We found 5997 price guide item(s) matching your search

Only Fools & Horses - 40th Anniversary Auction - Del Boy - a unique complete ' Del Boy ' costume display, comprising of a scarce original vintage 1970s Nursey's made sheepskin coat - identical to the signature coat as worn on screen in the series by Derek Trotter, signed by Sir David Jason to the front in black ink, along with a red jumper, gold plated ' D ' necklace, and a flat cap. Complete with mannequin and standing on an original screen-used piece of carpet from the Trotter's flat, used in the 2001-2003 Christmas specials. The particular sheepskin jacket chosen for Del is an extremely difficult version to track down, with the special 'hand warmer' pockets to the front. This jacket comes with a 40" chest, and survives in generally excellent original condition. A unique display piece, and a signature piece of Only Fools and Horses memorabilia. The carpet & jacket come with COAs from the OFAH Appreciation Society. 

A box containing display stands and a mannequin

DANIEL BOTTERO (ARGENTINIAN B. 1950)Composition with Mannequin and Flowers ,1989oil on canvas 76 x 58 cm (29 7/8 x 22 7/8 in.) signed and dated lower right PROVENANCEHutter Auctions, New York City, 19 November 2016, lot 170 EXHIBITED Ateneo popular Esteban Echeverría, Buenos Aires ArgentinaCONDITIONObserved in frame, the painting appears in good condition. Inspection under UV light shows no apparent sign of restoration.framed dimensions: 93 x 76 cm (36 5/8 x 29 7/8 in.) Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

A vintage mannequin

KASHAN-STYLE CARPET, with central medallion suspending pendants, on a red field of scrolling foliage, navy blue spandrels, palmette border and multiple guards, 381 x 291cms together with steel mounted shop display dress mannequin, 156cms high (2) Comments: carpet - wear to centre, and side of field, stain to medallion.

CHILD'S MANNEQUIN TORSOin polystyrene and covered in flesh coloured fabric, 52cm high, together with a child mannequin body with arms and legs, in foam and fabric covered, 46cm high (2)

A mid-century Chil-Daw Pioneer dressmaker's mannequin, no. 344739, on tripod base, height 62cm

A Vintage French shop mannequin with poseable wooden arms, H150cm

A male life size mannequin.

Plaster mannequin head of a young man, 28cm high Condition ReportSome surface scratches and scuffs, some small chips, areas of loss to the paint. Large chip to the chin.  Probably early to mid 20th century.

Early 20th Century French wooden, composition and fabric covered boy mannequin by P. Imans, Paris (head and feet lacking, right arm replaced), 40ins high overall

DRESSMAKERS MANNEQUIN ON METAL STAND, 133CM HIGH

A mannequin on cast iron stand, height 103cm, and a retailer's Thorne's Toffee can

2 x Glass Mannequin heads

A LADYS MANNEQUIN RAISED ON A PINE TRIPOD. H 146cms.

WHITE PAINTED METAL MANNEQUIN,along with another (2)

Nikos Engonopoulos (Greek, 1907-1985)Scholiastes d'un texte futur / Composition a la lampe signé en grec (en bas à droite)huile sur toile92 x 73cm (36 1/4 x 28 3/4in).Peint en 1958.signed in Greek (lower right)oil on canvasFootnotes:ProvenanceThe artist's collection, Athens and thence by descent to the present owner.ExposéAthens, Zappeion Hall, VII Panhellenic Exhibition, April 21 - June 1, 1963, no. 156 (listed in the exhibition catalogue).Athens, Nees Morfes Gallery, Art Transformations, December 1979 (illustrated in the exhibition catalogue, p. 15).Athens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos retrospective, April 3-15, 1983, no. 37 (listed in the exhibition catalogue, p. 42).Thessaloniki, Municipal Gallery, Nikos Engonopoulos, As Handsome as a Greek, 1997, no. B3.Athens, Astrolavos Gallery, Nikos Engonopoulos, Surrealist Whispers, October 24 - November 29, 2002, no. 7. LittératureThe Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 262 (mentioned), p. 284 (illustrated).B. Spiliadi, Visual Remouldings, exhibition catalogue, Nees Morfes Gallery, December 1979, p. 15 (illustrated).Athens News newspaper, November 4, 1985 (illustrated).Athinorama magazine, November 7, 1985, p. 67 (illustrated).Eleftherotypia newspaper, November 1, 1985 (illustrated).Tachydromos magazine, no. 1644, November 14, 1985, p. 145 (illustrated).Nikos Engonopoulos, Drawings and Colours, Ypsilon Books editions, Athens 1996, p. 138 (illustrated).Politis magazine, December 15, 2002, p. 8 (illustrated). D. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, fig. 80 (illustrated).E. Benisi, Nikos Engonopoulos and Cityscapes, doctoral dissertation, University of Athens, 2006, pp. 138, 140, 161, 163 (mentioned), p. 140a, fig. 98 (illustrated).D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets, Gutenberg editions, Athens 2007, p. 118 (mentioned). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 600, p. 92 (illustrated), p. 459 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, p. 436 (discussed), p. 437, fig. 168 (illustrated).K magazine, no. 13-14, June 2007 (cover illustration).Bathed in an atmosphere of clarity and glow, this exquisite painting is recognised by Melissa editions The Greek Painters as one of the finest examples of the artist's mastery of colour.1 The glittery yellow, green and orange tunics worn by the three figures and the enamel-like blues and reds of the background, applied side by side on the canvas without tonal gradations, invite the viewer to a festive ritual. 'Engonopoulos is a dedicated coloriste, adhering to a long and rich Greek tradition that goes way back to the Homeric epics.'2 Errieti Engonopoulou, the artist's daughter, holds that 'for him each colour has its own value, its own voice'3, much the same way as in Byzantine art, which Engonopoulos always considered an art form Greeks closely relate to. The three phantom-like mannequin figures holding a lamp, a book and a statuette, introduce us to an enigmatic world of poetic metaphor, apparently glorifying an unknown heroic or epic event that echoes the didactic description of Byzantine icon painting and the high rhetoric of the artist's beloved teacher C. Parthenis.4 Elegant, athletic and full of youthful virility, the three scholiasts chant the glory and beauty of the human figure. As noted by Athens National Gallery Director M. Lambraki-Plaka, 'Engonopoulos's figures may draw their origin from Giorgio de Chirico but they are unmistakably Greek, reminiscent of the Minoans immortalised on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'5 Likewise, Professor D. Papastamos notes that 'Engonopoulos's heroes are not 'disquieted'; on the contrary they fully experience an everyday reality still bound with tradition and eastern myths.'6 The visual act takes place in shallow, stage-like indoor space, accentuating the sense of theatricality which is a key element of Engonopoulos's work. As noted by art historian P. Rigopoulou, the artist never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting.7 'The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale is a typically Greek element. Standing in front of a fastened curtain and illuminated by a circular glow reminiscent of a theatrical spotlight, the three protagonists of this 1958 scene recall a text by Engonopoulos written a few years later: 'The curtain is drawn, and under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'8 1 S. Boulanikian, 'Nikos Engonopoulos' [in Greek] in The Greek Painters, vol. 2, 20th Century, Melissa editions, Athens 1975, p. 262.2 Nikos Engonopoulos, Drawing or Colour [in Greek], Ikaros editions, 2007, p. 126. 3 E. Engonopoulou, 'Freedom and Discipline' [in Greek] in Nikos Engonopoulos, The Painter and the Poet, Kathimerini newspaper (Epta Imeres), 25.5.1997, p. 23.4 A reference to future text annotations was made by Engonopoulos in his poem 'In the Lyrical Chimneys', The Clavichords of Silence, 1939. See D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets [in Greek], Gutenberg editions, Athens 2007, p. 118. 5 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.6 D. Papastamos, preface to the exhibition catalogue of Nikos Engonopoulos retrospective [in Greek], National Gallery-A. Soutzos Museum, Athens 1983, p. 8.7 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou - A. Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.8 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.Baignée dans une atmosphère de clarté et de lueurs éclatantes, cette exquise peinture est reconnue dans l'ouvrage The Greek Painters (publié par les éditions Melissa) comme l'un des plus beaux exemples attestant de la parfaite maîtrise de la couleur qui caractérise l'artiste. Les tuniques jaunes, vertes et orange scintillantes des trois personnages et les bleus et rouges de l'arrière-plan, comme laqués, peints touche par touche sur la toile sans gradations tonales, invitent le spectateur à un rituel festif. Engonopoulos est un coloriste passionné, qui adhère à une longue et riche tradition grecque remontant à l'épopée homérique. Errieti Engonopoulou, fille de l'artiste, confie que pour lui chaque couleur a sa propre valeur, sa propre voix, ce qui rejoint l'art byzantin qu'Engonopoulos a toujours considéré comme une forme d'art indissociable des Grecs. Les trois personnages fantomatiques, tenant une lampe, un livre et une statuette, nous introduisent dans un monde énigmatique de métaphore poétique, glorifiant apparemment un événement héroïque ou épique faisant écho à la description didactique de la peinture des icônes byzantines et à la rhétorique exigeante du maître bien-aimé de l'artiste, C. Parthenis. Élégants, athlétiques et pleins de virilité juvénile, les... For further information on this lot please visit Bonhams.com

A LADIES BUST MANNEQUIN WITH STAND

A dressmakers mannequin torso by Couture Paris, stamped indistinctly to the front, 44cm wide at the shoulder x 57cm highCondition report: Fabric a little dirty

Late 19th Century Milliner's Hat Stretcher, with steel handle and size plaque, 16cm by 30cm by 32cm; and a Canvas Mounted Millinery Mannequin Head, 25cm high (2)

A 1940's composition wall hanging shop mannequin with remains of original finish to head - a/f

A vintage dressmaker's mannequin - no stand and damage to canvas

A modern plastic child size mannequin - base a/f

Beneath the Planet of the Apes (1970) Full sized Gorilla costume, comprising of shirt, waistcoat, trousers, leather boots, ammo carrier and later head, on mannequin, stands 6ft tall. From the second of the five films in the series and directed by Ted Post.

A mid-century painted wooden clothes mannequin, sitting on a triangular base and decorated with an abstract colourful design. H.167 W.47

A 19th century dress makers mannequin on tripod base, 160cm high Condition Report: Available upon request

An extremely rare and scarce vintage American Art Deco "WOODIKIN" carved and airbrushed store mannequin, designed by Oscar N. Segall, 1932, arms peg-detachable, unscrewing from base and torso with butterfly nuts, approximate height, 70½in. (179cm.). * Condition: One foot/ankle with repaired split, some paint fading and surface wear, one butterfly nut missing, overall good, very pleasing to the eye.

A Painted Iron Bust Mannequin on Stand. 150cm High.

A tailors mannequin

A Kimono and mannequin stand

A wood and fibreglass cloth covered mannequin.

Original vintage advertising poster for The New Shell Lubricating Oil It's A Great Success - featuring a fun Art Deco design by the notable artist Edward McKnight Kauffer (1890-1954) of a silhouette of the artist mannequin on the front of the Shell oil can jumping out with his arms up from behind the bottle into a spotlight with bold stylized lettering running diagonally on the side and below. Printed by the Baynard Press. Horizontal. Very good condition, folded as issued, pinholes. Country of issue: UK, designer: Edward McKnight Kauffer, size (cm): 31x63, year of printing: 1937.

Gold mannequin torso lamp - Approx H: 164cm

A vintage Singer mannequin. 138 cm high.

Farblithographie Nikki de Saint-Phalle1930 Neuilly-sur-Seine - 2002 La Jolla "Femme et mannequin" 1995 u. re. sign. Nikki de St Phalle Exemplar 123/250, 75 x 55 cm (Blattmaß), o. R., farbfrisch, nie montiert.

A quantity of Treen including letter racks, hand painted boxes, trays, mannequin etc.

A wirework table top mannequin, 65cm tall

DRESS MAKER'S MANNEQUIN,138cm high

dating: about 1570 provenance: North Italy, Burgonet with high, twisted crest, in one piece with the skull, with the sharp brim and with the nape-guard. A restoration at the comb and an antique plaque fixed on the right side of the skull. The surface with Pisan style decorations. With bands featuring armors trophies on a granulated background, bordered with twisted frames and with round featuring portraits. Antique cheeck-pieces, restored pivots. Iron rivets with brass rosettes. Fine breast-plate worked in Pisan style, of high quality. Ribbed at the center, featuring longitudinal bands with trophies on a granulated background. At the center an effigie of an old-fashioned warrior, the breasts inside circles and with grotesque armors all over the upper part. Twisted, engraved neckline and pauldron small-plates. The back-plate worked en suite with the breast-plate, featuring an antique restoration on one side. Two-plate neck-collar, decorations en suite with the breast-plate. Pauldrons with Pisan style decoration, each with two big, slightly-relieved decorations at the center inside circles and bands with parts of armors, as well as twisted frames. Complete brassards, all with Pisan style decorations. Knuckle-shields with back parts and cuffs. Mounted on an exhibition mannequin with sixteenth-century vests, partially made with cloth and with a fine, sculpted head. Total height with mannequin and base: 215 cm. Provenance: 'Powerscourt'sell, (Christie's) September, 24th and 25th 1984 (n.393). The armour was bought in Italy in 1836 by the sixth Viscount Powerscourt. Traditionally, the armour was worn by Alfonso Duke of Ferrara. height as shown circa 103 cm.

dating: early 17th Century provenance: Swiss, Helmet with skull worked in two halves linked at the lower comb. Adjustable visor with eye holes and decorated with double outlines, provided with lifting knuckle-shield. The ventail probably of a later period, provided with air holes. Nape-guard and neck-guard with single plate, with edged featuring a recessed band, double outlines and smooth rope. Several rivets of a later period. Gorge with three plates, neckline with twisted and engraved rope. Breast-plate ribbed at the center, with pauldron small-plates and neckline featuring thick rope engraved and twisted. Massive, two-plate waist-plate with single outlining. Tassets with remains of engraved bands and smooth ropes. both with an antique restoration made in the time of use. Swiss-style pauldrons with fanned-out wings hinged to a brass mount shaped as a lion's head with a ring in its mouth. The rear part of the plates with remains of a band engraved at the center, en suite with the tassets. Knuckle-shields with flaked fingers, single outlines and cuffs with ropes featuring twisted engravings, en suite with the elbow-pieces. Smooth back-plate. Exhibited on a fine mannequin, probably of early 20th century, complete with base, worked differently from the armour period, made of cloth and wood. Height: 101 cm circa. Elegant, coeval armour, the helmet is not original yet antique and appropriate. Of strong visual impact. height total with base 189 cm.

dating: Late 16th Century provenance: Europe, Close helmet, with skull in one piece and provided with low comb with twisted border. Raisable, cusped visor, with narrow eye-holes and long knuckle-shield. Ventail with air holes on both sides, decorated differently. Beaver with release-button. Nape-guard and neck-guard with one plate with swallow-tailed border and twisted rope. Gorget with three-plate loin-guards, the front side ribbed at the center. The breast-plate ribbed at the center with marked tapul, neckline with thick rope followed by the remains of two marks (the right one maybe is the Nuremberg mark), and an 'A' surmounting a cross. The pauldron small-plates with a thick, twisted rope. The breast and back plate with gleanings on the upper side. The culet with a single plate. The front back-piece with three plates and provided with knee-cops that can be converted into tassets (three segmented can be disassembled). Complete brassards. Inarticulated gauntlets. Some reparation and restoration, mostly on the helmet. Provided with restored leather strings with buckles. Mannequin not included. height armour circa 124 cm.

dating: Second half of the 19th Century provenance: Germany, A man-at-arms helmet with skull in one piece, hammered, with low, twisted comb featuring wide longitudinal fullers at the sides. Intact visor ribbed at the center, with rectangular eye-holes surmounting the round and convex mouthpiece, provided with a double row of rectangular air holes and outlines. The beaver and the neck-guard with swallowtailed border and roped, twisted border. Closures with pressure-buttons. Helmet with iron rivets. Three-plate nape-guard worked en suite with the skull and with festooned border. The visor's hinges with rosette-shaped head. Gorget with four plates, roped neckline provided with a thick, twisted rope. Bulging breast-plate, with pauldrons and neckline featuring typical, very thick, twisted ropes bent towards the outside. The right side with a folding rest. The back-plate worked en suite with the breast-plate.The front backpiece with three plates, the back also with three plates. Tassets with four plates, both with the lower border featuring a thick spiral. Complete brassards. Pauldrons provided with neck-collar, elbow pieces with big wings. Inarticulated gauntlets decorated with convergent risers. Complete full-leg defenses, provided with sabatons with the same decorations as the other parts; smooth greaves. The whole armor is finely worked with risers and longitudinal fullers; several plates with festooned borders. Complete with leather stirngs, rivets with iron head. The armor is on a mannequin complete with wooden pedestal. Work of a very high quality, that can be compared to the antique original ones. Total height with base: circa 240 cm. height armour circa 174 cm.

A vintage shop display mannequin, 150cmH

A shop display mannequin, approx. 125cmH

Modern Button Pearl and Freshwater Pearl Necklaces, imitation pearls, vintage Stratton powder compact detailed with flying ducks, jewellery mannequin stand, T bar stand, teaspoons, vintage plastic lidded box, etc :- One Tray

A full size clothes mannequin with tripod light wooden stand. Adjustable height.

VINTAGE PARTENSONS AND CO CHERRY TOOTHPASTE POT AND AN ENAMEL MANNEQUIN TRINKET BOX

A LEATHER JEWELLERY BOX AND A MANNEQUIN CONTAINING A LARGE AMOUNT OF COSTUME JEWELLERY TO INCLUDE RINGS, NECKLACES, EARRINGS, ETC

St Mary's Abbey - A BOXED VINTAGE FORMELLA ADJUSTABLE DRESSMAKERS MANNEQUIN BY ADJUSTOFORM

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST 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 November 10th or November 11th.A production-made Spider-Man (Tobey Maguire) costume from Sam Raimi's superhero sequel Spider-Man 3. Spider-Man wore his iconic red-and-blue costume for the first and third acts of the film as he fought against Venom (Topher Grace) and Sandman (Thomas Haden Church).Designed by three-time Academy Award®-winner James Acheson, this skin-tight spandex bodysuit was made for the production but ultimately unused. It is presented on a custom-built mannequin display, over the top of a production-used-and-worn muscle suit (labelled “Tobey #1” inside) to provide definition. It features the black rubber spider emblem in the middle of the chest and a silver rubber web pattern across the torso and boots. Zips run across the width of the back and up the sides of the torso, providing access to the suit. On set, the plastic eyes were mounted magnetically to the underskull as this allowed easy removal, however please note the lenses and underskull in this lot are replicas added to complete the aesthetic of the display. A handwritten label inside the crotch area reads “3 FF”.The suit has some wear from age and use, most notably some cracks to the webbing pattern, and there is some minor repair work to the right ankle. Dimensions (displayed): 38 cm x 56 cm x 180 cm (15" x 22" x 70¾")Special shipping required; see special shipping notice in the Buyer's Guide. Estimate: £30,000 - 50,000 Ω

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST 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 November 10th or November 11th.A Darth Vader touring costume used to promote the release of George Lucas' Star Wars Trilogy on videotape. The promotional costume was crafted by former LucasFilm archivist Don Bies and his wife Anna of DNA Productions in 1995 for distributor Fox Studios.The costume comprises a vacuum-formed plastic helmet and fibreglass mask; a stretch fabric collar; a full-length cape and under-robe; vacuum-formed plastic chest armour with attached pauldrons; a fibreglass chest control box; a tunic featuring faux leather sleeves; a pair of gloves; a leather belt featuring three control boxes; a padded leather codpiece; a pair of faux leather trousers; and a pair of leather boots with attached plastic shin guards.Each glove has a DNA Productions label sewn to its interior with "#7" handwritten in blue ink. Clipped onto the belt's left side is a cast resin lightsaber, based on a casting of the "Energizer Bunny" lightsaber used in the infamous 1994 Energizer commercial. The chest and belt boxes contain internal electronics that illuminate various buttons, including three red lights on the chest, which light up in sequence. One belt box contains a circuit board that once projected the Sith Lord's breath sounds. The electronics were designed and built by former ILM model maker and Mythbuster Grant Imahara.There are signs of wear and age, with some minor damage present on the mask. The costume comes presented on a custom-made mannequin and is supplied with an external 12V power supply. This is believed to be the first example of this style of touring costume to come to auction. Dimensions (displayed): 37 cm x 69 cm x 209 cm (14½" x 27¼" x 82¼")Special shipping required; see special shipping notice in the Buyer's Guide.Contains electronics; see electronics notice in the Buyer's Guide. Estimate: £10,000 - 15,000 M

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST 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 November 10th or November 11th.The Terminator's (Arnold Schwarzenegger) costume display with a silicone head on display mannequin from Alan Taylor's sci-fi action adventure sequel Terminator Genisys. The T-800 "Guardian" Terminator wore his costume while he teamed with Sarah Connor (Emilia Clarke) to prevent Skynet from becoming sentient in a fractured timeline.This Terminator costume consists of a charcoal-colour zip-up jacket; a grey cotton T-shirt; a pair of grey cargo trousers marked "GUARDIAN 2"; and a pair of black rubber and leather lace-up boots. The costume is presented on a custom display with a replica Terminator head made from silicone with a realistic paint finish and hand-punched hair. It is displayed on a custom base with a layer of grating on the top. The costume shows wear from age and use throughout including deliberate weathering on several of the clothing items added by production. Dimensions: 71.25 cm x 56 cm x 198.35 cm (28" x 22" x 78")Special shipping required; see notice in the Buyer's Guide.This lot is currently located in Prop Store's Los Angeles facility and will ship directly to the buyer from the Los Angeles facility. Buyer will be responsible for all shipping and import charges from the US - please inquire for additional information. Estimate: £8,000 - 12,000 US

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST 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 November 10th or November 11th.A Black Guard costume display assembled from production-made components from Joseph Kosinski's sci-fi action adventure Tron Legacy. The personal guards of artificial intelligence program and grid overlord Clu (Jeff Bridges), Black Guard soldiers were skilled in a variety of weaponry including identity discs and batons. This display consists of a series of black dense foam rubber cast armour pieces that were made during production but not finished or used for filming. These pieces include a decorative chest and back section with a moulded identity disc port, shoulder and arm pieces complete with a pair of replica gloves, a plastic baton and a plastic identity disc, hip and thigh sections as well as a pair of boots. The costume elements were pieced together and assembled as a collector's display after filming, and detailed with reflective tape similar to the EL strip material used on the original light-up suits from the film. A replica fibreglass helmet that was not production-made is also included to complete the costume. The armour and helmet has been set on a black compression suit-clad mannequin with a custom base for display featuring orange details. It exhibits signs of wear from age and use throughout. Dimensions: 61 cm x 61 cm x 193 cm (24" x 24" x 76")Special shipping required; see notice in the Buyer's Guide.This lot is currently located in Prop Store's Los Angeles facility and will ship directly to the buyer from the Los Angeles facility. Buyer will be responsible for all shipping and import charges from the US - please inquire for additional information. Estimate: £10,000 - 15,000 US

This lot will be auctioned on Wednesday, November 10th. The auction will begin at 3:00pm BST 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 November 9th or November 11th.Drake's (Dominic Purcell) costume from David S. Goyer's action-horror sequel Blade: Trinity. The vampire patriarch wore his costume before transforming into a demonic creature to battle Blade (Wesley Snipes).The costume comprises a sleeveless top constructed from various leather panels and decorated with woven red cord; a layered metal armour sleeve with an under layer of dark red chain mail; and a pair of dark brown leather trousers labelled "Hero.1". Inscribed ancient vampiric hieroglyphs adorn the top of the metal armour arm piece. Accompanying the costume is a pair of red wrist guards featuring adhered chain mail, and a spiked metal arm guard (labelled "Steve"). Minor scuffing and scratches are present on the armour. The costume comes displayed on a custom-made mannequin display. Dimensions (displayed): 43 cm x 57 cm x 169 cm (17" x 22½" x 66½") Estimate: £600 - 800 M

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST 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 November 10th or November 11th.Captain America's (Reb Brown) costume from Ivan Nagy's superhero TV movie Captain America II: Death Too Soon. Steve Rogers donned his signature superhero costume when he finally adopted his father's "Captain America" moniker, and again when he hunted eco-terrorist Miguel (Christopher Lee). This costume was on display at the first installation of the Marvel: Universe of Super Heroes exhibit at MoPop in Seattle in 2018.It consists of a blue urethane pullover cowl with two elastic straps; a blue hooded zip-up spandex bodysuit featuring iconic American flag motifs of red and white stripes and a white star; a pair of matching Spandex-blend blue trousers; a red leather belt with a bronze-colour buckle which was featured on Brown's costume in the previous film in the series, Captain America; a pair of red leather gloves with velcro straps; and a pair of matching rubber-soled, red cuffed leather boots. It is affixed to a white fibreglass mannequin for display purposes. This costume exhibits signs of wear from age and use including some discoloration on the blue sections of the costume. Dimensions: 190.5 cm x 61 cm x 40.75 cm (75" x 24" x 16") Estimate: £6,000 - 8,000 Ω

This lot will be auctioned on Tuesday, November 9th. The auction will begin at 3:00pm BST 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 November 10th or November 11th.Dr. Catherine Deane's (Jennifer Lopez) mind-link costume from Tarsem Singh's sci-fi horror The Cell. Dr. Deane wore her suit in the research facility while being connected to a virtual reality device that allowed her to enter the mind of comatose serial killer Carl Stargher (Vincent D'Onofrio). The full-body suit is made of foam rubber latex finished in red, with sculpted line patterning applied all over to resemble exposed muscle fibre. The costume consists of a torso section, a trouser-like section and a pair of matching boots. All of the pieces are adhered together via strips of Velcro®, creating a seamless finish. Located on the left sleeve is a resin port-like component, where the suit connected to the virtual reality device. A red-coloured zip runs down the back of the costume, and the interior is labelled "A" in black ink. The costume is presented on a display mannequin and exhibits patches of minor damage to the foam latex. A separate additional port component and a fabric pair of boots labelled "Catherine" accompany the lot. The boots were to be worn around the set between shots as the costume's boots would often be slippery. Dimensions: 23 cm x 50 cm x 151 cm (9" x 19¾" x 59½") Estimate: £8,000 - 12,000 M

A tailor's mannequin, adjustable column with tripod base

A wicker mannequin

A male mannequin

A tailors Mannequin / dummy