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Preisdatenbank abonnierenWilliam IV mahogany and satinwood crossbanded sofa table,the rounded rectangular drop flap top over two real and two dummy drawers upon a reed column support raised on four hipped and splayed legs with brass castors73 x 93.5 x 77cm closed73 x 149 x 77cm opentop with light scratchingleft flap slightly warped with a minor splittrade label STOBIE'S DUMFRIES to the drawerStructurally the top with some movementLegs have multiple signs of restorationSee images
Rare American boxing inscription and autograph, 1918, included in: First World War autograph/memorabilia book, with Duke of Cornwall's Light Infantry interest. The rare inscription with autograph is of Johnny Kilbane (1889-1957), the American boxing legend who was World Featherweight Champion for a record 11 years, from 1912-23. In Kilbane's hand: "Here's to it and to it again/If you don't do it, when you get a chance to do it, you may never get to it to do it again/All good wishes/Johnny Kilbane/Sgt Major American Aviation Corps/Featherweight Champion of the World/24-3-18." The book was apparently compiled by Sergeant J. R. Roberts of the Duke of Cornwall's Light Infantry. The book has about 50 signed inscriptions and paintings by injured soldiers from various British regiments and by a number of nurses, who were at the Maudsley Military Hospital at Camberwell, London and the King's College Military Hospital, which was sited opposite it. Both hospitals are mentioned a number of times in the book, and Sergeant Roberts' military service record shows that he was a patient at the King's College Hospital.Johnny Kilbane's inscription is intriguing and important, and relates to a phase of his life previously unknown to his descendants, whom the vendor contacted and informed about his research. The United States Army Air Service, before it was established on 24 May 1918, was known as Aviation Section, Signal Corps. It seems that Kilbane was attached to this section, and that the "Aviation Corps" of his inscription is his shortened version. A large number of US Army Aviation Section ground crews were sent to the UK on the Olympic (sister-ship to the Titanic), arriving at Liverpool on 5 March 1918. The squadrons were split into smaller "flights" and sent to train at different bases. The US Army Air Service men arrived in the UK just 19 days before Kilbane's inscription. This is speculation, but it seems likely that Kilbane was sent over with the men to train them in boxing skills, similar to the training duties he is known to have performed at Camp Sherman, Ohio, where he trained American soldiers in fitness and self-defence from October 1917 (qty)
A special effects flying saucer spaceship miniature, created by L.B. "Bill" Abbott for Robert Wise's classic Cold War-era science fiction film The Day the Earth Stood Still (20th Century Fox, 1951), in which the mysterious alien "Klaatu" (Michael Rennie) and his imposing robot bodyguard "Gort" (Lock Martin) visit Earth to caution the governments of the world against their development of atomic power for the purpose of conflict and war. Mounted on a stand for display purposes.The large miniature is composed of fiberglass that has been painted silver with a small triangular opening cut along one side of the dome.The 1/24 scale minature was conceived by art directors Lyle Wheeler and Addison Hehr and created by L.B. Abbott, Ray Kellogg and Emil Kosa.The model was one of the first that was used with an optical matte process to simulate flight.Award-winning miniature and visual effects master Greg Jein, rescued the model from the 20th Century Fox lot when sold by the studio, and then preserved and exhibited the model until 2003. Prior to the original sale, it was on display at Disney-MGM Studios in Orlando Florida by the American Film Institute.The model can be seen during the iconic landing of the craft on a baseball field in Washington, D.C., one of the first times that an optical matte process was used to depict a miniature in flight on screen. The UFO appears as an oval of light initially, but its outline and shape can be seen more clearly when it glides over the Washington Monument. Legendary cameraman/cinematographer L.B. Abbott became an expert in the creation of special effects c. 1950s. He won Academy Special Achievement Awards for his work on Doctor Dolittle (20th Century Fox, 1968), Tora! Tora! Tora! (20th Century Fox, 1971), The Poseidon Adventure (20th Century Fox, 1972), and Logan's Run (United Artists, 1976). The Day the Earth Stood Still was his first film and his name does not appear in the original credits. Includes a DVD of the film.58 x 82 x 70 inches (overall, on stand)PROVENANCE Lot 39, "Hollywood Auction 14," Profiles in History, April 26, 2003.
A fully beaded-ivory-cocktail-length-dress worn by Jamie Lee Curtis at the 55th Academy Awards ceremony (ABC, 1983).Hollywood glamour defines this garment, composed of an ivory chiffon, fully embellished with pearlized-glass-bugle-beads, which catch and glisten in the light. The dress is cut on the bias; the dolman sleeves create a loose bodice (34" inch bust); the waistline (24.5" inches) is gathered and cinched; and the skirt is open and hits below the knee. The garment construction features center seams at the front and back of the bodice. The beading is sewn on the diagonal, creating a subtle chevron pattern on the bodice. Two darts extend from the waist to the bust, which creates a defined V-shape, creating a diamond shape that extends the length of the bodice. The fabric looks like it was cut with a pattern then beaded and assembled. Only the skirt is handsewn and lined with blush-colored acetate at the internal waistline. A Petersham is tacked at the waistband to help shape the garment due to the weight of the embellishment. There is no label or size marker present. The dress was worn by Jamie Lee Curtis to the 55th Academy Awards. She presented the Oscar for Best Sound Effects Editing alongside Carl Weathers. Weathers, who presented with Curtis, commented on how lovely her dress was before presenting the award. Marlene Dietrich originally owned the gown and wore a similar version in the 1942 film The Lady Is Willing (Columbia Pictures, 1942), Dietrich's gowns were designed by Irene Lantz, whose clothing line was featured in premier retailers and department stores. PROVENANCE Lot 8 "Unforgettable: Fashion of the Oscars," Christie's Auction House (Sale #9074) March 19, 1999.
A romantic haute couture Christian Lacroix gown worn by Kristin Scott Thomas at the 69th Annual Academy Awards (ABC, 1997).A full-length black gown designed by French couturier Christian Lacroix. This gown is black with a sheer silk bodice and a full-layered skirt. Designed with dramatic proportions, the collar/neckline goes off-the-shoulder and is structured with wire, pleated, and gathered. Black silk-linen-scrim-organza sewn at the collar and neckline then travels down the bodice and snaps at the left hip becoming a sash that trails past the hem. The neckline has a deep cut with wire structuring the cups of the bust, the silk is sheer but there are limestone chiffon crepe pads that line the cups. The sheer light-weight silk continues into the bodice with a Basque waist, the sheer fitted long-sleeves and tight bodice create a sensual nature to the dress. The defined structure contrasts against the volume at the collar and full skirt. The gown's opening and closure are at the front with an internal zipper that goes up to the waist with fabric-covered buttons that travel from the hips to the waist, and hook-and-eyes continue to bust. The design details continue into the multi-layer-full-skirt composed of a dupioni shantung fabric that leaves a partial opening at the back to reveal a black underskirt with pleated silk. There is a bustle design with pleated nylon tulle that goes to the hem. There is a dragonfly-metal brooch above the left hip with pink and rhinestones (the pin backing came unglued so wire has been used to secure the pin). There is no size label present, just the designer label, "Christian Lacroix Haute Couture."Kristin Scott Thomas was seen wearing this gown while attending the 69th Academy Awards, nominated for Best Actress in a Leading Role nominee for The English Patient. Ralph Fiennes and Thomas are star-crossed-lovers of the World War II epic, the film went on to win 9 Academy Awards, including Best Picture.The gown worn for the event was a part of Christian Lacroix's Spring/Summer 1997 haute couture show. Christian Lacroix's couture label started in 1987 and showed collections until 2009, his pieces are known for their elaborate, bold patterns and bright colors.PROVENANCE Lot 40 "Unforgettable: Fashion of the Oscars," Christie's Auction House (Sale #9074) March 19, 1999.
A button-down shirt worn by John McIntire as "Christopher Hale" in season seven of the western television show Wagon Trail (Revue Studios, 1957-1965), the only season in color. The light brown polished cotton western button-down features two breast pockets, golden yoke trim, and brown plastic buttons. With Western Costume Co. label present that reads, "No. 2724-5 / Name: John McIntyre / Chest: 44 / Sleeve 35" with "#7" handwritten in white on the label. An additional attached cleaning tag reads "Univ - 14." The narrow yellow band was added later.Wagon Trail follows a wagon train traveling through America during post-Civil War Missouri. McIntire played Hale from seasons 4-8 (1963-65), replacing Ward Bond as "Major Seth Adams" as the wagon master.Includes a photograph of McIntire wearing the shirt.
A light-up scanning device prop made for the Sci-Fi Action and Adventure Oblivion (Universal, 2013).The scanning device prop is made of plastic and features a black button. When the button is pressed, an orange LED light turns on. The prop was not shown in the final cut of the film, but was designed in a style to match the other futuristic technology as seen throughout the film.This item has not yet been tested and we recommend that bidders assume these machines will need to be serviced before being fully operational.Accompanied by a Certificate of Authenticity from Prop Store.1.75 inches
A light gray long coat worn by Jock Mahoney as Yancy Derringer in the western television series Yancy Derringer (Derringer Productions, 1958-1959). He wears the coat in the second half of the first season, beginning with episode 19 (it is very similar to his first white coat, only slightly darker). The khaki, single-vent, long coat features two front pockets, two interior pockets, shoulder pads, and a peach silk interior lining. With a Western Costume Co. label present that reads, "No. 2401-1 / Name: Jock Mahoney / Chest: 43" with multiple stamps in the left sleeve and a Western Costume Co. barcode.Yancy Derringer follows the suave southern adventurer by the same name, as he is recruited to become a secret agent in post-Civil War New Orleans. After completing Range Rider (Flying "A" Productions, 1951-53), Mahoney took on the character of the Civil War veteran, riverboat owner and New Orleans dandy who, with his sidekick Pahoo (played by X Brands) secretly works for the Federal Administrator solving crimes. Guest stars on the series included Charles Bronson and Lee van Cleef. Includes a photo of Mahoney wearing the coat.
A rare black and white original unpublished photograph of James Dean, circa 1954, that was taken and signed by Roy Schatt. In the photograph, Dean is seen in the lower right corner looking up at an unidentified man, perhaps Schatt's assistant holding a light meter. The back of the photograph features Schatt's photographer and copyright stamps in the lower right. Near the center top, Schatt has inscribed the words "For Jimmie Ryan / Roy."Schatt took many of the most iconic photographs of Dean, including the famous "Torn Sweater" series and numerous images of the actor walking around and posing in New York City.11 x 14 inches
A group of psychedelic flyers and notes belonging to Dennis Hopper, including: a Magic Mushroom (Studio City) club flyer advertising light shows and macrobiotic drinks, a full-page newspaper ad for the Australian Marijuana Party, and a variety of correspondence on psychedelic topics that include drawings and brightly colored paper.10 x 6.25 inches (overall)PROVENANCE Property from the Life and Career of Dennis Hopper
A black Nudie's tuxedo jacket, worn by Dennis Hopper to the 42nd Academy Awards where his film Easy Rider (Columbia Pictures, 1969) was nominated for Best Original Screenplay, with Jack Nicholson nominated for Best Supporting Actor. He can be seen wearing the garment with Michelle Philips, Jack Nicholson, and others on the red carpet.A men's black wool double-breasted suit jacket, designed by Nudie Cohn. The jacket is cut straight with a wide silhouette and features a relaxed shoulder with light shoulder padding. A synthetic velvet makes up the notch lapel and collar, as well the cuffs of the sleeves; Cohn even added an inverted pleat at the back with dual vents allowing for movement. The lining is a foulard fabric with a paisley motif in black, blue, green, and white. There is a Nudie's label sewn outside the interior left breast pocket reading, "Nudie's Rodeo Tailors, North Hollywood, California." Inside the opposite interior right pocket is a label that reads, "Dennis Hopper, 323." No size marker is present.Together with an original Nudie's Rodeo Tailors handwritten alteration order.PROVENANCE Property from the Life and Career of Dennis Hopper
A Universal Studios film reel shipping box top labeled "Case #1" and addressed to Alta-Light Inc. in Taos, New Mexico.The box is made of heavy duty cardboard and features a handle and metal reinforced corners. The label reads: "Universal Studios / Universal City, California 91608" and is hand labeled "The Last Movie / Alta-Light Inc. / Box 1576 / Taos, New Mexico / c/o Dennis Hopper." It features an additional Emery Air Freight label on one side and a Lot Shipment stamp indicating Albuquerque as the destination. There is an empty metal frame on another of the box top's sides.Hopper completed The Last Movie in his home editing studio in Taos, New Mexico, during a notoriously drawn-out post-production period.11 x 12 x 12 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
The final script for Sam Peckinpah's Western film, Pat Garrett and Billy the Kid (MGM, 1973). The cover of the 120-page script bears a Metro-Goldwyn-Mayer Inc. Script Department stamp and is marker "Second Draft." Blue pages marked "Revised 11-5-70" are interspersed with the main light green pages.11.25 x 8.25 x 1 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A framed acrylic on linen painting titled "Adobe" by New Mexico painter Quinn Mizer belonging to Dennis Hopper. The predominantly pale yellow painting features light blue, lavender, red, green, and mauve touches and has been signed by Mizer to the lower left corner in black. The back of the linen is labeled "ADOBE / The Mesa Series / Acrylic / Quinn Mizer."32 x 29 inchesPROVENANCE Property from the Life and Career of Dennis Hopper
A group of eight vintage t-shirts, personally-owned by Dennis Hopper. This lot includes a light blue, cotton t-shirt with black printed text on the front that, in part, reads "Stud Service Co.: Virginity Cured - Complete Massage Service - Nymphomaniacs Satisfied - Fantasies Realized," label faded from age, size XL; a blue and navy cotton-blend ringer tee with a graphic of a chattering teeth toy riding a motorcycle and text that reads "Dr. Lou's Chopper Shop," labeled "Hanes," size M; a light blue cotton shirt with black text that reads "DANTE'S - 430 Columbus San Francisco," label faded from age, no size present; a steel blue, cotton t-shirt with gray text that reads "White Star" inside of a star graphic, label faded from age, no size present; a white, 100% cotton t-shirt with a photo of publisher Larry Flynt and red text that reads "Larry Flynt For President," labeled "Hanes," size L; a pale yellow, cotton-blend t-shirt with a black stallion graphic and text that reads "The Black Stallion" on the front, labeled " Plymouth," size L; an off-white, 100% cotton blank t-shirt with a single breast pocket, labeled " B.V.D," size L; and a tan cotton t-shirt with a graphic of a man dancing on a Gramophone with black text that reads "Captain Disco and his Moving Music Machine," label faded from age, no size present.PROVENANCE Property from the Life and Career of Dennis Hopper
A collection of more than two dozen paperback books that belonged to Dennis Hopper. Included is a wide range of fiction and non-fiction books, including The Moviegoer (The Noonday Press, 1971), Erections, Ejaculations, Exhibitions and General Tales of Ordinary Madness (City Light Books, 1974), Narcotics Nature's Dangerous Gifts (A Delta Book, 1973), The Egyptian Book of the Dead (Dover Publications, 1967), and Tibetan Yoga and Secret Doctrines (Oxford University Press, 1969). Some are inscribed by the gifters of the book to Hopper and most are stamped with Hopper's address and phone number.13 x 12 x 21 inches (overall)PROVENANCE Property from the Life and Career of Dennis Hopper
A vintage, western-style button-down shirt that belonged to Dennis Hopper. The light blue, cotton-blend, button-down features a striped pattern, a dagger collar, two breast pockets, and blue snap buttons. Labeled "H Bar C." No size present. PROVENANCE Property from the Life and Career of Dennis Hopper
A group of art show invitations and flyers from the personal collection of Dennis Hopper, including: a couples only black light art show hosted by the San Francisco League for Sexual Freedom, Ed Ruscha at The Texas Gallery, Dennis Hopper in Taos, Roy Lichtenstein at Ferus Gallery, and four copies of a mailer for a Paul Kelsey show at The Dennis Hopper Gallery of Art.Together with color photographs taken around the “Russian Dynamite Death Chair Act” event performed by Hopper at the Big H Speedway in Houston, Texas to promote his film Out of the Blue (Discovery Films, 1982).Hopper was scheduled to deliver a lecture on Out of the Blue for students at Rice University. Following the screening, however, Hopper bused the students out to the race track where he reproduced an act he had seen in a traveling road show as a child: he lit six sticks of dynamite beneath a chair he was seated on. The trick works because if the dynamite is pointed outwards, the explosion creates a vacuum in the center, leaving the person on the chair unharmed. The scene was described thus by a Rice News student correspondent: "Dennis Hopper, at one with the shock wave, was thrown headlong in a halo of fire. For a single, timeless instant he looked like Wile E. Coyote, frazzled and splayed by his own petard. Then billowing smoke hid the scene. We all rushed forward, past the police, into the expanding cloud of smoke, excited, apprehensive, and no less expectant than we had been before the explosion. Were we looking for Hopper or pieces we could take home as souvenirs? Later Hopper would say blowing himself up was one of the craziest things he has ever done, and that it was weeks before he could hear again. At the moment, though, none of that mattered. He had been through the thunder, the light, and the heat, and he was still in one piece. And when Dennis Hopper staggered out of that cloud of smoke his eyes were glazed with the thrill of victory and spinout."11 x 8.5 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper
A costume design by Edith Head for Audrey Hepburn as Holly Golightly in Breakfast at Tiffany's (Paramount 1961). A mixed medium costume design for Audrey Hepburn by Edith Head. The sketch features a full-length Audrey-like figure in a light pink full-length gown with a full skirt and fitted bodice, similar in likeness to the cocktail dress Audrey wears in the film. The figure wears a tiara, earrings, and elbow-length gloves, and holds a cover-up in her right hand. The dress is drawn with glittering surface embellishment on the bodice and skirt; however, this design differs from the scoop neckline and calf-length hemline worn in the film. Edith's design is a sophisticated evening gown, featuring a bateau neckline with an ankle-length hem. The sketch is signed by Edith Head at the bottom left corner. Audrey wears a pink dress upon returning from an evening with José, soon to find out her brother Fred is dead and going into a traumatic physical fit of grief. The bright color and embellished design was a contrast to her character’s previous outfits of understated elegance.This sketch was likely a conceptual sketch for Audrey as Holly Golightly, the dress in the film is cocktail length and designed by French couturier Hubert de Givenchy. Breakfast at Tiffany’s was a film that defined Audrey’s timeless style and the refined elegance that was Givenchy’s signature. The pink dress showcases architectural construction with a fitted princess-seamed bodice and a gathered skirt that is as buoyant as Audrey’s charming smile. The facet foil back crystals, the guipure fan tassels, and the vibrant pink add up to a defining moment in fashion where women were feminine, sleek, distinct, and articulate in how they dressed.The design worn in the film was a part of Givenchy’s 1960 fall show with well-known clientele Lee Radziwill and model Capucine wearing the embellished design in black. Audrey asked if the design could be made in pink specifically for the film, only two of these pink design confections were made. A rare design that showcases the artistry of French haute couture and the beautiful Audrey Hepburn as Holly Golightly. Audrey’s Givenchy wardrobes while they evolved in each film collaboration have become a timeless reference to elegance and glamour in both film and fashion. This lot comes with a DVD/Blu-Ray of the film.
A HULC suit and costume as seen worn by Matt Damon in the role of "Max Da Costa" in Neill Blomkamp's dystopian Sci-Fi film Elysium (2013). The costume ensemble is displayed on a custom-made life-size mannequin of Damon. Together with a "ChemRail" hero gun prop as seen used by him. The suit comprises intricate hydraulic dampers and brackets (made of plastic, rubber, and metal), articulated to allow for Damon's movement in the role. The chest brackets, gloves, and shoes comprise production-made parts, while the plastic cover of the head port screen and the electronics were recreated to complete the look of the display. The costume consists of a shirt and pants, studio-distressed with fake blood stains throughout. The gun is made of plastic and rubber, with meticulous painting and the word "ChemRail" in white along the side. The mannequin features Max's tattoos and is mounted on a rotating base with light-up film logo. In the film, Damon plays Max, a parolee living on an impoverished, dystopian Earth who goes on a freedom mission to steal information from a powerful citizen in Elysium, a luxurious space station inhabited by the wealthy and ruled by a corrupt, fascistic government. Because he is dying of radiation poisoning, the smuggler directing his mission provides him with a surgically installed exoskeleton or "HULC suit" to give him extra strength and stamina, particularly as his body deteriorates. Damon can be seen in a HULC suit and costume of this type throughout the majority of the film, with Max obtaining a ChemRail gun during the action-packed finale on Elysium.Blomkamp's approach to special effects relied on in-camera effects as much as possible: miniatures, models, and mechanical props, as well as location shoots and gray suit performance. New Zealand-based Weta Workshop handled the design and creation of the HULC suits for Max and Kruger (Sharlto Copley), as well as droid and props. Concepts for the HULC suits were created by Aaron Beck of Weta Workshop.Includes a DVD of the film.79 x 26 x 26 inches (mannequin with base); 11.5 x 3.5 x 39.25 inches (gun)PROVENANCE Lot 426, ScreenUsed, "Spring 2016," March 20, 2016
An original hero Zyuranger Blade blaster prop as seen used by the Power Rangers in the Family Action and Adventure television series, Mighty Morphin Power Rangers (Saban Entertainment, 1993-96).This multi-colored plastic prop is a Bandai toy from the Japanese Power Rangers franchise, Super Sentai (Toei Company, 1975-present) and was re-purposed as a hero prop in the American adaptation by prop master Mark Richardson. The design for this prop is composed of plastic and features a transformative mechanism that converts it from a blaster into a blade when the head is pulled back. It is able to turn on with 9-volt battery. When powered on by the grip, there is a beeping noise created and a red light that blinks at the front of the barrel. It was one of few as seen used throughout the series during the battle scenes when the Power Rangers face their mortal enemies.The Blade Blaster exhibits extensive signs of production use and age, such as scuffing and peeling decals. This item originates from the collection of Mark Richardson, the series' prop master, making it an authentic piece from the Mighty Morphin Power Rangers series.Accompanied by a Certificate of Authenticity from Hero Prop.14 x 2 inches; 8.25 x 13.25 inches (opened)
A Borg regeneration alcove, designed by William P. Hawkins, for the production of the film Star Trek: First Contact (Paramount Pictures, 1996) and subsequently used during production of the television series Star Trek: Voyager (UPN, 1995-2001). In the film, the crew of the Enterprise travels back in time to stop the Borg from corrupting Earth's past. While on the series, the crew of the Voyager encounter the Borg many times, taking on a former Collective member, Seven-of-Nine (Jeri Ryan), as part of the crew. The steel-framed alcove compartment comprises fiber glass and resin panels on a wood backing, all painted to resemble metal, featuring a green plasma-style headpiece. There are four green gel lights along the edges of the compartment and one light beneath the headpiece.Alcoves of this style can be first seen at the start of First Contact when Picard is having a nightmare about his time as "Locutus," and in the series Voyager when B'Elanna Torres (Roxann Dawson) and Tuvok (Tim Russ) board a derelict Borg cube in Season 3 Episode 17, "Unity." With the addition of Seven-of-Nine to the crew, alcoves of this style can also be seen as she regenerates.Includes a DVD of the third season of Voyager.95 x 36 x 30 inchesPROVENANCE Lot 47, "40 Years of Star Trek: The Collection," Christie's, October 5-7, 2006
An original Hogwarts invitation envelope from the production of Harry Potter and the Sorcerer's Stone (Warner Bros. Pictures, 2001).During a scene of the film where Harry's uncle, Vernon Dursley, tries to prevent Harry from seeing his acceptance letter to Hogwarts School of Witchcraft and Wizardry, the Dursley house becomes overrun with flying envelopes.This prop envelope features a printed wax seal on the reverse side rather than a real wax seal so that it would be light enough to "fly" around the room. On the rear, the Hogwarts crest is depicted.The front of the envelope shows Harry Potter's address at the Dursley residence printed in green.The accompanying Letter of Provenance reads, "the Harry Potter Hogwarts Invitation Envelope is a screen used flying envelope prop as seen in the Hallway (coming out of the letterbox) and in the Living Room (coming out of the fireplace). This item was traded with a production assistant in 2008 who had worked on the early Harry Potter films to include the first movie - Harry Potter & The Sorcerer's Stone / The Philosopher's Stone. Each envelope is unique with its green veining (every single one is different)."Accompanied by a Letter of Provenance from The Monster Company.7.25 x 5.25 inches
An original Hogwarts invitation envelope from the production of Harry Potter and the Sorcerer's Stone (Warner Bros. Pictures, 2001).During a scene of the film where Harry's uncle, Vernon Dursley, tries to prevent Harry from seeing his acceptance letter to Hogwarts School of Witchcraft and Wizardry, the Dursley house becomes overrun with flying envelopes.This prop envelope features a printed wax seal on the reverse side rather than a real wax seal so that it would be light enough to "fly" around the room. On the rear, the Hogwarts crest is depicted.The front of the envelope shows Harry Potter's address at the Dursley residence printed in green.5.25 x 7.25 inches
An assortment of thirteen original costume sketches designed by Charles Knode for Legend (Twentieth Century Fox, 1985). This collection includes pencil and chalk sketched designs.Legend is a Ridley Scott fantasy adventure film starring Tom Cruise, Mia Sara, and Tim Curry. The film centers around a forest boy named Jack (Cruise) and his elf friends, aiming to defeat the Lord of Darkness (Curry) in his plot to rid the world of light. Charles Knode was a BAFTA Award-winning, Emmy Award-winning, and Oscar-nominated British costume designer best known for his work in Blade Runner (Warner Bros., 1982), Braveheart (Icon Productions, 1995), and Alice in Wonderland (NBC Studios, 1999).24 x 19.5 inches (Largest)
A photocopied Industrial Light & Magic production binder from Star Trek Generations (Paramount Pictures, 1994) and an original Klingon insignia prop as seen used in Star Trek: The Next Generation (Paramount Domestic Television, 1987-1994).The production binder contains cost summaries, storyboards, and shot breakdowns through the production of the film. The side of the binder features a printed label that reads, "Star Trek VII #32988 / Scene VFX." The Klingon insignia is composed of a resin material that has been hand-painted in silver-tone and gold-tone finishes.Binder: 11.5 x 10.5 inches
A frock coat worn by James MacArthur as David Balfour in Robert Stevenson's classic Kidnapped (Walt Disney Productions, 1960), based on Robert Louis Stevenson's novel. The coat has its original Western Costume Co. label with the following typed labelling: "James MacArthur / 2056-3 / Chest: 38." Its original adornments from the film have been removed for later use. In the film, MacArthur plays a young man who is kidnapped and forced into a frightening adventure when he starts investigating his shady Uncle Ebenezer's affairs. It was one of four films MacArthur made for Disney at the beginning of his career, including The Light in the Forest (Walt Disney Productions, 1958), Swiss Family Robinson (Walt Disney Productions, 1960), and Third Man on the Mountain (Walt Disney Productions, 1959). Includes a VHS tape of Kidnapped and a photograph of James MacArthur wearing the coat.
A group of fifteen original coin props and an Industrial Light & Magic Visual Effects crew jacket from Indiana Jones and the Kingdom of the Crystal Skull (Lucasfilm Ltd., 2008).The coin props are composed of a stamped metal, fourteen of which are silver-tone and one which is gold-tone. The black zippered hoodie is American Apparel brand and is size M.Size M
A dress as seen worn by Emily Bergl as "Rachel Lang" in the thriller The Rage: Carrie 2 (United Artists, 1999).The light blue, cotton-blend dress features a periwinkle floral embroidered design on the bottom front portion of the dress, a back zipper, and a blue slip lining. No size or label present. The Rage: Carrie 2, the sequel to the 1976 film starring Sissy Spacek, follows Rachel Lang, the half-sister of telekinetic (and now deceased) Carrie White, who after learning she has the same gift as Carrie, suffers a similar fate when learning her best friend's suicide was caused by their popular classmates. Bergl as Rachel wears the dress while on a date with popular jock, Jesse Ryan (Jason London). This lot comes from the collection of Reel Clothes and Props, a Hollywood consignment shop that obtains movie and TV wardrobe directly from the major studios.PROVENANCE From the Collection of Reel Clothes and Props
A photo-matched, hand-tailored, custom-made three-piece suit as seen worn by Ian McKellen as the officiant at his close friend Sir Patrick Stewart's wedding to singer Sunny Ozell on September 7, 2013. Size is not present.A custom-made light gray wool suit with a herringbone pinstripe and a silver silk jacquard paisley vest. The jacket is a single-breasted cutaway formal design, has two flap pockets, functioning buttons at both cuffs, and a slit vent at the back. The interior showcases bespoke techniques like hand sewn top-stitching at the lining and bias tape finished seams: "Exclusively Hand Tailored For Sir Ian McKellen By GROVER OF LONDON." In an article about the wedding for Vulture, Stewart and Ozell agreed that "the best outfit might have belonged to the always dapper McKellen, who wore a gray three-piece suit ("Were our grays too similar?" asked Stewart after the fact.)" The men first met in 1977 when performing together in Tom Stoppard's play Every Good Boy Deserves Favour. However, they didn't become close until working together as enemies in the film X-Men (2000, 20th Century Fox), in which McKellen played Professor Charles Xavier, aka Professor X, and Stewart played Erik Lehnsherr aka Magneto. Links to images of McKellen wearing the suit are available upon request.
An original stunt laptop, light-up scanning wand, two RFID bands, one voice changing patch, and one location tracker blocking patch as seen used in Mission Impossible - Fallout (Paramount Pictures, 2018). The stunt scanning laptop prop is composed of a combination of foam, rubber, and resin that is finished in a silver-tone. The laptop's screen features printed graphics and a faux crack that appears on the upper left corner. The light-up scanning wand is composed of a foam rubber material and features a removable battery and wiring in the back. Included are two black silicone wristbands, and two patches. When Mission Impossible - Fallout was released in 2018, the film grossed $220 million in both the United States and Canada. This made it the highest grossing Mission Impossible film of all time. The film won a Saturn Award for Best Action or Adventure Film in 2019. Largest: 11.5 x 13.25 x 2 inches
An original clapperboard used on the set of Who Dares Wins (Richmond Light Horse Productions, 1982), starring Lewis Collins. A wooden production-used clapperboard featuring white adhesive tape affixed on the front that reads "12.3.82" and "Day/EXT." On the back of the clapperboard is a piece of white adhesive tape that reads "Night II." 15 x 13.75 inches
From the private collection of the recently deceased John Fabb of A.R. Fabb, a maker and supplier of military and sci-fi costume patches and crests for the film industry. Over the course of his career, John worked closely with John Mollo, known for his award-winning costume work for the Star Wars film series, Berman and Nathans, and costume designers from films such as Alien (20th Century Fox, 1979) and Superman (Dovemead Ltd., 1978). A collection of ephemera related to various historical/military movies.This lot includes four concept sketches related to Midnight Express (Columbia Pictures, 1978); four concept sketches/prints related to Firefox (Warner Bros., 1982); two, double-sided color photo prints related to The Adventures of Gerard (United Artists, 1970); nine concept sketches/prints, four original Polaroid photographs, a newspaper clipping, a memo, and a fabric swatch on a costume tag related to Henry V (The Samuel Goldwyn Company, 1989); ten color photo prints related to Bequest to the Nation (Universal Pictures, 1973); 22 pages of costume concept sketches/inspiration prints and three memos possibly related to Napoleon and Josephine: A Love Story (Warner Bros. Television, 1987); seven color photo prints, four black and white photos, and four concept sketches/prints related to The Four Musketeers (20th Century Fox, 1975); 14 concept sketches/inspiration prints, two magazine clippings, and an original polaroid photograph related to Lord Mountbatten - The Last Viceroy (Brent Walker PLC, 1986); two photo prints pasted on cardstock related to the film Lady Caroline Lamb (MGM, 1972); seven concept sketches/prints and six newspaper clippings related to the TV miniseries The Far Pavilions (HBO Premiere Films, 1984); eight clippings related to Charge of the Light Brigade (United Artists, 1968); a badge concept sketch related to Titanic (Paramount Pictures, 1997); seven photocopies concept sketches related to The Lords of Discipline (Paramount Pictures, 1984); and eleven still photographs related to Where Eagles Dare (MGM, 1968). 11.75 x 14 (largest)
From the private collection of the recently deceased John Fabb of A.R. Fabb, a maker and supplier of military and sci-fi costume patches and crests for the film industry. Over the course of his career, John worked closely with John Mollo, known for his award-winning costume work for the Star Wars film series, Berman and Nathans, and costume designers from films such as Alien (20th Century Fox, 1979) and Superman (Dovemead Ltd., 1978). A collection of ephemera related to various historical/military movies.Included are seven concept sketches/prints, one memo, and two black and white photo prints related to Greystoke: The Legend of Tarzan, Lord of the Apes (Warner Bros., 1984); 20 concept sketches/prints and four magazine cut outs related to Waterloo (Paramount Pictures, 1970); seven concept sketches/prints related to Ghandi (Goldcrest Films International, 1982); ten concept sketches/prints related to Charge of the Light Brigade (United Artists, 1968); four color photo prints related to Anne of a Thousand Days (Universal Pictures, 1969); and two color photo prints, two newspaper clippings, and five concept prints related to Royal Flash (20th Century Fox, 1975). Some of these sketches, including from Ghandi and Greystoke: The Legend of Tarzan were completed by John Mollo. Many of these art pieces were created by celebrated UK costume designer John Mollo, who also worked on the Star Wars franchise as well as Outland (The Ladd Company, 1981).8.5 x 12 inches
An ensemble as seen worn by Billy Campbell as "Mitch Hiller" in the crime/thriller Enough (Columbia Pictures, 2002). Together with a costume tag. The ensemble includes a sage green, 100% silk, short-sleeved polo, with a single breast pocket and loop collar, labeled "Tommy Bahama," size L; and a pair of light khaki, 100% cotton slacks, labeled "Nautica," size 36W x 34L.Enough follows Slim (Jennifer Lopez), who, after discovering her husband's abusive side, takes her daughter and attempts to escape — a plan that forces Slim to take matters into her own hands when his determination to find her persists. Campbell as Mitch wears the ensemble while lying on the beach with his wife, Slim, and their daughter, Gracie. This lot comes from the collection of Reel Clothes and Props, a Hollywood consignment shop that obtains movie and TV wardrobe directly from the major studios.PROVENANCE From the Collection of Reel Clothes and Props
An ensemble as seen worn by Noah Wyle as "Robbie" in the crime/thriller Enough (Columbia Pictures, 2002).The ensemble includes a light grey, 100% cotton t-shirt, labeled "Calvin Klein" with "Robbie" handwritten in black marker, size L; a pair of chocolate brown, 100% cotton slacks, labeled " Mason's Sportswear," size 50; together with a tote bag that reads "Havana Joe," with a shoe shine kit inside.Enough follows Slim (Jennifer Lopez), who, after discovering her husband's abusive side, takes her daughter and attempts to escape — a plan that forces Slim to take matters into her own hands when his determination to find her persists. Wyle as Robbie is seen in a gray shirt and brown slacks while in a high-speed car chase with Slim. This lot comes from the collection of Reel Clothes and Props, a Hollywood consignment shop that obtains movie and TV wardrobe directly from the major studios.PROVENANCE From the Collection of Reel Clothes and Props
An original pair of Nike Hyperko boxing shoes as seen worn by Tony Bellow as "Pretty Ricky Conlan" in Creed (Warner Bros. Pictures, 2015). "Pretty" Ricky Conlan is Adonis "Donnie" Creed's (Michael B. Jordan) main opponent throughout the film and a world light heavyweight champion. The boots are size 10.5. This film served as the seventh installment in the Rocky film series following the release of Rocky Balboa (Metro-Goldwyn-Meyer, 2006). Sylvester Stallone would win a Golden Globe Award for Best Supporting Actor, and Michael B. Jordan would win the NAACP Image Award for Outstanding Actor in a Motion Picture. Size 10.5
A custom-made ensemble as seen worn by Sean Penn as Glendon Wasey in Shanghai Surprise (HandMade Films, 1986). The film starred then newlyweds Madonna and Penn.The ensemble includes a striped cotton dress shirt; a taupe and ivory lightweight blazer with intentional soiling; a pair of light brown cotton trousers; a black satin hand painted tie with a nude female figure that reads “The Road to Ruin.” The dress shirt has an Eiffel Pierre labeled with client number “21903.” The trousers have an Eiffel Pierre label present. The ensemble comes together with a wardrobe bag with a label inscribed “Wasey:- 6 beige striped jackets 1st outfits.” Costume design by Judy Moorcroft.Includes a screen still photograph from the film.The Proceeds From This Lot Benefits The Material World Foundation.PROVENANCE Donated to the Foundation by the George Harrison Estate
A custom-made ensemble as seen worn by Sean Penn as "Glendon Wasey" in Shanghai Surprise (HandMade Films, 1986). The film starred then newlyweds Madonna and Penn.The ensemble includes a striped cotton dress shirt; a taupe and ivory lightweight blazer with faint intentional soiling; a pair of light brown silk/ cotton blend trousers; a black satin hand painted tie with a nude female figure that reads “The Road to Ruin.” The tie is housed in a bag with a handwritten label that reads, “Wasey:-6 black “Road to Ruin” ties 1st outfit.” No labels present. Costume design by Judy Moorcroft.The Proceeds From This Lot Benefits The Material World Foundation.PROVENANCE Donated to the Foundation by the George Harrison Estate
An ensemble as seen worn by Adam Sandler as Longfellow Deeds in Mr. Deeds (Columbia Pictures, 2002).The outfit includes a Lucky Brand light gray button-up shirt with "DEEDS" stamped on the inner collar, Diesel Industry brand olive green trousers, and tan and brown socks. Sandler wears this style of ensemble in the sequence in which he slides down the staircase railing of his uncle's mansion. Originally purchased from Reel Clothes and Props in January 2005.Size XL (shirt); 38 (pants)
An ensemble as seen worn by Nicki Minaj as "Draya" in Barbershop: The Next Cut (MGM, 2016).The look is styled with multiple garments and accessories: two lace bralettes, a pair of distressed-cotton-stretch-jeans, a pair of gold-tone-bamboo-hoops, a set of gold-tone-metal-stretch-bangles, and a Cuban-link-chain-necklace. Both guipure lace bralettes are padded with adjustable-black-elastic-racer-straps and a hook-and-eye clasp closure- at the back, one bralette is neon yellow, and the other is a bright citrus watermelon, both have underwire support and have pointed scallop trim making them daintier and more feminine. The high-rise-stretch-denim leggings are body-hugging with distressed frayed holes going up the front of the leg; the label on the interior waistband reads "Vibrant M.I.U," marked size 5, along with garment content and manufacture tags. There is a zip-fly and button closure inscribed with the "Vibrant M.I.U," two hip pockets, and two back pockets; the light-wash denim contrasts with the distinct gold threading. Then to finish the look, the gold bamboo hoops have two-word plates; one earring reads "BOSS," and the other reads "QUEEN." A set of two spiral-spring-gold-tone-stretch bangles and a Cuban heavy-link-chain necklace with a word plate reading "SEXY" and bezel set rhinestones.Danielle Hollowell was the costume designer for the film; she gained recognition for her work with Dave Chappelle and his sketch comedy show; in 2019, she was quoted in an interview with Vanity Fair, explaining her design process, "It can be from something I see at a flea market, or when I'm driving around, and I see people selling things, or from a magazine clipping, or from various parties that I might be at, or going into costume houses, or my friends." Hollowell has continued to work on studio and network projects and has used her platform to shine a spotlight on African American designers like Romeo Hunt, Virgil Abloh, and Agnes Baddoo.Minaj, as Draya, can be seen wearing the ensemble when Rashad (Common) offers to take her home after work, causing suspicion around the barbershop.Includes a DVD of the film.
An Isaac Mizrahi two-piece ensemble as seen worn by Fran Drescher as "Fran Fine" in The Nanny (CBS 1993-1999), Season 5 Episode 21, "The Best Man." A multi-color psychedelic pattern shift dress and jacket ensemble, composed of a wool crepe fabric. The dress is A-line with a mid-thigh-hemline, crewneck, and sleeveless so it can be worn under the jacket, the dress is structured and fitted in the bust with two darts, narrows at the torso/waist and goes out at the hips, giving the dress a sharp flared skirt. There is a hidden zip that goes up the back with a hook-and-eye fastener at the nape of the neck, the interior is lined with light pastel blue synthetic lining. The jacket features a notch lapel with four bound buttonholes with one-inch periwinkle plastic buttons that start just below the bust; the jacket is also lined in a soft pastel blue. Both garments have designer labels reading, "ISAAC MIZRAHI," both are marked a size four. Fran is seen in the designer outfit at the conclusion of the episode "The Best Man" with her grandma Yeta, presenting her with a wedding gift. Brenda Cooper who was the costume designer for the show outfitted Fran in many designer outfits, especially American Jewish designers like Isaac Mizrahi and Todd Oldham.Isaac Mizrahi started his clothing label in 1987, his color blocking and silhouettes were the height of fashion in the 90s. He won four CFDA awards and has dressed Michelle Obama, Meryl Streep, and Sarah Jessica Parker. This lot comes with a DVD box set of season five. Size 4PROVENANCE From the Collection of Reel Clothes and Props
A production costume for Fran Drescher as Fran Fine from the The Nanny (CBS, 1993-1999), Season 6 Episode 19, "Maggie's Wedding."David Hayes silk pink and black digital-hounds-tooth-print-shift-dress, with a lapped seam at the center front, crew-neck line, light-padded-shoulders, with bracelet length sleeves, concealed zipper at the back with a loop-button fastening at the nape of the neck. The dress is lined in bubble-gum pink silk, the designer label on the neckline reads, "DAVID HAYES," marked a size 8, fabric content tag lists the fabric as 100% silk. The dress, although not used in filming, was a part of an ensemble, the jacket of the ensemble was worn in the episode but with a Christian Lacroix dress. Fran wears the pastel pink silk jacket with digital-houndstooth-print accents at the cuffs, front pockets, and lapel. Fran is helping her step-daughter Maggie shop for a wedding dress. Fran comforts Maggie about her upcoming wedding and how to relay her happiness to her father, in a comedic, heart-warming episode in the final season.Davis Hayes was an actor-turned-designer, starring in musical productions abroad, he lived in Paris for three years, and during his time in the city he developed an interest in fashion and upon returning to Los Angeles enrolled at UCLA and earned a degree in Fashion Design. He worked for the clothing manufacturer DeGraff of California as lead designer for seven years and then started his label. Hayes designed well-tailored garments and separates, which became a staple for many actresses like Audrey Hepburn, Joan Collins, and the Gabor sisters, sold in luxury department stores like Neiman Marcus and Saks Fifth Avenue.Size 8PROVENANCE From the Collection of Reel Clothes and Props
Princess Diana's scarlet metallic jacquard chiffon gown, designed by Bruce Oldfield, was worn on several occasions, twice in 1989 and once on November 18, 1991, to the world premiere of Hot Shots in London.Princess Diana and her fashions always had an audience, the whole world, who were mesmerized by her and her gowns, especially by this custom Bruce Oldfield design. Oldfield's design is light as well as tailored with its loose hand-gathered bust, sloped ruched shoulders, and fitted ruched bodice from under the bust to below the hips. The horizontal folds fan out from the center seam and extend to the back closure. The bodice hugs past the hips going into an open skirt; the hem floats delicately to the floor. A label that reads “Bruce Oldfield, Custom Made, London" is present. Princess Diana looked like a hot shot herself in this glittering red gown; the film premiered at the Odeon Leicester in November of 1991 with President Arpad Goncz of Hungary and his wife Szusza in attendance. Diana frequently wore Bruce Oldfield, especially in the mid-1980s where she wore more daring styles; Diana was dubbed "Dynasty Di" after wearing a gold lamé gown he designed for her. This lot is accompanied by a paper doll book that features the charity auction dresses.PROVENANCE Lot 14 , "Dresses From the Collection of Diana, Princess of Wales," Christie's, New York, Sale number 8702, June 25, 1997
Paramount Studios late 19th century Belle Epoque style two-piece (jacket, skirt) wool ensemble, unknown production. Late 19th century style Belle Époque two-piece costume ensemble with classic s-curve silhouette. The ensemble is composed of a jacket and skirt both a light taupe wool: the fitted jacket has a shawl collar and voluminous mutton sleeves with bobbin lace applique on the sleeves and opening, the skirt is floor-length with lace applique, and triangle pleats at the hem. On the interior collar their is written with marker, "MPCC." There are two paper tags by the interior center back seam and at the interior right panel marked, "285." The skirt is marked "MPCC," as well with an embroidered Paramount, and a paper tag marked "PAR, SP, 15727." The garment has moderate discoloration and stains, structurally the garment is in-tact. The costume features classic style traits of the Belle Époque period with an s-curve silhouette, where a women's waist was tightly corset. The era was known for it's gaiety, frivolity, and elaborate and heavily decorated hats.
Egyptian-style pleated gown for Anne Baxter as Nefretiri in Cecil B. DeMille’s film The Ten Commandments (Paramount 1956).A period-style costume design by Edith Head for Anne Baxter, the gown features a sea-foam blue/green pleated silk, limestone jersey lining, aquamarine grosgrain ribbon, and embellished silver and gold trimming. The gown references ancient Egyptian clothing with a v-neckline and fitted under the bust for a long ethereal skirt. The gown’s asymmetric draping between the bust and hips elongates the torso and creates a statuesque silhouette. There is zip closure as well as hook-and-eyes at the back of the gown, the zipper head is missing so the gown cannot be zipped closed. There is no label or size marker but there is illegible hand-written lettering at the back left-side of the zipper above the waist, likely referencing scene numbers. Baxter’s wardrobe for the film was very luxurious, wearing colors similar to the glittering Nile; the numerous pleated chiffon gowns were all light, romantic, and highly animated moving with Baxter’s sinuous gestures. PROVENANCE Lot 217, Christies, Auction 1854, May 30, 2007.
Three Edith Head costume designs of Ann Blyth as Gloria Brent in the film The Buster Keaton Story (Paramount 1957). Three mixed medium costume designs by Edith Head, illustrations likely by sketch artist Grace Sprague, no signatures present. The first sketch is a full-length female figure wearing a black skirt suit ensemble with leopard accents, a fastener, gloves, and oxford pumps. At the upper right corner is an outline of a female figure in a black skirt suit but with light pink accents at the lapel and pockets. Then at the top left-hand corner are notes for specific scenes. This illustration shows a detailed setting, it appears to be the front house of a theater with a Buster Keaton lobby card. The second sketch is a full-length female figure modeling a corded-check-pink taffeta house dress, and apron holding a spatula. There is a swatch of what appears to be silk taffeta at the top right corner and the top left corner a handwritten annotation reading, “#9-Sc. 195 INT BUSTER’S KITCHEN (D) BREAKFAST." The third sketch is a full-length female modeling a fitted grey dupioni silk dress with a fitted bodice and full-length pencil skirt tapered to the ankle. The collar and cuffs have a white accent adding a subtle sophistication to the design. There is a grey fabric swatch at the left corner and the right corner is handwritten notes, "#3 INT WINTERS OFF. SO. 91-95 (PREVIEW CARDS)."This film was based on the life of Buster Keaton known for his extreme physical and slapstick comedy in silent films. His work went on to inspire comedians like Lucille Ball. DIMENSIONS:SKETCHES 14 X 16.75 INCHESMOUNT 32 X 39.25 INCHES
The iconic vibrant-flamingo-pink-silk-satin-organza haute couture evening dress was designed by Hubert Givenchy and worn by Audrey Hepburn as Holly Golightly in Blake Edward’s classic film Breakfast at Tiffany’s (Paramount, 1961). This eye-catching iridescent pink dress is a fashion confection that never loses its infectious sweet nature. Composed of a lovely silk-satin-organza brilliantly showcasing the many talents of French couturier Givenchy, the fitted bodice with a scoop neckline and princess seams showcases the poised nature of Hepburn and her gamine frame. The romance of the design grows with a tulip-shaped skirt, sewn to the bodice and gathering just above the hips. The gathered fullness and volume allow the skirt to gently float away from the body with the hem reaching past the knee, fully embellished with glass seed beads, faceted silver foil back rhinestones, and guipure applique, tassel-like fans, in pale gold, adding texture to the dress, uncharacteristic to Holly's previous fashions. Givenchy apprenticed with Spanish couturier Cristóbal Balenciaga, this particular design of Givenchy seems to capture a Spanish-like style, referencing Balenciaga's use of vibrant pinks and matador-like embroidery. The dress was a stark contrast to everything else Holly Golightly is seen wearing in the film, which primarily was black and earth tones. There is no label or size tag present. Hepburn is seen in the dress towards the end of the film when the characters Holly and José (played by José Luis de Vilallonga) return from a night out. The scene showcases Hepburn’s emotional range, one moment buoyant and bubbly the next moment heartbroken, as she learns her brother Fred is dead. Paul who enters the scene, played by George Peppard, tries to comfort Holly who violently tears apart her apartment until she collapses in Paul’s arms and he places her on her bed. The overhead camera shot of Holly on the bed in the darkroom, light coming through the doorframe, and feathers floating from a torn pillow is a haunting image, the pink of the dress seems to be that small glimmer of hope that the character will come out of this sadness within herself to find true happiness. Givenchy designed this dress for his fall 1960 collection, which was shown in black. Lee Radziwell, a well-known client, was photographed wearing the design on March 20th, 1961 leaving the Hotel Carlyle with her sister Jacqueline Kennedy in New York City. Audrey asked Givenchy to make the design pink and to alter the neckline with a low-scoop neckline, the original neckline was cut higher to the neck. Hubert Givenchy designed for his label until 1995, and the pieces he created for Audrey Hepburn became a lasting reference for style and fashion in pop culture. Images of Audrey in the house’s couture designs still influence designers today. Clare Waight Keller, appointed creative director from 2017 until 2020 for the fall 2018 couture collection, featured an updated LBD-little black dress with an au courant hood reminiscent of Audrey's dresses in Breakfast at Tiffany's. The magic of Audrey as Holly, dressed to the 9’s throughout the film, in timeless Givenchy continues to illustrate romance and create a lust for French couture. This lot comes with a DVD/Blu-Ray of the film and an original movie still. PROVENANCE Lot 228 "Film and Entertainment Memorabilia," Christie's Auction House (Sale #1854) May 30, 2007.
A costume design by Edith Head for Audrey Hepburn as Holly Golightly in Breakfast at Tiffany's (Paramount 1961).A mixed medium costume design for Audrey Hepburn by Edith Head. The sketch features a full-length Audrey-like figure in a light pink full-length gown with a full skirt and fitted bodice, similar in likeness to the pink cocktail dress Audrey wears in the film. The figure wears a tiara, earrings, and elbow-length gloves, and holds a cover-up in her right hand. The dress is drawn with glittering surface embellishment on the bodice and skirt; however, this design differs from the scoop neckline and calf-length hemline worn in the film. Edith's design is a sophisticated evening gown, featuring a bateau neckline with an ankle-length hem. The sketch is signed by Edith Head at the bottom left corner.Audrey as Holly Golightly wears a pink dress upon returning from an evening with José, soon to find out her brother Fred is dead and going into a traumatic physical fit of grief. The bright color and embellished design was a contrast to her character’s previous outfits of understated elegance.This sketch was likely a conceptual sketch for Audrey as Holly Golightly, the dress in the film is cocktail length and designed by French couturier Hubert de Givenchy. Breakfast at Tiffany’s was a film that defined Audrey’s timeless style and the refined elegance that was Givenchy’s signature. The pink dress showcases architectural construction with a fitted princess-seamed bodice and a gathered skirt that is as buoyant as Audrey’s charming smile. The facet foil back crystals, the guipure fan tassels, and the vibrant pink add up to a defining moment in fashion where women were feminine, sleek, distinct, and articulate in how they dressed.The design worn in the film was a part of Givenchy’s 1960 fall show with well-known clientele Lee Radziwill and model Capucine wearing the embellished design in black. Audrey asked if the design could be made in pink specifically for the film, only two of these pink design confections were made. A rare design that showcases the artistry of French haute couture and the beautiful Audrey Hepburn as Holly Golightly. Audrey’s Givenchy wardrobes while they evolved in each film collaboration have become a timeless reference to elegance and glamour in both film and fashion.This lot comes with a DVD/Blu-Ray of the film.
A group of three wardrobe items worn by bombshell actress Diana Dors: A kaftan made of gold Lurex fabric and black nylon trim was worn by Dors during a 1975 appearance on the game show series Celebrity Squares (ITV, 1975-1979); a light blue floral patterned evening jacket made of Lurex threaded lace with peasant sleeves worn by Dors when she met fellow actress Gloria Swanson in 1981; and an evening cape made of black silk blend and embellished with rhinestones, sequins, and beaded fringe worn by Dors during a 1981 appearance on the series The Cannon and Ball Show (ITV, 1979-1988). The clothing appears to be custom-made so no size tags are present.When Dors died in 1984, her husband, actor Alan Lake, became depressed and burned most of his late wife's clothing. These three articles of clothing are among the few surviving pieces worn by Dors.Together with photographs of Dors wearing the clothing
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