Peggy Elias, the visionary founder of JM Gems, renowned for her artistic brilliance, has generously donated a stunning piece of jewelry to support the Arthritis Society Canada’s 30th Anniversary Celebrity Roast. The 18k rose gold Queen chess piece pendant necklace, adorned with diamonds and sapphires, served as the coveted Raffle Prize at the gala event held on Wednesday, April 17th in Halifax, Nova Scotia, Canada.
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“What a spectacular piece of jewelry. This is artistry of the highest end,” said Steve Murphy.
The Arthritis Society Canada extended its deepest gratitude to Peggy Elias and JM Gems for their heartfelt contribution to this milestone occasion. The Celebrity Roast, an event cherished for three decades, is a testament to the unwavering commitment to raising awareness and funding for arthritis research.
The generous support from donors like JM Gems enables the society to continue its vital work towards finding a cure and providing essential programs such as Camp JoinTogether, enriching the lives of children living with arthritis.
The 30th Anniversary Celebrity Roast featured esteemed personalities, including returning emcee Steve Murphy and acclaimed comedian Shaun Majumder, who delighted attendees with their wit and charm. The event was made possible by the generous support of presenting sponsors MacGillivray Law and CTV, as well as Flame sponsor TD Bank, who shared in the celebration of thirty years of progress and community impact.
Peggy Elias, a trailblazing entrepreneur and the creative force behind JM Gems, is renowned for her dedication to producing unparalleled works of art in the world of high-end custom jewelry. With over 20 years of international recognition, Peggy’s passion for craftsmanship and attention to detail are evident in each JM Gems creation, capturing the hearts of jewelry enthusiasts worldwide.
“At JM Gems, we believe in the power of jewelry to transcend mere adornment and become a reflection of one’s individuality and style,” said Peggy Elias, Founder and Head Designer of JM Gems. “It is an honor to support the Arthritis Society Canada and contribute to their noble cause through the donation of our Queen chess piece pendant necklace.”
Peggy Elias’s philanthropic gesture exemplifies JM Gems’ commitment to making a positive impact on communities worldwide. By combining artistry with compassion, Peggy continues to inspire others to embrace the spirit of giving and create meaningful change in the world.
JM Gems is a luxury firm renowned for its artistic brilliance and precision craftsmanship in the world of high-end custom jewelry. Founded by Peggy Elias, an esteemed entrepreneur and Graduate Gemmologist, JM Gems has captivated the hearts of jewelry lovers, celebrities, and royals worldwide with its bespoke creations crafted from the finest precious metals and gemstones on Earth.
The second edition of the biennial award, which acknowledges practitioners across art, film, theatre and more, also grants two years of mentorship and inclusion in a global networking programme
Heritage Auctions will be including in its March 30th auction anoriginal oil painting portraying Stan Laurel, Oliver Hardy, Bess Flowers, and Vivien Oakland from the 1929 movie classic, “We Faw Down.” The oil painting has been extensively researched and confirmed to be the work of early motion picture costume and set designer, Louise Lauritzen McCaslin (1896-1985). Auction bidding will open on March 29th, 2024, at HA.com
McCaslin was a documented costume and set designer in the early motion picture industry, and her work for the infamous comedy duo Laurel & Hardy in the 1920s to 1930s was confirmed by historian Lillian Wright and supported by related news articles, books, and askArt.com.
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McCaslin’s obituary from Deaths, Monterey Peninsula Herald, and Fresno Bee (03/02/1985), confirms this history, as well: “Mrs. McCaslin worked in Southern California as a designer of sets and costumes in the early years of the motion picture industry.” The term Southern California herein refers to Los Angeles County, where Hal Roach Studios/MGM occupied space in Culver City, Calif., in the Los Angeles region.
McCaslin’s motion picture work was further confirmed by historian Lillian Wright, who documented some of the artist’s architectural commissions in a 17-page article for Pacific Grove’s periodical “Board and Batten” and who was writing McCaslin’s biography at that time.
Laurel and Hardy Painting | Private Collection
In a 2013 phone conversation, Wright stated: “Mrs. McCaslin worked with Hal E. Roach Studios when they had a distributing partnership through MGM (circa 1927). She worked on film set design and costuming for Laurel and Hardy films, amongst a host of other stars and starlets. In those days, Hal Roach was producing Laurel and Hardy films in large quantities, along with the Will Rogers, Charlie Chase, and the Little Rascals ‘Our Gang’ series, so the studios had a host of designers— many of them received little or no recognition for their hard work. Mrs. McCaslin also taught costume design at the California School of Fine Arts and deserves some recognition, I think.”
“Proceeds of this sale will benefit the owner who suffers from myasthenia gravis disease.”
According to film archives, the Roach/MGM classic, “We Faw Down,” was filmed on Production Lot-15 at Hal E. Roach Studios between August 23, 1927, and September 1, 1928, with retakes on September 7, 1928. It was released in December of 1928 for 1929 audiences.
The distinguished Laurel and Hardy Society of London featured the painting in its 2015 issue, Vol 9/No 8 of Laurel and Hardy Magazine. At that time, the painting was presented to the L&H Society archive expert, Robert Warren, who was able to find a movie still from the original film, and remarkably, the still was nearly identical to the painting, yet with one prominent exception: The facial expression of Oliver Hardy in the still was that of a grimace, whereas, in the painting, Hardy is portrayed smiling or laughing. There were also some other minor differences such as napkins being removed. Notably, McCaslin in those days would not have acquired access to the film still, unless also having access to the studios.
Laurel and Hardy Painting | Private Collection
To confirm the artist’s signature on the painting, the signature and personal note accompanying the piece were compared to another personal letter previously handwritten by McCaslin to the City of Monterey, Calif., where McCaslin had donated personal artwork to the Colton Hall Museum as a permanent gift to the City. This letter, officially on file at City Hall, helped to identify the artist’s full identity, including McCaslin’s maiden name, when the signature on the painting and its accompanying note were compared to the document at Monterey’s City Hall. Said confirmation was performed by the experts at Profiles in Hollywood.
The personal note was further determined by experts to be McCaslin’s own script but was pre-WWII, and slightly after 1939. So, it would appear that the note was attached to the painting some years after the painting’s composition, and just after the commencement of WWII. McCaslin’s accompanying note, which she had attached to the painting, read as follows: “We Faw Down” 1928. Opening Title: This story is based upon the [illegible scribble] assumption that, somewhere in the world, there are husbands who do not tell their wives anything. With Bess Flowers and Vivien Oakland.
The flipside of the note read: Painted on set. 1928.
“We Faw Down” 1928 Note | Private Collection
Louise McCaslin (née Lauritzen, 1896-1985) was an American artist born in Fresno, CA, and also a Fine Arts instructor and fashion design teacher in her lifetime. She received her MA in Fine Arts at the University of California, Berkeley, where she also went on to teach costume design at the California School of Fine Arts (circa 1917). She also attended the San Francisco Art Institute after the original building burned down and operated from the Mark Hopkins Hotel. She subsequently became a costume and set designer in the early motion picture industry in the early 1920s to about 1930. McCaslin taught in her local community schools in her later years (1942-1957).
McCaslin was the understudy of English-born (of Scottish descent) painter and colorist, William Constable Adam (1846-1931), under whom she studied “Plein Air” painting at his “rose-covered” cottage home at 450 Central Avenue in Pacific Grove, Calif. Under Adam’s tutelage, she produced renderings of California architecture, coastline, and landscapes. During her early art career, McCaslin produced more colorful oil pieces, indicative of the early “Fauves,” or “wild beasts,” of whom Henri Matisse would be included, whereby experimentation with bold colors, bawdy and vivid designs were employed during that movement. McCaslin’s Fauve paintings were likely done while attending the San Francisco Art Institute.
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McCaslin’s works are referenced in such books as “Artists in California, 1786-1940” (1986, Hughes); “Art & Artists – Carmel, Monterey, Pacific Grove, Big Sur, Carmel Valley, Vol III”; McCaslin is also listed in “Who Was Who in Art America” (1999, Falk). Her architectural commissions are quite plentiful around Pacific Grove where she resided until death, as they were desirable to Pacific Grove residents, libraries, and historians. Some of her watercolor pieces (done in her later years) can be found at Pacific Grove Library, Monterey City Hall, and in Pacific Grove’s Board and Batten. Various other colorful oil paintings by McCaslin— which are quite elusive and more difficult to find— can be found in private collections, more indicative of the Fauves, and of her passion for early Pop Art design. She also was an advertising artist, though further research is needed.
“To date, this is the only known painting ever done of Laurel and Hardy by one of their Golden-Age motion picture costume and set designers, making it a piece of true Hollywood memorabilia. It also demonstrates itself as masterful Pop Art piece.”
It is a possibility that McCaslin asked the actors to pose personally since the painting closely resembles the movie stills, which at that time would have been held privately by Hal Roach Studios. Nonetheless, this rare find unites both Laurel and Hardy, their leading ladies, and their early costume designer in a unique piece of motion picture memorabilia.
For “Sons of the Deserts, (that is, L&H fans), or for any Fine Arts lover or museum curator, this would make a stark presentation piece, or museum piece, as it is very vibrant and well-preserved. McCaslin’s artwork titled “We Faw Down,” dates 1928— a year before the film’s release— and demonstrates an Andy Warhol style long before Warhol ever began his notorious career as a Pop Art icon.
Proceeds of this sale will benefit the owner who suffers from myasthenia gravis (Latin for grave weakness), a rare neuro-muscular disease affecting 1/50 of 1% of the United States population, according to the official Myasthenia Gravis Foundation (www.myasthenia.org). The disease causes severe muscle weakness, balance, and swallowing issues, and it can affect the functioning of the nerves throughout the entire body, including vital organs. Fortunately, there are treatments, and most MG patients live a full life. The seller has held the painting since 2008 and wishes the painting to be preserved for posterity.
Heritage Auctions welcomes all bids when the piece goes up for auction in March in their “Movie Posters Signature Auction.” Opening bidding is scheduled for March 29th, and the auction is to be held on April 20, 2024. Please note that auction dates are subject to change by the auctioneer, at will; so, please keep informed by visiting the Heritage Auctions website at HA.com. At the website, viewers can review images, related articles, data, and bidding/auction information. Interested parties can sign up for bidding and place a bid once registered with Heritage Auctions to do so.
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Heritage Auctions is an American multi-national auction house based out of Houston, Texas, founded in 1976. Heritage is one of the largest auctioneers of Fine Arts, film memorabilia, numismatic collections, comics, luxury accessories, music, history, real estate, and sports. Auction sales for Heritage in 2022 were $1.45 billion. Heritage Auctions has no connection with this article, its content, or its release. Details and information in the auction listing may vary from the actual content of this article, as Heritage Auctions’ experts see fit. The information presented herein is supplied in good faith by the seller and cannot be deemed authoritative but rather is as best research has indicated.
References
(1985, March 2). McCaslin’s obituary. Deaths, from Monterey Peninsula Herald and Fresno Bee Wright, L. (2007). The Board and Batten, of the Heritage Society of Pacific Grove, (Fall 2007) Wright, Lillian. (2013). personal interview University of Southern California, Hal Roach film archives, production records of the Roach/MGM classic, “We Faw Down.” Warren, R. (2015). Laurel and Hardy Magazine, 9 (8) Private Collection, photographs, “We Faw Down” oil painting by Louise Lauritzen McCaslin, 1928, and personal note, private collection, with permission of seller City Hall of Monterey Calif., personal letter of Louise McCaslin to the City Manager’s Office, April 4, 1977 City Hall of Monterey Calif., Colton Hall Museum, Contract of Gift of Personal Property, by Louise McCaslin, April 11, 1977 Hughes. (1986). Artists in California, 1786-1940 Cunningham/Multiple Authors. (1985). Art & Artists – Carmel, Monterey, Pacific Grove, Big Sur, Carmel Valley, Vol III Falk. (1999). Who Was Who in Art America Hughes, E. (n.d.). askArt: askArt.com/artist/Louise_Lauritzen_McCaslin/10033999/Louise_Lauritzen_McCaslin.aspx Library, P.G.P. (n.d.). Pacific Grove Public Library Administrative Files Library Catalog Myasthenia Gravis Foundation of America. (n.d.).: myasthenia.org/MG-Education/What-is-Myasthenia-Gravis
The artistic soul of the UAE is set to be rekindled with the eagerly awaited return of the Emerging Art Icons Awards. This second edition unfolds the canvas for a new chapter of artistic exploration, inviting a kaleidoscope of talents to showcase their creativity and vision.
In its inaugural year, the event etched an indelible mark on the hearts and minds of the artistic community, celebrated for its unparalleled dedication to elevating unseen talent and fostering a vibrant culture of innovation and expression. “Witnessing the transformational journeys of last year’s participants was nothing short of inspirational,” reflects an art patron, signaling the profound impact of the awards.
This year, the awards extend an open call to artists across all mediums, from painters and sculptors to digital creators and beyond, offering a platform that transcends traditional boundaries and nurtures creativity at its core. The spotlight shines not only on the mastery of technique but also on the stories that animate each creation, echoing the vibrant diversity of the UAE’s cultural tapestry. With a commitment to nurturing a sustainable and inclusive art ecosystem, the awards spotlight the remarkable diversity and creativity in the UAE, offering a platform for emerging talents to gain invaluable exposure and recognition.
“The Emerging Art Icons platform holds significant importance not only for artists but also for the broader art industry, as it promotes and elevates artistic endeavors as an exceptional avenue for discovering emerging talents. The ongoing economic prosperity witnessed in the UAE is playing a crucial role in propelling the creative economy forward. Notably, the burgeoning art movement in Dubai is advancing in tandem with its overall growth.” said Khalil Abdulwahid, an Emirati artist also serving as the Director of Fine Arts, at Dubai Culture.
“Emerging Art Icons provides a commendable platform for artists, instilling encouragement within the creative community. By offering galleries, exhibitions, and opportunities to showcase their artwork, this platform affirms appreciation for artists’ creations. Such recognition serves as a profound source of motivation for any individual involved in artistic pursuits,” Khalil continued.
Nominations for the Magzoid Emerging Art Icons Awards 2024 are now open. Artists, institutions, and brands are encouraged to submit their entries and join this magnificent celebration of art and creativity that promises to surpass expectations and inspire the next generation of artists. For more information on the nomination process, visit www.emergingarticons.com. The stage is set. The spotlight, warm. The canvas, blank. Your stroke is the only thing missing.
Netflix’s ‘The Crown’ Auction marked a historic moment as over 450 meticulously crafted pieces from the acclaimed TV series found new homes, fetching a remarkable £1,674,000 at Bonhams, London. The auction, which boasted an impressive 100% sell-through rate, exceeded all expectations, showcasing the enduring allure of this beloved show.
The auction, which spanned both live and online platforms, captured the attention of collectors and fans alike. Charlie Thomas, Bonhams UK Group Director for Private & Iconic Collections, expressed his gratitude for the collaboration with Left Bank Pictures, the production company behind “The Crown.” He hailed the event as a resounding success, attributing it to both the series’ undeniable popularity and the exceptional talent involved in its creation.
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Among the most coveted items were iconic props and costumes that breathed life into the world of “The Crown.” The top lot, a 1987 Jaguar XJ-SC 3.6L Cabriolet, used to depict Princess Diana’s personal vehicle, fetched an astonishing £70,250, surpassing its estimate fourfold.
The funeral procession model of Imelda Staunton as the Queen, prominently featured in the final episode of “The Crown” (Season 6, Episode 10), sold for £53,740, six times its pre-sale estimate of £8,000-12,000.
Additionally, a parquetry and gilt metal mounted cylinder bureau in the Louis XVI style, initially showcased in Season 2 in the Audience Room by Claire Foy, Olivia Colman, and Imelda Staunton as the Queen, realized a selling price of £46,080, significantly surpassing its pre-sale estimate of £2,000-3,000.
Other notable sales included a reproduction of the Coronation Chair (Saint Edward’s Chair) which sold for £25,600, surpassing its pre-sale estimate of £10,000-20,000.
Moreover, a replica of the famous wrought iron gates of Buckingham Palace fetched £12,800, exceeding the pre-sale estimate of £6,000-8,000, while a replica of the façade of Number 10 Downing Street sold for £10,880.
The allure of “The Crown” extended beyond grandeur to encompass the exquisite costumes worn by its stellar cast. Replicas of the Coronation Ceremonial Garments, including the Imperial Mantle and Stole, commanded significant sums, as did the iconic ‘Revenge dress’ inspired by Princess Diana’s fashion statement which sold for £12,800. These pieces not only encapsulated the essence of the characters but also served as tangible connections to the show’s rich narrative tapestry.
Even the smallest details, such as character props and quirky memorabilia, found eager buyers. A humble swizzle stick, used in portraying the Queen Mother, fetched an astounding £1,664, a testament to the fervent dedication of collectors seeking to own a piece of television history. However, beyond the glitz and glamour, the true significance of this auction lies in its charitable impact. Proceeds from the live auction will fund scholarships at the prestigious National Film and Television School (NFTS), laying the groundwork for the Left Bank Pictures – The Crown Scholarship program. This initiative aims to provide fully-funded scholarships for aspiring filmmakers, ensuring that the legacy of “The Crown” extends far beyond the confines of the screen.
A highlight of the live sale was the appearance of actor Alex Jennings, who portrayed the Duke of Windsor in the series. His corduroy blazer and trousers from a pivotal episode found a new owner, further adding to the auction’s allure.
Prior to the auction, an exclusive exhibition at Bonhams New Bond Street drew an unprecedented 30,000 visitors, underscoring the profound impact of “The Crown” on popular culture. In response to the auction’s success, Andy Harries, Chief Executive of Left Bank Pictures, expressed his satisfaction, emphasizing the importance of giving back to the industry that made the series possible. Jon Wardle, Director of the NFTS, echoed this sentiment, highlighting the transformative impact of the auction proceeds on future generations of filmmakers.
As the final gavel fell and the last bids were placed, the legacy of “The Crown” was etched in history, not only as a groundbreaking television series but also as a catalyst for change within the film and television industry.
A Superb Colored Diamond Ring – Fancy vivid blue cushion-cut internally flawless diamond of 3.49 carats | Price Realized $5,495,000 | Christie’s
BY AMANDA MCKINLEY
On December 6th, Christie’s Rockefeller Center in Manhattan witnessed an extravagant showcase of luxury as the Magnificent Jewels auction unfolded. This event saw fervent bidding both in-person and over the phones, culminating in a remarkable total of $38,135,080. Impressively, 90% of the 152 lots available found buyers. The auction presented an exquisite collection of rare diamonds, significant colored stones, and distinguished jewels from renowned collections.
Leading the auction was a 3.49-carat fancy vivid blue cushion-cut diamond ring, internally flawless, which was acquired for a notable $5,495,000. Another highlight was a 5.16-carat fancy vivid yellowish orange diamond ring with a VS2 clarity, fetching $1,683,500. The list of impressive sales for colored diamonds continued with a 61.47-carat fancy greenish yellow modified-cut diamond, which was secured for $1,562,500.
Colored stones also made a significant mark during the sale, with numerous lots surpassing their anticipated values. Notable examples include a Cartier-mounted emerald-cut Kashmir sapphire ring weighing 23.00 carats, which soared to $3,014,500—more than three times its conservative estimate of $800,000. Additionally, a Tiffany & Co. cushion-cut Kashmir sapphire ring of 8.91 carats was sold for $1,925,500, while a 7.31-carat cushion-cut Burmese ruby ring realized $1,134,000. Among the surprises, a pair of Tiffany & Co. sapphire and diamond earrings were acquired for a whopping $453,600, which was eleven times their lower estimate of $40,000. An emerald-cut emerald ring weighing 9.13 carats fetched $1,008,000, a value more than five times its minimum estimate.
Further adding to the allure of the auction were pieces from esteemed private collections. A Van Cleef & Arpels multi-gem and diamond bracelet, once part of the Collection of Adolphus Andrews, Jr. and Emily Taylor Andrews, sold for $138,600, surpassing its estimate of $50,000. Similarly, a striking Seaman Schepps Art Deco rock crystal, multi-gem, and diamond bracelet from the Estate of Mary Lloyd Robb achieved $144,900 against its lower estimate of $40,000.
Christie’s, established in 1766, stands as a premier institution in the art and luxury domain. With a global footprint spanning 46 countries across the Americas, Europe, Middle East, and Asia Pacific, Christie’s has cemented its presence with flagship sales hubs in cities like New York, London, Hong Kong, Paris, and Geneva.
In the world of high-end custom jewelry, JM Gems, founded by the female entrepreneur Peggy Elias, has firmly established itself as a luxury firm known for its artistic brilliance and precision craftsmanship. For over a decade, JM Gems has been enchanting the world with its bespoke creations, capturing the hearts of jewelry lovers, celebrities, and even royals across the Middle East, Asia, Europe, and now North America.
At the heart of JM Gems lies an unwavering commitment to producing high-quality custom jewelry. Crafted from the finest precious metals and gemstones on Earth, each piece is a testament to the brand’s dedication to excellence. The founder and Head Designer, Peggy Elias, brings over 15 years of international recognition to the table, ensuring that every creation is a masterpiece.
One of the hallmarks of JM Gems is its emphasis on custom design. The brand prides itself on producing truly exceptional works of fine jewelry art. With a keen eye for detail, experienced jewelers meticulously craft each piece, turning dreams into reality. JM Gems’ design services extend worldwide, with their unique designs being sought after by jewelry producers and stores in the UAE, Canada, and beyond.
The company’s imagination knows no bounds, resulting in limited edition and single-copy jewelry that guarantees exclusivity. If you can dream it, JM Gems can make it. The brand’s commitment to precision ensures that each item is a finely crafted masterpiece, meticulously inspected and tested to perfection before reaching the client.
“JM Gems is not just a jewelry brand; it’s a curator of dreams”
Peggy Elias, the driving force behind JM Gems, is not only an owner but also a seasoned appraiser approved by the Canadian Jewellers Association. As a Graduate Gemmologist with certification from HRD Antwerp, Peggy brings a wealth of expertise to the brand.
JM Gems primarily crafts its jewelry from 18 to 22 karat gold, platinum, and the finest gemstones available. Peggy Elias believes that jewelry should not only be beautiful but should also represent the true essence of the wearer. Her designs, exhibited and sold worldwide, have garnered attention in top magazines and attracted orders from celebrities and royals.
The essence of JM Gems is encapsulated in Peggy Elias’s words: “With attention to every detail, we will make your jewelry dreams come true.” This international high-end jewelry brand isn’t just about creating jewelry; it’s about making lives sparkle with the brilliance of uniquely crafted, one-of-a-kind pieces that resonate with style, luxury, and individuality. For those seeking to embody these values, JM Gems is the destination where dreams find a tangible form, creating an everlasting legacy of elegance and sophistication.
The award-winning series, The Crown, is one of Netflix’s most prestigious and acclaimed shows. Now, as the final series premieres, Bonhams announces a once-in-a-lifetime auction of close to 450 props, furniture, and costumes – including those inspired by Queen Elizabeth’s Coronation Robes and Princess Diana’s ‘Revenge dress’ – from all six series of The Crown, written and created by Peter Morgan and produced by Left Bank Pictures and Sony Pictures Television.
A live sale of approximately 150 lots will take place on Wednesday 7 February 2024 at Bonhams, New Bond Street, London, followed by an online auction of around 300 lots commencing on 30 January to 8 February on bonhams.com. Proceeds from the live sale will go towards establishing the Left Bank Pictures –The Crown Scholarship programme at the National Film and Television School (NFTS) which has training sites across the UK in Buckinghamshire, London, Leeds, Scotland, and Wales.
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Charlie Thomas, Bonhams UK Group Director for House Sales and Private & Iconic Collections commented: “The iconic costumes, props and set pieces from The Crown are extensively researched and made with truly impressive attention to detail by master craftspeople. Not only is this an incredible opportunity to own pieces from the landmark show, it is also the closest anyone can come to owning the real thing – be it the façade of 10 Downing Street or Princess Diana’s engagement ring.”
The ambition and attention to detail of The Crown’s costumes, props and sets was central to the deserved acclaim the British production received. Oscar-winning production designer, Martin Childs, and his team meticulously recreated two of the most famous addresses in the world – Downing Street and Buckingham Palace. The recreation of Number 10 Downing Street façade and front door is offered in the sale with an estimate of £20,000-30,000 along with the replica of the famous wrought-iron gates of Buckingham Palace, with an estimate of £6,000-8,000.
The Number 10 Downing Street façade created by The Crown’s Set and Props Department, including the iconic, black-painted door with letterbox engraved ‘First Lord of the Treasury’, lantern, railings, and boot-scrapers. Estimate: £20,000-30,000.
Poring over hours of archive footage, The Crown’s creative team captured as much of the reality of the Coronation as possible. The exquisite recreation of The Queen’s Coronation ordaining dress, Imperial Mantle and red Coronation robe will be offered in the sale with an estimate of £20,000-30,000, alongside the world’s only reproduction of the Gold State Coach with an estimate of £30,000-50,000, and a reproduction of the Coronation Chair (Saint Edward’s Chair) with an estimate of £10,000-20,000.
Costumes including a dress inspired by Princess Diana’s ‘Revenge Dress’
The sale will also feature some magnificent and memorable costumes worn by the cast playing the wider Royal Family over the course of the series. These were created by three award-winning designers, Michele Clapton (Season 1), Jane Petrie (Season 2), and Amy Roberts (Season 3 to 6), who worked with Sidonie Roberts, Associate Costume Designer.
The costumes were painstakingly crafted so that each outfit expressed the mood and personality of the characters portrayed, and was extensively researched and recreated with an exacting eye for detail. Nowhere is this more evident than with the dress inspired by Princess Diana’s ‘Revenge Dress’, which Elizabeth Debicki (as Princess Diana) wore to the Serpentine Gallery. The ‘Revenge dress’, an off-the-shoulder black cocktail dress from season 5 episode 5, and worn by Elizabeth Debicki (as Princess Diana), has an estimate of £8,000-12,000.
Claire Foy (as The Queen): Powder blue ballgown with pearl embellishment featured in the promotional poster with fur stole and grey leather court shoes. Season 1 Episode 5. Estimate: £5,000-7,000.
Emma Corrin (as Lady Diana Spencer): Engagement ring. Estimate: £2,000-3,000.
Emma Corrin (as Lady Diana Spencer): Engagement announcement, a royal blue crepe skirt suit with pussybow blouse. Season 4 Episode 3. Estimate: £1,500-2,000.
Claire Foy (as The Queen): Full-length teal ballgown, featured in promotional posters, with pale gold satin pointed heels. Season 2 Episode 1 and Episode 4. Estimate: £3,000-5,000.
Elizabeth Debicki (as Princess Diana): Grey ‘Harvard’ sweatshirt. Season 5 Episode 7. Estimate: £500-700.
Emma Corrin (as Princess Diana): Blue dancing dress with silver flecks and flounce sleeves. Season 4 Episode 6. Estimate: £2,000-3,000.
Helena Bonham Carter (as Princess Margaret): Full-length pale silver and grey banquet gown as seen in the Guildhall Banqueting scene, also featured in promotional posters. Season 3 Episode 9. Estimate: £2,000-3,000.
Elizabeth Debicki (as Princess Diana): Leopard print swimsuit and sunglasses as seen in the Gulf of St Tropez, Speed Boat scene. Season 6 Episode 1. Estimate: £800-1,200.
Elizabeth Debicki (as Princess Diana): Jaguar – a 1987 Jaguar XJ-SC 3.6 Estimate: £15,000-20,000.
Jaguar – a 1987 Jaguar XJ-SC 3.6 Estimate: £15,000-20,000
Jonathan Pryce (as Prince Philip): Desk – a French early 20th century mahogany and gilt-metal mounted pedestal desk, together with a variety of desk accessories. Estimate: £3,000-5,000.
Imelda Staunton (as The Queen): Bureau – a mahogany bureau cabinet in the George III Rococo style, together with a collection of porcelain decorated figures, desk lamp, a leather writing blotter, photograph frames and other accessories. Estimate: £3,000-5,000.
Lesley Manville (as Princess Margaret): A suite of luggage, comprising three steamer trunks, a leather suitcase and two hatboxes with cream lining, all painted in cream with The Crown’s crowned ‘M’ monogram. Estimate: £1,000-1,500.
A suite of luggage for Lesley Manville (as Princess Margaret) Estimate £1,000-1,500
The Queen Mother: A champagne swizzle stick together with a selection of character bar props compiled by The Crown’s Prop Department including a silver-plated drinks tray, cut-glass ice bucket and matched tumbler, silver-plated ice tongs, a BOC Sparklets soda syphon, in gold and other accessories. Estimate: £60-80.
Two Beswick porcelain models of corgis (17cm wide, 7cm deep, 14cm high) together with a silver mounted photograph frame, enclosing a black and white photograph of a corgi. Estimate: £200-300.
A Lasting Legacy: Left Bank Pictures – The Crown Scholarship program
Proceeds from the live auction will go towards establishing a brand-new stream of funding for the National Film and Television School (NFTS) giving rise to the Left Bank Pictures – The Crown Scholarship programme. This will support a number of students at the NFTS over the next 20 years, enabling them to receive the specialised training for which the school is globally renowned.
Elizabeth Debicki (as Princess Diana): Harvard Jumper worn in Season 5 Episode 7. Estimate: £500-700
Jon Wardle, Director of the National Film and Television School, said:“We are thrilled that future talent flowing from the National Film and Television School (NFTS) will benefit from the exceptional items generously donated by Left Bank Pictures and The Crown. Since its inception, the dedicated craftsmanship of over 60 NFTS alumni has been pivotal in bringing such an iconic series to life. The proceeds from the auction will play a crucial role in supporting life-changing scholarships, ensuring the next generation of film and television makers are given the opportunity to benefit from our world-renowned training, paying forward The Crown’s legacy for many years to come.”
Andy Harries, Chief Executive of Left Bank Pictures and Executive Producer of The Crown, added: “It has been a privilege for me and all at Left Bank Pictures to have been at the heart of The Crown. Its huge global success has much to do with working with the best creative and production talent in this country and we want to invest the proceeds of this magnificent auction into the next generation of film and TV talent. The NFTS has been part of The Crown’s history from the start with many of its graduates contributing to the production of the show over the years. I have long admired the ethos and training of the school and supported it personally. So, I am thrilled that the legacy of The Crown will be to provide so much financial support for so many students at the NFTS over the next few decades. With their unrivalled knowledge and expertise in Film and Entertainment memorabilia, Bonhams was the sole choice of partners for us. Their specialists’ excitement, vision and passion for The Crown Auction was evident from the start.”
The Crown will take its final bow when the last six episodes will be released on Netflix from 14 December, marking the end of the groundbreaking series.
