Hollywood Auction 43

(Orion, 1990) This RoboCop 2 Prototype B stop-motion puppet can be seen pulling off his helmet during the film. Just like his other failed companion,

(Orion, 1990) This full-scale Cain can be seen in several shots during RoboCop 2. It has the same animation capacity as the small Cain as every arm is

(Orion, 1990) This failed Robocop 2 “prototype A” can be seen shooting himself in the head during the film. Despite its limited animation in the scene

(Orion, 1990) The Cain puppet was designed and built by Craig Hayes (who designed ED-209) and a team of model makers and armaturists whose credits inc

(Orion, 1990) This large Armored Transport Vehicle is an exact scale replica of the one used on the set of Robocop 2. It was used as a stop-motion ele

(Orion, 1990) These double set of massive door can be seen in the background during the introduction of the new Robocop prototypes. Both set of doors

(Orion, 1990) This full scale prop houses the Cain brain, and is seen submerged in bubbling water during Robocop 2. The cylinder is fitted with pumps,

(Orion, 1990) This Cain “Crash” dummy was cast in rubber and plastic off of the actual stop-motion Cain and appears just as intricately detailed. It w

(Universal, 1993) This Jurassic Park, stop motion T-Rex puppet was used to create a complex “animatic” for Steven Spielberg to approve during the film

(Universal, 1993) This is a foam latex T-Rex “stand in” puppet with a wire armature and a plastic Jeep, hand painted and detailed in the trademark col

An incredible archive of production materials regarding nearly every aspect of filming Jurassic Park and The Lost World: Jurassic Park. The collectio

(Savoy, 1995) This unique wood carved and hand painted puppet was used as a prop for Three Wishes. It was also used to create the digital model of thi

(TriStar, 1995) These four Jumanji ape maquettes were created as studies for CG animators as well as character poses for ILM animators. Measure 6 in.

(Paramount, 1993) This Garthok stop-motion puppet from the Coneheads was one of the last complex stop motion puppets built at the studio before its di

(Universal, 1996) This massive Draco sculpt, was sculpted by Tippet Studio for ILM, the goal was to create a dragon that would convey majesty and stre

(TriStar, 1997) This full collection of Starship Trooper bugs were sculpted at Tippett Studio over a period of a year to get final approval from Paul

(Walt Disney, 1999) This superbly detailed maquette from My Favorite Martian was created for the final sequence where Daryl Hannah “Lizzie” transforms

(DreamWorks, 2001) Typhibian maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created for direc

(DreamWorks, 2001) Swarm Crab maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created for dire

(DreamWorks, 2001) “Walmartbird” maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created for d

(DreamWorks, 2001) Rhino Head maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created for dire

(DreamWorks, 2001) Mosquito maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created for direct

(DreamWorks, 2001) “Cutie Pie Dog” maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created for

(DreamWorks, 2001) “Walking Log” maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created for d

(TCF, 2003) This impressive looking “monster Dante” maquette was created for The League of Extraordinary Gentleman and sculpted by Damon Bard, who des

(Paramount, 2008) This Hogsqueal silicone dummy from the Spiderwick Chronicles was created as an on-set digital reference for the actors. The resin c

(DreamWorks, 2001) Voracious Spider maquette from Evolution sculpted by the same team that worked on the creatures from Starship Troopers. Created fo

(Warner Bros., 2001) Static Teddy used as a lighting reference. Sitting on a small base which goes up to the neck. Measures 14 in. tall seated by 16

(Warner Bros., 2001) This screen-used animatronic Teddy is one of five full bodies and ten heads made for the film. This is the fullest articulated T

(Warner Bros., 2001) Miscellaneous robot parts constructed of fiberglass, metal and resin components. One almost complete generic silver robot, lower

Lifesize Christopher Lloyd head measuring 13 in. tall with hand-punched hair on a smirking lifemask with prosthetics grade eyeballs. Below the neck s

(Warner Bros., 2001) Pencil on 14 x 17” tissue of “David” in process of repair after breaking himself eating, and on 14 x 16” illustration paper of t

(Geffen Pictures, 1994) From the master special-effects house of Stan Winston Studios comes a sequential set of (5) concept drawings detailing the dy

(Universal, 1998) Pair of intricately detailed character design drawings, one of the commando leader “Chip Braddock”, the other a “Gorgonite”. Pencil

(Universal, 1997) Conceptual character design for the Raptor, executed in intricate detail in pencil on 11 x 16” 4-ply illustration board. Signed by

(TCF, 1987) A pre-production conceptual sketch of the creature before details of its exact “look” were finalized. Pencil on 14 x 17” illustration pap

(TCF, 1987) A pre-production conceptual sketch of the creature before details of its exact “look” were finalized. Pencil on 14 x 14” vellum mounted t

(Warner Bros., 1992) Pair of photo-realistic concept drawings of penguins as henchmen characters from Batman Returns. Pencil on (2) die-cut illustrat

(TCF, 1987) A conceptual sketch of the creature running, highly detailed with its finalized “look”. Pencil and colored pencil on 11 x 14” vellum moun

(TCF, 1990) The most remarkable facet of Tim Burton’s charming fantasy film Edward Scissorhands is certainly the hands themselves. Executed in colore

(TCF, 1990) Concept drawing for Edward Scissorhand’s right hand, executed in great detail in pencil on 12 ½ x 18” illustration paper. The artis...

(Warner Bros., 1994) Beautifully rendered photo-realistic concept of Brad Pitt as “Louis”, in the beginning stage of an aging transformation. Pencil

(Warner Bros., 1994) From Stan Winston Studios comes a highly detailed concept drawing detailing the living decomposition of Tom Cruise’s character “

(TCF, 1986) Original pencil rendering for the Alien Queen accomplished in pencil on an 11 in. x 14 in. leaf of artist’s vellum. Mounting remnants at

(Warner Bros., 1994) A highly detailed concept drawing of Brad Pitt’s character “Louis” in vampiric transformation for Interview with the Vampire. Pe

(Warner Bros., 2001) An intricately detailed sketch by “Crash” McCreery of three very sexy android women. Each figure reveals internal “Terminator” t

(Warner Bros., 2001) Pencil on 14 x 17” 2-ply illustration paper of three variations of character concepts for the animatronic Teddy Bear playmate in

Pencil on 15 x 20” 4-ply illustration board, unsigned, of a werewolf character in full transformation, holding a machete. Very Fine.

(Warner Bros., 1992) Remarkable sequence of concept drawings for facial variations of Danny Devito’s character “The Penguin” in Batman Returns. Total

(Warner Bros., 1992) Pair of conceptual drawings of Danny Devito’s character “The Penguin” one highlighting the penguin-like shape of his body and ha