‘Game of Thrones’ Dragon-Forged Iron Throne Fetches Nearly $1.5 Million at Auction

The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)
The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)
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‘Game of Thrones’ Dragon-Forged Iron Throne Fetches Nearly $1.5 Million at Auction

The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)
The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)

"Game of Thrones" fans came out in droves to bid on hundreds of costumes, props and other items from the series in an auction that raked in over $21 million.

From Thursday through Saturday, the Heritage Auctions event in Dallas featured over 900 lots including suits of armor, swords and weapons, jewelry and several other items of significance from the HBO series.

The top-dollar item was the very thing the characters in the series vied for throughout its eight-season run: the Iron Throne. After a six-minute bidding war, the throne sold for $1.49 million.

The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. In the series, the throne was forged with dragon breath that melted the swords of a thousand vanquished challengers and became a symbol of the struggle for power throughout the show's run.

Heritage Auctions said in a statement Sunday that the event brought in $21.1 million from more than 4,500 bidders. The auction marked Heritage’s second-best entertainment event, just shy of the record set by a Debbie Reynolds sale it held in 2011.

Heritage Executive Vice President Joe Maddalena said in a statement he knew the auction would resonate.

"These are extraordinary treasures made by Emmy-winning costume designers and prop makers, who worked tirelessly to adapt George R.R. Martin’s wonderful novels," Maddalena said. "People wanted a piece of that ‘Game of Thrones’ magic."

Beyond the coveted Iron Throne, over 30 other lots commanded six-figure price tags.

Jon Snow’s signature sword, Longclaw, wielded onscreen by Kit Harington, sold for $400,000 and his night's watch ensemble, featuring a heavy cape, went for $337,500. Both items kicked off prolonged bidding wars.

Starting bids ranged from $500 to $20,000, but several items went for thousands of dollars more. Such was the case for several cloaks and dresses worn by Emilia Clarke as Daenerys Targaryen and Lena Headey as Cersei Lannister.

A gray suede ensemble worn by Daenerys sold for $112,500, exactly $100,000 over its starting bid, and the red velvet dress Cersei wears in her final appearance on the show went for $137,500, which was $122,500 over its starting bid.

Suits of armor also proved popular, especially when they included sought-after weapons. Jaime Lannister’s black-leather armor ensemble fetched $275,000 and his Kingsguard armor — including his iconic Oathkeeper longsword — went for $212,500. Queensguard armor worn by the character Gregor "The Mountain" Clegane sold for $212,500.

In an interview when the auction was announced in September, Jay Roewe, HBO’s senior vice president of global incentives and production planning, said the sale speaks to the series' staying power five years after its finale.

"‘Game of Thrones’ was a zeitgeist moment in our culture. It was a zeitgeist moment in high-end television. It was a zeitgeist moment in terms of HBO," he said. "It’s impacted the culture."



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."