NEW GIRL (2011 - 2018) - Jess Day's (Zooey Deschanel) Screen-matched Costume - Jess Day's (Zooey Deschanel) screen-matched costume from the TV sitcom New Girl. Jess wore her costume in the Season 1 episode "The 23rd" and the dress pattern matches the one seen on screen throughout. The costume features a patterned green dress (size "0") and a green wool blazer with Christmas-themed brooches.The costume is accompanied by two production tags featuring the character's name and the costume's scene information, as well as a certificate of authenticity from Fox Studios.Estimate: $800 - 1,600Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.
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Claudio Bravo, Chilean 1936-2011 - Portrait of an elegant woman in pink dress, 1966; pastel on paper, signed upper left 'Claudio Bravo' and dated in Roman numerals upper right 'MCMLXVI', 99 x 71 cm Provenance: the Sitter, South of Spain, gifted by the artist; private collection, by descent Note:Bravo established himself in Madrid as a society painter, known for his technical skills, inspired by the Spanish Baroque style. He is celebrated for his hyperrealist paintings of wrapped packages, recently as a Google Doodle in 2019.His works in the collections of The Metropolitan Museum of Art, New York; ; Rufino Tamayo Museum of International Contemporary Art, Mexico City; Museum of Modern Art, New York; and The Museum of Fine Arts, Boston.
John Bellany CBE RA, Scottish 1942-2013 - Woman of the North Sea; charcoal on paper, signed upper right 'Bellany', 38 x 28.9 cm (ARR) Note: this work is similar in pose and dress to the title image for 'Woman of the North Sea' a limited edition portfolio published in 2002 with poems by George Butler and six etchings by Bellany, printed by Edinburgh Printmakers. George Bruce (1909-2002) was a BBC arts producer and critic for The Sunday Times, writing on artists including Anne Redpath, Robin Philipson and James Cumming. The pair worked on two projects together, connected by their shared interest in Scottish fishing communities. There is also a related painting now in the collection of Fry Art Gallery, Saffron Walden.
A 9ct white gold and diamond dress ring, of pierced design, spaced by floral motifs and set with brilliant-cut diamonds, Birmingham assay mark, total diamond weight approximately 0.30 carat, ring size N. £200-£300 --- Condition Report In near new condition. High rhodium polish. The diamonds bright and lively. Gross weight 3.2gm.
A 19th century amethyst and seed pearl brooch and a glazed portrait miniature, the first comprising a cushion-shaped amethyst within a surround of seed pearls, mounted in gold, together with a glazed locket bordered with circular-cut pastes and containing an oval portrait of a lady in 18th century dress, the reverse stamped ‘925’, locket length 45mm. £300-£400 --- Condition Report General surface wear throughout. Gross weight 15gm.
An 18ct gold coral and diamond butterfly dress ring, 1976, the wings set with Corallium rubrum panels and with brilliant-cut diamond highlights, to a bifurcated band, maker’s mark ‘HGG&PM’, London hallmark, ring size M-N. £300-£500 --- Please note coral is covered by CITES legislation and may be subject to import/export and trade restrictions and USA Fish and Wildlife regulations. Please be aware that it is the buyer’s responsibility to arrange any CITES export license for their purchases. More information can be found at www.cites.org. Condition Report General light surface wear commensurate with age and use. A very minor nick to the top corner of one coral panel. Faint solder seams visible, and some signs of porosity. Total diamond weight approximately 0.10 carat. Gross weight 11gm.
A pair of black enamel and diamond cufflinks, the rectangular panels each collet-set with a brilliant-cut diamond, together with two hexagonal-shaped dress studs of conforming design, mounted in 9ct gold, Sheffield hallmark for 2007, cufflink panel length 14mm. £200-£400 --- Condition Report General light surface wear commensurate with age and use. Two dress studs deficient from set. Gross weight 15.1gm.
An aquamarine dress ring, 1974, the cushion-shaped aquamarine claw-set to a plain polished 18ct gold band, London hallmark, ring size Q-Q½. £300-£500 --- Condition Report General light surface wear to the mount and settings commensuarte with age and use. The aquamarine is a light blue hue with excellent transparency. Gross weight 12gm.
A ruby and diamond dress ring, of stylised crossover design, the ruby cabochon with a cluster of single-cut diamonds to either side, between similarly-set diamond scrolls, total diamond weight approximately 0.40 carat, ring size N. £700-£800 --- Condition Report Cabochon measures 10.4 x 7.5 x 6.8mm, some eye visible inclusions and fissures typical to the nature of the stone, some surface reaching. Diamonds bright. Metal unmarked and untested, light wear, overall good condition. Gross weight 7.2gm.
An amethyst dress ring, the large octagonal mixed-cut amethyst claw-set to a bifurcated band, ring size H. £260-£360 --- Condition Report General light surface wear to the mount and settings commensurate with use. The amethyst is a medium to purple hue with excellent transparency. The stone very slightly loose in its claw setting, would benefit from being tightened. Gross weight 10.8gm.
A silver and enamel cigarette case, depicting the fictional character Fanny LeGrand wearing a black gown, descending a flight of steps, from the novel ‘Sappho’, by French author Alfonce Duadet, by maker Colen Hewer Cheshire, Birmingham 1892, length 8.7cm. £150-£200 --- The image to the front of the case is after the oil painting by Italian artist Ignace Spiridon, painted in 1894, depicting Fanny LeGrand, the main character from the French author Alfonce Duadet’s novel ‘Sappho’, published in 1884. The story was a thinly disguised autobiographical account of Daudet's love affair with the notorious Parisian model-cum-courtesan, Marie Rieu, the story perhaps written as moral tale intended for his two sons to read when of age. In 1900, an American play of the same name, ‘Sapho’ (sic) was produced by Clyde Fitch, and based on the 1884 French novel. The play caused a sensation in New York City leading to an indecency trial involving the play's star and producer/director, Olga Nethersole. The court case was ultimately considered to be a landmark case in the transformation of American society away from the Victorian morals of the past. Spiridon’s painting was used as the basis for the theatre posters advertising Olga Nethersole’s role in the play. The Broadway poster showed a more modest version of the dress length than seen in the original painting. Condition Report General wear and surface scratches. Weight 111.2gm.
A pair of early 20th century agate and diamond dress studs, French, the circular plaques set with polished agate and with rose-cut diamond demi-lunes to the cardinal points, to hinged T-bar terminals, mounted in platinum and gold, French assay marks, case by A. Risler & Carré, Paris, plaque diameter 9mm. £100-£150
A citrine dress ring, French, circa 1960, of modernist design, the angular openwork mount set with a step-cut citrine, French assay mark, ring size approximately H-I. £400-£600 --- The design of this ring is reminiscent of work by the 20th century French jeweller Jean Dinh Van. Born on the outskirts of Paris in 1927, Dinh Van is celebrated for his unique, minimalist aesthetic and modernist designs of the 1960s. After working for Cartier for many years, Dinh Van opened his first boutique in 1976 on the fashionable Rue de la Paix, Paris, although he continued to collaborate with his old employer. Dinh Van is also renowned for his partnership with Pierre Cardin and the creation of the ‘2 Perles’ ring in 1967. With its square shank and bicolour spinning pearls, the design is considered an important example of innovative 20th century design and is now in the collection of the Musée des Arts Décoratifs in Paris. Condition Report General light surface wear commensurate with age and use. The citrine has good colour saturation and excellent transparency. Ring size approximate due to the nature of the shank. Gross weight 14.5gm.
A mid 20th century cultured pearl and diamond dress ring, the baroque-shaped cultured pearl, measuring approximately 16.7 x 13.0mm, in a stylised surround set with baguette, brilliant and single-cut diamonds, stamped ‘14CT’, total diamond weight approximately 0.45 carat, ring size O-P. £400-£600 --- Condition Report Cultured pearl off-white with silver and yellowish-pink overtones, uneven surface typical to nature of material, some small surface features and some light scratches. Diamonds bright. Wear to shank and evidence of resizing. Overall good condition. Gross weight 9.1gm.
A diamond dress ring, bicoloured and designed as a stylised knot, set with brilliant-cut diamond highlights, stamped ‘750’, total diamond weight approximately 0.50 carat, ring size M. £500-£700 --- Condition Report Diamonds bright and lively, light surface wear, overall very good condition. Gross weight 18.7gm.
A diamond dress ring by Cartier, set with a pear-shaped diamond, weighing 1.44 carats, in a bombé surround pavé-set with brilliant-cut diamonds, signed ‘Cartier, numbered ‘704134’, French assay mark, maker’s mark, maker’s case, remaining total diamond weight approximately 4.00 carats, ring size M. £7,000-£9,000 --- Accompanied by a report from GIA stating that the diamond weighing 1.44 carats is E colour, VS1 clarity. Report number 5234107804, dated 1 November 2023. Condition Report Gross weight 10gm.
A diamond dress ring, of sculptural design, set throughout with princess and brilliant-cut diamonds, stamped ‘18K’, total diamond weight approximately 1.60 carats, ring size M. £600-£800 --- Condition Report Diamonds bright and lively. Additionally stamped ‘D1.60’ indicating carat weight. Indistinct wear, overall very good condition. Gross weight 7.9gm.
A diamond dress ring, the cut-cornered modified brilliant-cut diamond, weighing 5.01 carats, claw set within a two row surround of brilliant-cut diamonds, between tapered baguette and brilliant-cut diamond shoulders, stamped ‘18k’, ring size N½. £20,000-£30,000 --- Accompanied by a copy of the GIA report stating the cut-cornered rectangular modified brilliant-cut is E colour, SI1 clarity, Report number 16932416, dated 25 March 2008. Accompanied by a report by GCS, stating the diamond is F colour, SI1 clarity. Report number 5781-0861, dated 2 January 2024. Condition Report The smaller brilliant-cut diamonds are all present and correct, approximately 0.01-0.015 carat each. The mount shows light surface wear only. Indistinct maker’s mark to inside shank. Gross weight 14.9gm.
A ‘Paraiba’ tourmaline dress ring by Leo de Vroomen, 2010, the oval tourmaline cabochon in a rubover setting, mounted in 18ct white gold, signed, maker’s mark, London hallmark, ring size R. £1,200-£1,500 --- Condition Report Tourmaline approximately 11.46 carats. Eye visible inclusions as typical to the gemstone. Light wear to gold, overall good condition. Gross weight 14.4gm.
A cultured pearl dress ring, circa 1950, the cultured pearl set between tapered baguette-cut diamond shoulders, stamped ‘PLAT’, total diamond weight approximately 0.45 carat, ring size P-Q. £400-£600 --- Condition Report General light surface wear commensurate with age and use. The cream coloured cultured pearl is slightly off-round shape, with good lustre, silver overtones, and light surface blemishes, some dark spots. The diamonds bright. Gross weight 8.7gm.
O’NEAL TATUM: (1963- ) American actress, Academy Award winner for Best Supporting Actress in 1973 for her role as Addie Loggins in Paper Moon. Signed colour 8 x 10 photograph of O'Neal standing outdoors in a three-quarter length pose wearing a white dress. Signed in bold blue ink with her name alone to a clear area at the centre of the image. EX
BERRY HALLE: (1966- ) American actress, Academy Award winner for Best Actress in 2001 for her role as Leticia Musgrove in Monster’s Ball. Berry also portrayed Bond girl Jinx in the spy film Die Another Day (2002). Signed colour 8 x 10 photograph of the actress seated in a seductive three-quarter length pose wearing a black sequin dress. Signed in bold blue ink with her name alone to the image. EX
HURLEY ELIZABETH: (1965- ) English actress and model, best-known for her portrayal of Vanessa Kensington in the spy comedy film Austin Powers: International Man of Mystery (1997). Signed colour 8 x 10 photograph of Hurley in a full-length pose wearing a short black dress and reclining on some steps. Signed in bold black ink with her name alone to a light area of the image. EX
LAGERFELD KARL: (1933-2019) German fashion designer. An original black and red pen and ink croquis by Lagerfeld, unsigned, one page, 4to, n.p., n.d. (c.1970s?). The image, created for Chloe, depicts a tall, slim female model wearing a short dress and belt. With a few ink and pencil annotations to the margins, one struck through and another stating 'eclair sur le cote'. Two smaller drawings appear in the right margin, one of the back of the dress and another of a sleeve. Neatly laid down to card and with some light wrinkling, GLagerfeld became the main designer for the French luxury fashion house Chloe in 1966 and the company went on to become one of the symbolic fashion brands of the 1970s with clients including Jackie Kennedy, Brigitte Bardot, Grace Kelly and Maria Callas.
O'NEILL EUGENE: (1888-1953) American playwright, Nobel Prize winner for Literature, 1936. An interesting A.L.S., Eugene O'Neill, to two sides of a correspondence card, Le Plessis, Saint-Antoine-du-Rocher, 19th September n.y. (1929), to [Maurice] Bourgeois. O'Neill informs his correspondent that he has signed the papaers that they had sent, explaining 'I have put down as my address care of the American Play Co. It is possible I may have to return to America before long and that address will always reach me. Moreover, since the agreement between us for "The Hairy Ape" translation was made through that agency my contract with them requires that all royalty payments should be made to them for me and cannot be made directly to me'. O'Neill continues to confirm that he will be happy to pay his share of the business expenses that have been incurred, and further writes 'As for the matter of an advance royalty, as you say I should have spoken sooner. But it was to your advantage and protection as well as mine to ask for one. But of course, if it is not customary, that explains matters. I think it should be made customary though, since it is such a general rule in other countries and is such a good protection for dramatists and translators'. The playwright also expresses his regret at not being able to get to Paris as he has to complete some work which must be sent to New York, and concludes his letter by remarking 'I certainly hope with you that "The Ape" may succeed and make some money. All I meant was that it is the sort of play, as results elsewhere have proved, that it is a big gamble as far as reaching any wide public is concerned. It is either liked very much - or not liked at all'. A letter of good content to O'Neill's young French translator. One heavy vertical fold to the centre, otherwise about VGThe Hairy Ape, O'Neill's expressionist play of 1922, was translated by Maurice Bourgeois and the first French production was staged at the Theatre des Arts in Paris in 1929. However, the work involved for Bourgeois took its toll on his mental health and newspaper reports of the time (under headlines including 'Dramatist Goes Mad') stated 'Bourgeois......went mad following the dress rehearsal.....his friends believe that the highly emotional title role of the play he translated played a part. At all events, Bourgeois went into a dressing room of the theatre after the play and put on the rough clothes and cap of the hairy ape......A director of the theatre found him wandering about the corridors in those clothes, and on speaking to him Bourgeois became violent and smashed up furniture. He then climbed on to the roof and walked about there.......finally, at 1.30 in the morning, they called in the police'.
TAYLOR ELIZABETH: (1932-2011) English actress, Academy Award winner for Best Actress in 1960 for her role as Gloria Wandrous in Butterfield 8 and again in 1966 for her role as Martha in Who’s Afraid of Virginia Woolf? Signed 8 x 10 photograph, the highly appealing original vintage Metro-Goldwyn-Mayer publicity portrait showing the actress seated in a full-length pose wearing an elegant dress. A white stuffed toy animal doll appears on a cushion at her side. Signed by Taylor in purple ink with her name alone across a light area of the image. VG
![[POTEMKIN MUTINY]: RAKOVSKY CHRISTIAN: (1873-1941) Bulgarian-born socialist revolutionary, Bolshevik politician and Soviet di](https://cdn.globalauctionplatform.com/4da1536e-f8ee-466a-a857-b11b00a2e0f9/c3f3fe5f-c821-40c2-94e6-b13300ab3ea4/468x382.jpg)
[POTEMKIN MUTINY]: RAKOVSKY CHRISTIAN: (1873-1941) Bulgarian-born socialist revolutionary, Bolshevik politician and Soviet diplomat and statesman, a lifelong collaborator of Leon Trotsky. Rakovsky organised rallies in support of the Battleship Potemkin revolt and carried out a relief operation for the crew of the Potemkin as the ship sought refuge in Constanta. A significant and interesting A.L.S., Dr. Christian Racovski, four pages, 8vo, Constanta, 3/16 July 1905, to an editor, in French. Rakovsky has headed the letter Affaire "Potemkine" and writes following the publication of an article, which contained some errors, based on an interview Rakovsky had given, writing, in part, '1. Il est inexact que Matustchenco (et non Mastutchenco comme il est ecrit) ait ordonne de tirer sur l'escadre de Krieger et que les autres matelots revolutionnaires aient refuse. Tout le monde etait tombe d'accord de ne pas tirer sur l'escadre avec (sic; avant) que celle ci commence les hostilites. Et cela se comprend puisque les matelots de Potemkine tenaient non pas a la destruction de l'escadre de Krieger mais a son adhesion a la cause revolutionnaire. 2. Je est inexact que Matustchenco au dernier conseil qui traita la question de la reddition ait eu a repprocher quelque chose au membre du comite......de Potemkine. La scene des matelots revolutionnaires pleurant n'a jamais existe. Nous avons examine longtemps les possibilites de la continuation de la lutte, malheureusement ces possibilites n'existaient plus et c'est la camarade Matustchenco lui meme qui a ma proposition de se maintenir encore durant deux jours dans les eaux roumaines pour que je puisse durant ce temps obtenir des instructions et des informations plus precices de la part du comite central du Parti democrate socialiste russe (qui) m'a repondu: il nous est impossible. Pour nous maintenir ici il nous fandra tenir sous pression 16 chaudieres or nous ne possedons que 50 tonnes du charbon. D'un autre cote nous fornir charbon de Constanta, etait absolument impossible. Voila la veritable cause de la reddition, Sans cela les matelots malgre les fatigues enormes de douze jours de luttes - beaucoup des matelots surtout ceux occupes dans les machines et dont la plupart entraient aussi dans le comite n'avaient pas dormi - seraient retournes en Russie et precisement en caucase pour continuer la lutte' (Translation: 1. It is not true that Matustchenco (and not Mastutchenco as it is written) ordered the firing on Krieger's squadron and that the other revolutionary sailors refused. Everyone had agreed not to fire on the squadron before (with) it began hostilities. This was understandable, since the Potemkin sailors were not interested in destroying Krieger's squadron but in joining the revolutionary cause. 2. It is not true that Matustchenco, at the last council which dealt with the question of surrender, had anything to reproach the member of the Potemkin committee. The scene of the revolutionary sailors crying never existed. We examined for a long time the possibilities of continuing the struggle, unfortunately these possibilities no longer existed and it was Comrade Matustchenco himself who made my proposal to remain for two more days in Romanian waters so that during this time I could obtain more precise instructions and information from the Central Committee of the Russian Democratic Socialist Party (which) replied to me: it is impossible for us. To keep us here we will have to pressurise 16 boilers and we only have 50 tonnes of coal. On the other hand, it was absolutely impossible for us to get coal from Constanta. This is the real reason for the surrender, without which the sailors, despite the enormous fatigue of twelve days of fighting - many of the sailors, especially those working in the engines, most of whom were also members of the committee, had not slept - would have returned to Russia and precisely to the Caucasus to continue the fight'). A letter of good content relating to one of the most famous events in the First Russian Revolution. Together with Ivan Beshoff (1884-1987) Russian naval officer, a crew member of the Potemkin and participant in the mutiny on the battleship in 1905. Blue ink signatures, in both Cyrillic and Roman script, to the base of an 8vo white card with a lightly mounted newspaper photograph above the signatures, the image depicting Beshoff standing in a three-quarter length pose and waving one hand at the foot of some aircraft steps. VG to EX, 2Afanasi Matushenko (1879-1907) Russian socialist revolutionary and non-commissioned officer in the Russian Black Sea fleet who was the ringleader of the mutiny on the Potemkin.The Mutiny on the Battleship Potemkin, a pre-dreadnought battleship built for the Imperial Russian Navy's Black Sea fleet, ocurred on 27th June 1905 during the Russian Revolution and the Russo-Japanese War. The crew mutinied over mistreatment by their officers and, after killing the Captain and some of the officers, the ship sailed for eleven days before finding refuge in Constanta, Romania. Vladimir Lenin, leader of the Bolshevik Party, called the 1905 Revolution, including the Potemkin mutiny, a 'dress-rehearsal' for his successful revolution in 1917. The communists seized upon it as a propaganda symbol for their party and unduly emphasised their role in the mutiny. The actions on board the Potemkin may also have led to Tsar Nicholas II's decision to end the Russo-Japanese War, and accept the October Manifesto, as the mutiny demonstrated that his regime no longer had the unquestioning loyalty of the military and navy. The events of the mutiny later formed the basis of Sergei Eisenstein's famous silent film Battleship Potemkin (1925).
AKHMATOVA ANNA: (1889-1966) Russian poet of the Silver Age. A scarce vintage signed 3.5 x 5.5 photograph of Akhmatova standing in a semi-profile three-quarter length pose wearing a black dress and shawl, with one hand gently raised to her necklace and the other holding a folder of papers. Signed with her initial ('A') in blue ink to the verso, further adding a small series of other initials and the date, 24th December 1962, in her hand. VG
JONES GRACE: (1948- ) Jamaican singer, model and actress, remembered for her portrayal of May Day, the lover of Max Zorin and his chief henchwoman, in the James Bond spy film A View to a Kill (1985). Signed colour 8 x 10 photograph of Jones in a head and shoulders pose wearing a pink dress and elaborate headdress. Signed in bold blue ink across a largely light area at the base of the image. EX
DIETRICH MARLENE: (1901-1992) German-born American actress. Signed 8 x 10 photograph of the actress seated in a full-length pose wearing a large white dress in costume as Princess Sophie Friederike Auguste von Anhalt-Zerbst-Dornburg (later Empress Catherine II) from the American historical drama film The Scarlet Empress (1934; titled Catherine the Great on the present photograph). Signed by Dietrich in bold black ink with her name alone across a clear area at the centre of the image. About EX
ELIZABETH II & PRINCE PHILIP: ELIZABETH II: (1926-2022) Queen of the United Kingdom 1952-2022 & PRINCE PHILIP (1921-2021) Duke of Edinburgh, Consort of Queen Elizabeth II 1952-2021. A good vintage signed 8 x 11 photograph by both Queen Elizabeth II and Prince Philip individually, the official image depicting the Royal couple standing in full-length poses together, wearing ceremonial dress, at Buckingham Palace. Photograph by Anthony Buckley (uncredited). Signed (‘Elizabeth R’) by the Queen and signed (‘Philip’) by the Duke of Edinburgh, both in fountain pen inks to the lower photographer’s mount and dated 1962 in the Queen’s hand. Framed and glazed in the original brown leather presentation frame by Jarrolds of Knightsbridge and with a thin gilt stamped decorative border. With a thin strip of light water staining to the lower edge of the photographer's mount, only very slightly affecting the signatures and date. GThe present photograph was taken by portrait photographer Anthony Buckley (1912-1993) in October 1960 prior to a Royal tour of Pakistan and India.
MINNELLI LIZA: (1946- ) American actress, singer and dancer, Academy Award winner. Signed colour 8 x 10 photograph of Minnelli in a head and shoulders pose wearing a purple dress. Signed in bold blue ink to a light area of the image, also adding a drawing of a love heart beneath her signature. A pencil annotation in the hand of a collector to the verso indicates that the signature was obtained in person at The Ring hotel in Vienna during the city's Jazz Fest. EX
MUZIO CLAUDIA: (1889-1936) Italian Soprano. An attractive signed and inscribed 5.5 x 8.5 photograph by Muzio, the Ettore Reale image depicting the Italian diva standing, in a full length-pose, wearing an attractive dress and hat, with a bouquet of flowers in her hand. Signed in bold black fountain pen ink, referring to her performance of Puccini´s Tosca and to the flowers she holds, stating `A Fulvia, ricordo di Tosca, e... dei suoi fiori! Claudia Muzio´, also dated Roma 1933 in her hand. Small overall age wear and silvering to the borders, with two small remnants of former affixing to the verso, otherwise G
British Impressionist School, early 20th century – Girl in white dress; oil on canvas, 60.7 x 40.5 cm Note: this work is similar in style to the late work of John Singer Sargent and James McNeill Whistler in the full length depiction of the figure against a heavily abstracted and almost monochrome background. There is also a similarity in the handling of the figure to the work of the French artist Émilie Charmy, suggesting an awareness of more Modern French painting.
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