Studio Auctions: Hollywood Treasures Part I
Hannibal Lecter’s (Anthony Hopkins) mask. The Silence of the Lambs (1991). Images courtesy Studio Auctions.
In conversation with Brad Teplitsky, Co-Founder of Studio Auctions
Studio Auctions is a new Los Angeles-based boutique auction house specialising in entertainment memorabilia. Co-founded by collector Brad Teplitsky, Studio Auctions aims to improve the auction experience for consignors and buyers. The Studio Difference includes engaging in a vigorous authentication process, curating a limited amount of lots per auction, responsibly paying consignors within three weeks of a sale, buying unsold auction items at a price agreed to in advance, and charging lower fees to both consignors and buyers—10% and 20% respectively. Their inaugural auction, Hollywood Treasures Part I, features memorable items from iconic films such as The Wizard of Oz, The Godfather, Gladiator, The Silence of the Lambs, Top Gun, and more. In advance of the 7 October auction, Film Review chats with co-founder Brad Teplitsky about making the transition from collector to co-founder.
Film Review (FR): How did you get started as a collector?
Brad Teplitsky (BT): I started close to 10 years ago. I was collecting a few antiques and non-Hollywood memorabilia. Then I saw on a website that a Captain Kirk tunic and other Star Trek memorabilia was for sale. I didn't know that you could buy Hollywood memorabilia, and in particular Star Trek costumes. I saw that and then I actually went to the auction in California. I bought a bunch of things from Star Trek and some other franchises. I guess I was caught. Then I had the bug and I just kept collecting Hollywood memorabilia, starting with the Rocky franchise, Star Trek, and some Bruce Lee items. I’m a big Bruce Lee fan. I continued to collect for the last 10 years.
(FR): What led to the creation of Studio Auctions?
(BT): We felt that since we were already consigning items to the major auction houses, why not create our own and have more control over the process. We could expand our business from just buying and selling props, to a business that also does consignments through our own auction house. It was another way of earning additional income, but that was secondary. The primary thing was to have more control over the process of buying and selling. When you consign to an auction house, you relinquish, for the most part, control over how the item is marketed for sale. We wanted to have greater control over the marketing of our own items. Having our own auction house enables us to do that.
(FR): What is The Studio Difference?
(BT): I won't say that we do a better job than other auction houses, but we do it differently by charging less commissions, having a different authentication process, and having fewer lots. Some of these auction houses have 1,500 lots. I feel that's way too many lots to have in an auction, because lots get lost and buyers aren't as aware of them. Consigners don't get perhaps as high of a price as they would if there were less lots.
(FR): Studio Auctions’ inaugural auction is underway for early bidding, with the auction taking place on 7 October. You have certainly chosen quality over quantity. There are amazing pieces in this sale. Can you talk about the process of putting together the initial auction? Where does it all start? How do you choose what to include?
(BT): It's a great question. It's a huge undertaking. I've never worked harder. It starts just like anyone starting a new business. We chose Los Angeles. Then it was about finding the right people to partner with, the right vendors, and deciding what the structure would be. As I mentioned, fewer lots and a different authentication process. Marketing is huge, because we’re a new auction house. Getting on The Today Show was terrific. The people at [our marketing agency] The Tag Experience are awesome. That was almost unprecedented for a new auction house and almost no auction houses get on The Today Show. So sending the word out that we exist and why we people should trust us. In terms of finding or procuring the items for the first auction–’What do we put in?’ That was difficult at times, because we have so many good items. We have enough items lined up for about four to five auctions already. The hardest part was resisting the temptation to present so many great items in our first auction. There are so many more that we could have put in, but we didn't. We just felt that it would be better to spread it out over multiple auctions and give people a chance to get to know us, but it was a difficult choice. Ultimately, we settled on great pieces. The best of the best would be the Star Trek phaser, the Top Gun flight suit and the house from The Wizard of Oz.
A miniature model farmhouse used in The Wizard of Oz (1939) for one of the most iconic moments in cinematic history—the twister that take Dorothy over the rainbow. Images courtesy of Studio Auctions.
(FR): It's remarkable that the Gale farmhouse miniature from The Wizard of Oz still exists, and that it has such rich documentation and provenance attached to it. Even down to the ‘MGM Studios Property Culver City, CA’ tag on the inside of the miniature. What's the story behind that piece?
(BT): That piece was sold by MGM just before the massive 1970 auction, where they sold the ruby slippers, along with everything else. The sale was facilitated by the president at that time at MGM, James Aubrey, who was friends with the person who bought it. For whatever reason, he wanted to make sure his friend got it and he sold it to him for what was a reasonable price back in the day. Those items didn't have a lot of value then. This collector held onto it until a year or two ago and then we acquired it. One guy held on to it for so long, and it was never in the public domain—now it is. It’s really exciting.
(FR): If only we could time travel back for that 1970 MGM auction.
(BT): Oh my God, all the stuff they sold. Debbie Reynolds bought the ruby slippers for $15,000. At the time, in 1970, that's huge money. These things were not inherently valuable, so people couldn't necessarily think that they would sell it for a huge profit. The equivalent of $15,000 today is a lot of money. Good for her that she bought all those things. But yeah, to go back in time and buy those things now.
(FR): What is your consigning process and how do you work with collectors and estates to bring those items in?
(BT): We hope to hear from them, on behalf of consignors and estates sales. I've done some work historically with estates regarding collections, but consigners also come to our website and reach out. When we hear from them, we will call and go out to see their collections. That's basically the process. We've already heard from one pretty significant estate regarding a potential collection since we've started Studio Auctions.
(FR): Studio Auctions’ team of experts includes James Supp, Marc Wanamaker, and Mike Moore. You mentioned that you're approaching the authentication process a little differently?
(BT): What we're doing is just a little different. We have independent authenticators we've engaged for our major pieces. We ask them to confirm our findings. Even for items that are not major pieces, if we have a concern, we'll consult them as well. We're a little different that way. Other auction houses do sometimes go to independent authenticators or experts to give a second look or a second opinion as well. So it's not something that other auction houses haven't done, I just think that we do it more regularly. As a matter of routine, even if we're 100% certain, we'll still have an independent person look at it.
(FR): One of the costumes you mentioned is the Top Gun flight suit. Several have shown up at auction before, but this one is unique.
Pete "Maverick" Mitchell’s (Tom Cruise) Flight Suit. Top Gun (1986). Images courtesy Studio Auctions.
(BT): It is unique in that it has all the original patches. We've already authenticated it, but we're doubling our efforts in that regard. In other words, we've self authenticated it. Then we sent it out to an expert and we're waiting for him to give us a report on it. Because it's a major piece, we're following that protocol to have it independently verified. I'm certain that it is authentic for a variety of reasons and the provenance on it is fantastic.
(FR): What is the background on that piece?
(BT): It comes from one of the costume designers. He sets out a detailed letter of his own and then he attaches another letter from someone else who was involved in production. In the letter, he talks about all the patches being original, how he got the flight suit, and that it was in his possession for many years. That it came right from the production and was worn by Tom Cruise. It has his name in it as well.
(FR): As with any production, a few costumes were made for the duration of the shoot. Do you know how many might be out there?
(BT): I don't know how many of them survived production, or were reused and recycled for other movies. I think only two have really come up at auction before. I don't think there are many out there.
(FR): Another truly iconic costume in this sale is Marlon Brando's Godfather tuxedo, which is screen-matched. How did that piece come to you and what's the provenance behind it?
(BT): Let me tell you about the history of it. It was owned by Marlon Brando. It was his personal tux. He brought it on set. He didn't want to go for a fitting. It was his favorite tux and he wanted to wear it. I just don't think he could be bothered, so they let him wear it on set. He eventually, I think around 1988, gave it to his assistant Alice, along with some other clothing. He had gotten a little too large for it and some of his other suits or jackets. From the provenance standpoint, there's two letters about it. There's a letter from the costume designer that the former owner obtained before she passed away, there is also a little note from Marlon Brando himself to his assistant Alice, when he gave it to her. So the provenance is terrific. It's screen-matched. It has labels that are consistent with what one would expect at the time. The costume is being inspected by, again, a third party. I feel that I have to do this with the major pieces. I feel more comfortable. Not that I’m not confident with my own due diligence or that we've ever been proven wrong, but I just feel with a major piece like that, it's best to have it independently verified.
(FR): There's so many fantastic pieces in this sale. Are there any other interesting stories that have come up for you in putting together the sale or from those that are consigning pieces?
Chamberlain Haller’s (Fred Gwynne) nameplate and gavel. My Cousin Vinny (1992). Images courtesy Studio Auctions.
(BT): That's a great question. I love the gavel from My Cousin Vinny. No other nameplate or gavel has come up to auction before. In fact, I'm unaware of any other pieces from the film that have come up to auction. I love the movie so much. The judge was played by Fred Gwynne and those scenes are very funny and iconic. I love that prop. Almost all of them are special in one way or another, whether they’ve been consigned or come from my own collection. We also have Tom Cruise's sunglasses from Top Gun. Lee Majors running shoes from The Six Million Dollar Man. I was just speaking to Lee yesterday, he's such a nice guy and a big supporter of Studio Auctions.
BRAD TEPLITSKY has practiced law for more than twenty-five years. He has lectured in the law and ethics and is frequently consulted by lawyers for advice regarding their professional obligations. He is also is a former Deputy Judge. Brad became an avid collector of vintage props and costumes over a decade ago and for the last five years has been one of the leading consignors of iconic pieces to the major auction houses selling vintage Hollywood memorabilia.
Learn more about Studio Auctions and register for Hollywood Treasures Part I at: studioauctions.com
CHAD KENNERK
