The One

Property from a Private Collection, New York

Property from a Private Collection, New York Princess Diana Ball Dress by Victor Edelstein A dramatic ball dress, in “Infanta”-style, from the Collection of Diana, Princess of Wales. A strapless, evening dress of deep aubergine silk velvet, with a tulip-shaped stiffened skirt, augmented by three paste buttons at the back, designed by Victor Edelstein. exterior bust: 38 in.; 96.5 cm. exterior waist: 29 in.; 73.5 cm. total side-seem length: 52 1/2 in.; 133 cm. interior bust: 33 in.; 83.8 cm. interior waist: 26 in.; 66.1 cm. Autumn 1989.

View 1 of Lot 14: Princess Diana Ball Dress by Victor Edelstein

princess diana ball dress by victor edelstein

Fashion Icons

Princess Diana's Murray Arbeid Evening Gown 1985

Princess Diana's Murray Arbeid Evening Gown 1985 Worn by Princess Diana twice in 1985. First worn to celebrate Prince Edward's 21st birthday at the Midsummer Nights Ball in June, and again to the Worshipfull Company of Fanmakers Banquet, Mansion House in December. Dimensions: Length: 149 cmBust: 42 cmWaist: 37 cmHips: 47 cm

murray arbeid, 1985

L12034

portrait of a lady dressed as diana

L11037

Important European Silver, Gold Boxes and Vertu

de différentes formes, chacun peint en plein d'une scène pastorale ou d'un portrait (Marie-Antoinette, Marie-Thérèse habillée en Diane), un avec miniature sur ivoire d'après la Vénus de Botticelli, signée Borghini, chacun sur un fond en imitation de lapis lazuli, turquoise ou malachite

de différentes formes, chacun peint en plein d'une scène pastorale ou d'un portrait (Marie-Antoinette, Marie-Thérèse habillée en Diane), un avec miniature sur ivoire d'après la Vénus de Botticelli, signée Borghini, chacun sur un fond en imitation de lapis lazuli, turquoise ou malachiteof various shapes, each painted en plein with a pastoral subject or portrait (Marie Antoinette, Maria Theresa dressed as Diana) and one with miniature on ivory after Botticelli's Venus, signed Borghini, each on a simulated lapis, turquoise or malachite enamel ground

dix étuis à cigarettes, poudriers et boîtes, italie, xxe siècle

Half length, standing in a landscape, dressed as Diana

portrait of a lady, said to be mary stuart (1631 - 1660), wife of william ii, prince of orange-nassau

portrait of countess maria aurora von königsmark, (1666-1728)

a half lenght portrait of a lady as diana wearing a pink silk dress

Old Master and British Works on Paper, including Portrait Miniatures from the Pohl-Ströher Collection

Property from the collection of the late Dr Erika Pohl-Ströher (1919-2016)

Property from the collection of the late Dr Erika Pohl-Ströher (1919-2016) Continental School, circa 1680 Portrait of a lady dressed in the guise of Diana Oil on copper, gilt-wood and gesso frame, glazed case 222 by 167 mm.

portrait of a lady dressed in the guise of diana

Important Jewels

Depicting a lady in a landscape, as the personification of Diana the Huntress, in a revealing decoulté dress, with a blue shawl and leopard skin, a bow in her right hand and a quiver of arrows on her back, within an open work frame of flower and leaf decoration, set with circular-cut diamonds, diameter approximately 73mm.

miniature portrait of a lady, continental school, late 18th century

Freddie Mercury: A World of His Own | On Stage

Freddie Mercury's evening suit designed by Diana Moseley, for the 'Barcelona' Video, 1988

Freddie Mercury's evening suit designed by Diana Moseley, for the 'Barcelona' Video, 1988 A two-piece midnight blue slubbed silk dinner suit, cut and tailored by David Chambers’, the single-breasted jacket with pointed lapels in corresponding silk satin, single back vent, jetted pockets and single breast pocket, four satin covered buttons to each cuff, and single satin covered button fastening, with two interior pockets, lined in blue satin, unlabelled; the corresponding trousers with pleated front and silk satin stripe to sides, the waistband with blue satin lining, unlabelled; with an aubergine silk cummerbund and matching pre-tied bow tie, both unlabelled, with a dress shirt, the back and sleeves of blue and black floral-patterned cotton, white double cuffs, the front of white pin-tucked cotton with wing collar, labelled ‘Harrods’; and a midnight blue satin pre-tied bow-tie, unlabelled - a photograph from around 1990 shows Freddie at his 44th birthday dinner, September 1990, at Garden Lodge, seated between Mary Austin and Barbara Valentin wearing this suit with an identical bow-tie (qty 6) ‘Barcelona’ was a collaboration between Freddie Mercury and operatic soprano Montserrat Caballé. The city of Barcelona was selected to host the 1992 Summer Olympics and Mercury was approached to write a theme song for the forthcoming games in the form of a duet with Caballé, who was from the city. Tragically Freddie wouldn’t live to see the opening ceremony, but he did perform, albeit miming, with Caballé in Barcelona at ‘La Nit’ Festival, 8 October, 1988 held to celebrate the arrival of the Olympic flag from Seoul, performing ‘How Can I Go On’, ‘Barcelona’ and ‘The Golden Boy’ wearing the evening suit in lot 267. Both the ‘Barcelona’ single and album were a huge success and Freddie and Montserrat formed a close bond which continued after their collaboration had ended. The suit and burgundy bow tie included in this lot can be seen in the ‘Barcelona’ video, on the 7” single cover, and also on the inside gatefold sleeve of the album in the montage of photographs, along with other notable Freddie outfits including those worn for the videos ‘Made In Heaven’ (see lot 56), ‘It’s A Hard Life’ (see lot 224) and ‘The Great Pretender’ (see lots 254 and 256) and the crown and cape (see lot 58). For the front cover of the ‘Barcelona’ album shoot, Freddie wore the waistcoat and trousers included in lot 269, and the patterned bow tie in lot 2288, and for the back cover of the 12” release, Freddie wears the suit in lot 253, the shirt in lot 2274 and similar fuchsia pink espadrilles to those in lot 238. The blue bow tie included in this lot was worn with the formal navy lounge suit in lot 269 in a photograph selected for the front cover of his eponymous posthumous album, 1992. See lot 2271 for a publicity photograph of Freddie wearing this suit, taken by Peter Hince. LITERATURE Freddie Mercury, The Great Pretender, A Life In Pictures, Welbeck, 2020, pp. 136 - 138 Queen, The Complete Illustrated Lyrics, Backbeat Books, 2012, p. 211 (illus.) Bohemian Rhapsody, The Definitive Biography Of Freddie Mercury, Lesley-Ann Jones, Hodder, 2012, illus. between pp. 232-233 (Freddie’s 44th birthday dinner). SPECIAL NOTICE No right to reproduce or commercially exploit the copyright or other intellectual property or image rights in any lot is included with the sale of the lot (including but not limited to song lyrics, sketches, drawings and garment designs). Queen Productions Limited, Queen Music Limited and other rights holders reserve all their rights. No right to exhibit in public or reproduce this lot is included with the sale of this lot without the prior written consent of Queen Productions Limited, who shall act in good faith to consider any such requests.

View 1 of Lot 261: Freddie Mercury's evening suit designed by Diana Moseley, for the 'Barcelona' Video, 1988

freddie mercury's evening suit designed by diana moseley, for the 'barcelona' video, 1988

Claudia Cardinale : Dressing a Star | Online

IRENE GALITZINE, HAUTE COUTURE, 1960 A black fishnet bustier dress with ruffled skirt Claudia Cardinale wore this model during the Mostra di Venezia in 1960 with the movie's team of Rocco et ses Frères : Alain Delon, Katina Paxinou, Luchino Visconti and Annie Girardot. Later, she has been photographed wearing this model in June 19th, 1982 during the 27th ceremony of "David di Donatello" awards, in Teatro Argentina in Roma with Harold Pinter and Lady Diana Fraser, Pasquale Squitieri, Warren Beaty and Miguel Bosé and Mario Ferreri ----------------------------------------------------------------------------------- Robe courte bustier en résille noire, jupe à volants superposés Claudia Cardinale a porté ce modèle à la Mostra de Venise en 1960 avec l'équipe du film Rocco et ses frères : Alain Delon, Katina Paxinou, Luchino Visconti et Annie Girardot. Plus tard, elle a également été photographiée portant ce modèle le 19 juin 1982 lors de la 27ème Cérémonie des David di Donatello au Teatro Argentina de Rome en compagnie d'Harold Pinter et Lady Diana Fraser, Pasquale Squitieri, Warren Beatty ou encore Miguel Bosé et Mario Ferreri] Please see shipping calculator link: click here. (« Calculateur des frais d’expédition »sous ce lien)

irene galitzine, haute couture 1960, fishnet bustier dress with ruffled skirt | robe courte bustier en résille, jupe à volants superposés

Freddie Mercury: A World of His Own | Crazy Little Things 2

Freddie Mercury’s 'Mad Hatter' top hat and other hats designed by Diana Moseley For His silly hat themed 40th birthday party at Garden Lodge

Freddie Mercury’s 'Mad Hatter' top hat and other hats designed by Diana Moseley For His silly hat themed 40th birthday party at Garden Lodge A collection of hats and accessories comprising: Freddie Mercury’s ‘Mad Hatter’ black top hat, the top of the hat in the form a lid which flips open to reveal a red and pink lurex penis and balls surrounded by multicoloured curled ribbons and feathers, the word ‘Bang’ hand painted in red on a piece of card edged in glitter and the number ‘40’ handmade from silver paper and card embellished with plastic diamanté, the hat band of black and silver material over card, the brim trimmed with black glittery fabric; a group of nine fancy dress party hats comprising Peter Freestone’s ‘Miss Piggy’ hat – the large pink straw hat decorated with plastic pig faces and pink net; Peter Straker’s ‘Chinese Iron Curtain’ hat – the conical hat of stiff woven straw with long raffia strands; a straw boater decorated with a blue ribbon and plastic ivy; a black plastic horse’s head hat; two black and white felt pointed hats; a blue tricorn trimmed with white down; a green felt ‘Robin Hood’ hat; and a broken straw hat; a group of four old hats, possibly used for fancy dress; three pairs of gloves comprising an old pair of brown fur gloves, and two pairs of modern padded gloves; and yellow raffia Hawaiian-style skirt with elasticated waist, labelled ‘COE’, 32 cm. long (qty 18) Diana Moseley, in an interview with Sotheby’s, June 2023, recalled making the hats for this occasion….”Freddie had a huge sense of humour. I remember making all the hats for his 40th birthday party in 1986, each one specifically designed for a member of the family or one of his friends, like Mary, Jim, Joe, Peter and some actor friends. There were joke ones and a trick one for Freddie which nearly broke his jaw because it had an exploding device in it. He found it hilarious. When I arrived at the house with them, it was like giving out Christmas presents. The day before, they had all been bouncing around the house setting up the party, putting hatstands in the garden, as if for the Mad Hatter’s Tea Party. It was a curious sight, but so much fun.” The ‘exploding device’ referred to by Moseley is the mechanism inside the ‘Mad Hatter’ top hat [no longer working] which made the top flip open to reveal the ‘surprise bang’. See lot 59 for photographs of the garden party, see lot 605 for the invitation. LITERATURE ‘Freddie Mercury, The Great Pretender, A Life In Pictures’, Welbeck, 2020 Edition, p.128.

View 1 of Lot 2251: Freddie Mercury's 'Mad Hatter' top hat and other hats designed by Diana Moseley, 1986

freddie mercury's 'mad hatter' top hat and other hats designed by diana moseley, 1986

mid brown patina, the goddess depicted with her hair tied together wearing a classical dress, looking dexter, on a stepped pedestal and rectangular base, signed at the back Houdon Musée du Louvre

With her hunted bow and beasts to her right surrounded by her maidens. Together with a 16th century style Limoges enamel plaque of Psyche, a Renaissance style candlestick decorated with a maiden in classical dress, a Limoges enamel plate of the fall of Phaeton, a Limoges grisaille enamel circular plate of a satyr and nymphs, and a Limoges porcelain plaque of Apollo blessing Achilles on Mount Olympus, all 19th century. 6 items

a limoges painted enamel plaque of diana resting, h.d. after werner, 19th century

this watercolor portrait is of Ann Elizabeth Crehore (1834-1917) of Milton, Massachusetts.  The view behind her looks north toward Boston from Milton Hill and includes a view of the State House and the Park Street Church.  To the right in the foreground is Governor Hutchinson’s house and summer house with the Naponsit River to the left.  According to Carol Damon Andrews in Antiques, July 1981, the bunch of grapes hanging from the tree may refer to the Diana grape raised by Ann Elizabeth’s relation Diana Crehore of Milton and accepted by the Massachusetts Horticultural Society in 1843.

this watercolor portrait is of Ann Elizabeth Crehore (1834-1917) of Milton, Massachusetts.  The view behind her looks north toward Boston from Milton Hill and includes a view of the State House and the Park Street Church.  To the right in the foreground is Governor Hutchinson’s house and summer house with the Naponsit River to the left.  According to Carol Damon Andrews in Antiques, July 1981, the bunch of grapes hanging from the tree may refer to the Diana grape raised by Ann Elizabeth’s relation Diana Crehore of Milton and accepted by the Massachusetts Horticultural Society in 1843. John Ritto Penniman (1783-1841) was a portrait and ornamental painter and lithographer.  Born January 30, 1783, at Milford (Mass.), Penniman married Susannah Bartlett in Boston in September 1805 and worked there as a painter until 1827.  He was apparently on close terms with Gilbert Stuart and may have studied with him. According to Mrs. Little, Ann Elizabeth Crehore was born in 1834 into a family from Dorchester, Massachusetts.  She married Henry Reed in 1860 in Providence and died June 14, 1917 in Roxbury.  She is buried in the Cedar Grove Cemetery in Dorchester, Massachusetts.  This watercolor came from the collection of Charles L. Kaufman, Portsmouth, New Hampshire.

a young girl wearing a brilliant yellow dress with pink hat posed in a landscape with her pet dog and a view of the charles river with the boston state house in the background: a portrait of a.e. crehore ae 1 year & 6 mo.

portrait of a lady as diana, three-quarter length, wearing a blue silk dress and a pearl necklace, and holding a bow and arrow

Old Master Paintings

portrait of a young lady as diana, standing half-length, wearing a red and white dress and pearl jewellery, holding a bow and quiver

18k, nickel lever movement, 16 jewels, bi-metallic compensation balance, micrometer regulator, 5 adjustments, silvered matte dial, applied Breguet numerals, subsidiary seconds, the bezel with stylized pattern of opaque pale and dark blue enamel, the pendant further enhanced with opaque pale blue enamel, the back lid enameled with a polychrome lakeside scene of the goddess Diana with a companion and a hound, the scene with the artist's initials E.V., case, dial and movement signed.

a gold and enamel openface dress watch, vulcain, circa 1925

the young goddess standing and wearing an 18th century style hunting dress and boots, holding a bow and a quiver of arrows, her dog standing by her side, all on a square base

a carved limestone figure of diana the huntress

IRENE GALITZINE, HAUTE COUTURE, CIRCA 1962

IRENE GALITZINE, HAUTE COUTURE, CIRCA 1962 An ivory silk shantung "Palazzo pyjama" with strass and pearl fringes embroidery The « Palazzo Pyjama » embodies the signature piece which made Irene Galtzine famous. “Palazzo Pyjama” is the name given, by the great Diana Vreeland, to this type of evening pant suit ensemble, in the American Vogue of December 1962. Claudia Cardinale wore a Palazzo Pyjama, with bigger embroideries, in the movie The Pink Panther by Blake Edwards (1963), kept in Irene Galitzine’s archives in Rome. The lot we are selling is probably from the actress’s intended wardrobe for this movie. ----------------------------------------------------------------------------------- "Palazzo pyjama" en shantung de soie ivoire, blouse au col brodé de strass, cabochons et franges de perles argentées, pantalon droit Le « Palazzo Pyjama » incarne le modèle « signature » qui rendit Irene Galitzine célèbre. « Palazzo Pyjama » est l’appellation donnée à ce type d’ensembles-pantalons du soir par la grande Diana Vreeland dans l’édition américaine de Vogue en décembre 1962. Claudia Cardinale porte un célèbre "Palazzo pyjama", aux broderies plus imposantes, dans le film The Pink Panther (La Panthère Rose) de Blake Edwards (1963), conservé dans les archives Irene Galitzine à Rome. Le modèle présenté ici provient probablement de la garde-robe du film prévue pour l'actrice. ©1964 Metro-Goldwyn-Mayer Studios Inc; and Geoffrey Productions Inc. All Rights Reserved. Photo ©Ullstein Bild-AP Please see shipping calculator link: click here. (« Calculateur des frais d’expédition »sous ce lien)

irene galitzine, haute couture, circa 1962, silk shantung "palazzo pyjama" | palazzo pyjama en shantung de soie, pantalon droit

Freddie Mercury's two-piece pink suit by Diana Moseley 'The Great Pretender' video, 1987, and western-style shirt

Freddie Mercury's two-piece pink suit by Diana Moseley 'The Great Pretender' video, 1987, and western-style shirt A pale pink two-piece suit of dupion silk designed by Diana Moseley, made by David Chambers, the double-breasted jacket lined in ivory ‘silk’, with two flap pockets and one breast pocket to front, single vent to back, fastening with six imitation mother-of-pearl buttons, with four buttons at the cuff, the trousers with pleated front and concealed fastening, the waistband with striped ‘silk’ lining, both unlabelled; with a western-style shirt of aubergine ‘satin’, with peach trim, two jetted breast pockets and black press-stud fastening, labelled ‘Kenny Rogers, Western Collection by Karman’; and a pair of bright pink canvas high top Converse ‘Chuck Taylor All Star’ sneakers, size 9 (not worn in the video). (qty 3) According to Diana Moseley, this dupion fabric was selected from London department store John Lewis. She asked David Chambers to make up the suit and when she saw it for the first time was surprised that he had chosen to use the shiny side of the fabric rather than dull. She was delighted the outcome, however. ‘The Great Pretender’, originally released by The Platters in 1955, was a solo project by Freddie, recorded in January 1987 and released in February the same year. For the video, directed by David Mallett in February 1987, references are made to previous Queen videos featuring notable Freddie guises, ‘I Want To Break Free’, ‘Radio Ga Ga’ (see Lot 220), ‘It’s A Hard Life’ (see lot 224), ‘I Was Born To Love You’ (see lot 228), ‘Bohemian Rhapsody’, ‘Made In Heaven' (see lot 231) and ‘Crazy Little Thing Called Love’ (see lot 203), emphasising his view of himself as ‘The Great Pretender’. It also featured Roger Taylor and actor and friend Peter Straker, alongside Freddie, as backing singers dressed in drag. See also lot 256 for the backing singer costumes worn by Freddie Mercury, Roger Taylor and Peter Straker; lot 257 for photographs by Peter Hince of Freddie wearing this suit; and lot 60 for personal photos showing Freddie wearing this costume with John Deacon in the futuristic car taken on set during filming. LITERATURE Freddie Mercury, The Great Pretender, Welbeck, 2020, pp. 133 & 134 (illus.) Queen, The Complete Illustrated Lyrics, Backbeat Books, 2012, p.293 (illus.) SPECIAL NOTICE No right to reproduce or commercially exploit the copyright or other intellectual property or image rights in any lot is included with the sale of the lot (including but not limited to song lyrics, sketches, drawings and garment designs). Queen Productions Limited, Queen Music Limited and other rights holders reserve all their rights. No right to exhibit in public or reproduce this lot is included with the sale of this lot without the prior written consent of Queen Productions Limited, who shall act in good faith to consider any such requests.

View 1 of Lot 254: Freddie Mercury's two-piece pink suit by Diana Moseley 'The Great Pretender' video, 1987, and western-style shirt

freddie mercury's two-piece pink suit by diana moseley 'the great pretender' video, 1987, and western-style shirt

CFDA: Defining American Style 

Tory Burch Cotton and Silk Handkerchief Embroidered Dress, 2020

Tory Burch Cotton and Silk Handkerchief Embroidered Dress, 2020 The Tory Burch Spring/Summer 2020 collection was inspired by Lady Diana Spencer and vintage handkerchiefs–an ode to Burch’s mother who collected them for years; a tradition Tory herself now carries on. Diana Spencer’s emergence in the Eighties influenced the delicate and beautifully complex attitude of the collection. This particular gown is 65% cotton, 35% silk, and made of intricately embroidered patchwork that showcases English garden flowers. The dress, which took over 60 hours to complete, features scalloped details to mimic a handkerchief's decorative edge, adjustable crepe de chine straps, pin-tucking, lace, a satin lining, cotton voile and mesh tulle trim. The gown was styled on Jennifer Lopez in 2020 to capture family photos on Labor Day. Dimensions: Length: 104 cmBust: 32 cmWaist: 35 cmHips: 47 cmShoulder to Underarm Drop: 77 cm

tory burch

Books, Manuscripts and Music from Medieval to Modern

Gwen Lally An archive of papers and photographs relating to her and her partner Amabel Gibson: i) Playscripts and other literary works, including an untitled manuscript playscript in a notebook, together with other notes including on feminism; two typescripts of the same play (with the title “Dear Edward” and “Edward Roupell”); four other scripts or acting parts, most in blue wrappers with the return address of Amabel Gibson; typescript notes relating to the Warwick Castle Pageant (1930); manuscript poem (“Flaming Youth”), 2 pages; a group of four typescript poems by Vita Sackville-West and J.E. Flecker probably prepared for a public reading ii) Photograph album of Gwen Lally and Amabel Gibson, c.110 amateur photographs of the couple at home in Kent and on holiday, in costume, posing with cats and other animals, as well as interior and architectural details, various sizes, in a card album (195 x 290mm) iii) c.95 loose photographs including of Gwen Lally and Amabel Gibson, a number showing them in various costumes, some professional portraits (several signed “Belfie”), and many of historical pageants (including Malvern and Runnymede), other actors including Ellen Terry (two signed), Diana Wynward (large signed photo), George Bernard Shaw, Scott Sunderland (signed), some with captions on the reverse, various sizes iv) Vita Sackville-West, four autograph letters signed (“Vita”), to Gwen Lally, friendly letters (“Your car nestles into the garage like a blue-tit. It is warm and safe, and is no more in the way than a kitten in a cathedral”), 1948-50, with an autograph postcard and a large signed photograph (“Chloe and Lally from Vita”) (320x 205mm) v) Other correspondence, c.30 items, chiefly relating to Lally’s investiture as OBE (1954) with letters of congratulation by Sybil Thorndike and others, some also relating to Lally’s play Jezebel being licenced by the Lord Chamberlain (1912) vi) Gwen Lally. Jezebel. London, 1918. First edition, 8vo, original wrappers, signed by the author; with a theatre programme (‘The Insect Play’) and a bundle of postcards vii) Four Lally family letters, 19th century, manuscript notebook entitled “Genealogy of the House of Lally” Gwen Lally (1882-1963) was a playwright, poet, and actor, but found greatest success as a pageant master, organising large-scale outdoor events drawing on the history of locations such as Warwick Castle, Runnymede, and Battle Abbey, from the 1930s-50s. Throughout her life she maintained a carefully constructed image: always dressed in male costume, and often in strikingly archaic dress. The photos included here show her as Edward III, Henry V, a French aristocrat, and in other roles - but her costume when at the wheel of her car, for example, is almost as striking. From the mid-1920s onwards she lived in London and Kent with the actor Amabel (Mabel) Gibson (1887-1979).

View 1 of Lot 337: Gwen Lally | An archive of papers and photographs relating to her life and work, 1910s-50s

gwen lally | an archive of papers and photographs relating to her life and work, 1910s-50s

Freddie Mercury, Roger Taylor and Peter Straker, 'The Great Pretender' Video, 1987, backing singer costumes

Freddie Mercury, Roger Taylor and Peter Straker, 'The Great Pretender' Video, 1987, backing singer costumes A collection of costumes designed by Diana Moseley and made by Jill Thraves for Freddie Mercury, Roger Taylor and Peter Straker, comprising: Freddie Mercury’s red sequin full-length sleeveless sheath dress with side split, bugle beads to upper neckline, the deep v-neck front backed with nude mesh; with a pair of long red satin fingerless gloves and two matching red wigs and a black lace bra, the cups padded with white foam, labelled ‘St. Michael’, size 38C, the care label and maker’s label, inscribed in black ballpoint ‘FREDDIE’ (qty 6) Peter Straker’s two-piece costume of lime green and black striped nylon, the skirt with black fringe and matching bodice, a pair of black nylon sleeves and a black nylon sash ruched in the middle (qty 5) Roger Taylor’s two-piece ‘cowgirl’ costume of purple vinyl, the jacket with white fringing and matching mini skirt; a white sleeveless polo neck top labelled ‘Pineapple’ worn under the jacket (make-up marks around neck and on body); with corresponding wig, a black lace top (unseen) and the blonde wig from his gold costume (gold costume not present) (6) - Freddie Mercury’s black vinyl sleeveless mini dress (vinyl flaking), with a pair of black vinyl lace-up gauntlets (in similar condition);; a black bandeau made of a black cotton strapless bra labelled ‘St Michael’ size 36B covered with a ruched black wet-look fabric; and a corresponding red wig (qty 5) Peter Straker’s two-piece leopard-print nylon costume, the halter-neck sheath with ruched front and matching bolero jacket; with a black vinyl ‘waspie’ with lace-up back and press-stud fastening, a black lace bra, straps removed, the cups padded with white foam, labelled ‘St, Michael’, size 40C, both the maker’s label and care label inscribed in blue ballpoint pen ‘PETER’, and one black wig (qty 5) A red nylon leotard with integral bow tie and black collar with press-stud fastening, resembling a ‘Bunny Girl’ outfit with red ‘spiky’ wig, worn by Freddie to a fancy dress party in Munich (qty 2) Miscellaneous costume comprising:a black nylon sash ruched in the middle an unpadded black lace bra, labelled ‘St. Michael’, size 38C, a short black wig, a short brown wig and a grey/brown curly wig, with 5 original tags for wigs and two ‘Cupid Collection’ wig boxes; and a polystyrene head (qty 12) (qty 41) See lot 60, nos 164-166 for photographs taken backstage during the filming of the backing singer sequence and nos 251 and 267 for photos of Freddie in Munich wearing the red ‘Bunny Girl’ leotard. The extended video for ‘The Great Pretender’ includes footage of Freddie, Roger and Peter getting ready. SPECIAL NOTICE No right to reproduce or commercially exploit the copyright or other intellectual property or image rights in any lot is included with the sale of the lot (including but not limited to song lyrics, sketches, drawings and garment designs). Queen Productions Limited, Queen Music Limited and other rights holders reserve all their rights. No right to exhibit in public or reproduce this lot is included with the sale of this lot without the prior written consent of Queen Productions Limited, who shall act in good faith to consider any such requests.

View 1 of Lot 256: Freddie Mercury, Roger Taylor and Peter Straker, 'The Great Pretender' Video, 1987, backing singer costumes

freddie mercury, roger taylor and peter straker, 'the great pretender' video, 1987, backing singer costumes

Freddie Mercury video-worn outfit for ‘I’m Going Slightly Mad’, 1991

Freddie Mercury video-worn outfit for ‘I’m Going Slightly Mad’, 1991 An almost complete video-worn outfit comprising: A two-piece suit of fine black wool by Antony Price, the single-breasted jacket with narrow lapels, fitted at the waist with jetted pockets, single-button fastening and lined in black satin and a pair corresponding narrow-legged trousers with concealed fastening at waistband and two jetted pockets to the front, both garments labelled ‘Antony Price’ Two large ‘Timney Fowler’ silk scarves, both worn at different times during the video around Freddie’s neck and tucked into his shirt - one ivory and black, the other white and black, the former featuring a central clock face design, the border incorporating various designs and motifs including classical columns, ropes, Greek key and flowers, with hand rolled edges, 82 x 87 cm., seen first in the video, the latter with central architectural designs surrounded by a border featuring a triangular pattern, with hand-rolled edges, 86 x 88 cm. A black satin cummerbund, the front with pleated black and white silk in an abstract design, and labelled ‘Ken White / London’, with two matching black and white silk scarves with hand rolled edges, unlabelled (scarves not seen in video), 142 x 32 cm. A pair of black velvet Church’s ‘Crown’ loafers, the upper embroidered in gold coloured thread with a crown motif, lined in quilted red satin with black and gold ‘Church’ labels, the leather soles stamped ‘CHURCH’ with the size ‘8 ½’ A pair of black leather lace-up winkle-picker shoes with exaggerated toes, labelled inside ‘Loco Mia / Javier / Ibiza’, 40 cm. long, worn at the end of the video A white dress shirt of fine white cotton with stiff wing collar, textured front and cuffs with plastic studs and cufflinks, labelled ‘Turnbull & Asser / London’ in original unbranded cellophane wrapping (not worn in video) (qty 12) ‘I’m Going Slightly Mad’, written by Freddie Mercury (with uncredited input from Peter Straker), was the second single released from Queen’s 1991 album ‘Innuendo’ on 4 March, 1991. The video, directed by Rudi Dolezal and Hannes Rossacher, was filmed in February 1991 at Limehouse Studios and is the last video in which Freddie appears with Queen. His final video appearance was a solo performance of a Queen track, ‘These Are The Days Of Our Lives’ filmed in May, 1991 (see lot 281). According to Diana Moseley, who styled this costume for the video, the exaggerated winkle-picker shoes were purchased by Freddie in Ibiza and were worn to one of his parties at Pike’s nightclub – Freddie greatly admired the local street dancing of Barcelona for which this style of shoe, known as a ‘spinning shoe’, is apparently worn. Freddie also seems to have worn this suit as part of his personal wardrobe as there is a photograph of him wearing it as an evening suit at an event with Mary Austin. See Lot 2309 for the wig worn by Freddie in this video. See Lots 2201 and 2288 for Diana Moseley designed accessories made for, but not worn in, the ‘I’m Going Slightly Mad’ video. LITERATURE Freddie Mercury: The Great Pretender, Welbeck, 2020, p. 140 (illus.) Queen: The Complete Illustrated Lyrics, Backbeat Books, 2012, p.143 (illus.) SPECIAL NOTICE No right to reproduce or commercially exploit the copyright or other intellectual property or image rights in any lot is included with the sale of the lot (including but not limited to song lyrics, sketches, drawings and garment designs). Queen Productions Limited, Queen Music Limited and other rights holders reserve all their rights. No right to exhibit in public or reproduce this lot is included with the sale of this lot without the prior written consent of Queen Productions Limited, who shall act in good faith to consider any such requests.

View 1 of Lot 279: Freddie Mercury video-worn outfit for ‘I’m Going Slightly Mad’, 1991

freddie mercury video-worn outfit for ‘i’m going slightly mad’, 1991

with earlier Spanish barrel (shortened) stamped with the barrelsmith's marks of Juan Santos (Neue Støckel 982, 983), engraved case-hardened breech and breech tang, signed border-engraved lock, figured walnut full stock carved in high relief with foliage about the tang, an eagle above the escutcheon, and a goose attacked by a fox behind the cheek-piece, chequered fore-end and grip, incised and stained in imitation of horn inlay, with scrollwork about the rear ramrod-pipe, opposite the lock, in front of the trigger-guard and the spine of the butt, wooden trigger-guard, sliding patch-box cover, horn fore-end cap, original horn-tipped wooden ramrod, and original leather sling; a German percussion sporting rifle, circa 1825-35, rebuilt from flintlock, with two-stage blued rifled barrel struck with the gold-lined barrelsmith's mark of C.I.Frey (Neue Støckel 397), chiselled lock signed 'I.A.Kuchenreuter', hardwood full stock, gilt-brass mounts, almost certainly from the Kuchenreuter workshop, decorated with rococo scrollwork and involving female figures in mid-18th Century dress, all finely cast in low relief, horn fore-end cap, and associated horn-tipped ramrod; and a German percussion sporting gun signed Heinr: Gottlib Kolb a Suhl, circa 1760, converted from flintlock, with blued two-stage barrel signed in silver, silver 'spider' fore-sight, chiselled lock (hammer screw missing, rubbed), figured walnut full stock (cracks and small repairs), carved with rococo flowers and scrollwork about the tang, on the butt and behind the rear ramrod-pipe, cast and chiselled brass mounts including trigger-guard decorated with Diana the Huntress, horn fore-end cap, and original horn-tipped wooden ramrod

a german percussion sporting gun signed j.moser in munchen,circa 1830

the central figure in classical dress, balancing on a detachable baluster plinth, the oval shaped base applied with the arms, within a rocaille cartouche flanked by floral sprays, applied with four cherubs, on six rocaille scroll feet, the body, silver gilt liner and the central figure marked the Diana mark for Vienna from 1872 (2)

a large impressive austro-hungarian silver jardinière,stamped berndorf, vienna, circa 1900

From Earth to Fire

modelled by Ernst August Leuteritz, formed of three sections, surmounted with Diana the Hunter with two hounds, the base with three gentleman in 18th century hunting dress with their game trophies at their feet, upon a rockwork and scroll base, crossed swords mark in underglaze-blue, incised model number H 877., R. in red enamel, with 5-inch enamel dial signed HRY MARC A PARIS, the similarly signed bell striking movement with outside count wheel and silk suspension, framed within dense bocage,

a meissen clock case, second-half 19th century 

Sir Frederick Ashton. A substantial archive of correspondence and papers, comprising: i) Correspondence: In excess of 300 letters to Ashton by various correspondents including the socialite Ava Alice Muriel Astor (20 letters, 1935-40), the dancer and ballet designer William (Billy) Chappell writing whilst on active service (20 letters, 1943-45), Princess Margaret (6, including one letter thanking him for teaching her daughter Sarah “your dance as Mrs Tiggy-winkle”, 9 June 1971), Dame Margot Fonteyn (c.12 letters, “…thanks for giving the old horse yet another beautiful moment – there will never be another choreographer like you…”, 30 May 1977), Nora Kaye (7 letters, “… John Gielgud and your old love Terry Rattigan got into a bit of hot water by going to an extremely gay party that got around…”), Benjamin Britten (4), Lydia Keynes (6), J.M. Keynes (4), Constance Lambert, Dame Adeline Genée (4), Anna Pavlova, Serge Grigoriev, Tamara Karsavina (6), Leonide Massines, Irina Baronova, Bronislava Nijinska, Sir John Barbirolli,, Kathleen Ferrier, André Derain (long letter outlining the scenario for Harlequin in the Street, 6 pages, early 1937), John Piper, Graham Sutherland, Edward Burra (with a sketch of Bette Davis as Queen Elizabeth I), Vanessa Bell, Terence Rattigan (3, wartime letters), E.M. Forster, John Betjeman, Isiah Berlin, Peggy Ashcroft (praising his ballet of A Month in the Country, 1978), Lady Diana Cooper (6), and Clarissa Eden (“…Lucian [Freud] seemed very restless. I hope his evening resolved itself somehow…” 6 June [1956]) ii) Two notebooks: ballet notebook, with outlines and other notes relating to “Don Juan”, “Symphonic Variations”, “The Fairy Queen”, “Cinderella”, and others, in pencil, c.40 pages, plus blanks, 1940s, 8vo, wrappers; ballet and miscellaneous notebook, c.320 pages, 16mo, c.1940 iii) Group of ballet scenarios and notes by Ashton with contributions by Constant Lambert and others: Ondine (autograph draft, corrected typescript, final typescript); Macbeth (typescript, with related letter); Madame Chrysanthème (corrected typescript synopsis); Sophia (typescript synopsis and notes, 1956); Prometheus, Tiresias, Homage to the Queen (notes) iv) Other manuscripts and ephemera: autograph manuscript obituary of Ida Rubinstein (1960); two signed contracts (with the Ida Rubinstein troupe, 1928, and Diaghileff Ballet, 1930); ephemera including a signed menu and a poster v) Photographs: vintage prints of the young Ashton and friends (punting, posing on a beach, etc.); two framed photographic portraits of Ashton by Cecil Beaton, both signed by the photographer and with the photographer’s stamp on the reverse, c.230 x 180mm, framed (455 x 375mm); promotional headshots of dancers; album of theatrical photographs including stage set designs and a series of photos of Dame Maggie Smith vi) Carl Tom, stage designer, papers: folder including a series of six photos of Antony and Cleopatra with Peggy Ashcroft and Michael Redgrave, 1953, with facetious captions; faxes (retained originals and received copies of faxes sent to Jack and Flora Bazant); print-out of notes on a meeting with Samuel Beckett prior to a production of Waiting for Godot, 6 pages vii) Jack and Flora Bazant papers: folder, including a series of letters in support of London Ballet Studios scheme of 1978 (adopting a warehouse in Covent Garden) from, among others, Sir John Gielgud, Yehudi Menuhin (Chair GLC), Joan Plowright, Sheridan Morley, Elaine Stritch, Antoinette Sibley, Dame Alicia Markova, Rt Honourable Lord Harewood, Dame Eva Turner, Wayne Sleep, Alec Guiness, Derek Nimmo, Wendy Hiller, Anthony Dowell, David Lazer, Christopher Bruce, and Beryl Grey AN IMPORTANT ARCHIVE OF THE GREATEST BRITISH BALLET CHOREOGRAPHER OF THE MODERN ERA. This archive includes Ashton’s working notes on various ballets, which provide a unique insight into his working process. The correspondence is also extremely revealing of Ashton’s work – ballet being, after all, an intensely collaborative artform – as well as his social milieu - dancers, artists, performers, socialites, and even royalty (he had a particularly good relationship with Princess Margaret, as her letters to him demonstrate). There are letters discussing artistic collaborations from composers including Benjamin Britten (“…I think the oboe pieces would make a delicious ballet – if they aren’t too short - & if you could find a way of excusing (as it were) the accompaniment being only a solo oboe…”), and a number of leading artists. André Derain, for example, provides a detailed conception of a collaborative ballet, whilst Graham Sutherland writes somewhat ruefully about the response to his set designs for The Wanderer (“…The press seems […] a bit shocked & outraged by my designs…”, 31 January 1941) and Vanessa Bell enthuses about the possibility of working together (“…There’s nothing I should like better than to do a whole ballet for you…”). There are of course many letters by leading figures in the world of dance. Anna Pavlova writes praising his work in 1931, near the beginning of his career as a choreographer, whilst towards its end comes praise from Margot Fonteyn (“…thanks for giving the old horse yet another beautiful moment – there will never be another choreographer like you…”, 30 May 1977). The socialite and heiress Ava Alice Muriel Astor provides a particularly important correspondence. The two were lovers in the mid-1930s, despite Ashton’s homosexuality, and these letters show that Astor remained devoted to Ashton even after the end of their physical relationship. Many of her letters were written when she was back home in New York and they include news of ballet, theatre and the arts in the city, especially as it concerned mutual friends (“…Cecil [Beaton] is in trouble & lost various jobs – one to do costumes for the Mercury theatre three Harrys, of Shakesp: & he has had to resign from Vogue – because anti-Jewish & anti-Hollywood insults scribbled round a page of Vogue. It was not noticed till all was published & a terrific storm burst over Cecil for his sarcasms…” 8 Feb 1938). Other letters were written from Astor’s rented summer home of Schloss Kammer in Austria (“…life here has turned into a sort of mad ballet, everyone whirling through wild emotions…”, 14 August 1936), until darkening politics made visits to Austria impossible (“…Eleonora [von Mendelssohn] […] wants to sell Kammer now, as Hitler is imminent in Austria…” (20 January [1938]). The Second World War features prominently in the correspondence. Ashton was called up for military service, as were almost all of his peers in the ballet world. William Chappell, a dancer and designer who had worked closely with Ashton, provides a fascinating insight into theatrical performance within the armed forces, as he put on shows as part of British forces moving from North Africa into Italy (“…We perform one night in a marble hall – the next in from of a lorry – bump and shiver along the bloody roads – and sometimes its satisfactory and sometimes its just very dull and thankless work … We have no costumes no props. All dressing up is done from 3 lengths of material 1 yellow – 1 red 1 blue – 3 cotton frocks – some old Arab hats, and a sports jacket…”, 27 Nov 1943). It was nearly as hard to keep the world of professional dance alive on the home front, as Constant Lambert complains (“…I have made myself a positive nuisance in the theatre trying to see that your ballets are done as well as possible … But naturally there are certain works of yours that can’t be done now except in an altogether inadequate manner…”, 17 December 1943). The distinctive wartime homosexual subculture is alluded to in wartime letters, most flagrantly (given that his letters were passing through the censor) by Terence Rattigan, who was serving in the RAF. Rattigan begins his letters with greetings such as “Dear pirouetting pisspot” and “Dear Overacting Pilot Officer”, complains that “your letter has only just arrived, incidentally, after having gone to the Air Ministry where it was almost certainly read by hordes of horrified clerks who will never go to the ballet again”, and expresses his wish that “you were in love with me, in the same rear turret. I’d forgive your not being nineteen, simpering and half-witted”. This is an important and substantial archive of papers relating to one of the greatest figures in the history of dance of the 20th century, and is seemingly unknown to scholars and biographers. PROVENANCE: ? Carl Toms (d.1999); Jack and Flora Bazant (d.2022)

View 1 of Lot 118: Sir Frederick Ashton | Archive of correspondence and papers, 1920s-80s

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