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Lot 1147
Full title: A polychromed wooden 'Santos' mannequin, probably Italy, 18th C.Description:H 58,5 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Lot 1617
Full title: A life size beech wooden artist's model or mannequin, 20th C.Description:H 174 cmAbout this sale: Paul De Grande is one of the major dealers of antique furniture, fine sculptures and decorative arts in Europe. In 1974, he moved to the Castle of Snellegem near Bruges. From there, he catered to the rich and famous, important decorators and museums around the world. Entering a new chapter, Paul has decided it is time to part with his private collection and part of his trade stock. This sale presents a unique opportunity to clinch a piece of this wonderful personality's history. Paul's main focus has always been on Renaissance sculpture, French and Italian furniture and pieces of museal quality. He has had sales with Christies and Sotheby's in the past. He's also an important personality on various Belgian tv shows.
Lot 23
AVP: ALIEN VS. PREDATOR - Scar's (Ian Whyte) Predator Costume DisplayScar's (Ian Whyte) Predator costume from Paul W.S. Anderson's sci-fi action film AVP: Alien vs. Predator. The Scar Predator was the last survivor of the band of young Predators sent to Earth to prove themselves in the Antarctic pyramid.Created by the artists at Amalgamated Dynamics, Inc. (ADI), this elaborate costume consists of a silver-color fiberglass helmet; a foam latex under-suit with foam dreadlocks on a foam latex cowl with a hole for the performer's face. The suit is finished with hand-painted reptilian markings, over which is worn a cord net, a foam latex neck seal with plastic ring accents, and a faux-leather loincloth. The armor, given a worn silver-color finish, is made of foam rubber sections for the feet and legs, with chest armor, shoulder and arm plates made of foam, rubber and fiberglass. The computer worn on the left wrist is made of rubber and resin, while the right side armor contains extended resin blades. The piece is decorated with an array of rubber skulls and hard rubber pouches, as well as an assortment of weapons, including a rubber shuriken in its closed position and rubber dagger handle in a leg sheath. Fitted on the left shoulder is a rubber plasma caster weapon. Both the plasma caster and shoulder armor exhibit deliberately added flame damage from the sequence where Scar is attacked by Charles Bishop Weyland (Lance Henricksen). The rest of the costume exhibits wear on the foam elements and is set on a custom-made mannequin display. Dimensions: 33" x 27" x 82" (84 cm x 68.25 cm x 208.25 cm)Special shipping required; see notice in the Buyer's Guide. Estimate: $30,000 - 50,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am 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 Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
Lot 12
ALIENS - Pvt. Frost's (Ricco Ross) Photo-matched U.S. Colonial Marines Armor Costume and Corporal Dietrich's (Cynthia Dale Scott) USCM Ab Armor Pvt. Frost's (Ricco Ross) photo-matched U.S. Colonial Marines armor costume from James Cameron's sci-fi horror sequel Aliens. Frost and his fellow Colonial Marines helped Ellen Ripley (Sigourney Weaver) investigate the desolate moon LV-426.The USCM armored costumes were designed by Emma Porteous, with the armor elements hand-crafted from aluminum by master armorer Terry English. Multiple sets of armor were made for each character in the film; this particular body armor was used for a shot where Frost catches fire during the battle with xenomorphs and falls over the railing. The shot was achieved with a practical burn effect on a mannequin dressed in the costume. The body armor and leg armor photo-match to a behind-the-scenes photo of the costume-dressed mannequin. The mannequin is also holding a large cigar as a gag reference to the burn.The central element of the ensemble is Frost's body armor, comprised of chest, back, and shoulder plate armor assemblies that were hand-formed in aluminum and hand-painted with a custom camouflage pattern. It is stenciled "FROST" on the upper chest and marked "FROST RICCO ROSS" in the interior, and also marked with a number "3". It features padding on the shoulder bells and lower back section in a green waffle-pattern foam that is unique to film-used Aliens armor. The back of the shoulder straps are still coated in a material that was designed to burn for the burn effect, and the interior foam padding and plastic side-strap buckles are melted from the flames.The other Frost armor components included are a pair of camouflage-patterned aluminum shin guards and a pair of matching knee pads. These are also photo-matched to the same image and feature the same material applied for the burn effect. The final component of original armor is the gray leather abdominal padding with aluminum accents marked "DIETRICH" and "SCOTT" (for the performer) with a replica waist strap.Several elements have been added to the original armor to complete it for display, including a camouflage-patterned cotton replica shirt and matching replica pants; replica webbing on the body armor, and a pair of replica boots. Also included is a color photograph of Frost inscribed "She had my back and front" and autographed by Ross. The armor exhibits signs of wear, including scratches and paint chipping, along with some indentations, missing plastic clips, and burned elements from the practical fire effect. Estimate: $30,000 - 50,000This lot will be auctioned on Tuesday, June 21st. The auction will begin at 8:00am 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 Wednesday, June 22nd; Thursday, June 23rd; or Friday, June 24th.
Lot 83
The wooden sternboard name from the Brixham Trawler BN18 'Mannequin':, with gilt carved letters 12 x 104cm.* Notes- Built as one of the last large fleet trawlers for Brixham she was sold in 1937 to the novelist A E W Mason who renamed her 'Muriel Stephens' hence the removal of the original sternboard name 'Mannequin'
Lot 2100
A museum arranged uniform of Erwin Rommel, comprising period and later pieces, including badged tunic with ribbon bar, Blue Max, Iron Cross first class with spange and Tank Assault award. With later breeches, boots and cap. Mannequin not included. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)
Lot 229
dating: Period (1603-1867) provenance: Japan, Kabuto with thirty-two-plate iron hachi, unsigned, with five-ring tehen; hineo-shikoro with five black lacquered blades (small missing parts at the finishing), the last one with bristle decoration. Two large gold-colored, lacquered fukigaeshi. Maedate (probably later) in gilded metal with Mon of the Shimazu clan.Non-ferrous metal Ressei menpo covered with brown leather on the outside, and with large mustaches. The inside lacquered in red. Four-plate Yodare-kake, the last with gilding.Ni-mai yokohagi-okegawa do decorated with vertical bands made of brown leather and black lacquer respectively. Kusazuri with black-lacquered, five-plate non-ferrous elements. Black-lacquered iron sode. Black-lacquered Shino-kote, etchu-haidate and shino-suneate.With blue and midnight-blue lacing. Complete with wooden and metal gusku-bitsu. Mannequin not included. height as displayed circa 150 cm.
Lot 80
Eduardo García Benito (Valladolid, 1881 - 1981)"Pareja elegante, nocturno" (Elegant couple by night)Watercolour y gouache on paper. Signed. Circa 1920 - 25.25,8 x 52,3 cm.The painter Eduardo García Benito (1891-1981) was one of the most renowned and polished artists of the Art Deco movement. Born in Valladolid, he trained at its School of Fine Arts and Crafts and, later, at the Academy of San Fernando in Madrid. He was given a grant by the City Council of Valladolid to go to Paris in 1912, a city where he socialised with the great masters of the time (Pablo Gargallo, Julio González, Pablo Picasso, Juan Gris, Raoul Dufy and Amedeo Modigliani). His knowledge of the various avant-garde movements that were being developed at the time (Fauvism, Cubism, Futurism, Expressionism) led him to develop an eclectic style to which he added personal elements. The interwar period, the Roaring Twenties, was the period in which he reached the peak of his career, largely due to his discovery by the famous French couturier Paul Poiret (1879-1944) -whom he painted together with his wife in 1921- who attracted the best stylistic illutrators of the time to his company. Poiret, who had introduced revolutionary changes in women's clothing to suit the needs of the moment, took him under his wing and introduced him to the sophisticated and elegant world of the international fashion publications and magazines of Paris and New York: "Fémina" and the "Gazette du Bon Ton" in Paris and "Vanity Fair" and "Vogue" in New York.When Condè Nast (1873-1942) took over the Gazette du Bon Ton, he hired a number of illustrators, among whom was Benito -which is how our artist liked to sign his work- whom Nast himself came to describe as the most talented of all. Nast also owned Vanity Fair and Vogue, undoubtedly the most influential fashion publications, and required reading for the elite for almost a century, for which Benito made more than 100 covers between 1921-1940, in addition to exquisite illustrations and figurines. For "Vogue" he created striking covers in which he impressively combined geometry with colour contrasts. His style was defined by 1925. From that time his illustrations for these magazines stood out for the perfection of the drawing and their straight lines, the balance of proportions and the harmony of the whole. His characters are austere, stylized, geometric and elegant, with a crystalline structure and sculptural and cubist faces, all characteristics that contributed decisively to the forming and dissemination of Art Deco. In the clothing of the moment there was a trend towards internal freedom and comfort, and that is precisely what we can observe in Benito's drawings and sketches: light images capturing woman in the process of liberation -the old corsets and whale sashes were discarded- which created that languid and stylized image that fitted perfectly with the atmosphere of sophistication and frivolity of the time. The article dedicated to Benito by the writer Francisco de Cossío in the newspaper El Norte de Castilla in its issue of August 30, 1929 on the contribution of Benito to the world of fashion of the twenties is very significant. It reads: "To what extent is fashion a superficial art? García Benito finds the greatest inspiration for his creations in the grace of the elegant woman. Being, in a way, an auxiliary to the great couturiers, he knows how to raise the standard of his art by conquering the covers of the most elegant magazines in the world. The modern mannequin, stylized, shiny gold and silver, which brings us the memory of oriental idols, is his work. Creating for women, not only fabrics and colours, but attitudes, smiles, postures, rhythms … Elegant women come to García Benito's drawings to learn the secret of suggestion in modern elegance… ". From 1923 he lived alternately in Paris and New York, and in 1958 he returned to his hometown, bringing his most original artistic cycle to a close, although he continued to paint and work. The fact that the Congress of the United States, in the session of February 8, 1974, voted a motion of congratulations to Benito for his cultural work in that country is another proof of the level of importance that our artist attained. We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
Lot 1245
KOH, TERENCE1977 PekingTitel: God. Untertitel: Rauminstallation. Datierung: 2007. Technik: Mixed Media (Skelettfiguren, Mannequin, Wachs, Holz, Draht, Stoff, Parfum Eau d'Orange Vert - Hermes, Strobo-Licht, Musik).Maße: Installationsmaß: ca. 150 x 800cm. Der Installation liegt ein vom Künstler unterschriebenes Zertifikat der Galerie Peres Projects, Los Angeles, vom Oktober 2008 bei.Provenienz: - de Pury & Luxembourg, ZürichAustellungen:- Museo de Arte Contemporaneo de Castilla y Léon, 2008/09- me Collectors Room Berlin, 2012/13. Terence Koh Kanada Zeitgenössische Konzeptkunst Aktionskunst Videokunst Zeitgenössische Kunst Objekte 2000er Figurengruppe Installation Mischtechnik Religiöse DarstellungErläuterungen zum Katalog
Lot 177
Marta Hegemann, Figürliche SzeneAquarell über Bleistift auf Aquarellbütten. 32 x 24 cm. Unter Glas gerahmt. Unten rechts mit Bleistfit signiert, datiert und bezeichnet 'M. H. 27/14 No 31 5'. - In schöner Erhaltung.ProvenienzPrivatsammlung RheinlandDas Werk von Marta Hegemann wurde lange kaum gewürdigt, ihr künstlerischer Beitrag im Kontext der Kölner Progressiven über viele Jahre lediglich im Kontext ihres Ehemannes Anton Räderscheidt rezipiert, wenn nicht vergessen.In der Gesamtheit ihres vielfältigen Schaffens bilden gerade Hegemanns Aquarelle der 1920er Jahre eine besondere Werkgruppe. Bisweilen an die Landschaftsräume der „Pittura metafisica“ erinnernd, stellen diese meist kühl konstruierte Raumkompositionen dar. Hegemann greift in diesen Arbeiten häufig auf eine lichte, pastellfarbene Palette zurück. Mehr klar als zart wirken diese Werke, die wohl nur vordergründig jene „Cremeschnittchen“ verkörpern, als die sie Heinrich Hoerle bezeichnet haben soll (vgl. Marta Hegemann. Leben und Werk, Ausst. Kat. Stadtmuseum, Köln 1990, S. 24). Tatsächlich sind Hegemanns Arbeiten weit entfernt von gängigen Klischees, vielmehr unterlaufen sie solche konsequent.Der emanzipatorische Geist von Marta Hegemanns Werk transportiert sich im vorliegenden Aquarell auf eindrucksvolle Weise. In strenger Pose stellt sich dem Betrachter hier eine weibliche Figur zwischen fragmenthaften Architekturen und rätselhaften Objekten entgegen. Die arrangierten Bildelemente eröffnen unterschiedlichste Assoziationenräume, doch scheinen zwischen Mannequin, Figurine und 'Neuer Frau' vor allem die vielgestaltigen Projektionsflächen der zentralen Frauenfigur zur Diskussion gestellt.
Lot 533
A 1960s Russian style princess coat with faux fur trim and hood and a matching dress, plus a 1970s gaucho jumpsuit in crushed emerald velvet by Mr Darren, a 1970s Radley sundress in a floral cotton and a late 60s dress by Quad in a silver and brown lurex. (4)The dress to go with the coat has some moth damage, i found a pinhead sixed nibble on the coat, but its generally great.The sundress is missing one of the ties at the neck (the remaining tie has been pinned around the neck for the purpose of keeping the dress up for the photograph as it is too big for the mannequin)the jumpsuit has a couple of hard to find yellowed marks. Its a great piece.
Lot 516
A CARVED ARTIST'S LAY FIGURE OR MANNEQUIN ITALIAN OR FRENCH, 19TH CENTURY Of articulated formapproximately 80cm highCondition Report: This started off life as a functional item- in everyday use and condition reflects constant hard use with knocks, marks, some edge losses.Old splits and cracks, some chips and losses, including chips and losses to the elbows and kneesThe ears have old losses, right foot with repaired and later section to the toes, left foot looks to have later little toe. Hands are quite crude and have dark varnish and matter surface- this may be concealing repairs and replacements- certainly the fingers are, in some cases, slightly crude and pointed. Old losses to the nose and left ear and left shoulder. Looks to have had remedial work to strengthen joints with repinning- some associated shrinkage cracks- further such cracks and old repair to back of hipsThere is a hole to his rear underside, perhaps to fit to a pole Dark varnish overall which has areas of wear and loss to the surfaceHe remains posable, but there is some looseness to joints Please refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 1060
20th Century/Mannequin/signed indistinctly/a black and white photograph, 24cm x 33cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request, the absence of a condition report does not imply that a lot is without imperfection
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