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
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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 lavender organdy cocktail dress worn by Grace Kelly in her Golden Globe-winning and Oscar-nominated role as the prim "Linda Nordley" in Mogambo (MGM, 1953).The custom-made garment, by legendary costume designer Helen Rose, has a fitted boned bodice with a sweetheart neckline, decorative fabric-covered buttons, and three-quarter sleeves with a full multi-layer skirt. The dress is cut on the bias, and the outer shell is a lovely lilac seersucker-silk-organza that references Dior's 1947 "New Look." A beautiful basque waistline emphasizes the volume of the four-layered skirt. The dress has two tiered-ruffled petticoats, with outer layers of dupioni silk and organza. The fitted under-bodice complements the draped neckline and sheer blouson outer layer. The dress has a zip closure and a button placket with blind snaps and hook-and-eyes to conceal the closure. Rose's design encapsulates elegance, femininity, and sophisticated glamour, which Grace Kelly was known for in Hollywood. A bias label typed “Grace Kelly P-777-2636” is present.Kelly as Linda Nordley wears the dress while at an uneasy dinner at the African base camp alongside her husband, Donald (Donald Sinden). At the dinner, Linda must navigate Eloise "Honey Bear" Kelly's verbal digs aimed at the secretive relationship forming between Linda and the group's leader, Victor Marswell (Clark Gable), whom Honey Bear still has feelings for.As the film is set on an African safari, this is the most elaborate costume worn by Kelly. Costume design by Helen Rose, who also designed Kelly’s wedding gown for the church ceremony at Monaco's Saint Nicholas Cathedral when she wed Prince Rainier III. The dress had professional conservation work performed by Museo de la Moda in Santiago, Chile.Includes a DVD of the film. PROVENANCE Lot 48, "TCM Presents... There's No Place Like Hollywood" Bonham's, New York, November 24, 2014
An original costume illustration of Grace Kelly, as Frances Stevens, in Alfred Hitchcock’s film To Catch A Thief, costarring Cary Grant, designed by Edith Head (Paramount, 1955).A mixed-medium signed design sketch by acclaimed costume designer Edith Head (a signature is at the top right corner), likely drawn by sketch artist Grace Sprague. The illustration shows a full-length figure of Kelly modeling a bi-color black-and-white day ensemble featuring a black sleeveless dress with a mock turtle neck and white overskirt with patch pockets. The figure is holding a white wide-brim hat and wearing pointed black/white heeled shoes. Hand-written in pencil at the bottom right corner reads, "Grace Kelly." Grace Kelly plays Frances Stevens in a mystery/caper where Grant, who plays a retired cat bugler comes out of retirement to clear his name from jewelry thefts happening on the French Riviera. Kelly’s luxurious costumes in the film became a factor in making the film so iconic.This lovely design showcases Head’s design sensibilities, based on style rather than current fashions, her designs were met with criticism because they were more subdued; she designed with an understated luxury when costuming the stars, using techniques in draping, applique, color blocking, and conservative service design. All these skills have contributed to her long career and fans of various generations.Ironically, Head who won the most Academy awards as a costume designer was listed on Hedda Hopper’s worst dress list in 1944. Head was an innovator who led by example, making her designs in the film industry timeless.This lot is accompanied by a copy of Grace Kelly Hollywood Dream Girl by Jay Jorgensen and Manoah Bowman. The illustration is documented on page 185. 17 x 14 inches
A pale green baby doll dress with a jeweled neck, together with the matching overcoat, custom-made for Diana Dors by Darnell of London and worn by her in the film The Counterfeit Constable, in which she appears as herself. Dors also wore the ensemble to many functions. It is part of a small collection of costumes she gifted before she died to Kerry Taylor in London, who later sold the pieces. When Dors died in 1984, her husband, actor Alan Lake, burned all of her clothes in his grief before his own suicide. This ensemble is among the few surviving pieces worn by Dors.Includes photographs of Dors wearing the clothing.
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
A costume illustration likely of Elizabeth Taylor as Angela Vickers in the film production A Place in the Sun (1951). A mixed medium Edith Head costume design, unsigned; illustration likely by sketch artist Donna Kline. The sketch is of Elizabeth Taylor in her iconic white sheer organza patterned-tea length dress, full skirt, and nipped waist, the sketch artist even captures Taylor’s violet-colored eyes.Edith Head became the head designer at Paramount in 1939, a role she kept until 1967. Head oversaw the wardrobe for an annual estimated 45 films the studio produced. On top of that, she became a public figure like the stars she dressed, appearing on the television program Art Linkletter’s House Party where she would advise women and men how to dress. She advised the audience like her stars how to dress themselves in a complimentary fashion. This ingratiated Head with America as well as starlets like Elizabeth Taylor.DIMENSIONS:SKETCH 14.5 X 23 INCHES MOUNT 19.5 X 29.75
NO RESERVE David Hockney (b.1937) after.Celia in a Black Dress with White Flowers (Tate Gallery, London, 1980)Offset lithograph printed in colours, 1972, from the edition of unknown size, printed and published by Petersburg Press, London, on wove paper, the full sheet printed to the edges, sheet 762 x 508mm (29 3/4 x 20in)
9th-11th century A.D. With central dome and upturned ends, ribbed and textured detailing to the obverse, catch and pin-lugs to the reverse. Cf. Arbman, H., Birka I: Die Gräber, Uppsala, 1940, pl.78; for reconstruction of how they were used see Various, The Viking, Gothenburg, 1984, pp.201, figs.2-4. 109 grams total, 78-84 mm (3 - 3 3/8 in.). From the collection of a North American gentleman, formed in the 1990s. Equal-armed bronze brooches of this category were found in various graves of Birka’s cemeteries (graves 444, 603, 535, 551, 577 and 483). They were all female graves and these clasps were used to fasten the cloaks in the upper part of the dress. [2, No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
9th-11th century A.D. With circumferential bands of silver inlay and gilt detailing; free-running ring with similar inlay. Cf. similar dress-pin in the British Museum, London, under accession number 1891,1021.101. 40.2 grams, 15 cm (6 in.). From the collection of a North American gentleman, formed in the 1990s. [No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
Circa 15th century A.D. Engraved within a raised segmented border, 'ihc' within crude heart to centre, 'miserere mei deus' around for 'Have mercy on me oh God' (Psalm 51); hook to reverse. Cf. The British Museum's Portable Antiquities Scheme, record id. SWYOR-AC49A6 which similarly bears the sacred monogram, 'ihc' at the centre of a heart and is surrounded by an inscription as yet undeciphered, and SOM-1A6608, which also bears a religious inscription, 'trinitati laus et honor'; types of hook are a characteristic category of Tudor dress accessory used to embellish the hats of high status individuals and are discussed by Gaimster et al. (2002: 169-173). 2.2 grams, 20 mm (3/4 in.). From the collection of a North American gentleman, formed in the 1990s. [No Reserve] [For this specific lot, 5% import VAT is applicable on the hammer price]
Circa 14th-16th century A.D. Comprising: a decoratively pierced cruciform dress hook; chape with heart motif; decorated ring brooch; repoussé 'IHC' letter mount; together with other items. 42 grams total, 15-59 mm (1/2 - 2 3/8 in.). Found Billingsgate spoil from the Thames foreshore, London, UK. [7, No Reserve]
Circa 1620-1640 A.D. Composed of a slender hoop, expanding shoulders decorated with white enamelled foliage and black enamelled pea-pod ornament, repeated around the bezel, bezel with box setting holding a table-cut ruby, white and black enamelled floral design to the underside; minor loss of enamel; likely from France; accompanied by a 'Les Enluminures' hinged presentation box. Cf. Fuhring, P. ed., 'Le Style' cosse de pois' L'orfevrene et la gravure a Paris sous Louis XIII, in Cazette des Beaux Arts, January 2002, for the pea-pod ornament; cf. Chadour, A., Rings. The Alice and Louis Koch Collection, Leeds, 1994, vol. 1, no.701; cf. Oman, C., British Rings 800-1914, London, 1987, pl.96.c, for type; cf. Scarisbrick, D. et al., Toward an Art History of Medieval Rings: A private Collection, pp.204-205, for comparable. 4.57 grams, 23.32 mm overall, 18.77 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (1 in.). Acquired from Les Enluminures Ltd, Illinois, USA, 2016. Property of an East Sussex collector. Accompanied by a Les Enluminures certificate of authenticity. Accompanied by a copy of the Les Enluminures invoice. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11671-197579. Over the centuries, the ruby became a symbol of the amorous heart and a popular gemstone for betrothal or wedding rings in Western Europe. This gemstone was believed to symbolise the virtues of marriage and convey the desire for eternal matrimonial love. The ruby-red colour was often enhanced by setting the stone on top of a foil. The stones themselves were imported from as far afield as Thailand, Burma and Sri Lanka. Old inventories record them as 'balas rubies', which were sourced to decorate royal crowns. In the 17th century, the red colour was set-off by the pastel shades of satin which were fashionable in dress at the court of King Louis VIII, where the art of enamelling was also practiced.
17th century A.D. A button link with crowned hearts on a textured field. 0.96 grams, 15 mm (1/2 in.). Acquired on the UK art market. Property of a Somerset collector, UK, since at least the early 2000s. Cufflinks and other dress fittings such as buttons featuring crowned hearts design were originally conceived to commemorate the marriage of king Charles II of England to Catherine of Braganza in 1662, although the design continued as a general symbol of love and/or marriage. [No Reserve]
17th century A.D. Button links with flaming hearts over crossed arrows joined by an oval loop. 2.17 grams, 21 mm (3/4 in.). Acquired on the UK art market. Property of a Somerset collector, UK, since at least the early 2000s. Cufflinks and other dress fittings such as buttons featuring the hearts design were originally conceived to commemorate the marriage of king Charles II of England to Catherine of Braganza in 1662, although various designs continued as a general symbol of love and/or marriage. [No Reserve]
Late 19th century A.D. The Eureka brass skirt lifter, fitted with a quick release mechanism, by H. Knight and Co, with the design registered in 1877 and bearing the UK Registration Mark. 36.5 grams, 94 mm (3 3/4 in.). From an old English collection formed before 2000. Acquired on the UK art market. This item would have been fastened to the hem of a long skirt and linked to the waist; the wearer would use it to discreetly hold her dress hem clear of the ground to keep her dress clean, especially when climbing stairs or entering/leaving a carriage. [No Reserve]
Persia, 19th-early 20th century A.D. Depicting a court scene with assembled crowd of courtiers and attendants, one in European dress, before a potentate seated beneath a canopy; panel of nastaliq text above; mounted in a glazed wooden frame. 2.7 kg, 66 x 49.5 cm (26 x 19 1/2 in.). Acquired on the UK art market, 1980s-1990s. The Woodbridge collection of Indo-Persian art.
18th-19th century A.D. Three accompanied by Portable Antiquities Scheme records: a rectangular tag with knops to the side edges and rectangular attachment bar, hook t the opposite end and central quatrefoil design; an example of Read's Class 3 Type c, domed rectangular body with hook to one end and cross-hatching to the centre; a dress hook of Read's Class D Type 6 comprising a trefoil plan with domed plates, scalloping to the circumferences, pellets to the bodies; seven additional fasteners of various types and dates, most with hatching, floral or pellet ornament. 53 grams total, 22-36 mm (7/8 - 1 3/8 in.). Found Berkshire, UK. Accompanied by a copies of the British Museum's Portable Antiquities Scheme (PAS) report nos.BERK-12D023, BERK-1315E4, and BERK-D2CBD4. [10, No Reserve]
Circa 5th-7th century A.D. Composed of a medallion (orbiculus) decorated with geometric interlaced patterns on a purple background, framed by a minute recurring spiral, surrounded by an external circle. Cf. Pritchard, F., Clothing Culture: Dress in Egypt in the First Millennium AD,, Manchester, 2006, pp.52ff, and fig.4.4 (c for the detail) for similar orbiculus. 149 grams, 36.5 x 36.5 cm (14 1/4 x 14 1/4 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. Tapestry technique on natural linen. It is highly probable that this tapestry was part of a tunic decoration, an orbiculus, medallion in purple applied to the shoulders and the lower part of the garment, front and back. [No Reserve]
Circa 5th-7th century A.D. Part of a tunic, the rectangular segment in yellow and green linen and wool, the central part decorated with interlaced geometric motifs, surrounded by an edge of similar motifs and border edged of crenellated blossoms. Cf. Pritchard, F., Clothing Culture: Dress in Egypt in the First Millennium AD,, Manchester, 2006, pp.74-75, and fig.4.23, for similar textile style. 264 grams, 64 x 37 cm (25 1/4 x 14 1/2 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. Among the many fragments from wool tunics are several long strips that match to form nearly full-length central pectoral clavi. They are patterned with a profusion of small figures or interlaced abstract designs, birds, plants and animals with a contrasting border filled with geometric motifs. [No Reserve]
Circa 6th-7th century A.D. Comprising a pair of simple segmenta on a woven background, formed of a spiral line surrounding floral images, closed at both ends by a pair of petals. Cf. Pritchard, F., Clothing Culture: Dress in Egypt in the First Millennium AD, Manchester, 2006, p.62, fig.4.12, for similar segmenta. 121 grams, 38 x 30 cm (15 x 11 3/4 in.). Acquired 1970s-1996. Property of a North American collector. London collection, 2016. The textile shows a pair of segmenta, probably from a sleeve of a linen tunic. The wool here seems to be Z-spun, a spin direction not very common in Roman Egypt and suggesting that the spun yarn may have been traded from another province of the empire. Frequently, like in our case, the wool is purple in hue. [No Reserve]
1st-4th century A.D. Mainly comprising fragmentary brooches, mounts, dress pins, strap ends, a finger ring, together with other items; including a number displaying punched and engraved ornament and examples accompanied by PAS record numbers. Cf. PAS records: BERK-AE9F93; BERK-ACE9CE; BERK-0B8ABF; BERK-04C1EB; BERK-SFS47E; BERK-1A3B74; BERK-227A1D; BERK-A93914; BERK-742A86; BERK-4903EC; BERK-AECC52; BERK-47A69F; BERK-0A0785; BERK-068FB7; BERK-492FL0; BERK-F06332. 190 grams total, 14-74 mm (1/2 - 2 7/8 in.). Found Berkshire, UK. [29, No Reserve]
A pair of 19th century miniature portraits on ivory, one depicting a distinguished lady with tight curl updo, black headpiece, ruby and gold parure, and red velvet dress, the gentleman with white cravate and black cloack, each within a square giltwood moulded frame with oval glazing and leaf tip moulded encadement, the oval 8 cm highIvory declaration reference: L7AD1P5W
A WWII period German Luftwaffe dress sword by Paul Weyesrsberg & Co of Solingen, with leather scabbard and frog, length of blade 67cm, overall length 89cm (af).Condition Report: - Overall very good condition throughout, although the two leather loop rings on the hanger have torn - so the hanger is detached but present.
† JULIE G. ASKEW; acrylic on board, African tribal leader in full dress, head and shoulders, signed lower right, 30 x 39.5cm, framed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orgFrame 38 x 47cm.
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