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
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A vintage photograph (printed later) taken by Fred Parrish of Vivien Leigh, Clark Gable, and various unidentified crew members posing next to Technicolor cameras on the set of Gone With The Wind (Selznick International Pictures, 1939). Parrish was a studio photographer who took many of the iconic still photographs of the epic drama. Based on the costumes worn by Leigh and Gable, this photo was taken during a break from filming the scene in which Scarlett and Rhett push their daughter Bonnie in a baby stroller. The photo is matted in a black frame.Written in ink on the paper backing of the frame is the following:"Happy 50th Birthday!""I knew Fred Parrish (photographer on 'Gone With the Wind') in his waning years. He was assembling a book of movie history for publishing when he died. He had a large camera collection and would often talk about what a steady hand was required for the old hand-crank cameras." Sincerely Oscar and Joanne Engbrecht.Printing on back of photo:Photo by:Fred A. Parrish10851 Fairbanks WayCulver City, CA 90230phone 838-6449The consignor was given this photo by the Engbrect's daughter-in-law.13.25 x 11.25 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 collectors' lot to include costume jewellery, a hall barometer set with mirror and brushes, length 46cm, two pairs of binoculars comprising Omiya 10 x 50 coated lens and Swift fully multi-coated Ultra Lite 8x40, both cased, a vintage Instamatic 50 camera, and a Kodak Brownie 8mm movie camera in leather case.
A large collection of modern and vintage cameras to include Praktica Model MTL 5, in leather case, a Box Brownie, Olympus Trip 35, a Flashmaster, a Praktica Autozoom 1:4.5 f=80-200mm lens, two camcorders, a Samsung 880x Digital Zoom High 8, a Sony Handicam Vision and various others.Condition Report: - There are also various boxes with cables but no camera, so not everything pictured on the boxes is present.
An eclectic mixed lot, to include a late-19th century gutty-type golf ball, two Indian portrait miniatures, painted on ivory and housed in carved hardwood frames, A Hohner Chromonica-50 harmonica, with another by Blessing, boxed ITT 110 Magicflash camera etc. Ivory Declaration reference: S56F33SM Condition Report:Available upon request
A late-19th century lacquered brass Rapid Rectilinear 12 x 10 lens by Clement & Gilmer of Paris, a smaller Rapid Symmetrical lens by Ross of London, two further vintage lenses, a brass Dallan Developing Tank and assorted early camera components; together with a brass miniature sextant by Stanley, London Condition Report:Available upon request
A table top of mixed items to include photographic, electronic, scientific etc. Includes Biolux NG microscope, Paragon lens, mini air compressor, Unoscop projector, Sharp LCD projector, Jenoptik JD 11 camera, telephones, clocks, electronic timers, pocket and desk calculators, personal organisers, battery chargers, large poster depicting Whitbread beer mats, Hanimex slide projector etc
GB EQUIPMENTS LTD - a World War II film projector, in original carry case, model S516, no. 483, and a quantity of Vintage cameras and equipment, including a Fujifilm Finepix 1300 digital camera, a Braun Nornberg Paximat electric projector, and various other associated equipment and accessories
A quantity of various Vintage cameras, binoculars, and other associated electrical equipment, including a pair of Samsung 7-15x35 zoom sports binoculars, various other binoculars including Zenith, Boots Admiral 2, various camera brands including Minolta, Vitar, and a Polaroid Land camera 2000 Instamatic camera etc
A ROLLEIFLEX SYNCHRO-COMPUR CAMERA, Franke & Heidecke, with Carl Zeiss Nr3482184 Tessar 1:3,5 f=75mm lens, Rolleinar 3, Heidsmat-Rolleinar 3, Rollei-R1, Rolleinar 1-28,5, and original leather case (Est. plus 24% premium inc. VAT)Condition Report: Generally good, some minor age, no visible faults, nothing obvious in the lenses, but we cannot test if in fully working order
A LEICA M3 ERNST LEITZ WETZLAR CAMERA, numbered 962 844, with Ernst Leitz GmbH Wetzlar Summicron f=5cm 1:2 Nr. 1581880 lens, Leica Meter MC, and other accessories (Est. plus 24% premium inc. VAT)Condition Report: External condition looks reasonably good, but we are unable to test the working order of the camera. That said, when the lever is locked back and the shutter button pressed, we can hear it functioning.
CANON; an XL2 video camera, together with a boxed Jessop video transfer unit, various lenses to include Canon EF 77mm example, with tripod and carrying case.Condition Report: Large lens with losses to paint, jessops lens with clouding, remaining lenses with light wear but no major scratches noticed.
A Collection of 18th and 19th-Century prints, drawings, and watercolours of musical and theatrical subjectsIncluding John Smith (1652-1743) after Domenico Tempesti (Italian c.1655-1737); Frontispiece for Sonate da camera by Nicolo Cosimi; Mezzotint; 24.3 x 33.6cm; 9½ x 13¼in (sheet); Unframed; Georgiana Keate (1771-1850); Edwin in the Character of Caleb; Signed and dated Georgiana Keate 1786 (lower right); Pen and ink with watercolour; 24.7 x 17.2cm; 9¾ x 6¾in; Unframed; George Cruikshank (1792–1878); The Opera Boxes During the time of the Great Exhibition; Etching; 21.9 x 26.5cm; 8½ x 10½in (sheet); Unframed; Thomas Rowlandson (1756-1827); Dr Syntax at Covent Garden Theatre; Aquatint with hand-colouring; 10.7 x 18.1cm; 4¼ x 7in (sheet); Unframed; a playbill for Paganini's Ninth Concert; 33.3 x 21.2cm; 13 x 8¼in (Unframed); and twenty-one further unframed works (26)Provenance:Property of a former museum keeper, collected between the 1930s and 1970s
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