But Ryan quickly learns being a darkness dungeon isn't all loot and bone puns. With a necromancer on the rise and the Adventurer's Guild watching his every move, he must prove that not all darkness dungeons are malevolent Sadly, all of these issues keep distracting him from his own guilty pleasure, skeletal fight club. But don't tell his fairy about that. Enjoyed some of the jokes throughout the book. Follows the formula fairly well minus a few twists. The MC is a lot less bloodthirsty than most of the other books in this genre, which is fine.
It seems to make the story more bland at times. My main issue is how reactive the MC is. All the other positives, like the fairly enjoyable characters, are cancelled out by the MCs passivity and lack of ambition. A well balanced book, Bone Dungeon is a great recommendation for someone looking for their first book in the genre. New concepts are introduced slowly and only as they are needed, like a good puzzle game would do.
Bonomi 1 Dr. Sadie Allison 2 Dr. Scott Curtis 1 Dr. Sheri Keffer 1 Dr. Sherrie Campbell 1 Dr. Siri Sat Nam Singh 1 Dr. Sithembile Stem Mahlatini Ed. Solomon Katz 1 Dr. Steve Peters 1 Dr. Stuart Shanker 1 Dr. Sue Johnson EdD 1 Dr. Suzanne Best 1 Dr. Tian Dayton 1 Dr. Tim Cantopher 1 Dr. Tim Clinton 1 Dr. Tommy S. Wong 2 Dr.
Virginia Wade 1 Dr. Allison Peers 1 E. Edinger 1 Edward Franco 1 Edward J. Renehan Jr. Hallowell M. Botchis PhD 1 Elizabeth J. Hooks 1 Emily J. Holmes Atwater 1 F. Benedict J. Sheen 1 Fumitake Koga 1 G. Brian Benson 1 Gabriella R. Douglas 2 Gary M. Pomerantz 1 Gary Phetteplace 1 Gary R. Austin IIJulius A. Austin 1 Gerald Epstein 1 Gerald G. Jampolsky 1 Gerald G. May 1 Gerard I. Brame 1 Gloria Hash Marcus M. Jackson Brown 1 H. Norman Wright 1 H. Kushner 1 HarperAudio 2 Harriet B.
Calero 1 Henry T. Book 1 Howard F. Batie 1 Howard J. Smith 1 I. Alan Appt 1 I. Robledo 1 Iain S. Cohen Ph. D 1 Ilene S. Budziszewski 1 J. David Miller 1 J. Packer 1 J. Ruth Gendler 1 J. Garrett 1 J. Benoist 1 J. King 1 J. Raven 1 Jack O. Rang 1 Jaeleen Bennis 1 Jahkari H. Petersen 1 James C. Dobson 2 James C. Hunter 1 James C. Nicholson 1 James Cofield 1 James F.
Masterson M. The only band looking for who else was doing that and someone that have taken that forward is Radiohead. All these bands can recommended Yes. I got Relayer, which I bought write a pop song but what happens when you go beyond that?
Our manager was a very naughty man but we lived to tell the tale. What about the track Kenny? We knew a Kenny at school who went on to play professional football. He played on the fields and waste grounds of old Swindon and nurtured his imagination there. The bungalow where we lived has gone too. Not anymore. Scatter Me sounds light and fun, but is quite heavy? I think it sounds uplifting. Scatter Me also comes from a lovely walk I do outside Swindon.
It was a shock. Expected, but a shock. O betrothed to the old one in a way. I went into tailspin for a couple ut of the spotlight since XTC broke of years, wondering what the fuck I was going to do. I missed the human himself back in music business at connection. I had a phone call from Dave Gilmour and he said, Music — it was time for a catch-up with the celebrated bassist. So [Laughs] I suppose the name is with Withnail in mind.
Terry had been married and living in Australia, but divorced and came home. It was quite well-received. Yes, it was recorded in my music room and very hands on. When And for a bass hero, Chris Squire? We were working on Oranges flying this plane. He stood in the doorway, this imposing figure, nodding his head. It was slightly off-putting, but I bore it as best I could.
The DIY world explodes they can walk away from it with some dignity. It takes is really nice, though. We had the CD out then the pressure off, you can be anyone. Oh, alright. So we are. You go to the record company with the idea and their face just drops. Comrades Of The success of The Dukes was a shot across their boughs, though. See www. A lot of tc-and-i for more information. He did a great job, but been a band Hemispheres certainly deserves a louder do you celebrate the 33rd anniversary for as long as commemorative cheer than most, even of anything?
I saw somebody the three musicians to the limit of their gargantuan anniversary loomed over posted a celebration of the 33rd abilities. In fact, Hemispheres is often the horizon. Well, thank you very as they arrived in the spring of records, but arguably the one that much!
Recently reissued nice to hear it played on just acoustic of ideas to contemplate taking a rest. When we arrived in Wales we were psyched, we were excited, but at the same time we were not super well prepared. H a difficult album to make is arguably well-founded. It is perhaps indicative of exactly how potent the chemistry was between the trio at this time, that being woefully underprepared seems to have pushed them to unexpected new heights.
Rush in May Usually those songs would point us we were working on at that time, for sure. It was just a matter of fleshing it. So we decided that we needed one more song for Hemispheres, Neil had these Circumstances lyrics, and it became a great opportunity to do something different. A deceptively spiky tale, this disquieting fantasy about oaks and maples competing for the sunlight is an unlikely anthem, out. He was probably more prepared particularly given its rather unpleasant lyrically than we were musically.
Alex denouement. Spoiler alert: the oaks and I were really playing catch-up. But at a time when Rush Studios, and the engineer was a lovely were significant figures in the rock guy. I loved Circumstances, in particular, hinted the textures and the changes.
It just strongly at another possible direction turned into one of our classic songs, for these young masters to pursue, I think.
Surprisingly, I still hear it while giving them a much-needed a lot travelling around America. Did I know what the fuck Jon Anderson was talking about most of the time? Does anyone? Does Jon? It should be communal and international in a way.
It should be open to interpretation. Did I know process. We really wanted to record it all in one go. I remember writing it was great fun because the whole inspiration was, of course, these crazy dreams that Alex used to foist upon us every morning at breakfast. You can almost hear them grinning as they switch moods and tempos on the head of a pin. All of that is free and open to you. Is that close to the truth? So we settled for doing it in four pieces.
We divided it into four, focused on those and then used the good old magic of editing tape to stick them together into one cohesive piece. Those were the days before click tracks and that digital, metronomic attitude towards putting music together. So it was very much down to how you felt in the moment. O week excursion to Rockfield, the Hemispheres sessions steadily turned into a much lengthier mission for all concerned. We really and the efforts required to perform crazy foot pedal system, kind of Hemispheres was had a lot of fun working there, but three incredibly gifted it properly and to various technical a version of MIDI before that existed, young musicians the hours were getting later and later.
We got some again, going to sleep as the birds were magnum opus together. When I came to record the vocals, of course, it was all in a very difficult key and it really pushed my range.
That made me a very unhappy puppy! Unfortunately, I gave our producer Terry Brown a very rough time while I was recording, because I was so frustrated. I was in that vocal Choose Your Weapon: Alex Lifeson booth at Advision trying to hit those during rehearsals at Shepperton notes over and over again, trying to Studios, Surrey, in April It was really up there! Whatever we wrote, he than aware of what to expect.
I mean, you need of course, question arrangements and something to complain about, right? But I think we were okay there. I think did that with every song. They behind his beloved kit typical for Great Britain, right? At any were things I was still learning when during soundcheck at had other people coming in, so we the Gaumont in We have very Can you still hit those notes, 40 at Advision [Studio].
We used that fond memories of Kingsley [Ward], years later? Famously, Neil Peart introduced their in-house tech who was Absolutely. When we went out on the a gong into his percussive arsenal on desperately trying to help me to R40 tour, we realised we were going Hemispheres. Meanwhile, Lee was fix my technical issues.
Added to the intricacy of the to tape, Rush abandoned their Rockfield in the stratosphere. We wanted to record the songs they were making, the atmosphere in it at rehearsals, yeah, I could hit those in long pieces. Cygnus Book II was an the studio was undeniably tense: not notes and I managed to do it for the adventurous piece of music to play the ideal environment for hitting some whole tour, so I can do it if I rehearse. Rush album. That surprises me!
So it has become iconic in responses to start trickling down to a way, for our band, as a representation them. As far as they were concerned, of our most complex period. We had no idea. I knew it But while history may remember would be a tough sell to radio, because Hemispheres as a moment of transition, these pieces were so long.
It freaked people out. I had ideas of where I wanted us to go. Songs like The The brains were not received well by all, Trees and Circumstances pointed in that direction. I wanted to be able to accomplish many more musical ideas over 25 minutes, you know? H October 29, , resplendent in its none-more-prog artwork, courtesy of regular Rush collaborator nowhere and delivered with ageless, life-affirming enthusiasm.
He was really into Hemispheres 40th Anniversary Edition that whole thing, what the songs were is available now in three versions of Super trying to say and how that should be Deluxe, 2CD Deluxe and 3LP Vinyl.
One was a ballet dancer and the other guy, I think, was a bank robber! The brains were not received well Above: Geddy Lee at business. Anniversary Edition is a must-have for fans. The an Irish showband.
When I got it, salesman in the shop told me it was workhorse I opened the case and you could smell and I could rely on it, and he was right. I played Guinness and cigarettes. I love that bass. Then when I got my first record deal, turned into a massive bass guitar nerd. But I was never greatest bassists, the Rush frontman has a collector of basses. For me, for the longest largely regarded his instrument as a means to time, basses were tools.
All that has changed, mostly look at their instruments as tools first. Bill Wyman was the same, always restless. To begin with, I was looking for the Bruce? But in the last eight or violin bass like Paul McCartney? So trusty Fender Jazz. So being the completist kind of dude that I am, I decided to do a book where I brought these things together and showed how beautiful they are to me and try to get other people to see how beautiful they are, too.
Obviously the guitar nerds and the people I chitchat with about basses, they know most of this stuff already, but by virtue of who I am, other people are going to come to this book and be interested, perhaps.
So I felt I owed it to them to tell certain stories and to do it in an unobtrusive way. The pictures speak for themselves. The book also provides great insight into the musicians that influenced Lee in his formative years. So to me, these not a Cavern. A true Cavern has to have basses represent the artfulness of the middle certain specifications. So that was one of the of the 20th century. They represent the people hardest basses for me to find. And that to me is pretty cool. Where many books about musical.
It was so enjoyable. It was the biggest surprise to me, how much fun I was having talking to people in their homes and studios and so on. They have a very good bass player in Wilco, John Stirratt, but he was away at the time. Having not dabbled with many different makes or models over his time in But I have no idea what form that will take. Rush, Lee has clearly taken to his new hobby with something approaching rabid alacrity. Lee is be loving every single nerdy second of it.
I hoped to achieve, with comical asides. It was great fun to do. Why would he do he continues. I had to cut I like to keep my fingers in shape. When I play, that? When I go back to them, taking a bunch of basses with me. Sometimes we them.
Once now via Harper Design. Turn to page 26 for your look under the hood. But I have no idea and www. S ome albums are long in the making and well signposted, while others are not. Waber pointed out that festival at Loreley in Germany. I found it interesting.
Sometimes trying to make sense of everything. Everyone experience for me. But long-time Flower Kings have churned their way through Kings keyboardist Tomas Bodin is The Sea Within: still drummers in particular over the years conspicuous by his absence and Stolt very much afloat. The supergroup got off to a less than auspicious start when they has frequently not been his. I always out that well on the last few albums and Casey McPherson has apparently permanently replaced wanted to be in a band like The Beatles.
Sometimes you work Together with some mixed reviews for their eponymous debut or Sgt. Money keeps the band really well together, sometimes not. You should has been far from plain sailing.
And in this particular OK. We could feel the chemistry. I think we can solidify and owner and CEO, with all the other Stolt appreciates that Bodin remains build up momentum.
Also, once we Nevertheless, and notwithstanding hearts. Tomas Sea Within undertook prior to performing at Loreley. Flower Kings. Frankly, I wanted to tour just as Roine Stolt. Well, I wrote all with that. This romantic idea of a band worked for some years worked with before. But The Flower whatever I want and play with whoever I want. That situation now Kings has never been a band like The Beatles.
The Flower Kings has feels more exciting for me. If I lose a lot of of playing with certain people. I have to follow my heart and do what money on a tour, the other guys walk out with money. I have nothing.
After all, music which flings the listener past several moons and planets should, where possible, be created in far- flung destinations, and since guitarist Tibor Gede had a Hungarian passport and connections there, it seemed a good choice.
The band spent almost two months living like locals and absorbing their environment while working with esteemed noise rock producer and Thurston Moore collaborator Daniel Sandor. The result was an album that pushed boundaries and expanded on sonic conventions as insistently as the very edges of space. Instead, they ended up decamping in Athens. Also a band called Mother Of Millions, who have a big carnival influence, and Villagers Of Ioannina City, who mix 70s prog with stoner rock and Greek traditional instruments to make this weird ancient fusion.
There are some great bands in Athens. Athens, however, turned out to be quite a different experience. We saw stabbings on the street, drug deals and homeless refugees. We were next to this strip where all the sex slavery was. In turn, the And it seems to have been worth it: The Moon their passports taken off them and were forced writing process affected myself and the other Has Fallen is a triumph. With kaleidoscopic colours and extreme negative energy.
There were a lot of to Gede, he chuckles, shaking his head. One day our singer comically poetic. After years of financing us to do this. We were around so much dark Semkina from Russian duo iamthemorning to and do tours where we played night after night energy that it got into our psyche We had to do it.
Looking back on it, needing to finish the record to a clock, which play music anymore due to tinnitus. The one principal songwriter. We decide on everything really came to the surface on that balcony. It takes a long time to John has now resumed vocal duties although is your singer, and we still did the tour, we work things out.
We learned that you could spontaneous in the studio. With the label celebrating their 10th anniversary this year, Goliath respectively. Prog delves into their story. But there was another, less heralded release that would prove to be a landmark for different reasons.
The previous six had come out but neither was it shaping up of late-career disarray Yes. T Progressive Rock Label is almost as old as progressive rock itself. Harris is a music industry veteran whose time on the frontline stretches back to the s. At the time, Harris, hitter for Kscope. All of our listings are Goddess Women who are bringing their creative energies to their own businesses. What better way to support our Goddess Community than to support these and other small businesses?
S2 Stationary and Design by Sara Stroman. Gail Jessen Designs — amazing talisman jewelry! Kent Warner had the reputation among collectors of having only the best, and he saved the best pair for himself. The slippers remained in Warners personal collection for more than a decade until he sold them in Author Rhys Thomas recently commented on this particular pair of slippers stating, theres no question in my mind that they are the crme-de-la-crme of all ruby slippers.
One cannot find anything more desirable than these prized Ruby Slippers. They are alive in the hearts of hundreds of millions of people in America and around the world.
MGM, Adrian-designed Munchkin Soldier hat of green wool felt detailed with gold bullion decoration, top-mounted feathers and original gold roping chin strap.
Interior handwritten markings are Billy Curtis with his name crossed out and Chas Kelly [sp. Both Billy Curtis and Charles E. Kelley are known little people who worked as Munchkins in The Wizard of Oz. Exhibits a few tiny moth holes; otherwise, in remarkable condition. MGM, Adriandesigned Munchkin Soldier jacket with lengthy coattails, fashioned of bright yellow and green wool felt and ornamented with gold bullion on the chest, shoulders, sleeves and on the rear of the collar.
Interior Metro-Goldwyn-Mayer label with handwritten The costume personifies the painstaking attention to detail employed during the production of The Wizard of Oz. In Very fine condition. Reminiscent of Adrians costume designs for the production, it is quite likely that the prop department created the spearhead based on Adrians design.
Spearhead measures 30 in. Staff exhibits scuffs; otherwise, Very good condition overall. An incredible artifact and instantly recognizable prop from the film. In , a very young Kevin Bradigan went to work for his favorite personality in the entire world, Judy Garland. He made a special effort to find an example of the sheet music for Over the Rainbow which lacked graphics, so it could more visibly be autographed by her to him.
When she performed the requested signing for her new assistant, she accidently spilled a little coffee on the aforementioned, not easily replaced sheet music, and to make amends for her error, signed her birth name, Frances Gumm as well, which is an extremely scarce autograph in its own right. Accompanied by facsimile photos of Bradigan with Garland, and of other signed items for comparison.
Sheet music is complete with minor edge chipping and slight darkening of front cover. While it is one of two Lion costumes known to have been made for and used in the production, it is specifically attributed to having been worn by actor Bert Lahr in some of the most memorable scenes of The Wizard of Oz, including when the Cowardly Lion first meets Dorothy on the Yellow Brick Road and sings If I only had the Nerve as well as when he later sings his trademark, If I were King of the Forest in the Emerald City.
James Comisar, a noted specialist in preserving top-tier cultural materials, supervised the preservation effort: We knew only the best would be appropriate when caring for an icon as indelible as the Cowardly Lion, so we assembled a team of experts who conserved the costume at the Los Angeles County Museum of Art.
Herbert Lahr, the son of actor Bert Lahr, had a strong resemblance to his dad and allowed us to mold his face because the Cowardly Lions original foam rubber make-up appliances did not survive. Optical-quality glass eyes that capture a faint sparkle of the Yellow Brick Road were also created and metal whiskers and acrylic teeth add further realism to a newly sculpted head; a wig and flowing mane were created using Italian human hair, and thousands of hair strands were painstakingly hand-tied into a Max Factor lace foundation in the same manner used by MGM Studios in the s; and a contemporary pair of the Cowardly Lions footwear was meticulously rendered out of lion hide and toned by art conservators to match the screen-used pair.
William Stillman, a well-respected Oz historian who has co-authored numerous books on the film, states in a letter that this costume is authentic wardrobe worn by Lahr in The Wizard of Oz, and a full-page photograph of this conserved costume appears in his book, The Wizardry of Oz The Artistry and Magic of the MGM Classic. This costume has also been the focus of documentaries produced by The Learning Channel, The History Channel, and has appeared on The Oprah Winfrey Show; and in recent years it has been in the possession of a renowned cultural archive that has maintained it to the highest standards.
The Cowardly Lion costume is now presented in front of a painted canvas backdrop of the rolling hillsides that lead up to the Emerald City that was created by Disney artists as a freestanding installation, and the mounted costume and environmental elements are housed in museum-quality shipping crates.
According to the American Film Institute, The Wizard of Oz is the 1 fantasy genre motion picture of all time, and the Cowardly Lion certainly stands as Hollywoods most regal and enduring icon of courage.
Brown, Wm. Cannon, Jack Leonard, Pop Arnold, and 15 others. Front endpaper, which contains the primary signatures, also has detailed pencil drawings of the principal characters linking them to their signatures. All in all, a highly personal, remarkable, and most certainly unique artifact from what many film lovers consider to be the greatest film of all time.
Front cover and several of the 8 color plates are wavy and lightly dampstained, and signed pages exhibit scattered foxing; all corners are bumped and abraded, a well-used copy, still Good to Very Good.
Together with Jack Haley Jr. From the estate of Jack Haley, Jr. Proceeds will benefit low income children in all of rural northern Minnesota who generally do not have access to out-of-the-classroom learning enrichment programs found in metro areas.
Three sets of full orchestral autograph manuscript musical arrangements created for Judy Garland, and from her personal property. All are primarily calligraphic-pen longhand originals, with some mimeo pages yet even these have pencil-corrections in arrangers hand.
Accordion-folded in varying lengths Garden Medley is over 1 thick and representing a wide variety of instruments for each song. An exceptional archive of very personal artifacts from Judy Garlands professional career.
Her Los Angeles area address is listed as Cedar St. Measures approx. MGM, The first issue of a cast-recording soundtrack album for this great film is in the form of a 78 RPM 4-disc set in illustrated opening covers. This example was Judy Garlands personal copy and is attributed as having been in her possession since approx. This is the only release we are aware of which contains the deleted musical number The Jitterbug as the album was prepared and distributed while filming was still wrapping up.
Discs are in relatively nice condition for their media, with some original shine remaining, and only normal wear and handling, and appear to remain playable. Spine is nearly completely separated though still entirely present, and illustrated covers are worn at edges though quite presentable overall.
A charming and perfectly appropriate artifact from the collection of this unique artists personal and professional life. MGM, Worn by a resident of Munchkinland one of the tallest judging from the size, though styled to hang to the floor , this heavy green wool-felt coat is trimmed in orange and yellow felt and studded with large circular silver buttons, and the inside of the coat is fully lined with pale green linen.
There is a Munchkin actress with last name Robinson so this could conceivably be for her. According to Jay Scarfone and William Stillman in their Wizardry of Oz,Adrian determined to maximize the slight stature of Ozs smallest actors by elaborating their proportions with voluminous sleeves, huge vests, and oversized jackets.
Scattered minor moth holes, and top edges of both shoulders and outside length of left sleeve are somewhat sun-faded, though can be re-dyed if desired. Very light sunfading to top edges of shoulders, else Fine as screen-worn. She reportedly kept the award on prominent display in her library throughout the remainder of her life, and it was acquired by the museum directly from her third husband, Sid Luft.
Sterling slightly tarnished, else Fine. Apart from two Golden Globes and her juvenile Oscar, this is arguably the most appropriate and well-deserved award of her fascinating career. Of special interest is Miss Garlands personal printed Ex Libris bookplate inside front cover. Spine is separating though still intact, and many of the paste-downs show adhesive staining, though all remain legible and highly presentable. An exceptionally personal glimpse into this legendary performers life and career.
Christie in the biopic of songwriter Stephen Fosters life. Designed by Royer, this rather flamboyant three-piece evening-symphony blue and grey houndstooth-checked suit is the perfect look for the character.
United Costumers labels inscribed Al Jolson; slight wear on right shoulder, else Fine as screenworn. Howard Shoup, whose costume design for film and television spanned over three decades, was a favorite of Judy Garland and she chose him to create the gowns for her eponymous television variety show in the s; this ecru stretch-satin long-sleeve flapper-style sheath dress with matching H.
Jablon Furriers off-white fox jacket is a classic example of his work. Acquired indirectly from his collection by the Judy Garland Museum, and was created specifically for Miss Garland, likely for use on the television show. Excellent original condition with only a few tiny stain spots in lower skirt hem. This jacket is the principal element of Stewarts wardrobe for the first 40 minutes of the film, from his arrival on the stagecoach, through breaking up the legendary cat-fight between Dietrich and Una Merkel.
Circa s metal post road sign featuring the Columbia Pictures Corporation logo, Columbia, the feminine personification of America holding a torch aloft and wrapped in the American flag. Painted in gold, black and white and measuring 19 in. It exhibits a patina indicative of its age and years spent outside showing some oxidation, scuffing and abrasion, slight bend at the left edge; otherwise, condition remains Very good. Four mounting holes for attachment to post.
A wonderful studio relic and an impressive display piece. Rains in fact nearly steals the show from action star Errol Flynn. Worn separately by Rains both early and late in the film he wears more elaborate royal-court versions through middle of the film. Cape bears Warner Bros. Satin inserts in pants are separating and waistband is somewhat dingy, and cape exhibits scattered minor stains. MGM, Heavy black-wool military-styled jacket with red piping, worn by James Stewart as a Nazi-resistor in The Mortal Storm, most notably as he volunteers to brave the elements and dark to lead a persecuted professor to safety across the Austrian border.
Velour on collar is threadbare, though otherwise excellent condition, virtually as screen-worn. Royal Navy military jacket has different sleeve-lengths as well, for Oliviers character later in the film after losing an arm in a sea battle lengthened sleeve bears a red bow to signify the loss. Accompanied by three Warner Bros. COAs shirt, vest and jacket stating this costume was part of the United Costume inventory purchased ca. Generally Fine as screen-worn. Though her wedding dress ends up floating down the Mississippi river, without question the most spectacular of Ren Huberts gowns for Miss Dietrich is the one offered here.
The camera follows it boxed, with much fuss and fanfare from the finest couture house in town, all the way into Lilis boudoir, and on to the great ball scene, where her real very un-aristocratic identity is discovered by Mischa Auer, whose very formal satin-lined cape and navy wool tuxedo is also offered here in the same lot.
The gown bears Huberts couture label, and is layered black silk tulle with integral corset, built-in padding, and crystal bead embroidery over lam. Many exceptional gowns were created for Dietrich during her golden age on screen, but few survived, and virtually none of them ever make it to the public market.
Condition on both costumes is Very Fine, virtually as screen-worn. Midnight blue wool with cream wool and satin lining, fully decorated with gold bullion and Naval emblem buttons. Henry Wilcoxons character is the man closest to Lord Nelson and Lady Hamilton, and wears this highly decorated jacket for most of the last half of the film; Miles Mander wears his for just one principal scene near the middle of the film. Both bear United Costumers tags with actors names inscribed, and both are in Fine overall condition with only minor signs of ageing and use.
Paramount, Legendary Paramount designer Edith Head is credited with titles in her decades-long career. This Arabian sheik wedding ensemble is a classic example of her exemplary work, consisting of heavy gold-brocade caftan with elaborate paisley-pattern gold bullion embroidery, over dark gold brocade scalloped pants and off-white silk satin puff-sleeve and chest shirt, finished with pleated cummerbund. United Costumers labels marked variously Bob Hope and wedding.
All elements are Excellent with only traces of age or use, virtually as screen-worn. Universal, Bud Abbott wears the rust-colored tail-coat for his introduction scene as Dexter Broadhurst, the new star of Capt. Sams Showboat; Lou Costello wears the black one as Sebastian Dinwiddle when he and Abbott infiltrate the nightclub casino to save their boss from card sharks.
Both bear Western Costume Co. Alexander Korda Films, One of the most important plot lines of the film, Jungle Book, involves Sabu Mowglis quest to obtain a tooth with which to fight Shere Khan.
This knife features a steel blade and composite hilt with brass detail and housed in a snakeskin-covered scabbard. It was worn around the actors neck by the attached leather straps and is seen prominently throughout the final sequences of the film as well as promotional material. Blade exhibits slight oxidation, small crack to hilt and likely repainted. Condition remains very good overall.
From the estate of Sabu. He was one of the most influential advertising creative men of the 20th Century and his creations continue to populate the global brand-advertising world. The following three lots were on exhibit at the Warner Bros. Museum until Dons death in Constructed from wood, with plastic, styrene, and metal elements, it features the iconic image of Bogart as Rick standing outside the Caf, miniature studio lights, actors chairs and table with donuts and fruit.
The only piece not made by hand is the car parked in front. This meticulously detailed piece took over 5, hours to build and represents a true labor of love with a wealth of minutiae included. The piece measures 15 in. Special shipping arrangements may apply. The piece measures and impressive 18 in. Dreier was born in Bremen, Germany and began his career in German film in He relocated to Hollywood in serving as set designer and art director for Famous Players-Lasky-Paramount and eventually became head of Paramounts art department from to , creating sets for 11 Cecil B.
DeMille films. Considerable credit is accorded Dreiers work for the lush elegance and soft gradations of tone that marked Paramounts distinctive black-and-white period of the s and s. He proved equally adept at handling the demands of the lavish color epics and gloomy moods of film noir.
He was nominated for 23 Academy Awards for art direction and won three times, for the film offered here, Samson and Delilah and Sunset Boulevard Measures 13 in. Exhibits a wonderful patina with only slight oxidation and minor scuffs on the base.
Slightly modified for repurposing by trim removal from sleeve cuffs, else virtually as screen-worn. Bears internal Warner Bros. Taylor Ch Columbia, Exquisite long-train full gold lam and bugle-bead specialty gown designed by Jean Louis for Dorothy Lamour in the title role of Lulu Belle. Worn by Lamour on stage while her character is performing her Happy Days musical revue, and due to Production Code issues of the late s, the transparent quality of the bodice in this revealing and sensuous gown required a sort of jacket be added no longer present with this gown to satisfy the censors.
Gold in lam has slightly tarnished in spots, but overall the costume remains virtually as screen-worn. Accompanied by an original production still of Lamour wearing the gown in its censored state.
Condition varies, some show age and handling from screen-use and storage, though most remain remarkably fresh. Universal, Collection of blueprint photographic direction plans of beach attack, photographic conceptual renderings of the invasion two by Tyrus Wong and storyboard thumbnails.
Blueprints indicate principal filming was done at Camp Pendleton with references to distance in miles to Highway , locations of infiltration areas, trenches, fox holes, etc. Thumbnails comprise the beach storming and Tarawa trench fighting sequences.
Exhibit curling at edges and handling. Includes: John Qualen earthtone-wool jacket Ca. Ehmert, Steve Smith 1, B. Mace, and I. Hazeltine; crimson and gray felt royal jerkin with tongued-dragon emblem, marked Jim House; orange felt long-sleeve royal tunic with golden heart inside cross emblem, marked Greyston; unused vintage U. Army officers dress jacket, dated ; green felt bolero vest, marked Merry Widow and Fisher; and a matching pair of beige dancers bolero jackets marked E.
Reyes and Elmer Paine. Condition varies, most show age and handling from screen-use and storage, though some remain remarkably fresh. Mounted Veinte Pesos 15 gr. Victor Mature was a guest of the hotel in and upon his departure, he gave this clip as a token of his appreciation for his fine service. Includes a letter of provenance from the daughter of the gentleman Mature gifted the money clip to.
MGM, Hand-drawn and colored prop treasure map on 25 x 27 genuine animal-skin vellum, folded, stained and distressed intentionally for period and plot authenticity. Salvaged by Jackie Coopers boy hero character Jim from the sea-chest of crusty pirate Billy Bones, memorably portrayed by Lionel Barrymore. This is not only the essential prop and driving plot device for the most rewarding filmed version of an oft-told tale, it is one of the truly great and immediately recognized film props from the golden age of Hollywood, created under the Art-direction of the legendary Cedric Gibbons.
A fascinating detail in its execution are the red crosses which Jim points out, but being a black and white film, read only as gray to the film viewer. Map has been flattened for display, and shows chipping and nail-holes all around margins from handling as genuine vellum becomes brittle when dry easily covered with matting , but interior remains unaffected and presents itself virtually as screen-used.
Loud, where it has lived and been loved since Republic, Fuselage is constructed of wood with balsa wood fins, painted bright green with red accents and silver gun turret below. Measures 23 in. Designed by legendary sci-fi team Howard and Theodore Lydecker, it saw extensive duty for Republic serials, even retaining the mounting holes along the top for the flying sequences. It exhibits wear, scuffs and scrapes, with all but three 3 fins missing or replaced.
Condition remains very good for its age and manner in which it was used. MGM, Delicate and quite elaborate long period gown designed by Helen Rose, constructed almost entirely of varying shades of transparent silk, lace, and embroidered floral appliqus. Green cummerbund is an original studio wardrobe piece and is remarkably close to, though not the screenworn version, so is included for display purposes.
Separations at skirt closures, and some tattering to margin of silk train, and entire gown has slightly darkened evenly with age. Sewn inside the wig is the original Metro-Goldwyn-Mayer label reading, , along with the original Max Factor Hollywood label reading, F Description: Med. Handwritten in pencil is, Summer Stock Walters [the films director] F Lot also comes with the original storage box marked in red ink as well as two photographs of Judy Garland wearing this wig.
Twopiece Artisan-blue wool pleated long skirt topped by a sheer silk-tulle blouse with integral satin bustier, designed by Marjorie Best and worn by Doris Day when her father prevents her from running off with Gordon MacRae. The brilliant and unique colors of this garment are truly breathtaking in 3-strip Technicolor on screen. Both pieces bear internal Warner Bros. Day Very little trace of aging or wear, virtually as screen-worn.
UA, For one of the most audacious woman in male drag sequences during Codeenforced Hollywood and easily rivals Marlene Dietrichs drag sequence in pre-Code Morocco Paulette Goddard wears this Latin male outfit to seduce the ladies in the Broadway Caballero musical number from Pot O Gold. Designed by Helen Rose, and consists of cream wool bolero jacket over midnight blue wool dance slacks, both of which bear United Costumers labels inscribed with performers name.
Satin trim on collar is frayed, else Fine as screenworn. Paramount, This largely overlooked and vastly under-appreciated musical western is a true gem of high camp played like a cartoon early director Frank Tashlin had just moved from Porky Pig shorts in the full spectrum imaginable of 3-strip Technicolor.
Staged on a hyper-stylized, spare theater-type set which earned an Oscar nomination for art and set design , Rosemary Clooney is never better on screen, period, than here in this Edith Head gown leading her Can-Can girls of the Red Dog Saloon in the title number, Red Garters.
Constructed of heavy and quite durable oilcloth fabric in crimson and white, this elaborate twopiece gown with long train is a wonder to behold, both in person and on screen. Stamped inside Paramount Womens Wardrobe. One small faint stain in skirt, else Very Fine as screen-worn. Does not come with petticoat.
TCF, Periwinkle raw silk long dress with integral off-white and crimson dotted-Swiss blouse, designed by Ren Hubert, and worn by Jean Simmons as Desire in the Clary family shop when Marlon Brando is arrested while courting her.
Internal label inscribed Jean Simmons A Faint tanning to top edge of blouse shoulders, and some sun-fading in the periwinkle of the silk.
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