7th May, 2025 13:00
Entertainment & Memorabilia, including Vintage Posters
The Philip Saville Collection: Original Production Scripts; Letters including E.M. Forster copy; and Publicity Stills –
Original Production Scripts include:
The Lives and Loves of A She Devil (1986) Revised Rehearsal Script, adapted by Ted Whitehead from the novel by Fay Weldon, Part One, dated October 29, initialled ‘P’ in Philip’s hand on first page, annotated throughout, with the director’s notes, sketches and doodles, unbound, 94-pages on white sheets with revision pages on pink, green, orange and yellow sheets at end, all contained within a blue lever arch file, 27 x 31cm.
The Gospel of John (2003) Screenplay by John Goldsmith, working title ‘Gospel According to St. John’, Philip Saville’s black ink ownership name, initialled ‘P’ in red ink on first page, extensively annotated throughout, with the director’s notes and additional sketches, unbound, 179-loose pages on white sheets, 21 x 30cm; together with related production documents including, VFX breakdown sheets; production schedules, crew list, and 2-page copy draft storyboards by Robert J. Lewis, etc. (qty).
Play of the Month: The Ghost Sonata (1980) by August Strindberg, Rehearsal script, undated, c. 1979, with initialled ‘P’ in red ink on first page, brad bound to left corners, single-page cast list and 85-pages on white sheets, annotated throughout by the director with his additional sketches, 21 x 30cm.
Hans Christian Anderson: [My Life as a Fairy Tale, 2003] (2003) by Kit Hesketh Harvey, third draft, dated 27th February 2001, with initialled ‘P’ in red ink on first page, extensively annotated throughout with the director’s notes and additional sketches, unbound, 265-pages on white sheets with blue revision sheets; together with, a quantity of related production documents including, copy storyboard sketches, breakdown of Visual FX, call sheets, lyrics to songs for pre-recording and piano/vocal parts by Debbie Wiseman, final cast list and post-production schedule; all contained within a black lever arch file, 25.5 x 31.5cm.
The Biographer (2002) Screenplay by Josh Lacey, Final draft, dated 9. February, 2000, initialled ‘P.S’ in on front page, extensively annotated throughout with the director’s notes, unbound, 98-pages on white sheets; together with a small quantity of related production notes including, a provisional shooting schedule; unit and cast Lists; script breakdown with storyboard sketches, etc., all contained within a black lever arch file, 25.5 x 31.5cm.
Collection of Letters include:
E.M. Forster (1879-1970). Copy Autograph Letter Signed, 1967, A copy of a letter sent by the English author to writers Kenneth Cavender and Clive Donner, single page with the author’s Kings College, Cambridge address top right, dated 16.4.67, which reads in part, . . . ‘Thank you so much for your production of ‘The Machine Stops’. I saw it last night and was greatly moved, more moved than by the original story when I wrote it forty years ago . . . ‘, 14 x 18cm.
The Machine Stops (BBC television adaptation, 1966) directed by Philip Saville, was adapted for television by Cavender and Donner from E.M. Foster’s science-fiction short story of the same name as part of the second series of science-fiction anthology series, ‘Out of the Unknown’.
Irene Schubik (1929-2019). Typed Letter Signed, sent by the British BBC Producer to Philip Saville, single page on British Broadcasting Corporation headed paper, dated 25th April 1967, which reads in part . . . ‘I thought you might enjoy the enclosed letter from E.M. Forster although, as always happens, he attributes the wrong things to the wrong people . . . ‘, 12.5 x 20cm.
Anthony Sher (1949-2021). Autograph Letter Signed, sent by the British actor to Philip Saville, handwritten on single sides of two sheets, dated 22 Nov ’85, and reads in part, . . . ‘I so wanted to celebrate Shadey . . . Congratulations on the film. You have made an original and haunting piece of work . . . ‘, 18 x 23cm.
Shadey (1985) was a British comedy film directed by Philip Saville, starring Anthony Sher, Billy Whitelaw, and Patrick MacNee.
Gita Karloff: Autograph Letter Signed, sent to Philip Saville, handwritten on both sides of a single sheet on Hotel Maurice, New York, headed paper, undated, and reads in part . . . ‘ We saw Walter Wagner last night . . . you can always look him up and mention Boris’ name . . . ‘ , 18.5 x 16.5cm.
Alan Bleasdale (b. 1946-) Typed Letter Signed, single page, dated October 8, 1985, and reads in part . . . ‘do you know that the book about ‘The Boys from the Black Stuff is coming out . . . I’ve read some of it . . . In fact, I’ve learnt more about the making of the series from reading the book than being involved in the making’; together with, a photocopy Autograph Letter Signed by Alan Bleasdale to Philip Saville, single page, dated 1982, and reads in part . . . ‘Episode 3 is the best and most truthful representation of my work . . . of course, you do realise that you have now created a magnificent rod for your own back . . . Really it was a joy, see you soon, Alan’; with a related black and white photograph depicting Alan Bleasdale and Philip Saville, 8 x 10 inches.
Publicity Stills include:
60+ back and white photographs, depicted former actor and director, Philip Saville, with the many cast members he worked with and directed throughout his long career, images include Boris Karloff and Saville in the Broadway production of Shop at Sly Corner (1947), Sean Connery in Eugene O’Neill’s Anna Christie (1957), Dudley Moore, Exit 19 (1966) inscribed by Moore in blue ink to Jane [Arden], Orson Welles and Christopher Plummer in Oedipus the King (1968), Lila Kechova in Ghost Sonata (1980), Danny Glover in Mandela (1987), Saville with the main cast of David Puttnam's First Love series, Those Glory Glory Days (1983), and numerous others, many numbered and stamped on reverse, various sizes, the largest, 14 ½ x 10 inches; together with, Hamlet at Elsinore (1964) a later printed photo. illustrated Press book, Signed by photographer, Arne Magnussen, spiral bound, 14-pages, within original envelope bearing the photographer’s label marked for Philip Saville in the photographer’s hand, 21 x 30cm. (qty).
Provenance: The Collection of the late Philip Saville (1927-2016)
Philip Saville, former actor and screenwriter, was one of Britain’s most prolific and pioneering television and film directors whose works also included, Harold Pinter’s A Night Out (1960) The Best House in London (1969), Shadey (1985), and Mandela (1987) to name a few. Saville directed over forty plays for ‘Armchair Theatre’ (1956-1972) and won BAFTA awards for Hamlet at Elsinore (1964), Boys from the Blackstuff (1982) and The Life and Loves of a She Devil (1986).
Sold for £350
The Philip Saville Collection: Original Production Scripts; Letters including E.M. Forster copy; and Publicity Stills –
Original Production Scripts include:
The Lives and Loves of A She Devil (1986) Revised Rehearsal Script, adapted by Ted Whitehead from the novel by Fay Weldon, Part One, dated October 29, initialled ‘P’ in Philip’s hand on first page, annotated throughout, with the director’s notes, sketches and doodles, unbound, 94-pages on white sheets with revision pages on pink, green, orange and yellow sheets at end, all contained within a blue lever arch file, 27 x 31cm.
The Gospel of John (2003) Screenplay by John Goldsmith, working title ‘Gospel According to St. John’, Philip Saville’s black ink ownership name, initialled ‘P’ in red ink on first page, extensively annotated throughout, with the director’s notes and additional sketches, unbound, 179-loose pages on white sheets, 21 x 30cm; together with related production documents including, VFX breakdown sheets; production schedules, crew list, and 2-page copy draft storyboards by Robert J. Lewis, etc. (qty).
Play of the Month: The Ghost Sonata (1980) by August Strindberg, Rehearsal script, undated, c. 1979, with initialled ‘P’ in red ink on first page, brad bound to left corners, single-page cast list and 85-pages on white sheets, annotated throughout by the director with his additional sketches, 21 x 30cm.
Hans Christian Anderson: [My Life as a Fairy Tale, 2003] (2003) by Kit Hesketh Harvey, third draft, dated 27th February 2001, with initialled ‘P’ in red ink on first page, extensively annotated throughout with the director’s notes and additional sketches, unbound, 265-pages on white sheets with blue revision sheets; together with, a quantity of related production documents including, copy storyboard sketches, breakdown of Visual FX, call sheets, lyrics to songs for pre-recording and piano/vocal parts by Debbie Wiseman, final cast list and post-production schedule; all contained within a black lever arch file, 25.5 x 31.5cm.
The Biographer (2002) Screenplay by Josh Lacey, Final draft, dated 9. February, 2000, initialled ‘P.S’ in on front page, extensively annotated throughout with the director’s notes, unbound, 98-pages on white sheets; together with a small quantity of related production notes including, a provisional shooting schedule; unit and cast Lists; script breakdown with storyboard sketches, etc., all contained within a black lever arch file, 25.5 x 31.5cm.
Collection of Letters include:
E.M. Forster (1879-1970). Copy Autograph Letter Signed, 1967, A copy of a letter sent by the English author to writers Kenneth Cavender and Clive Donner, single page with the author’s Kings College, Cambridge address top right, dated 16.4.67, which reads in part, . . . ‘Thank you so much for your production of ‘The Machine Stops’. I saw it last night and was greatly moved, more moved than by the original story when I wrote it forty years ago . . . ‘, 14 x 18cm.
The Machine Stops (BBC television adaptation, 1966) directed by Philip Saville, was adapted for television by Cavender and Donner from E.M. Foster’s science-fiction short story of the same name as part of the second series of science-fiction anthology series, ‘Out of the Unknown’.
Irene Schubik (1929-2019). Typed Letter Signed, sent by the British BBC Producer to Philip Saville, single page on British Broadcasting Corporation headed paper, dated 25th April 1967, which reads in part . . . ‘I thought you might enjoy the enclosed letter from E.M. Forster although, as always happens, he attributes the wrong things to the wrong people . . . ‘, 12.5 x 20cm.
Anthony Sher (1949-2021). Autograph Letter Signed, sent by the British actor to Philip Saville, handwritten on single sides of two sheets, dated 22 Nov ’85, and reads in part, . . . ‘I so wanted to celebrate Shadey . . . Congratulations on the film. You have made an original and haunting piece of work . . . ‘, 18 x 23cm.
Shadey (1985) was a British comedy film directed by Philip Saville, starring Anthony Sher, Billy Whitelaw, and Patrick MacNee.
Gita Karloff: Autograph Letter Signed, sent to Philip Saville, handwritten on both sides of a single sheet on Hotel Maurice, New York, headed paper, undated, and reads in part . . . ‘ We saw Walter Wagner last night . . . you can always look him up and mention Boris’ name . . . ‘ , 18.5 x 16.5cm.
Alan Bleasdale (b. 1946-) Typed Letter Signed, single page, dated October 8, 1985, and reads in part . . . ‘do you know that the book about ‘The Boys from the Black Stuff is coming out . . . I’ve read some of it . . . In fact, I’ve learnt more about the making of the series from reading the book than being involved in the making’; together with, a photocopy Autograph Letter Signed by Alan Bleasdale to Philip Saville, single page, dated 1982, and reads in part . . . ‘Episode 3 is the best and most truthful representation of my work . . . of course, you do realise that you have now created a magnificent rod for your own back . . . Really it was a joy, see you soon, Alan’; with a related black and white photograph depicting Alan Bleasdale and Philip Saville, 8 x 10 inches.
Publicity Stills include:
60+ back and white photographs, depicted former actor and director, Philip Saville, with the many cast members he worked with and directed throughout his long career, images include Boris Karloff and Saville in the Broadway production of Shop at Sly Corner (1947), Sean Connery in Eugene O’Neill’s Anna Christie (1957), Dudley Moore, Exit 19 (1966) inscribed by Moore in blue ink to Jane [Arden], Orson Welles and Christopher Plummer in Oedipus the King (1968), Lila Kechova in Ghost Sonata (1980), Danny Glover in Mandela (1987), Saville with the main cast of David Puttnam's First Love series, Those Glory Glory Days (1983), and numerous others, many numbered and stamped on reverse, various sizes, the largest, 14 ½ x 10 inches; together with, Hamlet at Elsinore (1964) a later printed photo. illustrated Press book, Signed by photographer, Arne Magnussen, spiral bound, 14-pages, within original envelope bearing the photographer’s label marked for Philip Saville in the photographer’s hand, 21 x 30cm. (qty).
Provenance: The Collection of the late Philip Saville (1927-2016)
Philip Saville, former actor and screenwriter, was one of Britain’s most prolific and pioneering television and film directors whose works also included, Harold Pinter’s A Night Out (1960) The Best House in London (1969), Shadey (1985), and Mandela (1987) to name a few. Saville directed over forty plays for ‘Armchair Theatre’ (1956-1972) and won BAFTA awards for Hamlet at Elsinore (1964), Boys from the Blackstuff (1982) and The Life and Loves of a She Devil (1986).
