to include; Frankie
Howerd, Peter Brock, Maud Lloyd, Paul
Scofield, Dame Flora Robson, the cast of
West Side Story, Peter Hall's A
Midsummer Night's Dream etc, gelatin
silver prints, each approx. 24 x 19cm (13)
of portrait studies, to include; Dorothy
Tutin, Elizabeth Taylor, Sybil Thorndike,
Ross Conway etc, gelatin silver prints,
193 Angus McBean - Surrealist
portrait studies, to include; Flora
Robson 1938, Diana Gould 1940,
Pamela Stanley as the old Victoria x2,
Gertrude Niesen etc, gelatin silver prints,
194 Angus McBean - Assorted
stills, to include; Joan Cross as Ellen
Orford in Peter Grimes at Sadlers Wells,
signed in pencil to the mount, 16 x 21cm;
Hermione Gingold 1948; Audrey
Hepburn 1951; Maria Callas 1960; Alec
Guinness as T E Laurence and Dame
Edith Evans, gelatin silver prints, various
sizes, the largest 29 x 23cm (6)
195 Angus McBean - Various
stills, to include; Beatrice Lillie x2,
Pamela Stanley as Queen Victoria 1938,
Diana Winyard signed and dated 1938 to
the mount etc, gelatin silver prints,
various sizes, the largest 37 x 28.5cm (9)
of largely theatrical stills, to include;
Laurence Olivier, some studio portraits,
gelatin silver prints, each 24 x 19cm (17)
of theatrical stills, to include; Laurence
Olivier, gelatin silver prints, each 24 x
19cm (21)
of largely theatrical stills, to include;
Laurence Olivier, some studio portraits,
gelatin silver prints, each 24 x 19cm (22)
199 * A framed Angus McBean
gallery poster, depicting Vivien Leigh as
a surrealist Greek Goddess as featured
on the cover of The Sketch in 1938, 76 x
54cm, all housed in moulded oak frame
200 A quantity of Angus McBean
gallery posters, all loose, to include;
large run of 1986 West End gallery
editions each depicting various famous
surrealist scenes, one for Art at The
Minories in Colchester touring exhibition
March 1985, one for A Darker Side of
The Moon exhibition at York in 1976,
three for the Plymouth Arts Centre, four
for the Open Eye Gallery in Liverpool,
four for an exhibition at the South Bank
Centre, one other for Robert
Maplethorpe Hockney Exhibition 1981 (a
lot)
fashion shoot for Hubert de
Givenchy, Ilford colour print, signed and
dated '84, titled to the margin, as
published in Paris Vogue, March '84, 33 x
52.5cm
fashion shoot for Louis Feraud, Ilford
colour print, signed and dated 1984 to
the mount, as published in Paris Vogue,
March 1984, 50 x 40cm
fashion shoot for Ted Lapidus, Ilford
colour print, signed, titled and dated
1984 to the mount, as published in Paris
Vogue, March 1984, 50 x 40cm
201 * Angus McBean - Pair of
studio portraits of Amy Shuard,
gelatin silver prints, each signed in pencil
to the mount, with Endell St studio
backstamp verso, each 21 x 16cm
fashion study for Christian Dior,
Ilford colour print, signed and dated 1984
to the mount, as published in Paris
Vogue, March 1984, 40 x 50cm
206 Angus McBean - Fashion
study for Christian Dior 'I Owe you
three farthings say the bells of St
Martins', Ilford colour print, signed and
dated 1984 to the mount, as published in
Paris Vogue, March 1984, 50 x 40cm
study for Balmain, Ilford colour print,
signed and dated 1984 to the margin, as
published in Paris Vogue, March 1984, 33
x 48cm
signed and dated 1984 to the margin, as
x 48cm
study for Pierre Cardin, Ilford colour
print, signed, titled and dated 1984 to the
margin, 47 x 38cm
shoot for Christian Dior, Ilford colour
margin, taken for Vogue, March 1984, 47
x 38cm
signed and dated 1984 to the mount, as
x 49cm
fashion study for Hanae Mori, Ilford
the mount, taken for Vogue, 49 x 39cm
fashion study for L'Officiel, Ilford
the mount, 49 x 39cm
fashion study for Yves St Laurent in
L'Officiel, Ilford colour print, signed and
L'Officiel Paris September 1983, 49 x
39cm
fashion study for Pierre Balmain in
L'Officiel Paris, September 1983, 49 x
39cm
study for Pierre Cardin, Ilford colour
mount, as published in Paris Vogue,
March 1984, 50 x 40cm (with 11" scratch
across centre)
fashion study for Guy Laroche in
39cm
fashion study for Christian Dior in
39cm
223 Angus McBean - Marie
Seznec Martinez portrait for
Harpers & Queen, Ilford colour print,
signed and dated 1989 to the mount, 50 x
40cm
fashion study for Jean Patou in
39cm
224 Angus McBean - Florence de
Gramont portrait for Harpers &
Queen, Ilford colour print, signed and
dated 1989 to the mount, 50 x 40cm
fashion study for Yves St Laurent in
39cm
fashion study for Hubert de
Givenchy, Ilford colour print, signed and
Paris Vogue, March 1984, 50 x 40cm
220 Angus McBean - Two
surrealist fashion studies for Chanel
in L'Officiel, Ilford colour print, signed
and dated 1983 to the mounts, as
published in L'Officiel Paris September
1983, each 49 x 39cm (one with surface
scratches)
225 Angus McBean - Charlotte
Floussault portrait for Harpers &
226 Angus McBean - Victoire de
Taillac portrait for Harpers &
227 Angus McBean - Sylvia de
Castellane portrait for Harpers &
228 Angus McBean - Florence de
Gramont portrait for Harpers &
229 Angus McBean - Denzil
Allwood portrait for Harpers &
230 Angus McBean - Princess
Leticia Poniatowska portrait for
40cm
231 Angus McBean Emmanuelle Gare portrait for
40cm
232 Angus McBean - Athenais de
Mortemart portrait for Harpers &
233 Angus McBean - Two
Rosanne Blair portraits for Harpers
& Queen, Ilford colour prints, one
40cm (2)
234 Angus McBean - Three
Dame Peggy Ashcroft portraits for
Harpers & Queen, Ilford colour prints,
one signed and dated 1989 to the mount,
50 x 40cm (3)
STUDIO PROPS &
MISCELLANEOUS ITEMS
237 David Hockney - Gallery
exhibition poster for the David
Hockney Drawings, Rex Irwin Art
Dealer, September 1981, 38 Queens
Street, Woollahara, New South Wales,
inscribed in pencil apparently by Hockney
'for Angus with love' and signed with a
smiley face (three tears to poster along
right hand side and some creasing), 92 x
66cm
241 Timothy Easton - Male nude,
pastel, inscribed 'for Angus McBean on
his 70th birthday', signed and dated lower
right 1973, 26.5 x 41cm; and a
watercolour and body colour portrait of
Angus McBean, monogrammed PH, 35 x
21cm (2)
245 * Roger Fenton (1819-1869) Roslyn Chapel south side, salt print,
signed and numbered lower right H.41,
mounted on textured paper, 34.7 x
42.7cm
242 A Victorian Identure later
decorated by Angus McBean,
depicting Pamela Stanley as Queen
Victoria at the Gate Theatre in 1938, 50
x 77cm, all housed in a good birds eye
maple frame
246 * Roger Fenton (1819-1869) Gloucester Cathedral, albumen print
mounted on textured paper, 35.3 x
43.8cm
238 Leslie Roy Hobdell
(1911-1961) - Portrait of Angus
McBean, oil on canvas, signed lower left,
50 x 45cm
247 A quantity of wallpaper rolls,
many of which were used as studio
backdrops; a framed McBean surrealist
print etc
248 A relief carved and painted
oak depiction of an Angus McBean
surrealist self-portrait, h.75cm
(1911-1961) - Portrait of Angus
McBean in fancy dress costume for
Roger's New Year Ball, December
1951, the theme being Roman togas at
10pm, oil on board, 50 x 47cm, with
detailed inscription verso to paper label
243 * Bill Wyman - Ringo Starr
in the South of France, October 1978,
colour photographic print, No.2/12,
signed and titled to the mount, 35 x
35cm
249 Angus McBean - pedestal
masks of Ivor Novello and Greta
Garbo, apparently used as photographic
props, Novello h.46cm
(1911-1961) - Surrealist exterior
scene with female nude, oil on board,
35 x 46cm
244 * Roger Fenton (1819-1869) Lichfield Cathedral porch, albumen
print mounted on textured paper, 35.2 x
43.1cm
250 The props used for the
McBean Christmas card 1982, being
three seated porcelain dolls with table,
miniature copy of the Sunday Telegraph
etc, all housed under a glass dome and on
ebonised wooden plinth, dome dia.29cm
253 An oak waterfall bookcase,
painted and adapted by Angus McBean,
w.60cm
254 A pine dresser base, with faux
frieze drawers over two cupboard doors,
painted and adapted by Angus McBean,
w.117cm
258 Angus McBean - a glass and
metal window panel, depicting French
knight with shield, painted wooden frame,
signed with monogram lower centre,
dimensions 155 x 80cm
255 Angus McBean - a wrought
iron coffee table, the laminated top
with printed classical scene, w.101cm
251 The props used for the
McBean Christmas card 1983, being
glass dome containing a collection of
nude porcelain dolls with centre seated
gentleman, dome dia.21cm
256 A panorama for the
Shakespeare exhibition celebrating
the 100th season at the
Shakespeare Memorial Theatre in
Stratford upon Avon, with many of
the characters being adapted from
McBean's photographs, the whole
measuring 40 x 730cm
259 Angus McBean - a glass and
metal profile portrait glazed panel,
signed with monogram upper left, in
wooden frame, dimensions 85 x 69cm
252 Angus McBean - a prop of
Mae West, in standing pose and wearing
a sequined full length dress, with puppet
arms, h.63cm
257 Angus McBean - a pair of
doors, each inset with glass and metal,
depicting French mediaeval knight and
maiden, with brass fittings, each signed
with monogram and dated 1974,
dimensions 192 x 65cm
End of sale

The Angus McBean Collection Friday 12 April at 12pm

Transcription

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