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Lot 1031
Amor als Räuber hinter einem Rosenstrauch Auf profiliertem, marmoriertem Rundsockel hockender, hinter einem Rosenstrauch lauernder Amor mit federgeschmücktem Hut, in den Händen den Pfeil und Bogen haltend. Polychrome Malerei mit Goldstaffage. Entw. Heinrich Schwabe. Modell-Nr. L 106. Minim. best./ rest.; Schwertermarke. H. 16 cm. A porcelain figure of a cupid with bow and arrow. Minor chipped/restored. Crossed swords mark.Meissen. Ende 19. Jh.
Lot 3208
Cello Ahorn und Fichtenholz. Passig geschweifter Korpus in Violinform mit F-Löchern, ohne Stachel. Steg bez. "SCHREIBER & LUGERT". Umlaufendes Dekorband aus lackiertem Holz. Bogen fehlt. Überholungsbedürftig. Ges.-L. 124 cm. A German cello. Bridge signed. Bow missing. In need of overhaul.Deutschland. 1. Hälfte 20. Jh.
Lot 303
Includes clear beautifully detailed musical instrument and metal stand with bow attached (3.5"L x 1.50"W). Swarovski backstamp. 7477000002. Artist: Gabriele StameyIssued: 1996 - 2004Dimensions: 1.25"L x 4.25"W x 0.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Lot 52
Leeds Mail Coach Robbery.- Davies (W.P.) "A Brand plucked out of the Fire!" or A Brief Account of Robert Kendall...executed at Northampton, the 13th August, 1813, fifth edition, Northampton, 1813 bound with Griffin (Rev. Edward) Strictures upon a publication entitled "A Brand plucked out of the Fire!"..., Nottingham, 1813 and "Laicus". Observations on a pamphlet...entitled "A brand plucked out of the fire"!, Bedford, 1813 and Robbery of the Leeds Mail. An address to the public, occasioned by that part of the alleged "Refutation" published by the writer of Kendall's narrative..., Northampton, 1814 and Davies (W.P.) A Refutation of the Charges alleged against the writer of Kendall's Narrative..., Northampton, 1814 and Some account of the trial of Huffham White, Robert Kendall, and Mary Howes, (otherwise Taylor)..., Northampton, 1813 and Predestined Thief (The); or, A dialogue between a Calvinistic preacher and a thief condemned to the gallows..., 1814, together 7 works in 1 vol., some spotting and soiling, old library blind stamp to first title, engraved bookplate of George Chetwynd, later half calf, uncut, new spine label, 8vo et infra bound into 8vo⁂ A collection of seven pamphlets by participants in, witnesses to, or contemporary commentators on the notorious Leeds Mail Coach Robbery of October 1812. Robert Kendall and Huffham White removed sixteen bags of mail from an apparently moving coach, which continued for several miles before the robbery was discovered. Enquiries by Bow Street officers led to Bristol and then Liverpool, where Kendall and White were arrested after a violent struggle in the cellar of a house. After being found guilty at a 14-hour trial involving forty witnesses, White and Kendall were executed at Northampton in August, 1813. Kendall's conviction aroused some controversy when the Methodist minister W. P. Davies claimed that the verdict was unsafe, with the evidence against him being wholly circumstantial.
Lot 8171
Early 20th century 9ct gold open face keyless lever pocket watch by J. W. Benson, London, white enamel dial with Roman numerals and subsidiary seconds dial, in original velvet and silk lined caseCondition Report:Approx 75.5gm, no inner dust cover, case hallmarks rubbed tested, pendant and bow hallmarked 9ct, movement functioning and clean, , dial good, case with small split to top edge and light scratches, case diameter = 48mm
Lot 8179
Early 20th century 14ct gold open face keyless cylinder ladies pocket watch, stamped 14K, with 9ct gold bow ribbon brooch, gold-plated full hunter keyless lever pocket watch and one other silver keyless cylinder fob watchCondition Report:All movements functioning, 9ct approx 3.4gm, Back pin also 9ct, 14ct approx 30.2gm, inner dust cover not gold, no glass cover, missing hand, dial good, diameter = 34mm, gold-plated also no cover but good dial, case diameter = 50mm
Lot 189
A SUPERB GOLD LACQUER SUZURIBAKO DEPICTING RAIKO'S DREAMJapan, early 18th century, Edo period (1615-1868)Published & Exhibited: Cornell University, Herbert F. Johnson Museum of Art, Scattered Gold and Midnight Gloss: Japanese Lacquer from the Anbinder Collection, 31 March - 8 July 2007.Of rounded rectangular form with a flush-fitting (inrobuta) cover with rounded gold fundame chiri-i (edges) and silver rims. The exterior bearing a densely sprinkled hirame ground finely decorated in gold, silver, and black hiramaki-e and takamaki-e with a Japanese samurai's bow (yumi), arrows (ya), quiver (ebira), and three-fingered gauntlet (mitsugake) under a large curtain.The interior of the cover bearing a roiro ground similarly decorated and with iro-e kirikane to depict two birds in flight over densely painted waves above a seashore with pines, other trees, a small pavilion, and craggy rockwork, and below thick clouds.The interior of the box fitted with a board (ita) with an oblong inkstone (suzuri) and rectangular waterdropper (suiteki) of shibuichi with gilt floral design, and a rectangular tray, each bearing a dense gold hirame ground similarly decorated with waves, grasses, and a pine tree.SIZE 4 x 19.2 x 21.4 cmCondition: Good condition with minor wear, the interior tray with a small age crack, the interior of the box with few small nicks, the interior of the cover with minor signs of warping, the sides of the box with minor touchups to lacquer.Provenance: Heian Art, 18 December 2000, Kyoto. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.With a wood storage box (tomobako).The archery equipment and curtain depicted on the cover of the present suzuribako allude to Minamoto no Mitsunaka (912-997), a noble and skillful archer who held high office under the Emperor Reizei. The interior of the cover depicts Hamamatsu (on the Pacific coast) with pine trees and birds, where Mitsunaka's son Minamoto no Yorimitsu (Raiko, 948-1021) was believed to have fallen asleep during a hunting expedition, when Jie Hua, the daughter of the great Chinese archer Yang Yaojing appeared to him in a dream. On awakening, Raiko found that Jie Hua had left her father's bow and arrow beside him.
Lot 64
A SILVER AND GILT TAKARABUNE (TREASURE BOAT), TAISHOJapan, Taisho period (1912-1926) or slightly later The boat sailing on tumultuous waves, with a ho bird bow and decks filled with coins, rice bales, and symbols of the Gods of Good Fortune. The rudder with a silver mark ´made from silver´. On a fitted wood base. Condition: Very good condition with minor wear. Weight: 2,058 g Dimensions: Length of the base 30 cm
Lot 795
AN EXCEPTIONAL LACQUER NETSUKE OF A KONOHA TENGU MASK WRAPPED IN A FUROSHIKIUnsigned Japan, 19th centuryFinely modeled as a long-nosed tengu mask lacquered red with black and gold lacquer details, the back of the mask with ishime-nuri, the mask wrapped in a gold-lacquered furoshiki decorated with gold sprinkles and very fine takamaki-e maple leaves, the cloth tied in a meticulously executed bow below the nose, the back with good asymmetrical himotoshi, the larger of which is of oval shape.LENGTH 4.4 cmCondition: Excellent condition with minor wear.Provenance: Ex-collection Edward Wrangham. Ex-collection Edward Wrangham. Bonhams, The Edward Wrangham Collection of Japanese Art Part I, 9 November 2010, London, lot 178 (sold for 4,200 GBP). A Princely Collection, acquired from the above.Literature comparison: Compare a related, yet less fine lacquer netsuke depicting a Konoha Tengu mask wrapped in a furoshiki by Kokuzan, dated 18th century, illustrated in Davey, Neil K. / Tripp, Susan G. (1993) The Garrett Collection, p. 285, no. 402.
Lot 833
AN IVORY MASK NETSUKE DEPICTING OF AN OLD MAN (JO), ATTRIBUTED TO MITSUYUKIAttributed to Yamaji Mitsuyuki, unsigned Japan, 19th century, Edo period (1615-1868)Published: Bushell, Raymond (1985), Netsuke Masks, pl. 97.Finely carved with a pained expression as the old man cries out with the mouth wide open, his hair tied over the brow and his long beard, which is usually applied with horsehair to the actual mask, trailing to one side, all neatly incised and skillfully stained with sumi-e. The reverse with a broad himotoshi bar pierced both vertically and horizontally, the horizontal cord hole with a chrysanthemum design. The ivory beautifully stained and bearing a warm patina.HEIGHT 4.5 cmCondition: Very good condition with minor wear and few tiny age cracks. Rich honey-yellow patina. Provenance: Ex-collection Raymond Bushell. Christie's, The Raymond and Frances Bushell Collection of Netsuke, Part II, 18 October 1988, New York, lot 107. Ex-collection Bluette H. Kirchhoff, acquired from the above. Bonhams, The Bluette H. Kirchhoff Collection of Netsuke and Sagemono, 16 September 2009, New York, lot 2133. European collection P. Jacquesson, acquired from the above.The term Jo denotes a large corpus of indigenous masks that portray old men. These masks were worn, and still are, for a myriad of agrarian fertility rituals, rites for propitiating the gods of nature, and ceremonies associated with folk festivals. They usually represent an aged deity or an apotheosized elder. In the early days of Noh, there was only a single type of Jo mask which satisfied the need for any play requiring the role of an old man, but as new plays were written there was an increasing need for a variety of masks. The chief characteristic of Jo masks is the locks of hair brought up from the sides and tied in a type of bow, or double loop, just above the forehead.Museum comparison: Compare a related ivory netsuke by Yamaji Mitsuyuki, with a similar pained expression and open mouth, formerly in the collection of Raymond Bushell and now in the Los Angeles County Museum of Art, accession number AC1998.249.257.Auction comparison:Compare to a closely related ivory netsuke of Oiwa, by Mitsuyki, at Zacke, Fine Netsuke & Sagemono, 4 November 2022, Vienna, lot 85 (sold for 4,860 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 23-B-0097).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
Lot 914
JUGYOKU: A RARE WOOD AND STAG ANTLER NETSUKE OF A KAPPA PLAYING THE CUCUMBERBy Ryukosai Jugyoku, signed Jugyoku 寿玉Japan, Edo (Tokyo), mid-19th century, Edo period (1615-1868)A humorous wood netsuke of a kappa holding a green-stained stag antler cucumber in both hands, as if playing the biwa, the eyes and fangs inlaid in bone. The details are very finely carved. Himotoshi through the carapace in the back and signed underneath the right leg JUGYOKU.HEIGHT 3.3 cmCondition: Very good condition. The two arms are carved separately to hold the cucumber in place.Provenance: US private collection.Jugyoku was particularly skilled in combining various materials, the kappa holding a green-stained cucumber being one of his favored subjects. The present netsuke depicts this kappa in a particularly amusing and rather unique manner, holding his cucumber like an instrument.According to folklore there are two ways to escape a kappa-encounter unharmed. One is to feed it with a cucumber, which is the kappa's favorite food and the other is to bow, as kappa are exceedingly polite creatures and find it difficult to resist returning a bow. This is a problem for the kappa as the cavity on top of their head retains water, and if damaged or its liquid is lost, the kappa is severely weakened.Auction comparison:A closely related wood netsuke by Gyokusai was sold at Zacke, Asian Art Discoveries, 27 January 2020, Vienna, lot 592 (sold for 5,688 EUR).
Lot 872
Britains / Herald Swoppets and other plastic figures Box containing two boxed Herald mounted cowboys, four boxed Herald mounted Indians. Two un-boxed mounted cowboys, two un-boxed mounted Indians. Three Indians on foot and two cowboys, two knights on foot. A small quantity of other swoppet figures with faults due to fatigue and some spare parts. Lot also includes some eyes, right figures and other plastic including Kellogs figures.The Indian Man Mounted H530W - model sound, box in good condition.Cowboy Throwing lasso mounted 632W - model sound but no lasso, box requires re-gluing.Cowboy Bank Robber mounted H631S - model sound, box in good condition.Indian Chief with Dagger mounted 533 - model sound, box in good condition.Indian Brave with tomahawk mounted - replacement box - model sound, box in good condition.Indian with bow & arrow mounted 534 - model sound, box in good condition.
Lot 51
Two 18th century Continental figures of classical maidens,11cm high, together with a Samson of Paris famille verte tea bow; and saucer; a pair of porcelain leaf dishes and a similar butter boat, possibly ItalianThe maiden with the purple floral drapery has a left lower leg missing and her right forearm missing. The glaze is heavily marked and in some areas either thin or has signs of loses. There is consistant discolouration to the glaze and heavy marking. There is pitting to the glaze that has given the figurine a rough texture.The maiden with the yellow drapery is in better condition. The glaze has some discolouration but is relatively smooth. There is some small areas of chipping to the flowers in the hand and in the bouquet. There are some general marking to the figurines arms.The tea bowl and saucer: The tea bowl has heavy marking on the base of the bowl. There is rubbing to the paint which has caused fading. This also applies to the saucer. The rim of both the bowl and scauer has a rough feel with loses to the gold paint. The saucer also has heavy marking to the base. The saucer signs of chipping which has primarily affected the glaze.The three leaf trinket bowls have a consitant glaze, but all of them has heavy marking and a little bit of staining. Mainly around the rim and the left stem. There is also a rough edge to the rims of the leaves which suggests chipping. Black marks and pitting is visible on all three leaves. A professional clean would be recommended.
Lot 1054
An original "Harvey" rabbit illustration drawn and signed by James Stewart. Stewart, who played Elwood P. Dowd in Harvey (Universal Pictures, 1950), befriends a six-foot tall invisible rabbit in the film, which only escalates when his relative attempts to have him sent to a sanatorium. This hand-drawn rabbit features a bow tie and whiskers, with the names "Harvey" and "James Stewart" written in blue ink. Accompanied by a Certificate of Authenticity from JSA. 10.25 x 8.25 inches
Lot 317
A group of bow and arrow props as seen used by Alicia Vikander as "Lara Croft" in the action/adventure Tomb Raider (Warner Bros., 2018).This lot includes a brown leather quiver featuring a criss-cross design and an attached strap with a silver-tone buckle; a wooden bow with engravings and a robe wrapped grip; and a group of seven wooden arrow props with white and orange feathers.Tomb Raider, based on the popular 1996 action-adventure video game of the same name, follows Lara Croft as she embarks on a harrowing journey to find her missing father.49.25 inches (bow length); 29.75 inches (arrow length); 12.5 x 14 inches (quiver)
Lot 597
A set of costumes as seen worn by Greta Scacchi as Mary Duvan in Beyond the Sea (Lions Gate Films, 2004).This lot includes a fully lined cream and blue dress with back zipper closure and pleated waist labeled "Angels" with hand-written "Beyond the Sea Mary Duvan" on the maker's label; a pale blue overcoat with an open front, darted back collar, lining that matches the accompanying dress, and a bow and pleating at the back, labeled "Angels" with a hand-written "Beyond the Sea Mary Duvan" on the maker's label; a beige suiting dress with a surplice front, pleated floral sash detail, asymmetric neckline, and hidden back zip closure, labeled "Angels" with hand-written "Beyond the Sea Greta Scacchi" on the maker's label; a patent croc-embossed purse with snap-top closure and two interior pockets, not labeled; and a pair of suede almond toe heels with a leather lining and sole, size 42.Beyond the Sea is a biographical musical drama based on Bobby Darin's life.
Lot 681
A fitted knit short-sleeve undershirt with lace trim and bow from the wardrobe of Madonna as Gloria Tatlock for the film Shanghai Surprise (HandMade Films, 1986). The film starred then newlyweds Madonna and Sean Penn.Costume design by Judy Moorcroft.Not seen in final cut of the film.The Proceeds From This Lot Benefits The Material World Foundation. The Proceeds From This Lot Benefits The Material World Foundation.
Lot 682
A fitted knit short-sleeve undershirt with lace trim and bow from the wardrobe of Madonna as “Gloria Tatlock” for the film Shanghai Surprise (HandMade Films, 1986). The film starred then newlyweds Madonna and Sean Penn.Costume design by Judy Moorcroft.Not seen in final cut of the film.The Proceeds From This Lot Benefits The Material World Foundation. PROVENANCE Donated to the Foundation by the George Harrison Estate
Lot 684
A fitted knit sleeveless undershirt with lace trim and bow from the wardrobe of Madonna as Gloria Tatlock for the film Shanghai Surprise (HandMade Films, 1986). The film starred then newlyweds Madonna and Sean Penn.Costume design by Judy Moorcroft.Not seen in final cut of the film.The Proceeds From This Lot Benefits The Material World Foundation. PROVENANCE Donated to the Foundation by the George Harrison Estate
Lot 698
A custom-made ensemble as seen worn by Madonna as Gloria Tatlock in Shanghai Surprise (HandMade Films, 1986). The film starred then newlyweds Madonna and Sean Penn.The ensemble consists of an ivory seersucker cotton tailored blouse with slender blue stripes and a navy slubbed silk bow and a slender fitting navy slubbed silk skirt. The skirt and blouse both have Barbara Matera labels typed “Madonna.” Costume design by Judy Moorcroft.Includes a scene still image.The Proceeds From This Lot Benefits The Material World Foundation. PROVENANCE Donated to the Foundation by the George Harrison Estate
Lot 887
An original program for a celebration of the coronation of King George VI. The front of the program features a black and white photographic portrait of King George VI and Queen Elizabeth. The photograph is surrounded by crests of various British provinces and the printed words "In Celebration of / The Coronation of Their Majesties / King George VI & Queen Elizabeth / May 12 1937." The first page lists information about the Empire Day Coronation Dinner organized by the British Empire Club of Providence, Rhode Island. The center pages lists details of the events and the back pages lists the club's officers and committee members. The program also features an intertwined red, white, and blue string wrapped around the center and tied into a bow at the left top.7.5 x 11 inches
Lot 908
An original costume as seen worn by Joan Crawford as the title role character Harriet Craig (Columbia 1950).A pink and grey check-day dress composed of wool with three-quarter length sleeves and a fold-over collar with neck-tie. The fitted bodice with a high neckline is cut on the grain while the skirt is cut on the bias. The skirt is open and cut wide so there is volume similar to Dior’s New Look dresses. The tea-length hem-line, secretary bow tie, and pointed cuffs with contrasting fabric were popular design elements of the decade. The dress has a zip closure at the back with blind snaps at the left side of the collar to help put the garment on. A Columbia handwritten label reading “Joan Crawford." This dress is in good condition, there are several moth holes at the collar and the skirt. Joan Crawford plays an obsessive and controlling character who doesn't trust her husband and struggles to let those around her make their own decisions; she asserts her authority, sabotaging her husband's promotion, as well as other family members' lives causing them to exit her life at the end of the film, leaving her with only one thing to control her home. This dress is worn by Joan Crawford as Harriet Craig in the scene where she visits her mother in the nursing home at the beginning of the film.PROVENANCE Originally from The Collection of Debbie Reynolds
Lot 918
An early 19th-century-style black silk velvet embellished gown designed for Vivien Leigh as Emma Hamilton for the film That Hamilton Woman! co-starring Laurence Olivier (Alexander Korda Productions, 1941). An elaborate 19th-century-style evening gown designed for Vivien Leigh as Lady Hamilton. The gown features a low neckline trimmed with Alençon lace. The gown features beaded ears of wheat and a bow motif throughout the gown, the surface design is composed of metallic bugle and seed beads and faceted rhinestones. The sleeves are shortened to the elbow and fit close to the arm with a ruffle cuff lined with beige chiffon. This gown features a basque waistline and full skirt, the skirt has been altered. Originally, the design was worn with a hoop skirt so the velvet outer skirt was open to reveal a contrasting white under-skirt with lace. At the interior of the gown’s bodice is a Rene Hubert label. The film follows the rise and fall of Lady Emma Hamilton, an actress, dancer, and courtesan, who marries Sir William Hamilton the ambassador to Naples but falls in love with Admiral Horatio Nelson. Both married have an open affair; Emma being seen as a distraction from Nelson entering the Napoleonic wars is to be sent to Cairo. Leigh as Hamilton is seen wearing this velvet gown when she tells Nelson she has to leave Naples and go to Cairo, but neither can let the other go. They travel to England to carry on their affair, but Nelson is sent to fight in the Battle of Trafalgar where he is killed, his death leads Emma to spiral and fall into alcoholism and poverty. Rene Hubert designed the costumes for the film. Hubert’s first job in film was working with Gloria Swanson in 1924; they met in Paris to discuss Swanson’s role as Madame Sans-Gêne and his costume designs, which the actress accepted at first glance. He designed for Paramount, MGM, and 20th Century Fox. PROVENANCE Lot 189, Christies, Auction 1854, May 30, 2007.
Lot 929
Two original costume designs by Edith Head for Olivia De Havilland in her Oscar-winning role as Jody Norris in the film production To Each His Own (Paramount 1946). A set of two mixed medium costume designs by Edith Head, illustration likely by sketch artist Walter Angelo, who was credited for the film's wardrobe. Both sketches feature a full-length female figure in 20s period costumes, one sketch features the character Jody in a three-piece 20's ensemble, a black jacket with shawl lapel, a black pencil skirt, tan blouse with embroidery detail, tan gloves, a black cloche with a feather accent, necklace and earrings, complete with black mules. There are pencil notations at the bottom of the sketch reading, "Aug-1920, Corinnes Apt 13, #13-Sept. 1924 Seq F26-33-INT. Corinnes Apt." The second illustration features Jody in a sophisticated day ensemble, a cropped bolero jacket with a fold-over collar and surface design (likely embroidery), a draped tulip high-waisted skirt with a center front slit, and embroidered detail at the pockets, a white blouse, white gloves, topped with a hat with a large bow. There are no signatures present on either sketch. Olivia de Havilland starred in this period drama playing Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot revolves around Jody's struggle to regain custody of her son in this heart-wrenching period drama. DIMENSIONS:SKETCHES 14.5 X 23 INCHES MOUNT 34.5 X 28 INCHES
Lot 933
A rouge pink taffeta mid-calf-length dress with ruffled collar and hem, worn by Phyllis Diller for "Benefit For Israel Honoring Mrs. Chaim Herzog" at Regine's in New York City on October 21, 1985, as well as to The Dean Martin Celebrity Roast: Joan Collins (Greg Garrison Production, 1984).The long-sleeved dress has a drop waist and bow on the left side. Labeled, "Saint-Clair in Paris."Includes a black and white photograph featuring Diller wearing the dress at the celebrity roast. Size MediumPROVENANCE Lot 325, "Property From the Estate of Phyllis Diller" (Sale #84), Beverly Hills, September 22, 2013
Lot 956
A lilac day gown as seen worn by Edie Adams as "Francine Sherman" in the comedy Make Me an Offer (ABC Circle Films, 1980). The lilac polyester maxi gown features an off-the-shoulder neckline with Juliet sleeves and a back bow. Labeled "Lucie Ann Beverly Hills."Make Me an Offer follows Joyce Windsor (Susan Blakely), who, after finding herself abandoned by her husband, finds a new passion as a real estate agent. Accompanied by a Certificate of Authenticity stating the dress comes from Adams' personal estate. Size Small
Lot 970
A three-piece costume ensemble as seen worn by Debbie Reynolds as Adele in the film production What’s The Matter With Helen? (Filmways Inc. 1971). A 1930s style navy and white three-piece dress ensemble for Debbie Reynolds as Adele, a mid-westerner starting her life anew as a children's dance instructor in Hollywood, California. The outfit features a wool challis navy and white diagonal check A-line dress, jacket, and a white knit hat with a bi-color patterned wool brim. The dress is composed of wool and a double-knit ribbed yoke with pique trim and three non-functioning buttons at the bust. The dress has a zip closure at the back with hook-and-eyes to conceal the zipper. The jacket is cropped with an a-symmetric check-pattern peak-lapel with button closure, along with a cotton pique bow at the left shoulder and barrel cuffs with pique trim and two-tone textured black and white plastic buttons.Debbie Reynolds stars alongside Shelley Winters in this grime film about two women who move to California from the mid-west after their sons are charged with a gruesome murder. Even with their new life in Hollywood Helen (Winters) and Adele (Reynalds) can't escape what they tried to leave behind. Adele wears this outfit upon returning from a date with Lincoln Palmer. Morton Haack received an Academy Award nomination for Best Costume Design for the film's thirties-style costumes.PROVENANCE Originally from The Collection of Debbie Reynolds
Lot 972
A set of two Edith Head costume designs for the film production Here Comes The Girls starring Bob Hope, Tony Martin, and Arlene Dahl (Paramount 1953). Two mixed medium costume designs by Edith Head, likely by costume designer and sketch artist Yvonne Wood. Both sketches feature two full-length female figures in white and gold Grecian-style costumes. Both figures wear a bra-top and a draped high-low skirt, the short hem at the front allows for the skirt's draping to cascade as it goes into a train at the back. One sketch is labeled "Miss Bacchus" with the figure holding a drinking glass and a gold vine of grapes. The other sketch is labeled "DIANA" with two names written in pencil reading "Yvonne, Ruby." This figure holds a bow and has a quiver with a Greek key motif hung crossbody holding arrows. Both sketches have signed initials CB, likely by Claude Binyon the film's director. Here Comes The Girls is a musical comedy starring Bob Hope, who plays Stanly Snodgrass who gets cast in a Broadway play when the lead is attacked by a crazed fan who is obsessed with the play's lead actress Irene played by Arlene Dahl. The crazed fan is jealous of anyone acting opposite Irene, putting them in danger, but in Hope's case, hijinks and hilarity ensue even with a knife-wielding killer on the loose. DIMENSIONS:SKETCHES 14.5 X 19.25 INCHES MOUNT 33 X 26.5 INCHES
Lot 1137
Circa 12th-15th century A.D. Mainly comprising socketted bolts with tapering and facetted square-section tips. Cf. Michalak, A., Arma confinii, przemiany pó?no?redniowiecznej broni na rubie?ach ?l?ska, Wielkopolski, Branderburgii i ?u?yc (Arma confinii, transformations of late medieval weapons on the borders of Silesia, Wielkopolska, Brandenburg and Lusatia, in Polish), Zielona Gora, 2019, pls.92-128, for similar projectiles. 682 grams total, 4.6-11.7 cm (1 3/4 - 4 5/8 in.). Acquired 1990s-early 2000s. East Anglian private collection. In medieval warfare crossbows were of great importance, used especially by infantry. An improvement of their effectiveness by inceasing the weight of projectiles as well the strength of the bow caused a clear evolution of body defences between 13th and 15th centuries A.D. [20]
Lot 1153
14th-15th century A.D. Comprising a hoop with reserved triangular ornament on the edges and triangular plaque with foliage motifs, raised central panel with frond motif. Cf. Bikic, V., ‘Beyond the Jewellery: Archer’s Rings in the Medieval Balkans (14th-15th centuries)’ in Bosselmann-Ruickbie, A. (ed.), New Research on Late Byzantine Goldsmiths’ Works (13th-15th Centuries), Mainz, 2019, figs.5, 6, 7. 22.61 grams, 34.77 mm overall, 25.16 mm internal diameter (1 3/8 in.). Acquired in the 1990s. Ex Cambridgeshire, UK, collection. Archer rings in Late Byzantium and the medieval Balkans were connected with the employment of the powerful composite bow, but very often, in the 14th century they served as insignia of rank for aristocratic noblemen. Archaeological findings of archers’ rings originate mainly from fortified towns, including mining centres. Many were made in bone, simple in design and undecorated. In contrast, the ones made in bronze and silver were usually decorated in rather uniform style, consisting of floral motifs on the head, mostly tulip and foliage, and linear motifs around the edges. This decoration combined Turkish, Central European and Eastern Roman traditional patterns.
Lot 1319
1st century B.C.-1st century A.D. La Tène Type I with integral pin and spring, expanding bow with integral catchplate and returned end with trumpet finial. Cf. similar item in the collection of the British Museum under accession number ML.1614. 12 grams, 47 mm (1 7/8 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. [No Reserve]
Lot 1332
Circa 6th-7th century A.D. With narrow bow, openwork headplate with flanking bird-shapes, pierced lappets and bulbous tongue-shaped footplate; pin-lugs and catch to the reverse. Cf. Laszlo, G., The Art of the Migration Period, Coral Gables, 1974, p.127, for type. 19.6 grams, 80 mm (3 1/8 in.). From the collection of Alan Hardcastle, circa 2017. Ex private Merseyside, UK, collection. [No Reserve]
Lot 1360
9th-12th century A.D. Comprising: an ovoid pendant with openwork centre and simple decoration; mount with rectangular headplate, bow and foot, with four piercings; lunar pendant with geometric ornament and beast head terminals; belt fitting with rectangular slot and scooped sides, zoomorphic ornament; carinated ring suspending a smaller penannular ring. 32.9 grams total, 23-47 mm (7/8 - 1 7/8 in.). From the collection of a North American gentleman, formed in the 1990s. [5, No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
Lot 1412
6th century A.D. Formed with a slender hoop overlapping and coiled at the centre, the discoid bezel with punched bow tie and ring-and-dot motifs. 1.77 grams, 23.99 mm overall, 19.50 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15) (1 in.). From a Norfolk excavation in the late 19th century. Ex property of a Nottingham gentleman by descent. [No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
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