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AN EGYPTIAN INDURATED LIMESTONE FIGURE OF THE SCRIBE NEKHT-ANKH

Seated with his legs crossed on a high rectangular base with wide back pillar, his left hand resting on his chest, a bolt of cloth in his right hand, and wearing an enveloping cloak and wide wig with pointed lappets, his face with full broad mouth, aquiline nose, and wide-set eyes, two lines of inscription on the front of the base translating An invocation of the offering for the guest of Thoth, Lord of Khemenu (Hermopolis), the Scribe of the Temple Nekht-Ankh, whom F[...] bore. Cyril Aldreds comments on the 8-inch high granite statuette of Kheti in Cairo could easily apply to the present example: Kheti is clothed in a long cloak, which he holds around him and which reduces the form of his body to a conoid mass (...). The whole statuette has a monumental unity out of proportion to its modest dimensions (Middle Kingdom Art in Ancient Egypt, 2300-1590 B.C., 1950, p. 43). For the gesture of the left hand resting against the chest and the right hand clasping the hem of the garment see the statue of Rehuankh in the British Museum:     A. Oppenheimer, Dor. Arnold, Diet. Arnold, and K. Yamamoto, eds., Ancient Egypt Transformed: The Middle Kingdom, 2015, no. 65; the author notes that his reverent pose and distant gaze suggest an individual witnessing a sacred rite, as would be appropriate for a figure standing in a chapel or temple. Also from the Stoclet Collection is a Middle Kingdom seated statue of a Vizier now in the Saint Louis Museum of Art: see Frankfort, op. cit., p. 77, and http://emuseum.slam.org/objects/48420/seated-vizier.

  • GBRStorbritannien
  • 2018-07-03
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MICHAEL JACKSON VIDEO WORN "THRILLER" JACKET

A black and red calf leather jacket with "Marc Laurent Paris" label featuring silver buckles at cuff, red silk lining, trapunto stitched collar, snap front closure and signature winged shoulders. The jacket is inscribed on the inside lining in black marker, "To Bush and Dennis All My Love Michael Jackson." The sleeve is additionally signed in black marker "Love Michael Jackson."Among the most recognizable and famous garments of the 20th century, Michael Jackson's Thriller jacket sparked a 1980s fashion craze. The jacket was widely copied and sold to adoring fans worldwide. The black and red style of the jacket became so identifiable with Jackson's groundbreaking extended short film/ video for the single "Thriller" that he continued to use jackets of the same design when performing the song "Thriller" for the duration of his career. This jacket is one of two, designed by Deborah Nadoolman Landis, that Jackson owned and wore during the filming of the epic video for the single "Thriller." The other jacket is on display at the Rock and Roll Hall of Fame in Cleveland, Ohio, on loan from the Estate of Michael Jackson.This jacket was given by Michael Jackson to his longtime costume designers Dennis Tompkins and Michael Bush, or just "Bush" as Michael called him. Jackson brought this jacket to Tompkins and Bush to be used as a reference for all of the subsequent concert versions of the "Thriller" jacket they would in turn make during their decades of working exclusively for Jackson. When he first brought it to them, they reportedly asked if he could really dance freely in the jacket, to which Jackson incredulously replied, "Have you seen the video for 'Thriller'?" Clearly, Jackson performed some of the most iconic choreography of our time in that video, without difficulty, while wearing the jacket. At a later date, Jackson officially gifted the jacket to the designers, at which time he added the inscriptions to the left sleeve and interior lining.A portion of the proceeds from the sale of this item will benefit The Shambala Preserve. It is at The Shambala Preserve that Jackson?s two Bengal tigers, Thriller and Sabu, have been living since 2006 when Jackson left Neverland Ranch. Shambala translates to ?a meeting place of peace and harmony for all beings, animal and human.?The Shambala Preserve is under the financial arm of The Roar Foundation, Founded by Tippi Hedren in 1983. It is a sanctuary that has been rescuing big cats since 1972. The Exotic Felines rescued by the Roar Foundation have been born in the U. S. to be sold as pets, and/or for financial gain.All of the animals at Shambala are given the best care by the animal crew. Their diet was developed by a zoological veterinarian who provides a uniform health among the different species at Shambala. Shambala employs four veterinarians trained in the exotic animal field who take care of the animals.Thriller and Sabu enjoy their new habitat on the Shambala Lake. The animals have great fun running around, chasing each other, jumping on their high rise den, and splashing in the lake. Thriller is a very complicated lady, choosey in her likes and dislikes on every level. Sabu is a bit more laid back. Both of them are content, relaxed and well protected, in their safe haven. They can be visited at The Shambala Preserve 45 miles outside the city of Los Angeles, 6867 Soledad Canyon Road, Acton, California 93510. For more information please visit www.shambala.org

  • USAUSA
  • 2011-06-26
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Breakfast at tiffany's, 1961

BREAKFAST AT TIFFANY'S, 1961 Audrey Hepburn’s working script for the 1961 Paramount production Breakfast at Tiffany’s, dated 3 August, 1960, the script bound with two brass brads and comprising 140 pages of mimeographed typescript including deleted scenes, with 53 pages printed on yellow and 28 on blue paper representing changes to the script with varying dates through to 21 September 1960, the majority of pages with upper right corner either snipped, torn or folded down when completed, the parts for the character of Holly Golightly marked in Hepburn's signature turquoise ink, with words underlined in blue ballpoint pen and pencil for emphasis, passages or directions crossed out, and approximately 20 pages annotated in Hepburn's hand with copied out lines, minor amendments and notes including: - p.15-16: where Holly asks Paul to help find her shoes for her visit to Sing Sing, Hepburn has amended Brown alligator [shoes] to Black, and deleted the lines And if you come across a black brassiere I can use that too… and garter-belt, garter-belt, garter-belt, garter-belt… I think maybe it’s hanging in the bathroom…would you mind… - p.114: where the directions require Holly to rattle off sentences in Portugese, Hepburn has twice added the line Eu acho che voce esta gostando do acouqueiro - p.119: next to …but I do love Jose Hepburn has suggested the revision I am mad about Jose - blank end page: Hepburn has jotted a brief scene list… intro, H-P-Sing Sing, P’s apt. bathrobe, cocktail, Sing Sing, Doc., drunk, scene in room, day on the town, library, chicken saffron, pickup… and scrawled the details of a flight fl. 274 U. airl, 11.35 A.M. 11 x 8 ¾ in. (27.9 x 22.2 cm.)

  • GBRStorbritannien
  • 2017-09-27
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M.Monroe costume There's No Business Like Show Business

Marilyn Monroe "Vicky" tropical print pink, black and white skirt, black halter top and hat from "Heat Wave" number by Travilla for There's No Business Like Show Business. (TCF, 1954) The design started with a hat. A skull cap in black with a huge plated straw hat, the ends left raw to give the hat movement, and silk flowers attached. It was only after the hat was completed that Travilla took it to another level and added the flowers that hung around her face. The top is a sheath of black raw silk, tied in the middle by a vivid pink and black chiffon scarf that crosses the chest and drapes down the back and large black sequins attached. Handwritten label "1-25-1-4693 A729-48 M. Monroe." The skirt starts with an extremely tight band of black raw silk that gathers around the bottom at the back and pulls round to the front in a deep sexy "V" with black sequins sewn to it; the undergarment is attached to this. From the front "V" travelling round to below her bottom is a voluminous skirt of hand printed white raw silk with huge black flowers. Attached to these flowers are hundreds of large sequins scattered randomly. The interior of the skirt is the same fabric as the scarf, a plain pink chiffon. Gathered and attached in many layers travelling from top to bottom. These layers also have hundreds of scattered sequins but this time in opaque. Handwritten label "1-25-1-4693 A729-48 M. Monroe." Acquired by Debbie Reynolds directly from Twentieth Century-Fox during the "pre-sale" when she bought all of the Marilyn Monroe wardrobe from the studio prior to the auction in 1971.

  • USAUSA
  • 2011-06-18
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Marilyn Monroe pink gown from Gentlemen Prefer Blondes

832. Marilyn Monroe pink satin gown from the "Diamonds are a Girl's Best Friend" number in Gentlemen Prefer Blondes. (TCF, 1953) This pink satin gown was worn by Marilyn Monroe as the gold-digging "Lorelei Lee" in one of cinema's most memorable song and dance sequences as she performed "Diamonds Are a Girl's Best Friend". This Travilla-designed pink silk satin strapless gown features black satin lining with oversized bow attached at back. Features integral brassier with rear zipper closure (concealed with bow overlay) and interior Fox cleaning tag. Also comes with the original pair of screen-worn opera-length tubes worn over Marilyn's arms (gloves are shown for display only) and pink satin belt with "M. Monroe A-698 1-27-3-7953" written on the inner leather lining. Originally designed to be a two-piece garment, this lot features an additional bonus having the original top made for this dress (featuring interior bias label handwritten "1-27-3-7971 M. Monroe A 698-74") that was not used in the production. This design was discarded due to the top and skirt separating when Marilyn raised her arms during the number. The gown exhibits slight toning in areas, common in silk garments from this era; otherwise in fine condition. The leather backing on the belt is cracked and missing in areas and silk exhibits fraying on edges. Marilyn's public appearance dress worn at President John F. Kennedy's birthday tribute sold at auction in 1999 for an astounding $1,267,500. This remains as the single most important screen-worn gown in film history to ever reach the auction block. Indeed, Marilyn Monroe's "Diamonds Are a Girl's Best Friend" performance has reached such an iconic status that several notorious entertainers have copied it—right down to the pink strapless gown!

  • USAUSA
  • 2010-06-11
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An exceptional, one-of-a-kind set of 8 leather forever star bags...

AN EXCEPTIONAL, ONE-OF-A-KIND SET OF 8 LEATHER FOREVER STAR BAGS A SHINY BUBBLEGUM PINK 5P LIZARD MICRO MINI BIRKIN WITH18YG HARDWARE, 21.6G 18K GOLD A SHINY BLEU ROI LIZARD MICRO MINI BOLIDE WITH 18KYG HARDWARE, 10.96G 18K GOLD A SHINY GERANIUM ALLIGATOR MICRO MINI CONSTANCE WITH 18K YELLOW GOLD HARDWARE, 61.1G 18K GOLD A SHINY ORANGE & GERANIUM ALLIGATOR AND ROUGE H LIZARD MICRO MINI FACO WITH 18KYG HARDWARE, 5.1G 18K GOLD A SHINY BOUGAINVILLIER LIZARD MICRO MINI FARMING WITH 18KYG HARDWARE, 10.7G 18K GOLD A SHINY VERT PELOUSE ALLIGATOR MICRO MINI KELLY WITH 18K YELLOW GOLD HARDWARE, 20.58G 18K GOLD A SHINY BLEU SAPHIR ALLIGATOR MICRO MINI ROULIS WITH 18KYG HARDWARE A SHINY BLEU MYKONOS LIZARD MICRO MINI TOOLBOX WITH 18K YELLOW GOLD HARDWARE, 45.1G 18K GOLD HERMÈS, 2014/2015 CONDITION REPORT GRADE: 1 15 w x 11 h x 5 d cm / 11 w x 11 h x 5 d cm / 15 w x 11 h x 6 d cm / 14 w x 12 h x 4 d cm / 14 w x 11 h x 7 d cm / 13 w x 12 h x 4 d cm / 14 w x 10 h x 3 d cm / 11 w x 11 h x 8 d cm includes felt protector, exotic card, small dustbag, dustbag, ribbon and box; includes felt protector, exotic card, small dustbag, dustbag, ribbon and box; includes felt protector, exotic card, small dustbag, dustbag, ribbon and box ; includes felt protector, exotic card, small dustbag, dustbag, ribbon and box; includes felt protector, exotic card, small dustbag, dustbag, ribbon and box; includes felt protector, exotic card, small dustbag, dustbag, ribbon and box; includes felt protector, exotic card, small dustbag, dustbag, ribbon and box; includesfelt protector, exotic card, small dustbag, dustbag, ribbon and box

  • HKGHongkong (S.A.R. Kina)
  • 2016-11-30
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Superb gem set vanity case, cartier, 1925

The octagonal gold box decorated with white enamel wave motifs, mother-of-pearl inlay, and black enamel, the terminals covered in carved coral flowers, seed pearls, cabochon emeralds, and circular-, single-cut and rose diamonds, each end opening to reveal a powder compartment, the length opening on two sides to reveal a compartment, a lipstick holder and a fold out mirror, dimensions approximately 120 x 45 x 34mm, signed Cartier, numbered, French assay and maker's marks, several mother-of-pearl panels deficient. The boîte-à-rouge-et-à-mouches, created under the reign of Louis XV, King of France (1710-1774), is considered the prototype for today’s vanity case. In the 19th century, wearing lipstick and smoking in public were still considered gauche for a lady. These cases, containing a mirror, a couple compartments and a small brush, were created for use on a woman’s dressing table, not for public use. In 1893, Eulalia, the Spanish Infanta, shocked the world by smoking in public at the Chicago Colombian Exhibition. By 1916, the new vogue became well enough established that the New York Ritz-Carlton Hotel removed their ban on ladies smoking in their public spaces. The use of cosmetics also became common place. The First World War denoted an emancipation for women and it became acceptable not only to wear cosmetics, but to apply them in public. The cosmetics industry boomed as did the fortunes of women who invested in it, including Helena Rubinstein. Following the creation of men’s cigarette cases, jewellery houses began to design cases for women, and the nécessaire pour dame was born. As per Louis Cartier’s directive, “We must make it our business to build up an inventory that responds to the moral mood of the public by producing articles which have a useful function but which are also decorated in the Cartier style’. Vanity cases became a ‘must have’ accessory for the modern woman. Examples from the early twentieth century include a powder compact, a lipstick holder, a tortoise-shell comb, a mirror and an ivory dance card reminiscent of the former carnet de bal. By 1920, Cartier had developed one of their most sophisticated models, the combined cigarette and vanity case. The design incorporated a cigarette holder with compartments for powder and rouge. This multi-compartment vanity could be carried in lieu of an evening bag. Of course in the most sophisticated examples, fashion married function. Chinese and Japanese influences were all the rage in Art Déco objets d’art. From 1924, Louis Cartier systematically collected mother-of-pearl inlay from leading antique dealers for use in his pieces. Since ancient times, Chinese mother-of-pearl was valued for its rose, lavender-blue and shimmering green iridescence, collected from the innermost layers of saltwater and freshwater mussels. These small panels, applied in the lacquer burgauté technique, were often paired with coral, lapis lazuli and onyx, and often embellished with cabochon gemstones. This example combines the very finest elements of Cartier’s production in this period: mother-of-pearl inlay, enamel wave motifs, japonisant coral flowers, and the functionality of a fold-out mirror, a cigarette and lipstick holder, and powder and rouge compartments.

  • CHESchweiz
  • 2015-05-12
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A Victor Edelstein midnight-blue velvet evening

A Victor Edelstein midnight-blue velvet evening gown worn to the State dinner at the White House given by President and Mrs Reagan, when Princess Diana memorably danced with John Travolta, 9th November, 1985, labelled 'Victor Edelstein, London', the lightly boned bodice with off the shoulder straps, the diagonally swathed velvet skirt hugs the figure tightly to the knee with bow to one side, and then flares out into a broad flounce above layered tulle petticoats, bust approx 92cm, 36in, waist 71cm, 28in This is one of the most iconic and famous of all Princess Diana's dresses. Victor Edelstein made dresses for Princess Diana over an eleven year period. She would often pop into his shop at 3-4 Stanhope Mews and look through the collections whilst her security guard waited outside. The Princess saw this model in his studio in burgundy and requested it be made for her in midnight blue. The fittings for the gown took place in her private apartments at Kensington Palace. At the last fitting, Princess Diana was so delighted with the final result that she rushed to show it to Prince Charles. Mr Edelstein recalls that the Prince, who appeared in full regimental dress (as he had an official engagement that day) told the Princess that she looked wonderful in the gown and that it would be perfect to wear with jewels. In 1985 the Royal couple made their first joint State visit to the United States. It lasted for four days and wherever they went they were greeted by thousands of cheering people. On the first evening of their arrival, with the Princess still suffering from jet-lag, they attended the grand gala dinner at the White House. Although painfully thin, Diana was still the image of sophisticated elegance in her Edelstein gown worn with long satin gloves and a sapphire and pearl choker that she had converted from a brooch that the Queen Mother had presented to her. At the dinner, Prince Charles and Princess Diana met the leading politicians and business leaders of the day, mixed with a sprinkling of Hollywood movie stars and entertainers, including Clint Eastwood and Neil Diamond. However, the most memorable image of the trip - was not to be of the married couple - but of the Princess and John Travolta, twirling and gliding across the White House dance floor to the strains of 'You Should be Dancing' from his movie 'Saturday Night Fever.' Unusually, Mr Travolta had not been invited with a companion but he soon understood the reason why. Afterwards, in an interview with chat show host Andrew Denton, he described how Nancy Reagan quietly took him aside and whispered that Princess Diana had only one wish on this American trip - and that it was to dance with him! At midnight with a little prompting from the First Lady and with his heart pounding, he crossed the floor. He recalls, 'She turned around and she did that look that she did so, so beautifully and I asked if she would care to dance and she said she'd love to and we danced for twenty minutes to a medley of 'Grease' and 'Saturday Night Fever.'..I was on cloud nine. She has great rhythm. We did spins and turns. We did a kind of modern fox-trot and she followed me very well. 'Maybe some day we'll get to do this in a less-watched situation', I said near the end. 'That would be great', she replied. Then, as everybody applauded, he thanked her. He described the experience as being 'like a fairytale'. This highly important gown is one of the most repeatedly worn dresses in her collection. She wore it on least four more major occasions: In Vienna on the State visit to Austria, 14th-17th April 1986. To accompany Prince Charles to the annual banquet of the Asian Affairs Society, at the Savoy hotel, 5th February 1986. In Bonn on a State visit to Germany, 2nd November 1987. To the Royal Opera House in 1991, when she met Vivienne Westwood. For an official portrait by artist Israel Zohar in 1990. This dress must have been of special significance to the Princess because in 1997 she chose to wear it for her last portrait by Lord Snowdon - and with the same necklace she had worn twelve years earlier when she had so memorably danced at the White House. In this last portrait, the thirty-five year old Princess appears self assured, confident and of course dazzlingly beautiful. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christies, 25th June, 1997, lot 79. An additional 5% VAT is payable on the hammer price, this can be refunded if proof of export outside the EU is provided within 6 months of the sale date.

  • USAUSA
  • 2013-03-19
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1972-1973 Julius "Dr

Erving began his professional career in the American Basketball Association with the Virginia Squires and the New York Nets. Widely regarded as the greatest player of his time, he is often considered to have been the main catalyst for the ABA-NBA merger in 1976. A 6-7, 210-pound small forward, he also played for 11 years with the Philadelphia 76ers, leading them to the NBA crown in 1983. In his five ABA seasons, Erving won three scoring titles, three Most Valuable Player Awards and two league championships. During his 11-year NBA career Erving was an All-Star each season, the league's Most Valuable Player in 1981 and a five-time member of the All-NBA First Team. He scored 30,026 points in his combined ABA and NBA career. This blue style jersey was a one year style. We have never seen a common before this, let alone a Dr. J. This jersey is perfect in every way. On the inside back right tail is the "PEARSON" manufacturers tag. Next to this is the wash instructions tag. Adjacent is the “42L -32- 72” chain stitched felt strip tag. Across the front is "VIRGINIA." Below that and on the back is the player number "32." Across the back is the player name "ERVING" on a blue nameplate. All lettering is done in red on white tackle twill. Autographed on the back number in black marker and rates a 9. The jersey shows great game-use and appears to have no alterations of any kind. Acquired through a family friend of the equipment manager with a letter stating this. The autograph is accompanied by a LOA from JSA.

  • USAUSA
  • 2011-05-13
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Princess Diana's fine and rare Emanuel ivory silk moss crêpe evening gown

Princess Diana's fine and rare Emanuel ivory silk moss crêpe evening gown, worn for an Official visit to Bahrain, November, 16th, 1986, labelled Emanuel Special, the draped bodice panel, leg o' mutton sleeves and cockade to one shoulder applied with floret's formed from crystals, sequins and glass beads, embroidered by Hand & Lock (who also embroidered her bridal veil), bust 81-86cm, 32-34in; together with a letter from Elizabeth Emanuel confirming that this dress was a one-off, commissioned by Princess Diana for the 1986 Gulf tour (2) On the six-day tour of the Arabian Gulf States in November 1986, the Prince and Princess of Wales visited Oman, Qatar, Bahrain and Saudi Arabia. The Princess dressed modestly throughout in recognition of the culture and customs of their hosts, although she did not cover her head or neck. Princess Diana was invited to King Fahd of Saudi Arabia's palace, a rare honour for a woman, although she was not allowed to dine with the men. In Oman, the Sultan presented Diana with jewels and Prince Charles with an Aston Martin sports car. In Bahrain, ignoring protocols the Emir met the Royal couple from the plane himself and upon arrival at the palace, their path was strewn with jasmine flowers whilst young girls danced in their honour. In the afternoon they were taken for a trip on the Emir's luxurious yacht. In the evening a lavish banquet was held where Princess Diana wore this sparkling ivory crepe gown, accessorised by the glittering Spencer tiara, diamond and pearl droplet earrings. The Emir later re-counted with delight, a conversation with the Princess, who had asked him what he would think if his son were to marry a tall, blonde English woman? He replied that he would be very jealous! For a film clip of the Princess wearing this dress see https://youtu.be/ZdU1nKqumhU Provenance: Purchased by the vendor from the Chameleon second-hand shop in Hereford in 1996 where she worked as a part time assistant. She had intended to wear it to a hunt ball, but never did, and instead it remained unworn, packed away in a box and consequently is in excellent condition. It was only after seeing press footage in recent years that she realised the significance of the gown stored in her bedroom. She recalls that this fabulous dress was delivered to the shop along with a group of Princess Diana's more mundane daywear and suits by the housekeeper of the nearby Mynde Park estate. The housekeeper, Mrs Brinton, confirms she took this dress into the shop, on 10th July 1996. The chatelaine of Mynde Park was Caroline Twiston-Davies (née Habord-Hammon), a childhood friend of the Princess of Wales, who had married Audley Twiston-Davies of Mynde Park in February 1985 - a year before this dress was made. Princes Diana was a regular guest at the Estate, with a cottage in the grounds specially reserved for her use. In recognition of their long friendship Princess Diana became godmother to the Twiston-Davies' daughter, Antonia.

  • USAUSA
  • 2018-12-10
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AN ATTIC BLACK-FIGURED NECK AMPHORA, ATTRIBUTED TO THE AFFECTER, CIRCA

With broad splayed foot in three degrees, torus molding at its juncture with the body, triple handles, narrow torus molding at the base of the neck, and echinus mouth with fine carination below; the body painted on each side with a young horseman facing right and carrying two spears, the horseman on side A leading another horse beside him, both horsemen flanked by four standing bearded men or gods, the two on the left wearing long decorated chitons and himations and holding spears on side B and staffs on side A, the two on the right comprising, on side A, Hermes wearing winged boots, tunic, chlamys and petasos, holding a kerykeion, and accompanied by another man or god wearing a short chiton and himation and holding a staff or weapon with small curved terminal, and on side B Hermes holding a spear in his left hand, the figure accompanying him (Poseidon?) wearing a long chiton and himation and holding a dolphin and spear; the handle-zones each painted with a youth on horseback facing right and holding a spear, the youth on one side leading another horse and followed by a bearded man wearing a long chiton and himation and holding a staff; an eagle in flight with a serpentine object above each of the four horsemen on the amphora; four bearded men in animated postures on each side of the neck; details in added red and traces of white, echeloned rays and linked lotus buds above the foot, linked lotus buds and alternating red and black tongues on the shoulder, a band of alternating red and black tongues terminating at each end in a spiral below each handle; the underside of the foot with black slant and small central knob painted in red.

  • USAUSA
  • 2004-06-09
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A Gemini G-2C-4 full high altitude pressure suit

Gemini G-2C-4 full pressure suit, approx. 75 inches tall from boot to helmet; inner pressure layer made of neoprene rubber, outer cover layer of white HT Nylon, with pressure-sealing entry zipper running from back of neck down to just above crotch, original NASA meatball patch at left chest, left shoulder with replaced American flag patch, three anodized aluminum umbilical life support outlets, label at nape reads: "SUIT, HIGH ALTITUDE / FULL PRESSURE / G-2C-4 / SIZE KANOWSKI / DATE OF MFG. 8-12-63"; Gloves in white and aluminized (silver) HT Nylon with adjustable lacing, attaching to suit with anodized aluminum sealed rings with sealed bearing (left hand blue, right hand red), label inside each glove at wrist reading: "GLOVE, SPACE SUIT / NASA DESIGNATION GG-2C-16 / DAVID CLARK CO. INC. / P/N ACS 1003  SER.NO. 116 / SIZE CONRAD  DEC 1963"; Boots in white HT nylon with sturdy rubber soles, closing with laces and zipper, plus two red buckle-straps, label inside each boot reading: "BOOT, RIGHT (BOOT, LEFT) / PRESSURE SUIT ASSEMBLY / NASA DESIGNATION GB-5C-9 / MFG. DAVID CLARK COMPANY INC. / P/N A-2482-2 (A-2482-1) SERIAL NO. 509 / SIZE: BORMAN  OCT. 1965"; helmet made of fiberglass and epoxy with movable poly-carbonate visor, sheepskin inner lining, and suede ear-pads, label inside reading: "HELMET, SPACE SUIT / NASA DESIGNATION GH-2C-7 / MFG. DAVID CLARK CO. INC. / P/N ACS 1053  SER.NO.107 / SEAL CURE DATE 10/64 / SIZE [blank]  FEB 1964", attaching to helmet with anodized aluminum ring. Mounted onto custom built archival display stand. AN EXCEPTIONALLY RARE AMERICAN SPACE SUIT, COMPLETE WITH HELMET, GLOVES AND BOOTS NASA policy has always been to give the Smithsonian right of first refusal on all items flown during the US manned space missions. The items that have been the most prized by the Smithsonian are the flown space suits, making it impossible for a member of the public to own one. While it is possible to own an unflown American space suit (or a flown Russian suit for that matter), finding a NASA that is complete is a near impossible thing indeed of those few that we are aware of having come to market, all 3 were cover layers only (A Gemini G1C spacesuit thermal cover layer, with no boots, gloves, or helmet, sold in these rooms in 2018; a Phase 2 Mercury era cover layer with gloves, helmet, and mocked-up boots, sold at Bonhams in 2014; an A5L cover layer with no helmet, gloves, or boots, made for Armstrong, sold at Christie's in 1999). THE PRESENT SUIT IS THE ONLY AMERICAN SPACESUIT THAT WE ARE AWARE OF TO HAVE COME TO MARKET COMPLETE WITH COVER LAYER, INNER PRESSURE BLADDER, HELMET, GLOVES, AND BOOTS. Project Gemini was critical to the objective of landing a man on the moon, and the US astronauts logged nearly 1000 hours of spaceflight during the course of the program. The astronauts were given a variety of different tasks that were not assigned to the previous project Mercury, including conducting spacewalks, and living in cramped quarters for extended periods of time. As such, their suits needed to be adapted to the new program requirements. They had to provide a high level of versatility as the astronauts would have to wear them for 14 days; the suits had to be functional while pressurized, helped the astronauts to maintain a level body temperature, and at the same time provide a minimum level of micrometeoroid protectiona lot to ask of one garment. The first of these type suits by the David Clark Company was the G1C, which was much closer in look and feel to the iconic silver space suit of the Mercury program. The Gemini G2-C, as here, was the earliest of the white space suits to be developed, and was an important step in the development of the iconic A7L suit used by the Apollo astronauts to walk on the moon. The gloves for this suit were originally made for Pete Conrad, who flew on Gemini 5 with Gordon Cooper. He also commanded the Gemini 11 mission during which he made the first ever direct-ascent rendezvous with another space vehicle already in orbit, successfully docking with it only 94 minutes after launch. Conrad was the commander of the back-up crew for the first Apollo orbital flight and eventually commanded Apollo 12, during which he became the 3rd man to land on the moon. The boots for this suit were originally made for Frank Borman, who flew Gemini 7 during which he set a 14 day spaceflight endurance record. He later commanded Apollo 8 which made him, along with his crewmates Jim Lovell and Bill Anders, the first men to ever orbit the moon. Frank Borman is, at 90, the oldest living American astronaut. The main body of the suit itself was made for one of the 5 Air Jumpers, Air Force Chief Warrant Officer Mitchell Kanowski, who, along with the Gemini astronauts, traveled to David Clark Company in Massachusetts to be fitted for their suits. In testing the Gemini emergency launch escape system, Mr. Kanowski, an experimental parachute specialist, exited a NASA training aircraft at high altitude wearing the suit to test the survivability of the Gemini Astronauts if the system was needed in the event of a failure of the launch vehicle at takeoff, the most dangerous part of every space mission.

  • USAUSA
  • 2018-11-29
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*TRULY SUPERB

1) BOSS SXS DBL. SN 7529. (ca 1928) Cal. 16 ga. 2-9/16" Chambers. 28" Chopper lump bbls engraved "Boss & Co Dover Street, Piccadilly, London. England" on narrow swamped game rib. Gun built as part of a true pair, with the number "1" gold inlaid on rear portion of rib, top lever, and forend tip. Bbl flats stamped with London nitro proofs for 2-1/2" chambers. SN are on bottom of bbls. Nicely scaled down case hardened sidelock action stocked to the fence and features automatic safety (SAFE inlaid in gold), bushed striker, gold band tumbler end cocking indicator, and very unusual (for this time period), double triggers. Action is engraved in classic Boss house style wonderfully cut scroll and 19 rose bouquets, and is undoubtedly the work of noted engraver, Jack Sumner. "Boss & Co" is on the front of lockplate. Blued single beaded trigger guard has more rose and scroll on bow, and SN on tang. Well matched nicely marbled and lightly figured European walnut straight grip buttstock measures 14" over checkered wood butt. Classic point pattern checkering with mullered borders, is at grip. Stock also features nicely shaped and attenuated drop points. Gold oval engraved "I. D. S." are on toe line. Matching splinter forend has Anson release, and is fitted with Boss' excellent ejector system. Bore diameter: left -.661, right - .660. Bore restrictions: left - .011 (mod), right - .005 (IC). Wall thickness: left - .032, right - .032. Drop at heel: 2-3/8", drop at comb: 1-9/16". Cast about 5/8" off. Weight: 5 lbs. 12 oz. CONDITION: Exceptionally fine, original as found. Bbls retain over 95% orig blue, silvered at muzzle and around breech end, along with some high edge wear on rib, and a few scattered marks. Bbl flats and breech ends of bbls retain nearly all of their orig polish. Action retains 80 - 90% of orig case hardening color, silvered on fence and bead, thinning somewhat on bottom from normal hand wear. Lockplate retains nearly all of its orig color, tail of plate shows a bit of thinning. Top lever and trigger guard are silvered on high points. Stock retains nearly all of its orig hand rubbed oil finish with a few nicks and dings. Checkering shows light wear, and is a bit dirty, with a 1/2" x 1/4" dent on right rear of the forend. Bores are excellent. Action is tight. Bbl is on face. Ejectors are strong and in time. C&R 2) BOSS SXS DBL. SN 7530. (ca 1928) Cal. 16 ga. 2-9/16" Chambers. 28" Chopper lump bbls are engraved "Boss & Co Dover Street, Piccadilly, London. England" on narrow swamped game rib. Gun built as part of a true pair, with the number "2" gold inlaid on rear portion of rib, top lever, and forend tip. Bbl flats are stamped with London nitro proofs for 2-1/2" chambers. SN on bottom of bbls. Nicely scaled down case hardened sidelock action is stocked to the fence and features automatic safety (SAFE inlaid in gold), bushed striker, gold band tumbler end cocking indicator, and very unusual (for this time period), double triggers. Action engraved in classic Boss house style wonderfully cut scroll and 19 rose bouquets, and is undoubtedly the work of noted engraver, Jack Sumner. "Boss & Co" is on the front of lockplate. Blued single beaded trigger guard has more rose and scroll on bow, and SN on tang. Well matched nicely marbled and lightly figured European walnut straight grip buttstock measures 14" over checkered wood butt. Classic point pattern checkering with mullered borders, is at grip. Stock also features nicely shaped and attenuated drop points. Gold oval engraved "I. D. S." is on toe line. Matching splinter forend has Anson release, and is fitted with Boss' excellent ejector system. Bore diameter: left -.-.661, right - .661. Bore restrictions: left - .012 (mod), right - .008 (IC). Wall thickness: left - .031, right - .032. Drop at heel: 2-3/8", drop at comb: 1-9/16". Cast off 5/8". Weight: 5 lbs. 12 oz. Orig makers oak and leather two gun case with brass corners, has central darker leather shaped rectangle embossed "Mrs. DODGE SLOAN" "LOCUST VALLEY" "LONG ISLAND, N.Y." Case has its orig leather trimmed canvas cover with storage pouch in top, containing leather and canvas scabbard type gun slip cases. Central medallion on cover and ends of scabbards are embossed "I. D. S." Interior of case is lined in burgundy cloth and has large Boss Dover Street card label in lid, Dover Street address has been lined out and over-stamped with later Albermarle Street address in red. Small instruction label relates to ejectors. Case is partitioned for both guns and contains 2-pc rosewood and brass cleaning rod with short handle, 2 pairs of snap caps marked "Watson Brothers", Boss marked square oil bottle, pull through field cleaning kit in black morocco wallet, two brown leather wallets marked "1" and "2" containing spare strikers, as well as an assortment of cleaning mops, brushes, jags, turks head and tow. PROVENANCE: Wikipedia info on Mrs. Dodge Sloan(e). CONDITION: Exceptionally fine, original as found. Bbl retains over 95% orig blue, silvered at muzzle and around breech end, along with some high edge wear on rib, and a few scattered marks. A bit more hand wear shows toward breech end. Bbl flats and breech end of bbl retain nearly all of their orig polish. There is some light staining on breech end. Action retains 80 - 90% of orig case hardening color, silvered on fence and bead, thinning somewhat on bottom from normal hand wear. Lockplate retains nearly all orig color. Top lever and trigger guard are silvered on high points. Stock retains nearly all orig hand rubbed oil finish with a few nicks and dings, most noticeably on left side of butt. Checkering shows light wear, and is a bit dirty. Bores are excellent with some scattered very light pits in right bbl. Action is tight. Bbls are on face. Ejectors are strong and in time. Case leather remains light in color, with some slight compressions and rubs on edges. Outer cover is quite dirty, rubbed. All straps appear intact. Carrying scabbards are fine with some minor scuffs. Interior cloth is very good to fine, with a number of marks, rubs, and soiling from contact with guns and bbls, a few areas are rubbed through. Partitions are solid, accessories are fine. An exemplary pair of small bore Bosses, fresh to the market. 52251-4, 52251-5 MGM44

  • USAUSA
  • 2017-10-31
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A fine and important Elsa Schiaparelli couture

A fine and important Elsa Schiaparelli couture Zodiac jacket, the Astrology Collection, Winter, 1938-39, Paris labelled and numbered 64010, of midnight blue velvet, with twelve magnificent Lesage couched and embroidered gilt strip signs of the zodiac (or glyphs) to the front opening and neck, edged with rhinestones and crimped metal strip, the front panels and rear hips sprinkled with miniscule glass bugle beaded stardust, rhinestone and gold thread embroidered planets and constellations, glass shooting stars with embroidered comet tails, the left shoulder and hip panel embroidered and beaded with the Big Dipper (part of the Ursa Major constellation and Schiaparelli's good-luck emblem), the fabric gently gathered over the hips and held in a vertical band at the centre back, invisibly fastened by gilt hooks and silk-wrapped eyes and lined in blue silk, bust 86cm, 34in, waist 71cm, 28in This is arguably one of the most beautiful of all Schiaparelli's creations with its glittering embroidery, shimmering star-shaped beads and rhinestones set against a midnight blue velvet ground. It would have been worn over a matching bias-cut evening gown. Marlene Dietrich, a huge fan and client of Schiaparelli, ordered numerous pieces from her. She was photographed in her Beverly Hills residence in 1938 wearing the zodiac ensemble with matching dress. The collection was first presented in Paris in August 1938. Schiap was fascinated by the night sky that she used to view as a child through her uncle's telescope - the renowned astronomer Giovanni Schiaparelli, director of the Brera Observatory in Milan. He inspired in her a lifelong fascination with the celestial realm. He commented that the moles on her cheeks reminded him of the Big Dipper which she adopted as her 'lucky star', incorporating it into printed fabrics, the fabric lining her salon, her own personal jewellery as well as on this magnificent jacket. Schiaparelli's press agent Hortense MacDonald stated that the Astrology collection was defined by Euclid's famous geometric treatise - 'Elements'. The lustrous embroidery and superb condition of this jacket, make it one of the most important and beautiful Schiaparelli garments ever to come onto the market. Literature: 'Elsa Schiaparelli' by Palmer White, p.90; 'Shocking: The Art and Fashion of Elsa Schiaparelli' by Dilys Blum pp.188-9.

  • USAUSA
  • 2013-12-03
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April 5, 1972 Complete Elvis Presley Concert Film from...

Recorded only four days prior to filming Elvis on Tour, director Robert Abel captured Elvis Presley?s concert on April 5, 1972, at the Memorial Auditorium in Buffalo, NY. The black-and-white video footage, most likely a last trial run by Abel to finalize camera and lighting directions before principal filming began on the film, was shot on 1/2? open-reel video tape recorded on a Sony Portapak. This offering includes the original Sony V-30H Video Tape reels, which measure approximately 5 inches (12.7 cm) in diameter in their original Sony cases. Also included is a 500 gigabyte hard drive containing a high-resolution (ProRes 422) transfer of the footage in QuickTime format and a Sony 64 Digital Betacam tape master, which measures approximately 5 3/4 by 10 inches (14.61 by 25.4 cm). Also being sold with the physical and digital items above are all of the consignor?s tangible rights in the physical materials (original tapes and recently completed digital transfers) and all of the consignor?s intellectual property rights in the recording. The performance captured an artist in complete command of his form, with Elvis at the peak of his singing and onstage abilities. He?s as engaged and determined as any pro athlete when the whistle blows to start a game, charging into every note with purpose, riding every melody to perfection. There is, of course, still the jovial and playful taunting and jawing with the band and the crowd, but this concert displays the power and grace of Elvis the performer that can often be somewhat lost behind the legend. Highlights include a 5+ minute rousing rendition of ?Suspicious Minds,? a spot-on ?Lawdy Miss Clawdy,? and a moment when Elvis has the lights turned up in the arena to see the crowd just as, right in front of the camera, we catch a glimpse of a security guard stopping an eager fan from charging the stage. The director had to change reels in the middle of the show?the Sony V-30H reels were 30 minutes in length. On Reel 1, Elvis? vamped up, jazzy version of ?Hound Dog? trails off in the 27th minute of recording. When Reel 2 fades in we catch more than two minutes of ?Bridge Over Troubled Waters,? a song missing from most audio collections of this concert. On that note, the audio captured here, presumably right into the Sony Portapak camera microphone, is very high quality and better than any we have heard from this show. Abel started recording The Sweet Inspirations introductory performance for roughly 30 seconds, then he cuts away, then fades in again after 30 seconds or so of ?Also Sprach Zarathustra? (the theme from 2001: A Space Odyssey), both actions presumably to get his camera and audio set and to save as much of the tape as possible for his main subject. The film picks up again just as Elvis makes his triumphant entrance to the pounding rhythm of ?C.C. Rider.? Reel changes and the occasional refocusing aside, the majority of the film records the rest of Elvis? superb performance with a combination of close-up, medium and long shots, as the director started mapping out his moves for Elvis on Tour. One imagines the copious notes about shot length, lighting, angles and other details that would consume a director preparing to capture Elvis on stage. The songs performed include: ?Also Sprach Zarathustra,? ?C.C. Rider,? ?Proud Mary,? ?Never Been To Spain,? ?You Gave Me a Mountain,? ?Until It?s Time For You To Go,? ?Polk Salad Annie,? ?Love Me,? ?Blue Suede Shoes,? ?All Shook Up,? ?Teddy Bear? (with one quick false start) medley with ?Don?t Be Cruel,? ?Hound Dog? (partial), ?Bridge Over Troubled Waters? (partial), &ldq

  • USAUSA
  • 2016-01-08
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