Tag Archives: Profiles in History

DEBBIE REYNOLDS’ VALIANT EFFORT TO SAVE HOLLYWOOD’S PAST

 

Photo by Kirk McKoy

Photo by Kirk McKoy

The death of Debbie Reynolds on December 28, 2016 was a sad loss to classic Hollywood and show business. Her many movies and well-known starring roles in Singing in the Rain,  and the The Unsinkable Molly Brown among others are a lasting legacy. Her personality and bravery were matched to the subject of the latter film, her personal favorite.  Although oft-mentioned, her collecting of movie costumes and memorabilia is usually glossed-over. But this too is one of the sagas of her life, its own roller-coaster of tragedy and triumph. Yet ultimately she never reached her goal, and her loss has also become our loss.

How did Debbie Reynolds begin collecting Hollywood’s treasures and what happened to them? Collecting movie memorabilia really began when MGM auctioned off its fabulous collection of props and costumes in 1970. Before then the studios kept their props and costumes for re-use so there was very little supply and low demand to encourage collecting. The late 60s was a sad period for MGM and the other studios due to shrinking revenues. The new owners of MGM decided that there was more money to be made in selling off its assets than in keeping the studio’s traditions alive. MGM was Debbie Reynolds’ home studio, and she understood the value of the props and costumes as historical objects, not just as accessories of movie-making.  

Debbie was aghast when she learned that the new owners of MGM were going to sell off the back lots with the old standing sets where so many movies had been filmed. And along with these, warehouses full of props and costumes: from antique furniture and carriages to iconic costumes from films like The Wizard of Oz and her own Singing in the Rain. Debbie tried in vain to save the lots by convincing the management to turn them into an amusement park, much like Universal City was to become later on. They wouldn’t hearof it. Then she tried to get a loan to buy the properties herself. She failed. She did manage to get enough money to be prepared when the inevitable MGM auction arrived.

And so Debbie attended the MGM auction every day of its nearly three weeks duration from May 1 through May 18, 1970. And she bought and she bought: Adrian-designed gowns for Norma Shearer from Marie- Antoinette and Romeo and Juliet; an early version of Judy Garland’s Dorothy pinafore from The Wizard of Oz;  Greta Garbo’s velvet gown from Anna Karenina; her own Walter Plunkett designed “Good Morning” flapper dress from Singing in the Rain; Elizabeth Taylor’s riding outfit from National Velvet; Leslie Caron’s peacock-feathered dance dress from An American in Paris, and dozens more. Over time, Debbie bought from the other studios as well while building her collection.With her name and staus she had entre to those studios. But Paramount and 20th Century-Fox were also to hold auctions. And she also bought from the underground market in costumes from such sellers as Kent Warner.

 

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Debbie was a discriminating collector and a far-sighted one. It was easy enough to select the wardrobe from award winning pictures, but Debbie also selected several costumes from the same film to give a better representation of the movie. And she went after set props too to enhance the original backdrop, all while envisioning a museum setting. When there were obvious duos, like the costumes from both Romeo and Juliet, she bought both of them. Two bold green-striped “Fit As a Fiddle” costumes worn by Gene Kelly and Donald O’Connor were also bought as a pair. Debbie Reynolds also showed her important connoisseurship by acquiring the costumes that were not just beautiful, but the ones that  became truly significant in defining the leading film character in the role portrayed. So in her collection was the Mildred Pierce coffee-shop waitress uniform worn by Joan Crawford, the rose and white-striped dress worn by Shirley Jones in the memorable “If I Loved You” scene with Gordon MacRae from Carousel, Elizabeth Taylor’s jockey uniform from National Velvet, Leslie Caron’s school-girl outfit from Gigi, Grace Kelly’s rose-colored skirt and white-embroidered sleeveless top from To Catch a Thief, Betty Hutton’s rose-embroidered cowgirl outfit from Annie Get Your Gun, Basil Rathbone’s caped overcoat from The Adventures of Sherlock Holmes, and on and on. 

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But as most of us know, The most amazing collection of historic Hollywood movie costumes ever assembled will never become the core of an American museum. Try as she might, Debbie Reynolds failed at building a museum based on her collection of costumes and treasures spanning the history of Hollywood movies. One would think it could not be so hard with someone of her talent, name, and resources. She tried first by incorporating a small museum within the Debbie Reynolds Hotel and Casino. But that Las Vegas venture ultimately failed. She was even forced to have an auction of some 400 lots from her collection in 2003 at the Julien Auction House. Lots included costumes from Marilyn Monroe, Gloria Swanson, Judy Garland, Fred Astaire, and many other stars. Then she tried developing a museum within the new Hollywood and Highland complex in Hollywood. This failed effort also placed her in debt. (along with her last marriage). And finally, she tried to open a museum at Dollywood in Pigeon Forge Tennessee, another money-losing plan. All of these plans left her in deep debt with no alternative but to auction off her treasured collection. All along the way she had approached the Academy of Motion Pictures Arts and Sciences with the idea of starting a museum and offering her collection at a then reasonable price. The CEO at the time was uninterested.

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Gene Kelly and Donald O’Connor’s “Fit as a Fiddle” costumes from “Singing in the Rain. The suits have hand-painted stripes. Debbie bought both as a pair, alas they were bought by separate buyers at auction

So on June 11, 2011 the first of a scheduled three auctions held by Profiles in History was held at the Paley Center in Beverly Hills to disburse the legacy of Golden Age Hollywood, from Charley Chaplin’s bowler hat to Elizabeth Taylor’s Cleopatra headress to Marilyn Monroe’s subway dress and hundreds of other costume icons. In the auction catalog Debbie wrote, “I used to spend my spare time in the wardrobe department, watching the most talented people create costumes for the actors. I loved everything that went into the process – the sketches, the fabrics, the construction.”

Weeks before the event a publicty campaign had placed stories in broadcast news and print media everywhere. The Paley Center had displayed many items in Debbie’s collection for the public to see two weeks prior to the auction. A line formed before opening on auction day. Debbie Reynolds was beside herself. She was accompanied by Carrie Fisher and Todd, along with her grandchildren.  Inside, Carrie was vaping what was then the new electronic cigarette. Profiles in History President Joe Maddalena introduced Debbie to the audience of bidders.  Debbie put her best face on the event, joking with the audience and prodding the bidders, all in the long tradition of “the show must go on.” But she choked up in her opening remarks, and indeed it was a melancholy day for Los Angeles and the rest of the country. We will never see the likes of this collection again.

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Bids came from phone callers and the Internet as well as the audience. I sat behind a Korean gentleman that seemed to bid and win most of the choice items. During a break Debbie herself asked for his card in a friendly manner. He said he didn’t have one and wouldn’t give his name.

Other items sold like Judy Garland’s screen-tested gingham dress from The Wizard of Oz, and a version of the Ruby Slippers. They were rumored to be destined for Saudi Arabia. The audience held its breath and then clapped when the Dorothy dress was hammered down for $920,000. We knew it was going to be a big day when item number 2 in the auction, Rudolph Valentino’s matador costume from Blood and Sand went for $200,000.(prices without premiums and taxes).

 

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It was no surprise that the biggest items in the auction were worn by Marilyn Monroe. What was shocking though was their hammer prices: Marilyn’s William Travilla-designed cream rayon “subway” dress from Seven Year Itch, $4.6 million. At this point Debbie knew she was doing well financially and started buying back a few of her sentimental favorites like Harpo Marx’s hat with its wig. When one lady was biding against her she asked her to stop and the woman did. Then more big prices came in: Marilyn’s Travilla-designed red-sequined gown shown above from Gentlemen Prefer Blondes, $1.2 million. And there were two more, including the stunning Travilla-designed “Tropical Heat Wave” costume from There’s No Business Like Show Business, a mere $500,000It is shown below. But the second most expensive item in the auction was not a Marilyn Monroe costume but rather Audrey Hepburn’s Ascot gown from My Fair Lady. It was hammered down for $3.7 million. By that point Debbie couldn’t stand it and had gone home but was following the auction on the computer.  “Holy shit,” she texted Todd.

 

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Photo by Christian Esquevin

The auction at the Paley Center was packed, with a small auditorium and a separate hall used for the occasion. There was also a row of phone-bid handlers, two on-line auction handlers, absentee bids, floor bidders, and an auctioneer that masterfully handled the whole operation. Bidding began just after noon. It didn’t finish until after 1:00am. The audience consisted of devoted classic movie fans, the curious, some serious collectors and those representing institutions or having a professional interest. Several long-time costume devotees were there, including noted costume collector Larry McQueen, and costume designer-turned UCLA Copley Center for Costume Design director Deborah Nadoolman Landis. I had waited in line with author Virginia Postrel.

An early auction indication that the prices were reaching the stratosphere was demonstrated in Judy Garland’s Adrian-designed pinafore from The Wizard of Oz, hammered down for $920,000. And this was for an early wardrobe test version that was never worn in the film.    

    

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Photo by Christian Esquevin

A result of seeing the costumes up close is a heightened  appreciation for the skill of the dressmaking and tailoring. The costumes were fabricated to provide a 360 degree view of the garment. Exact camera angles were unknown in advance, and most every costume had to be ready for a possible close-up.  And the gowns themselves are in vivid color, like the one Norma Shearer wore in Romeo and Juliet, also designed by Adrian,  shown below. This was the case even when the movie was filmed in black and white. The detailing on the bodice is incredible, with gold embroidery and cascades of tiny silver sequins

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Photo by Christian Esquevin

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Photo by Christian Esquevin

Evidence of the high quality of the film costumes is shown above in the coronation robe designed by Rene Hubert for Merle Oberon as Empress Josephine in Desiree. The silk gown is embroidered with gold floral decorations. The red velvet train is also embroidered and trimmed in ermine. Debbie began her collection with the MGM auction of 1970. Most of the studio’s wardrobe at that time consisted of period costumes, which is by and large reflected in the strength of Debbie’s collection. That MGM had many years earlier dumped many costumes in its wardrobe collection is little known. Due to the small value that was ascribed to contemporary fashion of the day, and the lack of its re-usability in later films, many crown jewels of costume were destroyed. By the time of the 1970 MGM auction, many of those late 1920s and 1930s costumes were already gone. These had been the costumes that created the very image of glamorous Hollywood movie-stars, and that started fashion trends around the world.  The Adrian-designed gowns worn by Jean Harlow, Greta Garbo, and Joan Crawford that defined the look of glamour were mostly discarded. It is informative to consider the sale of Debbie’s collection as reflecting the earlier MGM auction and the even earlier destruction of those movie costumes.

The costume below was designed by Mary Wills for Joan Collins playing Beth Throgmorton in The Virgin Queen. The costume sketch  some others designed by Mary Wills from the movie are shown on my blog post The Costume Sketches of Mary Wills

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Photo by Christian Esquevin

Coming in second place in price to Marilyn Monroe’s Seven Year Itch dress was Audrey Hepburn’s Ascot gown from My Fair Lady. It was hammered down for $3.7 million. Having the huge original hat along with the gown added much to the value of the ensemble.

Debbie also liked the costumes from classic Rome and Egypt, and who wouldn’t when they were worn by the likes of Elizabeth Taylor and Charlton Heston. The breast plate below is from Ben HurWith the big-budget movies of that era, the costumes were works of art. The one below is hand-hammered metal. It was one of many such costumes and props in Debbie’s collection

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Photo by Christian Esquevin

The second of the three planned auctions of the famed Debbie Reynolds collection of Hollywood film costumes and props was held on Saturday December 3, 2011 by the  Profiles in History auction house. While the auction didn’t have the same frenzy as the first one in June, there was still plenty of competition for the iconic costumes of Hollywood’s Golden Age

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As was the case with the first auction, the Marilyn Monroe worn items fetched the most money. The gown above was designed by Dorothy Jeakins for Marilyn Monroe in Let’s Make Love, (1960). It is made of a pale green pleated silk decorated with rhinestones at the bust and at the Empire waist. It was hammered down for $240,000. Marilyn’s green show-girl leotard designed by William Travilla for Bus Stop, (1956), decorated with black sequins and beaded fringe, went down for $230,000. In addition, Marilyn’s pale-green suit from Niagara sold for $210,000, and her embroidered gown and bolero jacket from Gentlemen Prefer Blondes designed by Travilla sold for $260,000. These were among the top five big ticket items of the sale.

 

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Photo by Christian Esquevin

 

Above is a fabulous show-girl costume designed by Adrian and worn by Eve Arden in Ziegfeld Girl, (1941). The gown is made of a silver lame with silver sequin stars embroidered on to a nude chiffon. The silver lame has tarnished to appear a golden color. The gown was sold for $5,500.

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Photo by Christian Esquevin

 

This striking dress was also designed by Charles LeMaire for Katharine Hepburn in Desk Set, (1957). It is a wool dress of black, gray, and cream-colored stripes with red accents. It sold for $6500.

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Photo by Christian Esquevin

One would definitely say that the costume above was designed for a star. Indeed it was, Donald Brooks designed it for Julie Andrews in Star! (1968). The coat is black velvet adorned with plastic silver stars. A silver lame top and pants were worn underneath, also decorated with stars. I should add that the Studio system was no longer in place when this costume was made. By 1968, the stars on the costume were no longer being made of sequins, fastidiously sewn onto the garment – the stars were now plastic. The famous line from The Graduate, “Plastic!” seems to have already  grabbed hold in the wardrobe department. The three piece costume sold for $7000.

Debbie Reynolds never realized her dream of a Hollywood memorabilia museum. A new movie museum organized by the Academy of Motion Picture Arts and Sciences is now being constructed. Alas, Debbie’s fabulous and historic costumes and props collection won’t be part of it. And probably harder to bear, the costumes, including sets from a single movie, have been scattered. One Internet bidder seems to have won many of of the choice costumes. It would be great if it was for a local collection or institution. More likely, these will go overseas along with the cream of Debbie’s first auction held last June. The Unsinkable Debbie Reynolds was vindicated by the very hich prices her collection got. She was for several years free of debt and could make her children comfortable. If only Hollywood and Los Angeles had cared as much about its history as she had.

Thank you for inspiring the rest of us Debbie .RIP

 

 

THE 10 MOST EXPENSIVE MOVIE STAR GOWNS

A new world record was set on November 17 for the most ever paid for a personal  dress. This for the “Happy Birthday Mr. President” nude illusion gown worn by Marilyn Monroe on May 19, 1962 as she sang  from the stage to President Kennedy at Madison Square Garden. The gown, designed by Hollywood costume and fashion designer Jean Louis, was auctioned for $4, 810,000 including commission and taxes. It was bought by the Ripley’s Believe it or Not Museum at Julien’s Auctions .  Marilyn Monroe had  the gown made for her for $12,000. She died three months later.

Marilyn called the gown “flesh and beads,” and the audience gasped when she removed her coat on stage, thinking at first she was naked.  The gown was made of a flesh-colored souffle, and decorated with rhinestones, not beads. But Marilyn’s point was that it was tight enough to be her skin. It sold at auction at Christie’s New York for $1.2 million in 1999.  Marilyn’s film-worn “subway” dress from The Seven Year Itch actually set a higher record at auction, fetching $5.5 million dollars at the Debbie Reynolds/Profiles in History auction in 2011.

Here are the 10 most expensive movie star gowns and costumes ever sold:

1. Marilyn Monroe’s The Seven Year Itch, 1955 “Subway” rayon crepe halter dress with pleated skirt designed by William Travilla. Sold at the famous Debbie Reynolds-Profiles in History auction of June 19, 2011 for $5.5 million.

 

The Seven Year Itch (1955) Directed by Billy WilderShown: Marilyn Monroe

 

2. Marilyn Monroe’s  “Happy Birthday Mr. President” gown, made of souffle with hundreds of sewn rhinestones and designed by Jean Louis. Worn at the Madison Square Garden Democratic Party fundraiser/Birthday Party for John F. Kennedy. Sold at the Julien’s auction of November 17, 2016 for $4.8 million

Photo credit Cecil Stoughton

Photo credit Cecil Stoughton

 

 

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3. Audrey Hepburn’s My Fair Lady, 1964 “Ascot” white embroidered lace Edwardian gown with black trim  designed by Cecil Beaton, including the large picture hat. This was another costume sold at the Debbie Reynolds/Profiles in History auction of June 19, 2011 for $4.4 million.

My Fair Lady (1964) Directed by George Cukor Shown: Audrey Hepburn (as Eliza Doolittle)

4. Judy Garland’s Dorothy Pinafore from The Wizard of Oz. This was the costume worn by Judy Garland throughout the movie. The blue and white checked pinafore and off-white blouse with rick-rack trim was designed by Adrian. Several “test” versions were designed before this final dress was used in the film. A solid blue “test” version was sold at the Debbie Reynolds auction in 2011 for $1.1 million, although the heavy promotion for the auction had much to do with that price. The pinafore being auctioned here is one previously owned by Kent Warner, the costumer who had “liberated” many costumes from MGM including several pairs of the Ruby Slippers. He always picked the most important items, with his rationale being to either preserve them, or in the case of the 1970 MGM auction, as payment for organizing costumes for the auction. Kent Warner first had this costume up for auction at Christies in 1981.  Labels in this costume have Judy Garland’s name and the number 4461, a sure way to trace its provenance. Sold at the TCM/Bonhams auction on November 23, 2015 for $1.625 million.

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 5. Marilyn Monroe’s Gentlemen Prefer Blondes, 1953, “Two Little Girls from Little Rock” sung with Jane Russell in a matching gown. Red sequin showgirl gown with deep V cut designed by William Travilla. Sold at the Debbie Reynolds auction of June 18, 2011 for $1.44 million.

Gentlemen Prefer Blondes (1953) Directed by Howard Hawks Shown: Marilyn Monroe (as Lorelei Lee), Jane Russell (as Dorothy Shaw) Song: A Little Girl from Little Rock

6. Judy Garland’s Wizard of Oz, 1939 “Dorothy” pinafore – a solid blue “test” variant designed by Adrian. This pinafore was worn for the first two weeks of shooting before the director was replaced. Sold at the Debbie Reynolds/Profiles in History auction of June 18, 2011 for $1.1 million.

Most expensinve Debbie-Reynolds- Dorothy test dress

7. Audrey Hepburn’s Breakfast at Tiffany’s, 1961 black evening gown designed for the scene where she eats a croissant while looking at the Tiffany’s window,. Sold at Christie London December 5, 2006 for $900,000. The sale was to raise money for the City of Joy – aid for India’s poor. The gown was donated by its designer Hubert de Givenchy, although it was not the gown worn by Miss Hepburn in the film.

Most Expensive Breakfast_Tiffanys_1961

8. Marilyn Monroe’s Some Like it Hot black souffle dress decorated with strands of bugle beads. It was designed by Orry-Kelly for her scene in Some Like it Hot, 1958, where she sings sitting on a piano. It sold at the Julien’s auction of November 17, 2016 for $460,00 .

 

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9. Marilyn Monroe’s Something’s Got to Give , 1962 silk crepe large rose-print dress with deep V cut back, designed by Jean Louis and worn for the never completed film. Marilyn was fired from the 20th Century-Fox film but when co-star Dean Martin said he would walk if she was let go, she was later re-hired. She died in August 1962 before the movie could finish. Sold for $358,000  at the Julien’s auction of June 27, 2015.

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10. Marilyn Monroe’s “Diamonds Are a Girl’s Best Friend” hot-pink silk taffeta gown with the huge bow at the back worn when she sings the song  in Gentlemen Prefer Blondes, 1953. Designed by William Travilla, sold at the Profiles in History auction of June 11, 2011 for $356,500

 

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Movie costumes and gowns are fragile and rare collectibles, and few of the older ones have survived from Hollywood’s Golden Age. They command even higher prices than jewelry, and have that quality  of being the most intimate and iconic of objects. Six of the top ten were once owned and worn by Marilyn Monroe. Two were worn by Audrey Hepburn. Two of the others were worn by Judy Garland as Dorothy in The Wizard of Oz. If other Oz costumes were included, they would have made the top ten also, such as the Cowardly Lion costume and the Ruby Slippers.  One of the most expensive of costume items are Dorothy’s Ruby Slippers. There are several pairs in existence. The ones in best condition were purchased from the Profiles in History consignor in 2013 after they failed to sell for $2 million. They were purchased privately by Leonardo diCaprio and Steven Spielberg to go to the new Academy of Motion Pictures Arts & Sciences Museum. The Wicked Witch’s Hat from The Wizard of Oz, fetched $230,000 at its last auction. Some costumes came close to the Top Ten, including Kate Winslet’s “Rose” dress from Titanic at $330,000, Jennifer Lawrence’s Katniss “Fire” gown from The Hunger Games, designed by Trish Summerville, which sold at auction for $300,000 in 2013.  One of Julie Andrew’s costumes from The Sound of Music was frequently reported in the media as selling at auction for $1.56 million. These media sources failed to say that the auction was for a set of costumes from the film, not just hers, so I do not include it in the Top Ten. The prices quoted in the Top Ten includes auction house commissions, which are generally the total figures reported in the media.

The stellar prices paid for these costumes, and the fact that relatively few are in institutional hands, should mean that some will reappear at auction and set new records. This is the second Top Ten list I’ve produced in as many years.

COSTUMES FROM THE WIZARD OF OZ: THE GOLDEN BRICK ROAD CONTINUED

 

The vintage costumes from the immortal The Wizard of Oz have, along with those of Marilyn Monroe, set records for Hollywood memorabilia at auction. Stored in MGM’s wardrobe Department warehouses for decades, then liberated, they quickly turned hands and escalated in price. As outlined in my previous post, the one exception was the pair of Ruby Slippers that had been awarded as a contest prize by MGM to high school student Roberta Jeffries in 1940. She had treasured her pair until 1988 when she sold them at auction for $165,000. Roberta was flabbergasted by the price, as was everyone. The buyer was Anthony Landini, who then loaned them to Disney World for permanent display. The amazing thing was that at this point it was well known that these were not the only pair of Ruby Slippers.

 

The inked #7 pair of Ruby Slippers originally found by Kent Warner
The inked #7 pair of Ruby Slippers originally found by Kent Warner

Why were there more than one pair? It was common studio practice to have multiple pairs of costumes, and especially for plot-driving accessories like the Ruby Slippers. If they were damaged during filming, production would have to be halted, especially as Dorothy and the other key characters wore their costumes through virtually the entire movie.

The "Arabian test pair" of Ruby Slippers

The “Arabian test pair” of Ruby Slippers

There were also stand-ins or stunt-doubles that had the same costumes. And in the case of the The Wizard of OzJudy Garland also wore variant copies of the blue pinafore dress in test photos and in early scenes that were subsequently re-shot under the new but still temporary director George Cukor. While these were not the classic blue and white gingham pinafore used in the film, demand is so strong for anything OZ that values have escalated for these costumes as well.

Dorothy’s pinafore has reached very high prices, even when made in several copies and  in variant colors. The same dress has  also reappeared at auction several times. Kent Warner found several Dorothy pinafores in the MGM Wardrobe. The first one sold at the 1970 MGM auction for $1000. A few others he kept for himself. In 1981 he consigned to Christie’s East one of the classic blue and white gingham pinafores with an off-white blouse. It bore a label with Judy Garland’s name and the number 4461. It sold for an unknown amount. All of the variant Dorothy dresses were designed by Adrian. The Wizard of Oz was an international phenomenon in the Anglo-Saxon world.  Bonham’s Knightsbridge in London sold at auction a Dorothy blue and white gingham pinafore without the blouse in 2005 for the equivalent of $270,000, setting the record at that time, the company announced. 

A test pinafore of all-blue with gingham trim and off-white blouse

A test pinafore of all-blue with gingham trim and off-white blouse

The market started heating up again when Debbie Reynolds held the first of her two auctions run by Profiles in History on June 18, 2011. She was selling off her collection to pay off the debts of her bankrupt foundation, and the auction had been getting national  publicity for months. Additionally, many of the costumes had been on exhibit long in advance of the auction and thousands took advantage of viewing the collection at the Paley Center in Beverly Hills. Among the many treasures from Debbie’s amazing collection was the solid blue pinafore and off-white blouse shown above. This was one of the test dresses not used in the film. Amazingly, it sold for $920,000. This got people’s attention, as did the prices for all the other notable costumes from Debbie’s costume and Hollywood artifact collection. Debbie’s pair of the rather beat-up test pair of the “Arabian” slippers” went for $510,000, reportedly destined for the Middle-East. There is nothing like very high prices to shake the collectibles tree.

The next Dorothy dress to appear at auction was the blue and white gingham pinafore dress actually worn by Judy Garland in the movie. It came up for sale at the Julien’s auction of November 10, 2012. It also has the original blouse and was in fact the same costume consigned by Kent Warner to Christie’s in 1981, bearing the label with Judy Garland’s name and the number 4461. This dress sold for $400,000. Considering the $920,000 price minus the fees and taxes paid for the Debbie  Reynolds dress, this iconic dress was a bargain. Although the dress is a bit faded from time, and it was purposefully dyed in muted whites, the photo below does not do the costume justice.

 Judy Garland's movie-worn Dorothy dress

Judy Garland’s movie-worn Dorothy dress

So the next Dorothy dress to hit auction came quickly. Long-time Hollywood memorabilia collector and Judy Garland fan Barry Barsamian had another all-blue Dorothy dress, only this one had actually been used in the first two weeks of filming. This filming had been done under  OZ‘s first director, Richard Thorpe, before he was replaced. Barry Barsamian had gotten the dress from Wayne Martin, who in turn had gotten it from Kent Warner. This dress had been loaned as part of the Smithsonian’s “Freedom Train” celebrating the American Bicentennial. This dress is shown below. It sold at Profiles in History on July 28, 2013 for $300,000.

 

The test pinafore sold at Profiles in History in 2013

The test pinafore sold at Profiles in History in 2013

Also a beloved character from the movie was the Cowardly Lion, played by Bert Lahr. As mentioned in the last post, this costume was made from real lion pelts. It too was sold at the MGM auction in 1970. At that time the costume was missing its two front paws and its mane and ears. It sold nonetheless for $2,400, more than twice what Dorothy’s pinafore originally sold for.

Wizard of Oz Lion

Wizard of Oz Cowardly Lion auction 2012

The Cowardly Lion costume had been owned for many years by James Commisar, who had it restored. He had the face molded on that of Bert Lahr’s son; John Lahr. The mane was remade. Comisar is a collector of television history artifacts and he is planning a museum of television history. It is to this end that putting up for sale the Cowardly Lion costume would help his fund raising drive. He had the costume consigned to Profiles in History in 2011 but it failed to sell at its high reserve price of $2 million. Profiles in History subsequently sold it for $805,000 on Ebay.

Wizard of Oz AMPAS Lion wig

The Academy of Motion Pictures Arts and Sciences Herrick Library owns the Cowardly Lion mane and ears that may have been the match to the costume above, but in any event are original to the 1939 Wizard of Oz production. They are shown above. 

And miracle of miracles, that most fragile  of costumes, the Scarecrow’s has survived. As mentioned in the last post, Ray Bolger saved his costume, including the raffia that served as hay, after production wrapped. His wife Gwendolyn donated the costume to the Smithsonian in 1987, along with a bag of raffia.

Wizard of Oz Scarecrow

The Scarecrow costume at the Smithsonian Museum

But other significant pairs of Ruby Slippers were out in the world. One pair went around the country on the exhibit tour, owned by noted Hollywood costume collector Michael Shaw, who had of course gotten his pair from Kent Warner. He had loaned his pair to the Judy Garland Museum In Grand Rapids Minnesota. In a bizarre and still unsolved case, the pair were stolen from the museum, and their whereabouts are still unknown. It was thought to be an “inside job” since the security system was disabled at the time. 

The stolen pair of Ruby Slippers

The stolen pair of Ruby Slippers

Profiles in History managed to land another pair of the Holy Grail of Hollywood collectibles: the Ruby Slippers with the provenance of Kent Warner, a subsequent auction purchaser, then Philip Samuels. These were the pair in the best condition and the most likely to have been the pair used in the close up shot, where Judy Garland taps her heels three times and wishes she could go back home. The pair of Ruby Slippers went up for auction on December 15, 2011 with a reserve price of $2 million dollars. Despite their high price, there was another chance for Hollywood history to vanish from these shores. 

These most famous of Ruby Slippers and the most treasured Hollywood icon did not sell. After the auction Leonardo DiCaprio and Steven Spielberg purchased the slippers for donation to the future Museum of the Academy of Motion Picture Arts and Sciences. How fitting an end that they should not only stay in the U.S but stay very near to Hollywood. Bravo to Mr. DiCaprio and Mr. Spielberg.

Wizard of Oz Ruby slippers Profiles 2011

 

Their magic must be very powerful, or they wouldn’t want them so badly.