MICHAEL JACKSON 

One of the most instantly recognisable symbols of Michael Jackson’s stage wardrobe, the crystal glove is associated with the second half of his solo career, when certain items of clothing came to serve as identifying markers in their own right. In this case, the provenance documents place the item in Munich on 27 June 1999, during the MJ & Friends charity concert, i.e. in the period immediately following the HIStory World Tour and in the visual continuity of the major stage appearances of the late 1990s. It thus belongs to a later ensemble, distinct from the original glove of the early 1980s, whilst continuing the same visual language.

In Michael Jackson’s iconography, the glove is not merely an accessory: it embodies the tension between costume, gesture and stage presence. Here, the lot’s appeal lies not only in its visual impact, but in the combination of a provenance document, a certificate of authenticity and scientific evidence presented as corroborating, which make it a more structured object than an isolated memento. Caution remains necessary, however, regarding certain methodological points.

Traceability is based on several converging pieces of evidence. A letter issued by Knaisz Auctions describes a ‘Michael Jackson worn crystal glove’, described as the ‘last Billie Jean crystal glove owned and worn’, covered in Swarovski crystals and associated with the Munich concert on 27 June 1999. This wording reflects the auction house’s assessment of the glove’s place in the later chronology of performances, although it is not possible to demonstrate with certainty that this is the very last glove used for ‘Billie Jean’ during Michael Jackson’s career.

DNA analyses carried out in 2018 by Alliance DNA Laboratory and ARCpoint Labs on two gloves (lot no. 30 and lot no. 38) and the Billie Jean trousers (lot no. 15) revealed the same male profile, obtained from samples taken from the linings.
This match across several costume items suggests use by the same wearer and provides evidence in favour of the ensemble having been used on stage. However, these tests, conducted privately and without comparison to a reference profile associated with Michael Jackson, cannot constitute proof of use by the artist. They should be regarded as supplementary documentary evidence to the provenance already established by written documentation.
The results of these analyses will be provided to the purchaser.

Technically speaking, this is a light beige or cream-coloured left-hand glove, covered in Swarovski crystals. The presence of an inner label reading ‘Dennis Tompkins & Michael Bush’ is a significant point, linking the item to a tailor’s workshop identified within Michael Jackson’s stage costume network. The condition visible in the images is generally good for an item of this nature, with a collector’s condition and patina consistent with a worn item.

ADDENDUM: Bidders are advised to take note of this information before placing their bid.

This lot is the subject of a dispute raised by one of the designers, Mr Michael Bush. However, no expert report or technical details specific to this lot have been provided by him to date. Furthermore, the previous owner of the lots, Mr Richard Fossaas, has informed us in writing of a long-standing personal dispute between himself and Mr Bush, predating this sale and unrelated to this lot, as well as of Mr Bush’s systematic opposition to items from his collection bearing the label ‘Dennis Thompkins & Michael Bush’.