Gucci X Disney Sequin Embellished Snow White Sweater:

Turner Auctions and Appraisals ushers in the next generation with andDaughters Auctions, founded by daughters Cassandra and Elysia Turner, along with Jason Krell. &Daughters Notes. This Gucci Snow White sweater from the Spring/Summer 2018 collection draws on inspiration from classic cartoons and forgotten childhood memories. It is expertly crafted with delicate light-catching sequins, making it a show-stopping piece that can be worn day or night.

CONDITION
Product Details. Condition: Excellent Condition. Materials: 100% Wool; Embroidery Composition: cotton, nylon, acrylic, polyester, plastic, polyurethane, glass. Size: XS. Color: Multicolored. Ships from: Calgary, Canada. Special Notes: Made in Italy. Please consider that any condition statements given should not be treated as a statement of fact. &Daughters has no responsibility for any error or omission of detail. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. If you have any questions about the lot, please do not hesitate to get in touch with &Daughters before the date of the auction.

Rare Silver Python Chanel Handbag:

Turner Auctions and Appraisals ushers in the next generation with andDaughters Auctions, founded by daughters Cassandra and Elysia Turner, along with Jason Krell. &Daughters Notes. This rare metallic silver python CHANEL purse is a stunning addition to any closet. Its frame top is accented by two silver chain handles and embossed with the label’s iconic “CC” monogram. The interior is luxuriously quilted in black satin and features a zip pocket, one slip pocket and one mobile slip pocket. This iconic brand never goes out of fashion, and this is a chance to get an extraordinary piece you will cherish for years to come.

CONDITION
Product Details. Condition: Excellent condition. Material: Python. Size: 12″ Width X 8″ Height X 7″ Depth. 30.5 cm Width X 20.3 cm Height X 17.8 cm Depth. Color: Silver. Ships from: Calgary, Canada. Special Notes: Buyer must be aware of and do any paperwork for shipping Python outside of Canada. Please consider that any condition statements given should not be treated as a statement of fact. & Daughters has no responsibility for any error or omission of detail. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. If you have any questions about the lot, please do not hesitate to get in touch with &Daughters before the date of the auction.

Rare David Yurman Pearl Necklace:

Turner Auctions and Appraisals ushers in the next generation with andDaughters Auctions, founded by daughters Cassandra and Elysia Turner, along with Jason Krell. &Daughters Notes. This rare David Yurman pearl necklace is the ultimate statement piece. This classic one-of-a-kind piece exalts the luminous beauty of these hand-selected pearls. The necklace comes with various authentication papers and details about the pearls. “Pearls are the ultimate sophistication,” Vogue France.
CONDITION
Product Details Condition: Excellent Condition. Material: Fresh Water Pearls. Size: Total length: 18″ | 46 cm. Pearl count: 29. Pearl size: approximately .6″ / 1.5 cm (see photo). Toggle clasp. Color: Pearl. Ships from: Calgary, Canada. Special Notes: Comes with David Yurman box. Please consider that any condition statements given should not be treated as a statement of fact. &Daughters has no responsibility for any error or omission of detail. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. If you have any questions about the lot, please do not hesitate to get in touch with &Daughters before the date of the auction.

John Lennon Handwritten Poem from & 39;A Spaniard in the Works & 39;:

Supremely rare circa 1965 handwritten poem by John Lennon entitled “The Faulty Bagnose,” one page, 10 x 7, published in his second book of nonsense poetry and prose, A Spaniard in the Works. This is the complete and original manuscript as published by Jonathan Cape on June 24, 1965, on pages 34-37, beginning: “Softly softly, treads the Mungle, / Thinner thorn behaviour street. / Whorg canteell whorth hee asbin? / Cam we so all complete, / With all our faulty bagnose?” Lennon has made only one correction to the original manuscript, which comprises 35 lines in seven numbered five-line stanzas. In very good to fine condition, with creasing to the corners, and toning to the right edge.

“The Faulty Bagnose” is a wordplay narrative expressing Lennon’s antipathy to established religion. As he explained to the Red Mole underground newspaper in 1971, ‘In the two books I wrote, even though they were written in a sort of Joycean gobbledegook, there’s many knocks at religion‰Û_ I’ve been satirising the system since my childhood.’ Parodying the incantation of formal prayer (“Give us thisbe our daily tit”), ‘‰Û_every stanza contains allusions that would affront believers but these references are always so encrypted in ‘Lennonese’ that most such readers would not catch them‰Û_ faulty bagnose is the fault finding and faulty bag of noise‰Û_’ (Gary Tillery, The Lyrical Idealist: A Spiritual Biography of John Lennon, 2009). These religious references went unnoticed at the time and it would be the following year, 1966, that Lennon uttered a throwaway line about the Beatles being ‘more popular than Jesus’ which would follow his career until his death.

Lennon mixes his admiration for Lewis Carroll and Edward Lear with parody and satire, combining and inventing a language, rhythm and orthography all his own. ‘All I’m trying to do is tell a story,’ said Lennon, ‘and what the words is spelt like is irrelevant really. But if they make you laugh because the word used to be spelt like that, that’s great. But the thing is the story. And the sound of the word.’ Even the title of the book is Lennon’s wordplay on the expression ‘a spanner in the works.’

Lennon spoke of his writing challenges during a promotional interview for the BBC’s Tonight programme on 18 June 1965, a few days prior to publication. In the interview, Lennon admitted that although he started writing before he even owned a guitar, his writing always remained a hobby and, before meeting Tom Maschler, he had never considered publishing his work—’If I hadn’t been a Beatle I just wouldn’t have thought of having the stuff published ‘cuz I would’ve been crawling around, broke, and just writing it and throwing it away. I might’ve been a Beat poet.’ He also revealed in this interview how much more difficult it was to write than his first book, ‘In His Own Write’, which was the product of years of work, whereas with ‘Spaniard’ he not only had to contend with the discipline of writing new work to a publisher’s deadline: ‘The publisher rang up and said, ‘Have you written anything yet?’ and I said ‘No, I’ve been writing songs’, because I can’t do both at once.’ Indeed, with the competing pressures of songwriting, touring and filming Help!, ‘A Spaniard in the Works’ would be the final book Lennon would publish whilst in the group.

‘A Spaniard in the Works’ was similar in style to its 1964 predecessor ‘In His Own Write,’ but, reflective of a maturing Lennon, was more ambitious in scope and had a particular bite to its subject matter. ’’A Spaniard in the Works’ gave me another personal boost,’ said Lennon, ‘The book is more complicated; there are some stories and bits in it that even I don’t understand, but once I’ve written something what’s the point of letting it hang around in a drawer when I know I can get it published? The plain unvarnished fact is that I like writing, and I’d go on writing even if there wasn’t any publisher daft enough to publish them.’ Lennon confirmed there are very few alterations to the text in his manuscripts. In an interview with Wilfred De’Ath for the BBC radio programme, World of Books on June 16, 1965, he admitted, ‘I hardly ever alter anything because I’m selfish about what I write or bigheaded about it. Once I’ve written it, I like it‰Û_ I might add things when I go over it before it’s published, but I seldom take anything out‰Û_’—apparently a similar way of working to the recording studio ‘‰Û_rather like a daily newspaperman: write it, see it released very quickly, then move on.’

The manuscript comes from the collection of Tom Maschler and is accompanied by a certificate of authenticity from Tracks Ltd. Like Beatles lyrics, handwritten published manuscripts in Lennon’s hand, are supremely rare and highly sought by collectors. This is an incredibly important artifact showcasing Lennon’s critically-acclaimed literary talents, composed at the height of Beatlemania.

Prince 1976 Warner Bros. Demo Tape (Resulted in His First Contract):

Prince’s 1976 demo tape in its original custom-made box, submitted to Warner Bros. Records vice president Russ Thyret, which resulted in his signing to the label. This reel-to-reel tape set in motion the career of an unknown musician from Minneapolis who became one of the greatest musicians of his generation.

The demo, recorded on 1/4″ reel-to-reel tape, features unreleased versions of three Prince originals: “Just As Long as We’re Together” and “My Love is Forever,” both of which Prince re-recorded for this debut album, and the never-released “Jelly Jam.” Prince was only 18 years old when he recorded these songs at Minneapolis’s Sound 80 Studios, writing, arranging, singing and playing all of the instruments himself. Includes a custom-made plexiglass display case, business card of Russ Thyret, and CD transfer of the demo tape’s audio. Also accompanied by a letter of provenance from Recordmecca’s Jeff Gold, who worked closely with Prince and Thyret during his time as a Warner Bros. executive, affirming that he acquired this from Thyret’s estate.

A 2016 Vice Magazine story details how aspiring Minneapolis music business manager Owen Husney heard about Prince from local studio owner Chris Moon, who told him ‘I’ve got the next greatest thing‰Û_It’s one kid, he just turned 18, he’s playing every instrument, and he’s singing everything. I co-wrote a few lines with him, but basically he’s doing all the writing.’

When Husney heard Prince’s demos, he thought ‘Boy, if I can get my hands on this‰Û_[he] was still living with his best friend at the time, André Cymone, in André’s mother’s basement‰Û_This was the beginning of the fall of ’76 and he still wasn’t sure whether he should trust me or not, but I just started doing things‰Û_’

In Purple Reign, author Mick Wall recalls Husney made ‘15 promo kits with tapes‰Û_of which half went out, one at a time, to every major record label in America. Two weeks later Husney had received not one response’. Husney told Vice ‘I called Warner Brothers—I’d done some work for them in my ad agency before—so I called Russ Thyret [the label’s head of promotion] and said, “I’m gonna make up that favor to you, listen, Columbia Records is flying us out. Would you like to hear this young genius I have? Would you like to hear him while I’m out here on Columbia’s dime?’ And he was like, ‘Yeah, absolutely!’ So now I had an appointment at Warner Brothers to play and then I called Columbia, and I said, ‘Hey, Warner Brothers is flying us out and while we’re here on their dime, would you like to hear the demo of this young genius from Minneapolis?’ Then I called A&M Records, and I said, ‘Listen, I’m out here making presentations to Columbia and to Warners, would you like to hear this?’ But I always knew that I was gonna go to Warners. They were just the top artist-friendly label of that era. The other labels seemed cold. So, I lied my way into appointments at all of the labels.’

It wasn’t until they met with Russ Thyret at Warner’s, though, that finally things clicked into place for Prince‰Û_‘There was a real bonding there,’ Husney recalled. He told Variety ‘After Prince and I met Russ and hung out with him, there was no doubt where we’d wind up‰Û_Russ was a man of great instinct and heart. When other labels were taking us to fabulous restaurants to get us to sign, Russ drove us to his house, where we’d sit on the floor, listen to music and he’d explain the business to us. He gave of himself 1000% and that meant the world from two neophytes from Minneapolis.’

Vice noted When Owen Husney, [attorney] Gary Levinson and Prince sat down to look at the deal [Warner’s Chairman] Mo Ostin put before them, they couldn’t believe their eyes. Ostin had instructed his team to go all in, offering this talented newcomer a deal worth a million dollars, albeit spread over several years, during which Prince would be expected to deliver seven albums‰Û_Ecstatic, Prince signed to Warner Bros. on 25 June 1977, less than three weeks after his nineteenth birthday.

Russ Thyret, who eventually became Chairman and CEO of Warner Bros. Records, worked closely with Prince throughout his storied career. After Thyret died in 2021, this tape was discovered in his attic by archivist Jeff Gold, a former Warner Bros. Executive Vice President/General Manager, who worked with both Prince and Thyret. A unique, museum quality Prince collectible, with exceptional provenance.

The Prince Estate is not affiliated, associated, or connected with RR Auction or this auction, nor has it endorsed, authenticated or sponsored the items available for auction. Further, The Prince Estate has not licensed any of its intellectual property to RR Auction.

Johnny Ramone & 39;s Signed and Rehearsal-Used Blue Mosrite Electric Guitar:

Johnny Ramone’s personally-owned and rehearsal-used 1966 Mosrite Ventures II electric guitar with a bright blue German-carved basswood body, signed and inscribed on the white pickguard in black felt tip, “To Jay, Enjoy, Best always, Johnny Ramone.” Ramone obtained this guitar in a trade with his friend, Chris Lamy of GG Allin and the Jabbers, when the former desired to have a backup Ventures II at the Daily Planet rehearsal studio; the victim of past gear heists in 1977 and 1983, Ramone was rightfully anxious about the safekeeping of his guitars. When Lamy gave the guitar to Ramone, he requested that the latter refrain from making any updates unless his current backup guitar was misplaced or stolen. Ramone agreed and offered Lamy first rights to buy back the guitar were he to purchase another backup, which he eventually did, a few years later. True to his word, Ramone offered the guitar back to Lamy. However, when Lamy conveyed that he was no longer interested, the guitar was ultimately sold to a fan, hence the inscription. The guitar is accompanied by two Ramones guitar picks and two candid Polaroid photos of Ramone at the time of the signing. According to Lamy, he believes that he traded this Ventures II to Ramone in either 1987 or 1988 and that Ramone likely sold this guitar circa 1990, when legendary luthier Semie Moseley began building and sending new Mosrites to Ramone. Given the time period, Lamy believes that Ramone used this guitar for rehearsals during the band’s Brain Drain era.

Even though Ramone used this guitar exclusively during rehearsals, his aggressive playing style makes the serial number difficult to read; the end of the guitar’s rosewood fretboard has a barely visible serial number, “B546,” which Lamy confirms was the serial number of the guitar that he traded to Ramone. The guitar is in 100% original condition and includes the non-roller bridge, vibrato assembly, knobs, pickguard, switch tip, pots, wiring, frets, strap buttons, and tuning machines. The original blue finish over the guitar’s basswood body shows some checking, which is normal for a well-played 57-year-old guitar. The instrument has two regular-sized and -wound Mosrite pickups, but without the exposed pole pieces of other Mosrite models. The black pickup covers are embossed with “Mosrite of California.” These model guitars look small but are actually full-scale and heavier and sturdier than the slab-bodied Ventures II. This fourth and last variation of the Ventures II model was quickly dropped in 1966 and replaced with the ‘Mark V’ designation. There were approximately 400 Ventures II ‘German carves’ made from December 1965 through February 1966 before being discontinued. In fine to very good condition, with referenced wear to body paint; the instrument has been tested and all electronics are working.

Dee Dee Ramone and CJ Ramone Stage-Worn Schott Leather Jacket:

Historic black leather Schott (418-453-474SM) motorcycle jacket personally-owned and stage-worn by both Dee Dee Ramone and CJ Ramone, bass players for the legendary punk band the Ramones, who have signed the left and right lapels in silver ink, “Dee Dee Ramone” and “CJ Ramone.” Dee Dee obtained this jacket not long after the band’s gear was stolen after a show at the Reseda Country Club on April 24, 1983. The jacket traveled the world with Dee Dee, who wore it exclusively during Ramones concerts until his final show in July 1989. It was then placed in the band’s wardrobe touring case and soon thereafter was issued to new bassist CJ Ramone, who wore this jacket at his first Ramones live performance and then during numerous tours until the band’s retirement in 1996. The jacket, size 40, features snap-down lapels, shoulder epaulets with U.S. Army captain rank pins, zippered sleeve cuffs and side pockets, an attached belt with a rectangle buckle, and a small coin flap pocket. The right lapel features a U.S. Air Force cap insignia, which was placed on the jacket by CJ Ramone. In very good to fine condition, with a partially stiff quality to the leather, likely due to rain or water, holes and wear to the wrist, cuff, and collar areas, and light rusting to the metal accessories; small holes to the lapels and epaulets due to alternating pins and insignias. This jacket can be seen in numerous official Ramones music videos and press photographs from the era, as well as on the front and back covers of the band’s Animal Boy LP, and on the front covers of Halfway to Sanity and Mondo Bizzaro.

Another notable ‘flaw’ is the cut inner liner of the left wrist section, which was widened by CJ prior to the band’s set at the Bizarre Festival in West Germany on June 23, 1990. CJ cut the liner in order to fit his fretting hand, which was set in a medical cast. According to CJ: ‘The only time I ever called in sick was when I got into a motorcycle wreck and busted my wrist and got a concussion. I was busted up. But I still went. We had a festival booked. I went to that festival and played with a busted wrist. I got a shot in my armpit to numb out the nerves in my arm, and I got out on that stage and played. I’m not saying, ‘Wow, what a hero I am,’ but that’s how seriously I took my job.’

Accompanied by the original FedEx shipping box, which includes the original mailing label sent by CJ Ramone (Christopher Ward) to the consignor, artist Andy [Armstrong] Gore, and by a detailed letter of provenance from Gore, who affirms that he obtained this jacket directly from CJ Ramone when the band retired. ‘When the Ramones were touring for the final time I just asked CJ outright if he would sell me this leather jacket and, to my surprise, he gave it to me after the band retired. I would have paid any price for the privilege to possess this item, but CJ just asked me to screen-print some t-shirts for his side band ‘Los Gusanos,’ which he formed in 1992. That was all he wanted.’

Torn jeans. Boating shoes. Shaggy hair. Leather jackets. The simple yet unmistakable style of punk rock heroes The Ramones remains just as iconic and distinctive as their instantly recognizable brand of carefree punk rock. While their fashion and music were minimalistic, the band members, in particular founder Dee Dee Ramone, were anything but. Dee Dee was a complex figure, the quintessential punk rock bassist, whose aggressive playing style and ability to create catchy, high-energy basslines were signature elements of the Ramones’ sound. And as clothing is wont to do, this leather jacket took on the identity of its wearer. It absorbed Dee Dee’s zeal and rebelliousness during its six years on top, trotting the world to countless stages far and near to the tuneful shout of ‘1-2-3-4!’ Then Dee Dee left, and the jacket was passed, like keys to a Mustang, from one driver to the next. CJ adopted the jacket as his own, embracing the band’s history and continuing a tradition. And in doing so, the tale of the Ramones ‘bass jacket’ was created, the jacket that prevailed, the one that got away. The ultimate punk rock museum piece, worn all over the world, and the oldest surviving stage-worn Ramones leather jacket known to exist, too tough to die after almost 800 shows.

Billy Joel & 39;s Stage-Used C. Bechstein Model M Grand Piano:

Billy Joel’s personally-owned and -used 1908 C. Bechstein Model M Grand Piano, serial number 88837, which he toured with and recorded on during the mid-1970s to mid-1980s. Most notably, he played this piano during a BBC concert and is said to have used it to record the song ‘New York State of Mind.’ The piano was professionally restored by Larkfield Pianos in 1992. Originally purchased from Frank Weber, Joel’s brother-in-law and manager during this period, and accompanied by documentation of ownership. While this model was not officially offered until 1920, the manufacturer has confirmed that earlier variations are not uncommon, due to experimentation in design during the early part of the century. Note: Winning bidder is responsible for cost of shipping piano from origin to destination. Please call RR Auction for more details.

Rock stars of Joel’s caliber often choose to play Bechsteins not only because their sound compliments the human voice, but because of the piano’s rich history—analogous to a guitarist’s preference for Fender or Gibson. Bechstein is one of the most renowned piano makers in the world, and has been since it was established in 1853—Franz Liszt was one of its earliest customers, and others fond of the manufacturer included the likes of Queen Victoria and Wilhelm Furtwangler. The great modern composer Claude Debussy once proclaimed: ‘Piano music should only be written for the Bechstein.’ In more recent times, the piano has crafted a niche in rock music—the Beatles used a Bechstein on ‘Hey Jude,’ Queen used one on A Night at the Opera, and it has been known as one of Bob Dylan’s preferred pianos since the 1960s. Continuing the Bechstein legacy, Joel utilized this piano as a main tool while revolutionizing and popularizing the ‘piano rock’ genre. In addition to the direct provenance from his one-time manager, Joel can be seen playing this exact piano during his Live at the BBC concert of March 14, 1978, during a set that consisted of some of his most famous songs—including ‘Movin’ Out,’ ‘She’s Always A Woman,’ and ‘Only the Good Die Young.’ A truly unique and one-of-a-kind piece of music hist

Rolling Stones Original Hand-Retouched Oversized Gatefold Album Cover Art for Beggars Banquet:

Remarkable oversized glossy 23.25 x 19.5 hand-retouched silver gelatin photograph reproduced on the inside gatefold of the Rolling Stones’ classic 1968 album ‘Beggar’s Banquet,’ taken by photographer Michael Joseph and toned and hand-colored by the album’s art director, Tom Wilkes. Includes an example of the Beggars Banquet album (London Records stereo pressing), which features a cropped version of this image as its gatefold artwork. The outstanding, oversized photograph is a different aspect ratio than the gatefold, with an image area that is about 50% larger than the published image—unseen elements of the mise en scène, such as a statue, artwork, candlesticks over the fireplace, the rear doorway’s arch, and a clock are all seen in the background over the larger version. Mounted on Crescent illustration board and in fine condition.

Michael Joseph recalls the 1968 photo shoot at London’s Sarum Chase mansion: ‘The Stones arrived punctually. They were impressed with my lighting setup, and this fantastic, beautiful room. I was already there, talking through a megaphone to the goats, dogs and all the other animals we had for the shoot, getting them to understand what it was all about. I was good with animals and they behaved very nicely. Most of the feast on the table was prop food, but luckily, I’d put down a bowl of real cherries, and the goat was munching away on those. There were some cats knocking around the set, too, and they didn’t seem to be put off by 20,000 joules of light flashing away.

We only had two hours for the whole session, so literally within 10 minutes, the band were all changed. They just put on whatever costume they fancied and we didn’t bother with makeup—it wasn’t necessary. I put Keith Richards in the centre of the photo because he was the best-looking and the youngest. Bill Wyman, not so good-looking, so we put him further back. On the right, Brian Jones was very happy playing with a labrador. Charlie Watts was chatting up the stuffed monkey that’s on the table. Mick was happy to be centre-stage, standing on the table, cuddling some of the animals. There were other shots from this session where he’s holding a baby eagle, but then he got bored with that.’

Gio Ponti, Vanity Set, from the Royal Hotel, Naples (2):

GIO PONTI
Vanity set, from the Royal Hotel, Naples, 1953
Ash, brass, mirrored glass, leather, fabric. Produced by Giordano Chiesa, Italy.

Vanity: 48.5″ H x 36.75″ W x 18″ D
Chair: 34.25″ H x 16.75″ W x 21″ D
Seat height: 18.5″

Provenance: The Royal Hotel, Naples; Private Collection

Condition
Very good condition. Vanity has been restored at some point. Light scratches or scuffing. The back edge with an area of repaired veneer. Newer finish with minor writing indentations which are not noticeable unless examining closely. Drawers have been lined in leather. Brass with light patina. Mirrored glass appears original and has some minor losses. A second set of drill holes have been made to the back of the vanity. Both sets of holes are stripped resulting in the mirror not holding tightly to the vanity. Chair in very good restored condition with occasional minor wear. Newer fabric with some minor soiling.