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Lot 12
King Henry VI, Pinecone-mascle issue groat, Calais Mint. King Henry VI (1413-22), Groat, Calais mint, Pinecone-mascle issue 1431-32/3, facing crowned bust within double tressure of nine arcs, fleur on each cusp, beaded circles and legend surrounding, legend reads HENRIC DI GRA REX ANGL FRANC. R. Long cross dividing legends, three pellets in each angle, outer legend reads POSVI DEVM ADIVTORE MEVM, inner legend VILLA CALISIE, silver, weight 3.8g, S.1875, VF with dark toning.Metal detecting find near Nantwich, Cheshire.
Lot 13
King Edward IV (1471-83), Second Reign, Groat. King Edward IV (1471-83), Second Reign, Groat, London mint, Blunt and Whitton, XX/XVIII mule, mintmark pierced cross, facing crowned bust, legend reads EDWARD DI GRA REX ANGL Z FRANC. R. Mintmark pierced cross and pellet, long cross dividing legends, three pellets in each angle, outer legend reads POSVI DEVM A DIVTOR E MEVM, inner legend CIVITAS LONDON, silver, weight 2.9g, S.2098, VF and toned with a strong portrait, the obverse struck slightly off-centre.Metal detecting find near Nantwich, Cheshire.
Lot 14
King Edward IV (1471-83), First Reign, Light Coinage, Groat. King Edward IV (1471-83), First Reign, Light Coinage, Groat, London mint, mintmark rose, facing crowned bust with quatrefoils by neck, trefoil on breast, within double tressure of nine arcs, fleur on each cusp, beaded circles and legend surrounding, legend reads EDWARD DI GRA REX ANGL Z FRANC. R. Mintmark rose, long cross dividing legends, three pellets in each angle, outer legend reads POSVI DEVM A DIVTOR E MEVM, inner legend CIVITAS LONDON with eye after TAS, silver, weight 2.8g, S.1997, aVF and toned.Metal detecting find near Nantwich, Cheshire.
Lot 18
Queen Elizabeth I, Shilling, Second Issue. Queen Elizabeth I, Shilling, Second Issue, 1560-61, Cross crosslet mintmark, Bust 1A with pearls on bodice, silver, weight 5.8g, S.2555A, Fine with both sides struck off-centre and some minor double striking, rare.Metal detecting find near Nantwich, Cheshire.
Lot 19
King Henry VIII, Testoon, Third Coinage, 1544-47. King Henry VIII, Testoon, Third Coinage, 1544-47, Pellet in annulet mintmark, HENRIC 8 D G AGL FRA [Z H]IB REX. Facing bust. R. Crowned rose between crowned h and R, debased silver, weight 6.0g, S.2365, Poor with surface marks on both sides and ragged edges.Metal detecting find near Nantwich, Cheshire.
Lot 20
King Charles I, Shillings (2). Two King Charles I, Shillings, Tower Mint under Charles I, Triangle mintmark 1639-40, CAROLVS D G MAG BRI FRA ET HIB REX. Sixth (Briot style) bust l with lace collar, value mark XII behind. R. CHRISTO AVSPICE REGNO. Square shield over cross moline, silver, weight 5.9g, S.2799, good fine the reverse better and Tower Mint Under Parliament, Eye mintmark 1645, CAROLVS D G MAG BRI FRA ET HIB REX. Sixth bust l with lace collar, value mark XII behind. R. CHRISTO AVSPICE REGNO. Square shield over cross moline, silver, weight 5.8g, S.2800, good fine and toned (2).Qty: 2
Lot 7
Two hammered English silver coins to include Edward I Penny and James I Shilling (2). Two hammered English silver coins to include a King Edward I (1272-1307) Long Cross Penny, London Mint and a King James I (1603-1625) Shilling, First Coinage, 1603-4, Second bust, Lis mintmark, silver, S.2646, both in presentation cases and with accompanying certificates of authenticity from The Jubilee Mint (2).Qty: 2
Lot 9
King Edward III (1327-77), Groat, Pre-treaty period, 1351-61. King Edward III (1327-77), Groat, Pre-treaty period, 1351-61, London mint, facing crowned bust within double tressure of nine arcs, trefoil on each cusp including breast, beaded circles and legend surrounding, legend reads EDWARD D G REX ANGL Z FRANC D HYB. R. Long cross pattée dividing legends, three pellets in each angle, outer legend reads POSVI DEVM ADIVTOREM MEV, inner legend CIVITAS LOИDOИ, silver, weight 4.3g, S.1565, Good fine or better, toned.Metal detecting find near Nantwich, Cheshire.
Lot 1030
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.
Lot 1031
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.
Lot 172
An original study bust for creatures known as the "Eyes of the Adversary" from the Suicide Squad (Warner Bros. Pictures, 2016). This cast rigid foam study bust was developed to aid the special effects team in bringing the humanoid creatures controlled by Enchantress (Cara Delevigne) to life. The bust is painted entirely black and features protrusions throughout. In the film, these protrusions were the creatures' many eyes.Includes a DVD of the film. 18.25 x 16 x 11 inches
Lot 355
Original face prosthetics, wig, and cowl as seen worn by Bill Skarsgard as "Pennywise" in It (Warner Bros. Pictures, 2017).Included with this lot is a foam latex head casting with an removable faux wig, a Bill Skarsgard foam mannequin bust with labels reading "RELAXED" in multiple places, two unused cheek components, and one unused production nose application. The wig and cowl components show signs of wear consistent with having been used during the production of the film.The cowl and wig were screen-used during a scene of the film where Pennywise appears from inside of a refrigerator in the abandoned house on Neibolt Street and terrorizes the Losers Club. It grossed over 700 million dollars in revenue worldwide and in its opening weekend, and was ranked the 29th highest grossing film of all time. When the film was released, it broke the record for the highest number of movie theaters playing an R-rated film at any single time, surpassing the release of Logan (20th Century Fox, 2017). While other examples of Pennywise's cowl that have been offered have seen post-production refurbishment, this cowl and wig remain in original condition. Includes a DVD of the film. 14 x 12 x 11 inches
Lot 466
A batwing ensemble as seen worn by Demi Moore as "Madison Lee" in the action/comedy Charlie's Angels: Full Throttle (Columbia Pictures, 2003). The two-piece outfit/ensemble is composed of an attribution Tom Ford for Yves Saint Laurent Rive Gauche jacket and a pair of Jean Paul Gaultier Femme trousers. The jacket had its label cut out, most likely from production, but has been identified as Tom Ford for YSL fall/winter 2002, a black jacket composed primarily of a dense silk fabric and trimmed with cotton tulle at the cuffs and a pleated cotton tulle lavalier appliqued to the collar (cuffs and lavalier have a raw edge). There is a double zip closure, which features the Cassandre “YSL” monogram on each pull, the plaque is framed by horizontal pleated cotton tulle that spans the length of the zipper from the under-bust to the hem. An additional accent is a frayed silk at the seams of the collar, shoulders, cuffs, and front opening. The interior is unlined but has finished seams with bias tape. The jacket for the production had a silk panel attached to mimic glider suit wings, the fabric is sewn into the inner seam of both sleeves and then sewn into the back side seams, there is an inverted vent with three elastic cinch bands, as well as fanned top-stitched lines from the underarms to the hem. The designer label at the interior neckline was cut out, there is a tag sewn in that reads, “Madison #2 BAT,” referencing the character and the flight stunt. The trousers are a black wool, worn at the hips, and feature a hook-and-eye and fly-zip closure, pant crease on each leg as well as cuffed bottoms, welted side pockets, and one right back-leg pocket, all the pocket linings were cut and sewn shut for production purposes. The trousers like the jacket had a silk gusset sewn between the legs with a fan top-stitching detail to help mimic a flight glider suit. There is a Jean Paul Gaultier Femme label, as well as a tag sewn in reading, “Madison #2 BAT.” The pants do not have a marked size, but the jacket is a French 36.Demi Moore, not just her character in Charlie’s Angels Full Throttle, was often seen and photographed in notable Tom Ford for YSL designs for several seasons during his design tenure. The garments worn have become iconic and highly collectible on the second-hand market.Charlie's Angels: Full Throttle, the second installment in the reboot film series, follows the Angels as they must solve a series of murders following a security breach in the WPP (Witness Protection Program) server. Moore as Madison wears the ensemble on a rooftop as Charlie's Angels confront her, where a fight then ensues. 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
Lot 788
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
Lot 871
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
Lot 875
A Princess Diana custom-made ivory gown with black velvet accents, designed by British designer Catherine Walker, worn to a private event/function.A fitted-strapless-hourglass gown of ivory silk crepe with black silk velvet at the bust and waistline. The hem is asymmetric, lifted at the front then goes into a short train at the back. The godet pleat at the back allows for more freedom and movement, a subtle contrast to the fitted bodice and hips. The color-blocking works well to contour Diana’s figure and streamline her silhouette with the asymmetry of the velvet bands. The design is understated elegance, featuring a hidden zip closure and lining, crafted with all the luxuries for a gown fit for a princess. A Catherine Walker label is present, reading "Catherine Walker, London.".Catherine Walker created some of Diana’s most iconic looks such as “The Elvis Dress.” Walker designed gowns as well as an entire wardrobe for royal tours. The designs Walker created showcased clean lines but offered design details that could be picked up on camera and stand out. Walker was one of Princess Diana’s favorite designers and created custom designs for her for over 16 years.PROVENANCE Lot 48, "Dresses From the Collection of Diana, Princess of Wales," Christie's, New York, Sale number 8702, June 25, 1997
Lot 892
Gloria Swanson’s 1950s evening ensemble, from her wardrobe, is made of black tissue taffeta, which includes a halter-top, skirt, and belt.A black taffeta evening ensemble with a halter top, bolero, skirt, and belt. The style and shape are similar to Dior’s 1947 “New Look.” All four pieces are composed of black tissue taffeta. The halter top has a square bust with a drape that follows the halter neckline over the bust creating a V-shape outline on the bodice with exposed shoulders and back, complete with a side zip and hook-and-eye fastener. The unstructed cropped bolero features a dolman sleeve and pairs nicely with the halter top. The circle skirt is gathered at the waist contributing to the fullness and volume, the skirt is mid-calf length. The belt helps highlight the waist and emphasize the volume of the skirt. There is no label or size marker present.
Lot 894
A 19th-century-style oyster-colored floor-length taffeta robe as seen worn by Greta Garbo in the film production Camille designed by legendary Hollywood costume designer Gilbert Adrian (Metro-Goldwyn-Meyer, 1936).An oyster-colored taffeta robe designed for Greta Garbo as Camille, full-length with an asymmetric hem and slight train. There is gathering below the bust to add volume and fullness to the design's drama. The dropped shoulder with full gigot sleeves tapers at the elbow into a fitted sleeve with a fanned box pleated cuff, both sleeves have blind snaps at the forearm to the wrist. There is a hook-and-eye extender/closure with a long sash to tie at the under-bust. There is a studio label on the interior right side seam reading “Metro-Goldwyn-Meyer, Name: Garbo, No. 938.”Gilbert Adrian is a celebrated costume designer who costumed The Women, The Wizard of Oz, and A Philadelphia Story. Adrian’s designs were luxurious but bold, befitting the stars who wore them; he was even credited in films as “Gowns by Adrian.” Adrian went on to produce a ready-to-wear line of suits and dresses, which sold at luxury retailers like Neiman Marcus. PROVENANCE Lot 187, Christies, Auction 1854 May 30, 2007.
Lot 925
A late-19th-century style full-length peach silk-chiffon robe as seen worn by Ingrid Bergman as "Clio Dulaine" in the period drama Saratoga Trunk (Warner Brother, 1945). A full-length apricot chiffon robe backed with rayon. The boned bodice has a deep v-neckline and is cut just below the bust, the hook-and-eyes run from the under-bust to the hips with a velvet sash at the exterior, and the ivory chiffon yoke goes from one side of the robe around the shoulders and back down to the closure. Ruffled lace accents are at the neck, the bodice, and the sleeves. The robe is completed with a green silk velvet sash as well as velvet accents on both sleeves. A Warner Bros. Pictures Inc. label is present at the front hook-and-eyes closure with a scribed serial number, "A17940-602," no size marked. The robe comes with a muslin slip not from the production, used for display purposes. Saratoga Trunk was based on the novel by Edna Ferber with revenge driving the plot; Ingrid Bergman's character Clio Dulaine seeks revenge against the family who ostracized her mother from New Orleans for having a baby out of wedlock. Leah Rhodes designed Ingrid Bergman's gowns for the film. She apprenticed with legendary costume designer Orry-Kelly and won an Academy Award in 1950 for Adventures of Don Juan.PROVENANACE Lot 195 Auction 1854, Christie's May 30, 2007
Lot 944
A photo-matched black lace slip as seen worn by Barbara Hale as "Betsey Bennet" in The First Time (Norma Productions, 1952). The black chiffon slip dress features lace detailing on the bust and bottom trim, with a front slit, thin straps, and corset ribbing. An interior Columbia Pictures label reads, "Name: Barbara Hale." No size present.The First Time follows new parents Joe and Betsy Bennett as they must navigate the hardships of having their first child. Includes four black and white photographs featuring Hale in the gown. Photos, 8 x 10.25 inches (each)
Lot 953
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.
Lot 954
An original costume design by Edith Head for Anne Baxter as Queen Nefretiri for the film The Ten Commandments (Paramount 1956). A mixed medium costume design by Edith Head for Anne Baxtor, illustration likely by sketch artist and costume designer Adele Balkan, who was uncredited for wardrobe. The sketch features a full-length Queen Nefretiri lounging on a couch surrounded by Ancient Egyptian decor in a pleated sheer gown, showing the character's body outline. The gown is a two-tone jade and cypress green, the gown fits close to the body, and the pleated cape is cut below the bust at the front but goes into a floor-length train at the back (the cape's hem is casually draped on the lower legs). The look is accessorized with jewelry, gold bracelets, a collared bib necklace, rings, earrings, hair ornaments, and a pair of wedge gold sandals. There are two chiffon swatches at the top right corner; then at the bottom right corner is a profile illustration of Nefretiri in the outfit. The illustration is signed at the bottom left corner with Edtih's first name, and notated with the character's name and scenes where the costume is featured, "To John With Love Edith, Nefretiri, #2-Nefretiri's Balconey-Scenes-B-32-33-34." Then at the back, there are two notations in pencil at the top right corner, "HEADRESS PLATE #27, COSTUME PLATE # 907" and the left bottom corner "To John Anderson."Anne Baxter wears this costume when Rameses comes to express his growing concern for Moses, both he and Nefretiri argue as Rameses dictates his authority over her and acknowledges her as his wife and property. Nefretiri says how she could never love him, and he responds that she must obey him even if she doesn't love him. Sketch: 14.5 x 19.75 inches; Mount: 18 x 29.25 inchesPROVENANCE Lot 218 Christie's, Sale 1854, May 30, 2007
Lot 957
A custom-made silver beaded gown attributed to Edith Head as seen worn by Janet Leigh at the 32nd Academy Awards (ABC, 1960).A gown for the space age, streamlined and fully embellished with silver-glass-bugle-beads, custom-made for Janet Leigh, attributed to costume designer Edith Head. The elegant gown boosts many adjectives: sleek, modern, sexy, and avant-garde for its time. Fully beaded on a blush silk georgette, the beads are sewn vertically, except for the neckline and armholes. There the beading is sewn into a chevron pattern; the collar and neckline are trimmed at the seams with round glass beads. The high-band-stand-up-collar is structured with wire, keeping with the futuristic aesthetic, going into a deep-v neckline (two hook-and-eyes at the bust fasten above the 13-inch zipper opening). The gown is accompanied with a beaded belt that is worn on the natural waistline. The interior is partially lined at the front of the skirt; the hem is reinforced at the interior with hemline tape to prevent bead loss. There is no label or size marker present, the waistline measures 23 inches, and the notched belt fits up to a 24.5-inch waist. Janet Leigh, and her husband at the time, Tony Curtis were presenters at the Oscars ceremony for Best Original Screenplay and Adapted Screenplay. The couple's smiles dazzled, with Curtis being the perfect compliment to Leigh's shimmering gown.Edith Head, multi-Academy Award winner for costume design, would design formal event gowns for the studio stars, including Elizabeth Taylor, Grace Kelly, and Audrey Hepburn, who all wore her timeless-style gowns to the Academy Awards.This lot is accompanied by a black and white photo of Janet Leigh wearing the gown with then husband Tony Curtis and daughter Kelly Curtis from an issue of Hollywood Family Magazine, 1961(10.5 x 8.25 Inches).PROVENANCE Lot 29 "Unforgettable: Fashion of the Oscars," Christie's Auction House (Sale #9074) March 19, 1999.
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 1656
14th-15th century A.D. Hatched flange rim with border of pellets, raised body pierced at centre and close to rim. Cf. similar item in the British Museum, London, under accession no.1922,0512.24 (with facing bust rather than geometric design); Mitchiner, M., Skinner, A., ‘English Tokens, c.1200 to 1425’ in British Numismatic Journal, 1983, no.53, pp.29-77, pl.4, nos.34-35. 7.31 grams, 31 mm (1 1/4 in.). From the collection of a North American gentleman, formed in the 1990s. The medallic form of badge appears to develop during the 15th century. The symbols of the straight cross and annulets are already visible in tokens from London. During the medieval period, pewter and leaden tokens probably served a common purpose throughout England, France and the Low Countries. [No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
Lot 1665
14th century A.D. and later. One bearing the bust of a crowned monarch; one with GW over a madder-bag, showing that he was a dyer; one with partial legend within beaded border to one face and coat of arms to the other; one with partial legend 'THE [COMMON WEA]LTH' and arms of the Commonwealth (1649- 1660); one bearing a cloth-worker's privy mark. See Stuart F. Elton, Cloth Seals. An illustrated reference guide to the identification of lead seals attached to cloth, Oxford, 2017; see also Elton, pp.157-9, for Commonwealth seals. 35.5 grams total, 18-32 mm (3/4 - 1 1/4 in.). Acquired on the UK market, 1990s. Property of a retired academic. Elton explains (p.269) that though similar in shape to a wool-sack, the madder-bag 'has a series of criss-crossing lines representing the cordage holding its contents in place during the vigorous dyeing process'. [5, No Reserve]
Lot 1731
Circa 15th-17th century A.D. Rectangular with lead came framing; composition from elements of various designs including a female bust with ornate collared gown; two lower legs; a right hand; various facial details; heater shields with heraldic designs; goat emerging from woodland; architectural elements; and other types. 2.09 kg, 48.5 x 42.5 cm (16 3/4 x 16 3/4 in.). Ex central London gallery. [No Reserve]
Lot 1769
20th century A.D. and earlier. Composed of a tapering round-section hoop supporting a recessed rectangular plaque displaying a Roman coin fragment: obverse presenting the bust of a Roman emperor, the goddess Fortuna standing holding a cornucopia and rudder to reverse; ribbed suspension loop above. 7.63 grams, 40 mm (1 1/2 in.). Acquired on the UK art market. Property of a Ruislip, UK, gentleman, by inheritance. [No Reserve]
Lot 1775
18th century A.D. The polished oval stone with chamfered side edge, bearing an intaglio bust of Roman Emperor Galba in profile left, wearing a laureate crown; chipped. 1.34 grams, 19 mm (3/4 in.). Early 20th century collection based on the ring. Acquired on the London art market. Property of a North London antiquary. [No Reserve]
Lot 1941
17th-20th century A.D. Comprising: a gilt base-metal finger ring with quatrefoil; similar with inset cameo; white metal ring with two amethyst cabochons, stamped '925'; button with enamelled 'S' motif; back glass intaglio with profile bust of Alexander the Great. 18 grams total, 14-23 mm (5/8 - 7/8 in.). Acquired on the UK art market. Ex private Merseyside, UK, collection. [5, No Reserve]
Lot 1959
20th century A.D. or earlier. The biconvex obsidian cabochon with intaglio profile female bust of a matron with neatly dressed hair; accompanied by a museum-quality impression. 1.65 grams, 15 mm (5/8 in.). Ex property of a Richmond gentleman; part of his family collection formed before 1980; thence by descent. [No Reserve]
Lot 2525
Circa 20 B.C.-10 A.D. Obv: profile bust right with TAS before. Rev: horse stepping left with VIR above. S. -; BMC -; ABC 2616; see BNJ 1988, Coin Register, 18. See British Museum Portable Antiquities Scheme, reference BERK-A96943 (this coin). 1.24 grams. Found Berkshire, UK. Accompanied by British Museum Portable Antiquities Scheme record, BERK-A96943, with coin packet. [No Reserve]
Lot 2527
680-710 A.D. Obv: profile bust right with TIC before. Rev: standard with TOTTI within and symbols around. S. 775; cf. SCBI 69 (Abramson) 32-34. See British Museum Portable Antiquities Scheme, reference BERK-220047 (this coin). 1.15 grams. Found East Challow, Oxfordshire, UK. Accompanied by British Museum Portable Antiquities Scheme record, reference BERK-220047. [No Reserve]
Lot 2528
680-710 A.D. Obv: profile radiate bust right with TIC before and row of four pellets behind. Rev: TOTII standard with rounded horns with trefoil of pellets in centre and reversed IPTTA legend, within a beaded border. S. 775; Abr. 3; N. 40. 1.15 grams. Ex late John Cross collection, Canterbury, UK. Acquired Canterbury Auction Galleries, 3 October 2021, lot 569 (part). Property of two Kent sisters, by gift from their parents.
Lot 2552
710-760 A.D. Obv: diademed bust right holding in front a short cross, within a pelleted border. Rev: standard with three saltires and trefoil of pellets in fourth quarter, pellet in annulet in centre, within a beaded square. S. 800; Abr.21; N. 43; see M. pp.267-270; M. p. 266-272. 0.98 grams. Ex late John Cross collection, Canterbury, UK. Acquired Canterbury Auction Galleries, 3 October 2021, lot 569 (part). Property of two Kent sisters, by gift from their parents.
Lot 2553
710-760 A.D. Obv: profile bust with cross before. Rev: wolf head with long tongue. S. 803; M. 306. See British Museum Portable Antiquities Scheme, reference SF-2359E7 (this coin); see Early Medieval Corpus, Fitzwilliam Museum, Cambridge, reference EMC 2023.0221 (ditto). 0.97 grams. Found Kelveden, Essex, UK. Accompanied by a copy of British Museum Portable Antiquities Scheme record, SF-2359E7. [No Reserve]
Lot 2556
991-997 A.D. BMC type IIIa. Obv: profile bust with sceptre and +ÆÐELRÆD REX ANGLOR legend. Rev: short voided cross with C R V X in angles and +LIFINCM-OCÆNT legend for the moneyer Lifinc at Canterbury mint. S.1148; N. 770. 1.45 grams. Ex Baldwin's with reference no.C201015484 and B M Coins. Property of a UK collector. Accompanied by a Baldwin's coin ticket. [No Reserve]
Lot 2557
1048-1050 A.D. BMC type ii. Obv: diademed profile bust with EDWERD REX legend. Rev: short voided cross with +ESTMVNDONÐE legend for the moneyer Estmund at Thetford mint. S. 1175; N. 818; see Hildebrand 718 for similar reverse reading. 0.75 grams. Acquired UK auction, 2010. Property of a Kent collector. [No Reserve]
Lot 2562
1371-1390 A.D. Obv: profile bust with sceptre and +ROBERTVS REX legend. Rev: long cross and mullets of five points dividing VIL AEI DIN RVR legend for Edinburgh mint. S.5152; see SCBI 35 (Scottish Coins) 505 (same reverse legend). See The British Museum Portable Antiquities Scheme, reference BERK-AB2DB3 (this coin) 0.48 grams. Found Berkshire, UK, 2010. Accompanied by a copy of The British Museum Portable Antiquities Scheme record, reference BERK-AB2DB3 and an annotated coin envelope. [No Reserve]
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