Olympia Auctions Timed | Looking Back at John Osborne: Pictures and Possessions from his Estate The Hurst, Shropshire (Timed)

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Looking Back at John Osborne: Pictures and Possessions from his Estate The Hurst, Shropshire (Timed)

25 Blythe Road

London

W14 0PD

United Kingdom

Looking Back at John Osborne: Pictures and Possessions from his Estate The Hurst, Shropshire (Timed) | 10th - 20th October 2024

The online auction from 10th - 20th October, includes paintings by Leonard Rosoman and set designer Jocelyn Herbert, theatre posters, photographs by Lord Snowdon and Cecil Beaton and drama awards. Accumulated over a lifetime, there are also programmes and books relating to all his major works including Look Back in Anger, The Entertainer, The World of Paul Slickey, Luther, A Patriot for Me, Inadmissible Evidence, Hotel in Amsterdam, and Dejavu. Other personal possessions such as hats, scarves, walking sticks and teddies are amongst the lots, giving an enthralling insight into the life and character of one of the 20th century’s most celebrated playwrights.

Contact Adrian Biddell for further information about this auction | adrian.biddell@olympiaauctions.com | + 44 (0) 20 7806 5541

Starts: 10 Oct 2024 01:00 BST

Ends from: 20 Oct 2024 16:00 BST

13 Oct 2024 12:00 - 16:00 BST

14 Oct 2024 10:00 - 20:00 BST

15 Oct 2024 10:00 - 17:00 BST

16 Oct 2024 10:00 - 17:00 BST

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Buyer's premium	25 %
Online commission	5 %
VAT on hammer	20 %
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CECIL BEATON (1904-1980), 8 PELHAM PLACE, KENSINGTON, JULY 1956

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LOOK BACK IN ANGER - THREE FOREIGN LANGUAGE THEATRE POSTERS

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JOHN OSBORNE, A SMALL LIBRARY OF PLAYS BY JOHN OSBORNE Books

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1995, poster, Royal National Theatre, cast included Michael Sheen, 75 x 49.5cm; 81 x 55cm (framed); together with a programme and flyer for the play; a small framed cartoon with the caption 'I'm giving John Osborne's book to my mother for Christmas'; and a copy of John Osborne's autobiography, Looking Back: Never Explain, Never Apologise, the 1999 single volume paperback edition of Osborne's two volumes of memoirs (5) The cartoon reference's Osborne's less than flattering portrayal of his mother Nellie Beatrice (née Grove) in the first volume of his autobiography A Better Class of Person , published in 1981 which recounts his life and upbringing until 1956, the year Look Back in Anger was premiered. The book was received to great acclaim, but as John Heilpern noted Osborne's depiction of his mother 'turned her into a national character - "The Mother of John Osborne" - a cockney grotesque out of Dickens, an exaggerated pantomime figure... a Wicked Witch or Widow Twanky with her heavy face powder...' Heilburn recounts how after Nellie Beatrice died in 1983 aged eighty-seven, Osborne began an article intended for the Sunday Times with the words, 'A year in which my mother died can't be all bad.' (Heilburn pp. 22 & 23). Qty: 5 'Look Back in Anger' (1956) is probably John Osborne's most famous play and was purportedly written in seventeen days whilst he was acting in repertory theatre in Morecambe. It centres on the life and ifficulties of an educated, intelligent working class boy (Jimmy Porter) and his upper middle-class wife (Alison) and was the fore-runner of a new move toward realism in theatre. It was the seminal 'kitchen sink drama' and inspired the term 'angry young man'. The play brought John Osborne critical acclaim and commercial success, the original cast including Alan Bates and John Osborne's second wife, Mary Ure. Mary Ure also appeared in the film version (released in 1959) alongside Richard Burton abd Claire Bloom.

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DANIEL FARSON (BRITISH 1927-1997) NOTHING TO PROTECT THEIR NAKED BODIES

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JOCELYN HERBERT (BRITISH 1917-2003) LUTHER

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ALEC MURRAY (BRITISH 1917-2002) Photographs

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SCREEN WRITERS GUILD BRONZE RELIEF PLAQUE

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⊕ MAITLAND signed P. Procktor 65' upper right; titled Maitland upper left felt tip 24 x 18cm; 37.5 x 31cm (framed); together with a P. Procktor designed poster of Nicol Williamson in the role of Bill Maitland (1978), directed by John Osborne (2) The present work depicts Nicol Williamson who played the leading role of Bill Maitland in the original production of Inadmissible Evidence which opened at the Royal Court on 9th September 1964. The production received rave reviews, with Williamson singled out for particular praise. As Heilpern recounts: 'They were unable to cast Maitland until [Anthony] Page [the director] asked the little-known Williamson to read for it... The moment Williamson began his audition at the Court, they knew he was Maitland. Page remembers Osborne walking from the back of the stalls to the apron of the stage as if he were hypnotized... At twenty-eight, he was much too young for the role, but it made no difference. "He is old within" said Osborne, who recognised his genius' (Heilpern, p. 297). Heilpern described Inadmissable Evidence as '...Osborne's finest and most disturbing play, and it brings to its peak the art of solitude made public on stage. "He is strongest who is most alone," is Ibsen's renowned line in the Enemy of the People . But for Osborne, aloneness is a curse, and Maitland is another of his isolated heroes who can find no place in the system - like Luther, Archie, Redl, Dillon and Jimmy Porter, like all his embattled heroes.' (Heilpern, p. 294). Jocelyn Herbert who designed the set for the original production commented: ' Look Back in Anger is John's first personal statement and Inadmissable Evidence is his second... Bill Maitland is speaking in John's voice. It's a very bitter play, and full of John's agonies, jealousies and sadness.' (Whitebrook, p. 216). Patrick Procktor (1936-2003) was one of the most notable artists of his generation. Popular within the worlds of music and theatre, he also designed record sleeves, including, among others, for Elton John and The Rolling Stones. Jill Bennett who became Osborne's fourth wife was a close friend. A portrait of Procktor by Cecil Beaton is in the National Portrait Gallery. Qty: 2

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⊕ NIGHT SCENE - MAXIMILIAN SCHELL AS REDL signed Leonard Rosoman lower left acrylic on canvas 182 x 182cm 184 x 184cm (framed) Exhibited New York, The Lincoln Center, Amsterdam Gallery, Paintings by Leonard Rosoman Based on the Play 'A Patriot for Me' , 1968 London, Roland, Browse & Delbanco, Leonard Rosoman: Paintings based on the Play 'A Patriot for Me' , 1969, no. 14 Literature Tanya Harrod, Leonard Rosoman , London, 2017, p. 126, illustrated Painted in 1967-68, the present canvas depicts the actor Maximilian Schell in the lead role of Alfred Redl in Osborne’s play A Patriot for Me , that premiered at the Royal Court Theatre in 1965. The play was Osborne’s most ambitious, lavish and controversial to date. It demanded a notably large cast of close to forty actors, opulent costumes, and elaborate sets, while the plot involved a sumptuous drag ball, homosexuality, blackmail and betrayal that ran foul of the censors of the day. Rosoman attended the first night and was transfixed. He recalled: I was bowled over by the Drag Ball scene and asked John [Osborne] if I could go and make drawings of it; so he gave me one of the house seats for a week & I went every night.’ (Harrod, p. 114). Received also to great critical acclaim, the play won the Evening Standard prize for the best play of 1965 (see lot 29). Rosoman's exhibition of some forty finished paintings and gouaches inspired by A Patriot for Me took place in New York in 1968 in the Amsterdam Gallery at the Lincoln Center. The painter's oversized canvases, including the present work, were inspired by the vast scale of the venue. In the lead up to the New York exhibition Rosoman noted how he worked hard and fast on the series: ‘I’ve painted 40 pictures in about 10 months: is it a good thing? Decide its not necessarily bad that I had pressure … I can go on with a painting indefinitely and not necessarily improve it.’ (Harrod, p. 120). As well as the present depiction of Redl, The Beating Up (lot 26) and Lieutenant Colonel von Mohl at his desk (lot 27), the series featured George Devine (co-founder and manager of the English Stage Company, and producer, director and actor at the Royal Court Theatre), playing Baron von Epp in drag, and at least five paintings of Jill Bennett (the only female part in the play) as Countess Sophia. Rosoman's two largest canvases celebrated the notorious Drag Ball that opens Act 2 of the play and which together with a scene of Redl in bed with another man had so incensed the Lord Chamberlain's office, and obliged the Royal Court to open as a private members for the play's run, thus circumventing the requested alterations and re-writes, a demand that Osborne and Devine flatly refused to do. Osborne described the play's genesis in an essay intended for the New York exhibition catalogue but actually only used in the catalogue of the Roland Browse and Delbanco exhibition. He wrote how he had been ‘brooding on the idea of writing a play about homosexuality, using it as a metaphor for human isolation’, and that when in the South of France in 1961 he had told Christopher Isherwood and George Devine about this ‘germ’ of an idea. The play only took form when Osborne happened upon the story of Redl: ‘I was reading a large volume of the Hapsburg Monarchy and I came upon what seemed to be a footnote to history. It was the case of Alfred Redl, a distinguished officer in the Imperial Army and the head of counter espionage. It was a critical a tragic period in history, just before the First World War. …Redl’s own story was like an exciting spy thriller, and the scandal when it was revealed in 1912 was tremendous. Briefly, from his unique position of authority Redl was not only selling secrets to the Russians but betraying his own agents. None of his distinguished fellow officers was aware that he was a secret practising homosexual. It was this that led him to submit to blackmail, betray the officer elite to which he was so proud to belong, his allegiance to the Emperor and endanger the security of his own country. It was from this material that I wrote the play.’ (quoted in Harrod, p. 238). As well as the controversy of the play being banned for general public admission in London, the homosexual content also created casting difficulties. The role of Redl, the leading man, proved especially difficult to fill. As Peter Whitebrook recounts, 'Even in 1965, playing a homosexual, especially under the furtive conditions of a private membership club, risked jeopardising a hard-earned professional reputation.' (Whitebrook, p. 240). Failing to find a British actor for the part, Anthony Page the director eventually secured the services of the very well-suited thirty-five year old Viennese actor Maximilian Schell (1930-2014). But one actor only too delighted to play a role was George Devine. It had been Devine who had first visited the unknown Osborne in his houseboat in Chiswick to get the measure of the man who had written Look back in Anger before agreeing to its premier at the Royal Court in 1956. Over the next decade Devine kept a watchful eye on Osborne's stella trajectory, which included an Oscar and a Bafta award for his screenplay of the film Tom Jones and a succession of plays which all opened to considerable acclaim at the Royal Court. These included The Entertainer starring Laurence Olivier in 1957, Luther with Albert Finney in 1961 that won a Tony award on Broadway, and Inadmissable Evidence with Nicol Williamson in 1964. Devine had admitted to Osborne when they were together with Isherwood in France how he had longed to appear on stage in drag. Osborne duly wrote the role of Baron Von Epp for him, a man who had become so much more than just a colleague: a true friend, confidante and mentor. But in the last week of the production’s run on 9th August 1965 Devine suffered a heart attack on stage. He died in January the following year. It was a huge personal and emotional blow for Osborne, and the loss of Devine marked the beginning of the end of his long running and very close association with the Royal Court Theatre.

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THE CHARGE OF THE LIGHT BRIGADE UNKNOWN, POSSIBLY ARROWSMITH

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A SELECTION OF BLACK AND WHITE PHOTOGRAPHS JOHN OSBORNE, DAVID HARE, E A WHITEHEAD AND DAVID STOREY

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JOHN OSBORNE AND HIS DAUGHTER NOLAN, 1970s

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PLAYS AND PLAYERS, A THEATRE GUIDE Books

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HEDDA GABLER BY HENRIK IBSEN ADAPTED BY JOHN OSBORNE

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JOHN OSBORNE, JONATHAN STEDALL AND SIR JOHN BETJEMAN, 1983 With 402

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JOHN OSBORNE AND TREVOR HOWARD, 'GOD ROT TUNBRIDGE WELLS', 1985 photographs

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A CHALCEDONY SEAL, MID-19TH CENTURY Jewellery

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A GROUP OF DIARIES AND NOTEBOOKS Miscellaneous

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100 - 200 GBP

Bid

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20 Oct

Lot location: London

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

Quantity

0 GBP

Opening bid

5 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

50 - 100 GBP

Bid

Please enter your max bid

20 Oct

Lot location: London

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

Quantity

0 GBP

Opening bid

5 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

25 - 35 GBP

Bid

Please enter your max bid

20 Oct

Lot location: London

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A PORTRAIT OF THE JOCKEY JOHN OSBORNE (1833-1922)

Quantity

0 GBP

Opening bid

5 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

25 - 35 GBP

Bid

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20 Oct

Lot location: London

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

Quantity

5 GBP

Opening bid

5 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

50 - 100 GBP

Bid

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20 Oct

Lot location: London

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A GROUP OF JOHN OSBORNE'S WALKING STICKS AND AN UMBRELLA

Quantity

5 GBP

Opening bid

5 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

25 - 35 GBP

Bid

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20 Oct

Lot location: London

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A SELECTION OF JOHN OSBORNE'S HATS AND SCARVES

Quantity

0 GBP

Opening bid

5 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

25 - 35 GBP

Bid

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20 Oct

Lot location: London

Featured lot Provisionally sold Leading Won Outbid Lost Declined Reserve not met Leading

A GROUP OF JOHN OSBORNE'S SMOKING ACCOUTREMENTS

Quantity

0 GBP

Opening bid

5 GBP

Buy it now price

0 GBP

Max bid

GBP

Estimate

25 - 35 GBP

Bid

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20 Oct

Lot location: London

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Contact Adrian Biddell for further information about this auction | adrian.biddell@olympiaauctions.com | + 44 (0) 20 7806 5541

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