A LIFE IN COUTURE: The Collection of Michelle Smith 21 SEPTEMBER 2021
HIGHLIGHTS
A L I F E I N C O UT UR E : T he Co l l ect i on of M ichel le S m i th SALE 932 21 September 2021 10am CT | Chicago Lots 1–328 PREV I EW BY A PPO INT MENT ONLY PROPERTY PI CK U P HOURS Monday - Friday | 9:00am – 4:30pm By appointment only. 312.447.3262 All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale. CONTENTS Introduction Collecting Couture Dior Ralph Rucci J. Mendel Hindman Team Auction Inquiries
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All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database.
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DEN 1057930 FL AB3688 GA AU-C003121 IL 444.000521 OH 2019000131 MO STL 102646 FRONT COVER Lot 69
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A LIFE IN COUTURE: THE COLLECTION OF MICHELLE SMITH
INTRODUCTION Philanthropist and collector, Michelle Smith was renowned equally for her charitable efforts and for the vision of elegance and sophistication that influenced all areas of her life. She passionately supported causes in education, culture, health and the arts. After succeeding her father in January 2010, Smith served as president of the Robert H. Smith Family Foundation, supporting nonprofit organizations, universities and cultural institutions through fundraising and charitable giving. Smith’s commitment to sustaining and nurturing the arts is evident in her work with the Smithsonian’s National Gallery of Art and the Whitney Museum; she also funded arts and business programs at the University of Maryland. Smith fostered key partnerships among organizations, bringing her curated approach to life and utilizing her relationships as she served on many boards of trustees and directors, including the Aspen Institute and The Foundation for Art and Preservation in Embassies. Every facet of her world was shaped by refinement and beauty: at home, in art and in fashion, over time acquiring a significant collection of contemporary haute couture. Smith developed close relationships with designers, working closely with American couturier Ralph Rucci to create custom garments to her unique specifications. Rucci’s pieces featured within this collection represent some of his finest work, featuring luxury materials hand-worked in spectacular detail. Equally, Smith’s longstanding love for Christian Dior manifests in the breadth of her collection: from a 1979 haute couture Dior wedding dress, to the playful refinement of a domino-patterned wool coat, Spring/Summer 2018. The collection features a suite of luxury furs by Ralph Rucci and J. Mendel which demonstrate the extraordinary labor and craftsmanship required to create these garments. Further highlights include earlier vintage garments by Emilio Pucci and Stephen Burrows and contemporary luxury accessories by Hermès, Bottega Veneta and Manolo Blahnik. The very notion of haute couture relies on the work of les petites mains, the highly skilled artisans who craft these garments in designers’ ateliers. Smith’s collecting indicates a profound attention to craftsmanship; each of the key designers represented here are renowned for their attention to detail. The care and labor poured into each of these pieces is evident in each embroidery, appliqué and weave. To see a collection of contemporary haute couture, so thoughtfully curated and cultivated, illustrates Michelle Smith’s pursuit of excellence, in fashion and in life. VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM
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COLLECTING COUTURE “Couture was a world defined by relationships and lineage,” explains journalist Robin Givhan, noting that women were historically introduced to this world socially, often by their mothers.¹ Smith’s exposure began close to home and sparked a lifelong joy for collecting: her own mother was a couture client, also a patron of Dior. A 1960s Balenciaga haute couture wool coat commences the sale, followed by a 1910s evening coat that suggests an eye towards Paul Poiret and the history of fashion (lots 1 and 2). Traditionally, couture clients have become loyal to one or two labels, as did Michelle Smith with Ralph Rucci and Dior. First, however, Smith embraced the American designers who defined American ready-to-wear. James Galanos, Halston and Stephen Burrows, all of whom rose to prominence in the 1970s, represent a rebellion against the codified and exclusive nature of French haute couture and the debut of a distinctly American high fashion system (lots 5 and 6). The latter two designers showed at the Battle of Versailles in 1973, the event known to have solidified this reputation in the eyes of a global fashion audience. If haute couture is a slow, involved process, American fashion during these years was about speed, lightness and high style. Michelle Smith’s acquisition of these pieces, and later examples of contemporary ready-to-wear, illustrate a lifetime of style, featuring designers as signposts for the finest moments in fashion in the later half of the twentieth century.
Robin Givhan, The Battle of Versailles: The Night American Fashion Stumbled into the Spotlight and Made History (New York: Flatiron, 2015), p. 14. 1
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Deceptively simple, this coat is cut with few pattern pieces, many of which are hand-sewn together with minimal seams. The silhouette of the coat is supported by internal layers of padding that extend down the front and back of the body, from the shoulder. These unusually placed pads help smooth the silhouette over the shoulders and chest and widen the silhouette of the chest and back to achieve the Cocoon shape of the 1940s-1960s, which Balenciaga helped introduce.
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Balenciaga Haute Couture Wool Coat, 1960s $300 - 500
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Silk Velvet and Gold Lamé Evening Cocoon Coat, 1910-20s $300 - 500
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Collection of Emilio Pucci Clothing and Accessories, 1960-70s See Online Catalogue for Estimates.
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In 1973, French and American fashion came head-to-head in what became known as the Battle of Versailles. Conceived as a fundraiser for the palace in disrepair, five American designers, among them Stephen Burrows and Roy Halston, presented collections that would cement the reputation of American ready-to-wear against the monolith of French couture. American designers presented a fresh new look, casual and modern, that elevated the legacy of sportswear featuring breezy fabrics cut on the bias. Stephen Burrows’ designs captured the spirit and levity of the time; young and nearly untrained when he rose to prominence, Burrows was unencumbered by the weight of French couture, which affected his more established peers. For many, his clothes embodied freedom in metal mesh and featherweight jersey (lot 5). “Dancing is in my clothes,” said Burrows, “the movement; that you can do anything and feel free in the garment.”
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Two Stephen Burrows Dresses, 1970s This lot includes three pieces: two dresses, one mesh top (not shown). $300 - 500
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Of visionary mindset and mercurial temper, Halston was credited with reintroducing the figure-skimming bias cut, resuscitating it from the 1930s and reacting against Balenciaga’s highly structured silhouettes. In 1964, Halston articulated his vision to Women’s Wear Daily: “We’ll go on simplifying, everything uncluttered.” He believed fashion should fit the lifestyle of the woman, and never the other way around. Recalling his garments, Marc Bohan (creative director of Dior from 1960-1989) said, “they were more personal, one style and nothing else. Halston was totally something else, very clean, neat, chic, well cut and plain. No satin, not big drama, just by itself.” Matte jersey dresses emerged from the use of the material in tracksuits, marking the elevation of an American innovation for made-to-measure eveningwear. Even James Galanos demonstrated couture-level craftsmanship with California ease, exemplifying the emergence of a new era of American fashion on the world stage.
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Three Knit Dresses: Two Halston, One Galanos, 1960-70s $400 - 600
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Naeem Khan Short-Sleeve Sequined Maxi Dress, 2010s $300 - 400
OPPOSITE
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Versace Tribute “Wild Baroque” Silk Print Shirt Dress and Scarf, 2018 $400 - 600 VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM
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Two Libertine Stone Embellished Coats This lot includes two coats (one shown). $300 - 500
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DIOR Craftsmanship is long; it is a dream for a future. MARIA GRAZIA CHIURI
Christian Dior came to the fore of fashion with the debut of his New Look in 1947. Since then, and under the leadership of highly influential creative directors, the label has reigned modern fashion by remaining responsive, adaptive and generative. Smith’s collection features contemporary Dior haute couture from her wedding dress, 1979 (worn in 1980, lot 21), through 2018, collecting most heavily from 2008 onwards. These garments, rarely seen at auction, tell a story of the house of Dior’s creative output as they have designed for increasingly modern women in an ever-changing world. Since 2016, Maria Grazia Chiuri has sat at the helm of Dior, the first woman creative director, breathing new life into the label through minimalist edge with strong, feminist underpinnings. She has introduced a strong emphasis on craftsmanship by women artists and makers, and collaborates closely with workshops worldwide.1 Chiuri’s clothes embody a refined elegance, at times eye-catching and bold, at others, quiet and sophisticated. Of the autumn/winter 2018 collection, “These are serious clothes, Chiuri seemed to be saying, made by the finest hands and meant to be appreciated by women who are beyond the flimflam and easy glam of our times.”2 In Smith’s collection, the item most closely resembling Christian Dior’s iconic Bar suit most explicitly subverts the house’s traditional codes. The cinched, corseted jacket and voluminous, knife-pleated skirt are reintroduced as a jacket free of internal structure and – for the modern woman – pants (lot 31). This, for Chiuri, represents freedom. The garments are restrained so the wearer can speak; “Chiuri’s offerings are for people who make noise in the world by wearing clothes that murmur elegantly.”3
Alexis Okeowo, “Maria Grazia Chiuri’s Feminist Mission Goes Beyond Slogans,” Elle, October 16, 2020, https://www.elle.com/fashion/a34050277/maria-grazia-chiuri-dior-profile/. 2 Sally Singer, “Christian Dior: Fall 2018 Couture,” Vogue Runway, July 2, 2018, https://www.vogue. com/fashion-shows/fall-2018-couture/christian-dior. 3 Ibid. 1
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Princess Caroline of Monaco wore a similar Christian Dior Haute Couture dress designed by Marc Bohan for her wedding to Philippe Junot in 1978. Her dress featured an A-line silhouette with a tiered lace overlay and sheer bell sleeves. Bohan served as creative director of Dior from 1960-1989.
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Christian Dior Haute Couture Wedding Dress, Fall/Winter 1979 $500 - 700
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Christian Dior Two-Piece Taffeta Palazzo Pant Ensemble, Spring 2019 $500 - 700
Christian Dior debuted the Bar suit in his inaugural Corolle collection, which featured a knife-pleated skirt and tailored jacket with flared hips and a diminutive waist. It has become one of the most iconic styles of the 20th century, and in a modern interpretation of Dior’s magnum opus, Chiuri offers trousers and a jacket that enable movement and fit the contours of the natural body.
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The next four pages contain examples of contemporary haute couture by Christian Dior. Handmade in Paris by skilled artisans, haute couture is highly regulated and sits atop the hierarchy of fashion. Each garment is handmade to the specifications of the buyer, preserving a lineage of close relationships between designer and client. The pages that follow offer a rare glimpse into the world of contemporary haute couture, in garments that represent the highest luxury in the form of ultimate simplicity. 23
Christian Dior Haute Couture Wool Dress with Gathered Silk Chiffon, Spring/Summer 2007 $1,000 - 2,000
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Christian Dior Haute Couture Wool Crepe Jacket, Autumn/Winter 2008 Worn over Lot 25. $600 - 800
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Christian Dior Haute Couture TwoPiece Ensemble: Cap Sleeve Shift Dress and Scalloped Banded Taffeta Coat, Spring/Summer 2012 $1,500 - 2,500
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Christian Dior Haute Couture Silk Taffeta Evening Coat, Spring/ Summer 2018 Worn over Lot 29. $600 - 800
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Christian Dior Haute Couture Domino Pattern Wool Coat, Spring/Summer 2018 $4,000 - 6,000
The Spring/Summer 2018 collection was inspired by surrealism and the dreams of women. Maria Grazia Chiuri drew upon the work of painter and performance artist Leonor Fini, whose art so closely “merged her public persona and inner life.” This coat, with white dots inset into the fabric, is shaped with a gradated pattern of dominos that expand and contract based on their placement on the body. Said Chiuri, “all the dominos are joined together. They are completely doubled, held up like a game.”
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Christian Dior Paris Wool Coat with Floral Appliqué and Embroidery, Fall 2018 $400 - 600
Hand-stitched with screen-printed and appliquéd flowers and insects, this coat evokes an enchanted garden, a hallmark of the classic Dior lexicon. A small bee (page 26, top left) on the right hip suggests the insignia of the label, and one of superstitious Christian Dior’s lucky charms. In his memoirs, he likened the seamstresses in his atelier to bees: “A small hive full to bursting, that is what my house was when I presented my first collection.” Though created for ready-to-wear, the coat’s appliqué technique makes apparent the skill and labor needed to create this garment.
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RALPH RUCCI “His work expresses at all times an exuberance combined with restraint,” wrote André Leon Talley of couturier Ralph Rucci. “It is at once colossal and fragile, a Rucci construction of peerless seams and details. In his passion for ‘old school’ ideals, he refuses to compromise. The high standards of classical verities established by the masters of Paris haute couture are essentially the foundation of everything Rucci achieves.”¹ Rucci’s approach to fashion is one of profound thoughtfulness and exactitude. In his materials, construction and techniques, Rucci honors the traditions of French couture. Reverent to his influences, Rucci credits Charles James, Cristóbal Balenciaga and Madeleine Vionnet among the designers who have shaped his vision. Equally, contemporary visual art, Asian aesthetics and classical antiquity play a key role in the Rucci visual pantheon. These components, combined with his commitment to artistry and quality, have enabled Rucci to hone and mature his creative expression over forty years, and earning recognition by the Chambre Syndicale de la Haute Couture, who invited him to show at Parisian haute couture as the second American in history. For Rucci, transitioning to haute couture was a natural progression. He acquires only the finest textiles, furs and surface treatments, working with François Lesage for embroideries and sourcing silk gazar from Maison Bucol in Lyons, France, as had Balenciaga. His clothes are for people who see fashion as a work of art. The extraordinary craftsmanship of each garment indicates a profound appreciation for the skill and labor of the most sophisticated artisanship. Rucci derives inspiration from his clients themselves, developing symbiotic relationships between artist and patron. Deeda Blair, a longtime client, appreciates his work for its “deceptive simplicity,” clothes that quietly reveal their “great intricacy.”² In Rucci, Smith found qualities that aligned so closely with her own discerning eye, as Hamish Bowles describes: “unimpeachable good taste, a nuanced color palette, flattering silhouettes, and his legendary workmanship.”3
Andre Leon Talley, quoted in Valerie Steele, Ralph Rucci: The Art of Weightlessness (New Haven: Yale University Press, 2007), p. 97. 2 Deeda Blair, quoted in Ralph Rucci, p. 3. 3 Hamish Bowles, “Ralph Rucci’s Pragmatic Luxury and Haute Craftsmanship Has Never Seemed So Timely,” Vogue Runway, July 14, 2021, https://www.vogue.com/slideshow/ralph-rucci-fall-2021-couture. 1
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Ralph Rucci Printed and Beaded Silk Sleeveless Top, Fall 2011 $300 - 400
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Digital screen prints set the garments alight, demonstrating Rucci's propensity for abstract art as surface decoration for his designs among a collection he described as “specific, brash, and sexy.”
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Ralph Rucci Screen-Printed Silk Jackets And Blouse, Spring 2009 See Online Catalogue for Estimates.
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Ralph Rucci Net-Encased Ostrich Feather Jacket $1,000 - 2,000
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A prime example of Rucci’s suspension technique, ostrich feathers are encased within triple panels of black and tan tulle, fragmented into a geometric patchwork effect and conjoined with narrow bands of black tulle. Hidden within the lines of the patchwork are the shape of the garment. The result is weightless and structured, heavily worked while appearing organic.
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Ralph Rucci Golden Sable and Braided Leather Stroller Coat $600 - 800
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A favorite material of Rucci’s, this leather coat is braided and woven by hand to produce a stunning topography of varying textures and techniques, with each narrow band subtly reflecting the light.
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Ralph Rucci Braided and Woven Leather Jacket $2,000 - 4,000
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Ralph Rucci Open Work Wool Crepe Jacket $400 - 600
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To create the open work effect, Rucci uses horizontal bands of wool crepe fabric, cut into variegated zigzag forms. Each double-layer band is conjoined and hand-finished by inserting the edges into the bands above and below. Stitches are hidden to produce a rational, geometric look, a feat of meticulous workmanship.
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Ralph Rucci Wool Crepe and Net Banded Jacket $1,000 - 2,000
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Ralph Rucci Cut and Braided Brown Leather Jacket, 2008 $700 - 900 74
Ralph Rucci Cut and Embroidered Black Leather Jacket $2,000 - 3,000
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Each leather jacket was hand cut and woven to resemble armor, elegant and strong. The hardness of the leather contrasts with the finery of the detail.
Lot 73, Detail
Lot 74, Detail VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM
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Ralph Rucci Printed and Beaded Silk Jacket $300 - 500
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An abstract screen-printed design is emphasized and textured by embroidered beads in this adaptation of a classic silhouette by Rucci. The sloped shoulder and structured form pay homage to Balenciaga, a perennial inspiration for the designer.
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Ralph Rucci Paisley Coat with Lamb Fur Trim, 2011 $500 - 700
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Lot 52, Detail
Lot 56, Detail
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Lot 75, Detail
Lot 80, Detail
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Ralph Rucci Cashmere and Embroidered Leather Jacket, Fall 2013 $700 - 900
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Featured on the runway for Fall 2014, this coat is made of Russian sable pelts sewn together with the seams exposed. The suede side of the pelts have been worked to a smooth surface and painted black, forming the exterior of the coat, which is cinched with a braided leather belt. Rucci often relies on inspiration as esoteric and wideranging as Mongolian aesthetics and deep space, yet remains grounded in luxurious wearability.
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Ralph Rucci Pieced Sable Coat with a Smoothed and Blackened Suede Exterior, 2014 $2,000 - 4,000
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J. MENDEL Creative director Gilles Mendel is the fifth-generation proprietor of furrier J. Mendel, ushering a label founded in 1870s St. Petersburg into the twenty-first century. Mendel adopted the craft of his forefathers and honors the time-honed traditions inherent in the brand. Only the finest pelts are used: broadtail, chinchilla and barguzine sable among them, rare and of Russian imperial heritage. These materials are of the utmost luxury and require the work of highly skilled specialists, some of whom use sewing machines more than fifty years old. These tools and their expertise are time tested, and it is Gilles Mendel who introduces the cutting edge to the heritage brand. “My father’s world was if you wanted the most extraordinary lynx coat, the most fabulous chinchilla, the way they were assembled you wouldn’t even see a seam,” says Mendel. “I started to create seams.”¹ His cutting, deconstructing, and reshaping of exotic pelts and skins makes them fresh and modern, marking a twenty-first century approach to luxury fur.
Jesse Ashlock, “From Russia with Love,” T Magazine, February 7, 2014, https://archive.nytimes.com/ www.nytimes.com/packages/html/tmagazine/interactive/jmendel.html. 1
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J. Mendel Broadtail Stole with Bead Embellishments $500 - 700
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J. Mendel Natural Barguzine Sable Short Sleeve Jacket $600 - 800
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J. Mendel Chinchilla Short Sleeved Jacket $600 - 800
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J. Mendel Chinchilla PullThrough Stole $600 - 800
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J. Mendel Natural Barguzine Sable Stroller Coat with Suede Inserts $2,000 - 3,000
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J. Mendel Gold-Tipped Russian Sable Hooded Coat $3,000 - 5,000
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J. Mendel Natural Mink Fur Wrap $400 - 600
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Cashmere and Rabbit Fur Shawl, Attributed to J. Mendel $300 - 500
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J. Mendel Cashmere Coat with Sable Collar $600 - 800
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Sable Fur Blanket Lined with Gray Wool, Attributed to J. Mendel $2,000 - 4,000
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Lots 284–295
Lots 299–323
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Lots 226–234 61
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Hermès 140cm Cashmere/Silk Scarf “Beloved India Scarf” pattern by Philippe Dumas. Year of issue, 2008. $400 - 600
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Hermès 140cm Cashmere/Silk Scarf “Brazil” pattern by Laurence Bourthoumieux. Year of issue, 1988. $400 - 600
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Hermès 140cm Cashmere/Silk Scarf “Cavalcadour” pattern by Henri d’Origny. Year of issue, 1981. $400 - 600
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Hermès 140cm Cashmere/Silk Scarf “Jaguar Quetzal” pattern by Alice Shirley. Year of issue, 2017. $400 - 600
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Couture & Luxury Accessories
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A LIFE IN COUTURE: THE COLLECTION OF MICHELLE SMITH
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MUSEUM SERVICES CAROLINE MUJICA-PARODI DIRECTOR, MUSEUM SERVICES CAROLINEMUJICA @HINDMANAUCTIONS.COM 312.280.1212
AMERICAN FURNITURE, FOLK & DECORATIVE ARTS BENJAMIN FISHER DIRECTOR, SENIOR SPECIALIST BENJAMINFISHER @HINDMANAUCTIONS.COM
MICHAEL SHAPIRO SENIOR ADVISOR MUSEUMS & PRIVATE COLLECTIONS
JENNIFER HOWE SENIOR SPECIALIST JENNIFERHOWE @HINDMANAUCTIONS.COM
BRIAR KOEHL BUSINESS DEVELOPMENT, SENIOR ASSOCIATE MUSEUM SERVICES FINE ART JOSEPH STANFIELD VICE PRESIDENT, SENIOR SPECIALIST JOSEPHSTANFIELD @HINDMANAUCTIONS.COM ZACK WIRSUM SENIOR SPECIALIST, POST WAR & CONTEMPORARY ART ZACHARYWIRSUM @HINDMANAUCTIONS.COM MONICA BROWN SENIOR SPECIALIST, PRINTS & MULTIPLES MONICABROWN @HINDMANAUCTIONS.COM
LEAH VOGELPOHL SPECIALIST ANTIQUITIES & ANCIENT ART JACOB COLEY DIRECTOR, SPECIALIST ANTIQUITIES & PRE-COLUMBIAN ART JACOBCOLEY @HINDMANAUCTIONS.COM BEN WILSON DEPARTMENT COORDINATOR MODERN DESIGN HUDSON BERRY DIRECTOR, SPECIALIST HUDSONBERRY @HINDMANAUCTIONS.COM SABRINA GRANADOS ASSOCIATE CATALOGUER
BART MONSON DIRECTOR AND SPECIALIST, WESTERN & WILDLIFE ART BARTMONSON @HINDMANAUCTIONS.COM VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM
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Inquiries NATIVE AMERICAN, PREHISTORIC & TRIBAL ART DANICA FARNAND DIRECTOR, SENIOR SPECIALIST DANICAFARNAND @HINDMANAUCTIONS.COM ERIN RUST SPECIALIST ERINRUST @HINDMANAUCTIONS.COM MADISON LIGHT ASSOCIATE CATALOGER BOOKS & MANUSCRIPTS GRETCHEN HAUSE VICE PRESIDENT, SENIOR SPECIALIST GRETCHENHAUSE @HINDMANAUCTIONS.COM KATIE HORSTMAN SENIOR SPECIALIST KATIEHORSTMAN @HINDMANAUCTIONS.COM DANIELLE LINN SPECIALIST EMILY PAYNE SPECIALIST KAYLAN GUNN ASSOCIATE SPECIALIST LESLIE WINTER ASSOCIATE SPECIALIST FRANCIS WAHLGREN SENIOR CONSULTANT PATRICIA TENCH SENIOR CATALOGUER ASIAN ART ANNIE WU DIRECTOR, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM FLORA ZHANG ASSOCIATE SPECIALIST FLORAZHANG @HINDMANAUCTIONS.COM
JEWELRY & TIMEPIECES SALLY KLARR, G.G. DIRECTOR, SENIOR SPECIALIST SALLYKLARR @HINDMANAUCTIONS.COM
SPORTS MEMORABILIA JAMES SMITH SPECIALIST JAMESSMITH @HINDMANAUCTIONS.COM
KATIE HAMMOND GUILBAULT, G.G. BUSINESS DEVELOPMENT DIRECTOR, SAN DIEGO, SENIOR SPECIALIST, JEWELRY AND TIMEPIECES KATIEGUILBAULT @HINDMANAUCTIONS.COM
BENTON LUDGIN DEPARTMENT COORDINATOR
RUTH THUSTON SENIOR SPECIALIST RUTHTHUSTON @HINDMANAUCTIONS.COM
PHOTOGRAPHY ZOË BARE DIRECTOR OF PHOTOGRAPHY
MARISA ACKERMAN, G.G. SPECIALIST MARISAACKERMAN @HINDMANAUCTIONS.COM KARINA HAMMER, G.G. SPECIALIST KARINAHAMMER @HINDMANAUCTIONS.COM MADELINE SCHROEDER CATALOGUER HANA THOMSON CATALOGUER GINA O’CONNOR DEPARTMENT COORDINATOR COUTURE & LUXURY ACCESSORIES TIMOTHY LONG DIRECTOR, SENIOR SPECIALIST TIMOTHYLONG @HINDMANAUCTIONS.COM MICHAEL HALL CATALOGUER MICHAELHALL @HINDMANAUCTIONS.COM MARIELLE EPSTEIN DEPARTMENT COORDINATOR JACQUELINE NOVAK SHERIDAN TYSON INTERNS
MEGAN SADLER CATALOGUER
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MARKETING ASHLEY GALLOWAY VICE PRESIDENT, MARKETING
DAVID JACKSON PHOTOGRAPHY SUPERVISOR AMELIA MOORE LEAD PHOTOGRAPHER MIKE REINDERS CARMEN COLOME BILL ROSS CONOR CROOKHAM LIBBY MOORE JEREMY RAFTER RACHEL SMITH AVERY CAMPBELL JAMES BAROZ INTERN
VIEW THE COMPLETE CATALOGUE AT HINDMANAUCTIONS.COM
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