Kerry Taylor by Jamm Design Ltd

Passion for Fashion 29th november 2011

Kerry Taylor

Kate osborn

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Kerry Taylor assistant: Kate osborn Tel: 00 44 (0)208 676 4600 fax: 00 44 (0)203 137 0112 Email: info@kerrytaylorauctions.com

Purchasers will be charged a premium rate of 20% on the hammer price. The premium is subject to VaT at the prevailing rate. see page 62 for details.

£10 at the gallery £12 by mail (UK) £15 by mail (Europe) £18 by mail (rest of the World)

sale number: KT15

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online Catalogue www.kerrytaylorauctions.com www.invaluable.com/kerrytaylor

storage, Collection and shipping Logistics

front cover: lot 174

Please note that all property will be removed to Kerry Taylor auctions’ warehouse immediately after the sale. storage charges will apply – see page 68 for details and a map.

This auction is conducted by Kerry Taylor auctions Ltd in accordance with our Conditions of Business printed in this catalogue. all questions and comments relating to the operation of this sale or its contents should be addressed to Kerry Taylor auctions Ltd and not to sotheby’s.

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registered no oC7173571

VaT no 835506036

Passion for Fashion Auction Tuesday 29th November 2011 at 2pm

Venue La Galleria 30 Royal Opera Arcade Pall Mall London SW1Y 4UY See map on page 68

Exhibition Monday 28th November 9am to 5.30pm Tuesday 29th November 9am to 11am

INTROdUcTION

At the end of my last auction someone came up to me and asked – “Well how are you going to top that one Kerry?” I smiled wistfully and mused on how indeed as it gets harder to source the really great things. However, here we are some months, and four auctions later and it seems we have managed to do it again! Our regular general auctions have performed extra-ordinarily well (as our sellers will agree) and we have experienced some surprisingly high prices on occasion. However, all these months I have been carefully putting aside the crème de la crème of fashion and accessories in order to tempt you yet again. This sale is small but I hope you agree – rather wonderful? Let me tell you of some of my favourite things – from the 18th century we have the superb sky blue chinese damask gentleman’s banyan which the owner thought was just an old family dressing gown (lot 28); and the deep red wool coat and matching waistcoat, originally worn by a Scottish nobleman, which is lavishly edged and spangled with gold embroidery and sequins which would have glittered in the candle-light and made him look very magnificent indeed. From the East we have an embroidered yellow silk dragon robe which would have been worn by the Imperial Emperor of china himself (lot 33) and was brought back by the seller’s family in the 19th century. We also have Schiaparelli and Mainbocher pieces from the wardrobe of doris delevingne, countess castlerosse who was a very stylish girl ! Noel coward is said to have based the character of Amanda on her in `Private Lives ’(lots 49-51). I adore the Rudi Gernreich wedding dress with matching stockings made in 1969 for the model Galina Golikova which is sold with a photograph of her wearing the ensemble on the QE2 and looking really groovy. For the man who has everything (and smokes cigars) – try lot 161 the crocodile and silver mounted cigar case which belonged to two Kings – Edward VII and was then passed to Edward VIII, later to become the duke of Windsor. We have some superb Balenciaga couture in this auction – but pride of place must go to the gold brocatelle Sari gown worn by Elizabeth Taylor in 1964 (lot 174). She dressed to impress and surely no head could fail to turn when Liz arrived sumptuously dressed in gold from head to toe. She was a great Hollywood star and dressed accordingly. In contrast we have the divinely demure and elegant white lace dress worn by Audrey Hepburn to collect her one and only Oscar for best actress which she won for `Roman Holiday’. Her mother, countess Ella van Heemstra gave it to a close friend in America and told them that Audrey called it her `Lucky dress’. In the year of a major royal wedding we reflect on that also of the late Princess diana in 1981. We have the exquisite duplicate shoes hand- made for her by clive Shilton (lot 179) and also the replica taffeta bridal gown made at her request by the Emanuels for Madame Tussauds in 1981 (lot 180). However, arguably one of the simplest and most poignant dresses in the sale is lot 178 – the disaya designed gown worn by the late Amy Winehouse. This talented young singer died before she reached her 28th birthday and her loss is felt internationally. Her inimitable voice for many was the iconic sound for a whole generation. The dress has been generously donated by its designer disaya and all proceeds will be given to the Amy Winehouse Foundation which helps troubled and vulnerable young people. We hope to raise as much money for the charity and I am pleased to be able to assist with this.

Please note all lots bearing ∆ symbol will need a cITES licence to export outside of the EU, which we are happy to assist with. See page 65 for more information.

1 An Hermès black leather Kelly bag, 1991, blind stamp U, with gilt hardware, optional shoulder strap, brass padlock, fob and two keys, 32cm, 12 1/2in

This lot is sold in aid of the Helen & douglas House Hospice £800 - 1200

2 A Louis Vuitton soft sided suitcase and suit carrier, 1979, the case 69cm, 27in long; the carrier 54cm, 21in tall when closed and upright (2) £550 - 600 3 A Gucci black leather ‘bamboo’ handbag, 1960s, stamped Gucci to interior, curved bamboo handle and clasp, 26cm, 10in wide £600 - 800 3 4 An Hermès ox-blood leather duffle bag, late 1950s-early 1960s, stamped Hermès Paris and initials G.R.N, with two buckled straps, 56cm, 22in long £600 - 800 5∆ An Hermès wine crocodile Kelly bag, circa 1964, crocodylus porosus, indistinct blind stamp, with gilt hardware, leather covered padlock, fob with two keys, the interior with zip compartment and two side pouches, 28 1/2cm, 11 1/4in long £2000 - 3000 5 3

6∆ A fine Hermès brown crocodile Kelly bag, 2006, crocodylus porosus, blind stamp J in a square, with silver palladium hardware, padlock, keys, and detachable strap, 36cm, 14in £6000 - 8000 7 An Hermès brown leather polo helmet, probably 1920s, the crown stamped 295 Hermès Bte SGdG, and 55 to the side, with punched perforations, lined in grey blanketing, 60cm circumference £250 - 350

8∆ An Hermès black crocodile ‘Piano’ handbag, 1960s, crocodylus porosus, stamped to the front panel ‘Hermès-Paris, 24 FgSt Honoré’, the angular front flap with square gilt metal clasps, lined in softest kid, 27cm, 10 1/2in £700 - 1000

9 A Paco Rabanne gold leather bag, 1960s, with paper label to the satin lining, the leather platelets linked by chains, 20cm, 8in long £200 - 300 10 An Hermès ox-blood leather Kelly bag, circa 1964, with gilt hardware, padlock, fob with two keys, 28 1/2cm, 11 1/4in long £600 - 800

10 4

11 & 12

11 A chanel ‘Lichtenstein’ style printed clutch bag, 1990s, stamped chanel inside, patent black leather with printed front flap showing coco with speech bubble, 22cm, 9in long £300 - 500

14 An Hermès red leather clutch bag, 1930s, the interior stamped in gold ‘Hermès, 24 FbSt.Honore, Paris’, with silvered tab lifterclasp, envelope shaped with back strap, the interior with separate coin pouch, 21cm, 8 1/4in £300 - 500

12 A Moschino ‘Fudge the Fashionistas, Let them Eat cake’ handbag, 2003, stamped Moschino inside, brown leather appliqué to give appearance of dripping chocolate, with gilt metal heart zip pulls, additional shoulder strap, 33cm, 13in long £300 - 500

13 An Hermès brown leather art-deco clutch bag, 1930s, with silvered demi-lune lifter clasp, the interior stamped in gold ‘Hermès, 24 FbSt.Honore, Paris’, with separate brown leather coin pouch, and probably non original mirror, 23cm, 9in long £500 - 900

15 A cartier black suede clutch bag, 1939, with angular 9 carat gold lifter-clasp maker’s mark Jc, with black onyx or glass bar, black satin lining with separate mirror and satin coin wallet, 24cm, 9 1/2in long in original fitted red leather case stamped in gold with ‘cartier’ trade label, (2) £1000 - 1500

16 An Hermès chocolate brown leather Kelly bag, 1974, blind stamp d, with gilt metal hardware and lock, fob with two keys, 30cm, 12in long £1000 - 1500

17 An Hermès ‘constance’ chocolate brown leather bag, 2003, blind stamp G in a square, with brushed gilt metal H clasp and fittings, adjustable shoulder strap, 23cm, 9in long £800 - 1200 18

18 ∆ A cartier dark brown crocodile clutch bag, late 1930s, crocodylus porosus, stamped to the interior ‘cartier Ltd., London’, lined in brown kid with matching coin wallet, gilt metal stud fastener, 24cm, 9 1/2in long £400 - 600 19 ∆ An Hermès midnight blue-black ‘Piano’ crocodile bag, 1960s, crocodylus porosus, with maker’s stamp to the interior, gilt fasteners, lined in soft blue leather, with separate mirror and coin pouch, 21 1/2cm, 8 1/2in £700 - 1000

20 & 21

20 A chanel triple strand necklace, dated 1983, the heavy gilt chains applied with cylindrical gilt filligree panels inset with amethyst, ruby and topaz coloured glass stones, 41cm, 16in long £600 - 800

24 A Pierre cardin futuristic collar necklace, late 1960s, signed Pierre cardin, formed from shaped platelets with stylised c pendant, 36cm, 14in £600 - 1000

21 A chanel double strand necklace, 1980s or early 90s, with ridged gilt metal beads, mother of pearl glass inserts to the clasp, 38cm, 15in long £200 - 300 22 A christian dior choker, late 1960s-early 1970s, signed, composed of triple strand diamanté floret repeats in white metal mounts, 31cm, 12in £200 - 300 23 French Vogue 1924, in two bound volumes, the first containing January-June, the second - Julydecember, but not including the covers, (2) £350 - 500

25 25 The remains of a luxurious gold brocaded lampas robe à la Française, mid 18th century, the silk circa 1730-40 with large-scale design of foliate palmettes in predominantly gold with deep salmon satin and lime brocade highlights, comprising: complete back and front sections, unpicked and re-sewn hip sections, but lacking sleeves £800 - 1200

26 A brocaded silk open robe and petticoat, 1760s, of dark cinnamon silk brocaded with trails of ivory blooms, with original braid trimmed engageants, 1880s added gold satin trimming; with a quilted pale blue silk petticoat, (2) £400 - 600

27 A fine sky blue brocaded silk caraco jacket, circa 1740-45, with winged cuffs, short peplum skirt with two faux pockets, green ribbon ties to the front, the silk, probably Spitalfield with gold and silver leaf scrolls

Snowshill Manor includes a similar caraco jacket in bright red brocaded silk with winged cuffs which is dated 1735-40. See Janet Arnold ‘Patterns of Fashion 1660-1860’ p.26 for a drawing of the piece. £600 - 800

28 A fine gentlemanâ&#x20AC;&#x2122;s banyan, circa 1730-40, of blue chinese damask, woven with large-scale repeats of chinese censors on stands, amid acanthus scrolls and exotic fruits, of simple kimono-like construction, lined in blue taffeta, with fold-back cuffs, no fastenings, the back panel formed from a single 28in, 71cm wide loom width with additional silk to form the side skirts, the front panels with the woven pattern showing upside down, chest 143cm, 56in ÂŁ8000 - 10000

29 A midnight-blue taffeta and ivory figured silk gown, late 1870s, with long jacket-like bodice, dished silk covered buttons, the skirt with trained hem adorned with navy taffeta ribbons and goffered flounces, with decorative pocket to the front, bust 86cm, 34in, waist 56cm, 22in, (2) £500 - 800

30 A miniature sample riding habit, circa 1860, of black facecloth with black satin covered buttons, curved sleeves, piped and edged in black cotton cord and lined in zigzag weave challis - the upper bodice in brown cotton, chest 56cm, 22in; with a miniature black felted wool hard bowler and an antler grip riding crop, (3) £300 - 500

31 A Honiton bobbin appliqué gown, circa 1800, but later altered for fancy dress, the bobbin net ground sprigged with Honiton leaves, the neck similarly edged with deep Honiton border to the hem, relined in the 1930s in blue crepe, bust 82cm, 32in £300 - 500

The property of a Scottish nobleman 32 A fine and rare scarlet superfine wool frock coat and matching sleeved waistcoat, circa 1745, elaborately embroidered with gilt thread and sequins, the buttons covered in interwoven metal strip, the coat with full skirts, with stiffened interlinings, lined in crimson silk, with densely embroidered broad pocket flaps, decorative buttons to the sword slits, very narrow graduated collar; the matching waistcoat with linen upper lining, single buttons at the cuffs, waistcoat chest 102cm, 40in, (2) ÂŁ8000 - 12000

33 An Imperial dragon robe, jifu, chinese, late 19th century, the heavy yellow silk ground embroidered with all twelve Imperial symbols and with eight couched gold thread five clawed coiling dragons, worked in floss silks with turbulent waves, lushui striped hem, chest 81cm, 32in from one curve of the underarm to the other; length from centre back neck to edge of embroidered hem 130cm, 51in

Provenance: This robe has been in the same British family for generations. It is reputed to have been brought to England from china in the 19th century. ÂŁ20000 - 30000

36 (label)

Mrs Lewis Harcourt was one of the ‘dollar Princesses’. The Evening Independent, October 25 1913, describes Mrs Lewis Harcourt ‘...who was Miss Burns of New York and the favourite niece of J.Pierpoint Morgan has been the hostess at a series of distinguished house parties during the shooting season at Stanton Harcourt...is not only one of the most popular hostesses in England society, but one of the most beautiful. She is the mother of four beautiful children and is said to be the best woman on British politics in the Kingdom. This knowledge she cleverly uses to advance her husband’s political fortunes. She has vast wealth in her own right, much of which she devotes to charitable purposes.”

34 An Irish crochet and whitework embroidered batwing coat, circa 1910, the front opening emblazoned with large flowerheads with raised-work centres, the crochet mesh ground with large whitework blooms with French knot centres, V-shaped Burano needlepoint panels over the shoulders, and Irish crochet baskets of blooms scattered front and back, of voluminous cut £1000 - 1500 35 A fine Irish crochet lace gown, circa 1900, princess-line, with three crochet corsages with tasselled buds down the centre front, the back panels worked to emphasise the curve of the buttocks and waist, matching tie belt, bust 86-92cm, 34-36in £2000 - 3000

She married Lewis Harcourt in 1899, later 1st Viscount Harcourt known to his friends as ‘Loulou’ who served in Asquith’s cabinet 1908-1910 and 1915-16 and died under tragic circumstances in 1922. £350 - 500 35

36 A Reville & Rossiter silver brocaded ice blue satin ball/court gown, circa 1911, woven label to the waistband and name tape ‘Mrs Lewis Harcourt’, the bodice adorned with reticella-like silver chemical lace spangled with rhinestones, diagonal pleats and rhinestone motif to waist side, integral train, bust approx 8692cm, 34-36in

38 38 A Mariano Fortuny black silk delphos, circa 1920-30, with amber resin beads to the cordlaced shoulders, the broad silk belt with scrolling berries and leaves in dull silver, stamped ‘Fortuny dse’, (2)

The following three lots belonged to a Spanish noblewoman who was a close friend of Mariano Fortuny 37 A fine Mariano Fortuny deep salmon-pink delphos, circa 1920-30, the inner selvedge printed ‘Fabriqué en Italie. Fortuny deposé. Made in Italy’, with short curved sleeves, the shoulders laced with cords adorned with brown and white Murano beads; the matching silk belt with silver leaf trails and stamped ‘Fortuny dse’, (2)

Exhibited: ‘Mariano Fortuny y Madrazo’ at the Museo del Traje in Madrid, 11th February - 27th June 2011 £2500 - 3500

Exhibited: ‘Mariano Fortuny y Madrazo’ at the Museo del Traje in Madrid, 11th February - 27th June 2011 £4500 - 6000 37 (detail)

38 (detail) 15

39 39 A fine Mariano Fortuny stencilled velvet jacket, circa 1920-30, large circular label to the lining, adorned with delicate fern-like traceries in gold, lined in pale, golden satin, edged in black braid with ties to the neck, chest 127cm, 50in

Exhibited: ‘Mariano Fortuny y Madrazo’ at the Museo del Traje in Madrid, 11th February - 27th June 2011 £3500 - 5000

40 A fine couture beaded cocktail gown, mid 1920s, the bodice adorned with fixed horizontal beaded bands, the waist with a scalloped vertical band, but the skirt with looped cascading bands, bust 81-87cm, 32-34in £400 - 600

42 A rare Premet couture black crêpe de chine dress, circa 1926, woven ivory satin label ‘Premet’ Place Vendome, with illegible purple lozenge date stamp and indistinct pencil numbering to the reverse, the sleeves and front panels adorned with gold ribbon bands and colourful ‘peasant’ embroidery, colourful tassels to the front skirt and rear pocket slits. integral faux bolero, bust 92cm, 36in

Although Premet regularly appeared in Vogue through the 1920s, examples rarely appear in the market. £600 - 800

41 A Liberty printed gold lamé evening jacket, mid 1920s, Paris labelled, with soft brown/gold velvet lining and edgings, of voluminous bat-wing cut £400 - 600 42 (label)

43 A rare, early Gabrielle chanel couture day dress, circa 1920, woven Gabrielle chanel label yellow on ivory satin, ink numbered 4604, of beige crêpe de chine with fine pin-tucks to the shoulders and to the raised waistline on one side, broad side sash ties, the over skirt of chiffon beautifully applied with tiers of picot edged silk, of loose cut with above the ankle hem, bust 97cm, 38in

The casual elegance of this understated dress is characteristic of chanel. The comfort and ease for the wearer was as important as the outward design. The simplicity of the dress combined with the luxuriousness of the fabric produces and alluring combination. £6000 - 9000

43 (label) 44 A pink satin-backed crêpe couture gown in the style of Lanvin, circa 1934, but bearing Mamie, Edinburgh retail label, with contrasting matt centre front panel and collar, shirring to neck, with centre-back opening and ties, long, trained skirt with finger loop, bust approx 86cm, 34in £600 - 800 45 An early Maggy Rouff couture sapphire-blue crushed velvet evening gown, circa 1930, labelled and numbered 51564, cut on the bias with ruching to the hips which creates gentle drapes at the front and back, small buttons and loops to the lower back to fasten, bust approx 86cm, 34in; together with a blue velvet reticule c.1930, (2) £500 - 700 44 & 45 17

47 A Jean Patou couture printed chiffon garden party dress, circa 1930, woven ivory and pink label to the waist seam, with jabot-like frill to the neck, flounced, gored cuffs, ties to waist, bust approx 92cm, 36in £500 - 800

46 A deep rose-pink satin bias cut couture evening gown, possibly charlotte Revyl, circa 1934, the draped neck cut high at the front with revers to the plunging back, cascading skirt flounces form a point at the front hem and with ties at the waist, bust approx 92cm, 36in

48 An Elsa Schiaparelli couture oldrose silk faille bustle-backed evening gown, Summer, 1936, Paris labelled but not numbered, with cross-over bodice, puff sleeves, complex wrap-over cummerbund belt which fastens over the rear graduated bustle ruffles which are inset into the rear skirt seam, bust approx 92cm, 36in

This gown is very similar to Revyl’s ‘Symphonie’ illustrated in L’Officiel, no 151, March 1934. £800 - 1200

The back of the dress is similar to one illustrated on the cover of Women’s Wear daily 1936. £700 - 1000

47 (label)

46 (detail) 18

48 (label)

49 An Elsa Schiaparelli couture embroidered ‘Persian Prince’ black wool evening coat, Autumn-Winter, 1937-8, labelled ‘Schiaparelli London’ and numbered 5521, the front closure, pockets and sleeves adorned with gilt strip rosettes and square brass beads gold strip palmettes embroidered below the pockets and to the cuffs, stand collar, lined in black silk crepe, bust 86cm, 34in

This coat was intended to be worn over a full-length skirt with matching turban. For the original fashion sketch and an illustration of a purple example see ‘Shocking! The Art and Fashion of Elsa Schiaparelli’, by dilys Blum pages 104 and 105. Vogue described the ensemble as ‘A Persian Prince dinner suit’. Provenance: doris delevingne, an English beauty (famed for her legs) who became Viscountess castlerosse. She was renowned for her Schiaparelli wardrobe, for whom she was something of an ambassador. Reports of her alighting from aeroplanes in the USA wearing her latest Schiap acquisition were widely circulated in the press of the day. She built an elegant palazzo on the Grand canal in Venice which is now the Guggenheim museum and was painted by many leading artists including Sir Winston churchill. Noel coward is said to have based the character of the glamorous, aristocratic Amanda in ‘Private Lives’ on her. Elsa Schiaparelli collaborated with her close friend Jean cocteau for her Autumn 1937 collection, and produced an exquisite evening coat with embroidered profiles and vase of roses which Viscountess castlerosse purchased and which now forms part of the Victoria & Albert Museum collection -T.59.2005. £6000 - 10000

52 (design)

50 (label) 50 A Mainbocher couture black satin evening jacket, in 18th century style, circa 1938, labelled 12 Avenue George V and numbered 20064, of sleek satin with single button closure to the front waist, full skirts with pointed rear waist, large faux pocket flaps adorned with elaborate gold thread Louis seize style embroidery, purl wire and sequins, chest 86cm, 34in

Provenance: doris delevingne £600 - 800

52 (detail)

51 A poor condition printed silk crepe evening gown, attributed to Schiaparelli, circa 1938, with design of white blossom, green foliage on a mottled turquoise blue ground, with large celluloid side zip, bias-cut with flounced ruffle to rear hem, bust approx 86cm, 34in

52 A rare and early pale aqua draped jersey evening gown attributed to Alix, circa 1939, the lightly boned bodice pleated with a central point from which others radiate to frame the rib cage, spaghetti straps, bust 82cm, 32in, waist 56cm, 22in

The mottled turquoise blue ground is reminiscent of the circus collection prints of the Summer 1938 collection

50 (detail) 20

Provenance: doris delevingne £150 - 250

An Alix gown of identical design was illustrated in Femina, June 1939, Plaisirs de France, April 1939 p.44 and Harper’s Bazaar, April 1939 p.96. £3000 - 5000

53 An Elsa Schiaparelli couture deep fuchsia velvet evening coat, late 1930s, bearing printed petersham Paris label and numbered 91184, the front bodice with curved multidarted seams which sweep down to form a curve at the narrow rear waist, with dramatic fan-shaped pleats forming leg oâ&#x20AC;&#x2122; mutton sleeves, four large celluloid disc buttons inset with glitter and beads, high stand angular collar, silk lining, chest approx 86cm, 34in ÂŁ4000 - 6000

54 A fine Madame Grès bi-colour draped jersey cocktail dress, circa 1945, labelled, the wine coloured bodice lined in red polka dot satin, the jade green skirt falling in vertical pleats with ruffled edge and ties to the front, bust approx 82cm, 32in £2500 - 3500

56 A Madame Grès taupe draped silk jersey cocktail dress, circa 1945, un-labelled, the narrow pleats following the curves of the breast on the bodice and wrapping around the torso to meet at the centre back waist, vertical pleats cascade down the skirt, padded shoulders, bust approx 81cm, 32in

55 A Madame Grès black jersey cocktail dress, 1940s, un-labelled, the bodice with criss-crossed and seemingly interwoven panels of pleated jersey, finely pleated skirt with curved band across midriff, bust 82-86cm, 32-34in, waist 56cm, 22in £700 - 1000

54 (label)

A gown of a similar construction was included in the Musée Bourdelle Exhibition, catalogue no 16, p.35. £2000 - 2500 57 A Lucien Lelong labelled black lace and velvet evening gown, 1940s, bearing a broad woven satin label, the bodice with buttoned back fastening, the skirt formed from graduated circles of lace and scallop-edged velvet, bust 86cm, 34in, waist 66cm, 26in; together with a copy of a similar Lelong fashion sketch, ‘Lettre d’Amour’, (2) £2000 - 2500

57 22

58 ∆ Princess Radziwell’s Eurasian lynx coat, lynx lynx, 1932, labelled ‘J.F. Michalski, Warsaw’, with deep shawl collar, lined in brown satin, chest 102cm, 40in; together with the original bill of sale dated January 1932; details of the provenance; and a xerox photo of the Radziwell’s castle in Nieswiez, (4)

Provenance: Born Baroness Olga de Simolin Wettburg at St Petersburg in 1886, she married Prince Ladislaus Nicolaus Radziwell on 29th december 1911 in St Petersburg. This coat and her entire wardrobe was bequeathed by the Princess to her former nanny Beryl davies. The Princess died in Monte carlo in 1948. The coat was purchased from the nanny. £600 - 900 59 A Busvine Ltd navy wool riding habit, 1933, labelled and also bearing owner’s name tape - Miss Hill Smith, 19/10/33, woven with a fine self-stripe, the jacket partlined in ivory silk; with shaped side saddle skirt, bust 86cm, 34in, (2) £400 - 600 60 A dior black faille cocktail dress, Autumn-Winter, 1955, un-labelled but made under licence, with swathed neckline that frames the shoulders, buttoned-bands to the front of the skirt, integral black tulle corset and tulle layered petticoats, bust 86cm, 34in, waist 64cm, 25in; together with a xerox from L’Officiel, Autumn-Winter 1955, nos 401-402 p.53 showing a similar model, (2) £700 - 1000

60 (detail) 23

61 A fine Balenciaga couture black silk faille tent coat, second half 1950s, Balenciaga Paris labelled, lacking number tape, with short stand collar, wide folded back cuffs, no fastenings, the front opening adorned with three faille bows, self lined, chest approx 148cm, 58in ÂŁ3500 - 5500 62 A Balenciaga couture figurative chine taffeta cocktail dress, Winter, 1950-51, Balenciaga Paris label, no 37711, with wrap-over bodice, the stiffened under-skirt formed from four pointed panels, with four more pointed floating panels forming an over-skirt, the fabric woven with giant foliage in shades of green and brown and stylised oriental figures, bust 92cm, 36in, waist 66cm, 26in ÂŁ600 - 800 24

63 A Balenciaga couture black lace cocktail dress, Autumn-Winter, 1950-51, Balenciaga Paris labelled no 37696, the boned, strapless bodice and skirt overlaid with St Gallen lace, lined in chiffon, with empire-line black organza attached bolero upper bodice with wrap-around ties, bust 8286cm, 32-34in, waist 66cm, 26in ÂŁ600 - 800

64 (detail)

64 A christian dior couture fourreau cocktail dress and jacket, ‘Aimant’ collection, AutumnWinter, 1956, labelled and numbered 82029, comprising: slim-line columnar empire line cocktail dress, of orientalist peach and black printed satin, lavishly adorned with black seed beads, nacré slivers, brass and copper embroidery in the form of small buildings and figures, vertical bands of seed beads and black sequins run up the sides of the gown and continue over the straps, with non-corseted organza lining; the voluminous matching jacket with wide lapels and lining of black velvet, bust 97cm, 38in, (2) £3000 - 5000

65 A christian dior London sapphire blue velvet ball gown, late 1950s, labelled and numbered 41967, the halter-neck bodice with three blue rhinestone inset buttons, integral black tulle corset, princess-line skirt, bust approx 107cm, 42in, waist approx 82cm, 32in £250 - 400

67 A Balenciaga couture black taffeta and lace ball gown, Autumn-Winter, 1950-51, Balenciaga Paris labelled and numbered 37695, with strapless, boned bodice, the full, tiered skirt and bodice edged in ruffles of black lace, bust approx.92cm, 36in, waist 77cm, 30in £600 - 800

66 A christian dior London black lace cocktail dress, late 1950s, unlabelled, but with original card/plastic shop tag still fixed to the inside skirt seam, the organza covered strapless bodice with over-blouse with frills to front, over tiered slim skirt, bust 8692cm, 34-36in, waist 66cm, 26in £250 - 350

68 A Maggy Rouff couture black tulle ball gown, circa 1955, labelled and numbered 29305, the boned strapless bodice adorned with pleated lavender satin sash with tulle and ribbon ties to the back, bust approx 82-86cm, 32-34in, waist 61cm, 24in £350 - 500

69 A Balenciaga couture chestnut slubbed openweave silk cocktail ensemble, Spring-Summer, 1960, Balenciaga Paris labelled and numbered 73207 and 73208, comprising: simple shift dress with cross-over back bodice panels, tulip shaped skirt, curved belt, matching voluminous loose jacket with short sleeves, whorl button to neck, dress bust 92cm, 36in, waist 77cm, 30in, (3) £700 - 1000

71 A Balenciaga couture embroidered gazar evening gown and jacket, Spring-Summer, 1960, Paris labelled and numbered 81011, embroidered by Lesage in Manilla-shawl style with brightly coloured scrolling silk flowerheads, the sleeveless dress with simple scooped neck, cut lower at the back, bust 102107cm, 40-42in, (2) £600 - 1000

72 A Balenciaga couture black silk cloqué cocktail dress, early 1960s, Paris labelled, with internal wide petersham boned waistband, the bodice cut in curves below the breast, the back cut low with floating scarf panels with twist and hook in place to each side, bust approx 92cm, 36in £600 - 1000

70 A Givenchy couture black wool crêpe cocktail ensemble, late 1960s, labelled and numbered indistinctly in pencil 34a?615, the dress with criss-cross bands at the back which form a belt with large bow to the front, matching bolero jacket, bust 86cm, 34in (2) £500 - 700

71 (detail) 26

73 A Balenciaga couture pillarbox-red ottoman wool coat, mid 1960s, labelled and numbered 61549, of voluminous cut with three buttons to fasten, outsized pocket flaps, the sleeves cut in one with the front or back panels, chest 137cm, 54in; together with an Eisa scarlet lace-knit turban, (2) £600 - 900

74 A fine chanel haute couture brocaded silk and gold lamé cocktail ensemble, 1960, labelled to the jacket and numbered 13213, of rich Bianchini pink and gold Mughal inspired brocade, comprising: cocktail dress with empire-line bodice and broad waistband, box pleated skirt, the loose jacket lined in raspberry silk with chain weighted hem and no fastenings, bust 82-86cm, 3234in, waist 56cm, 22in, (2)

Literature: ‘chanel’ Metropolitan Museum of Art pp 124, 125, 206 for a similar cocktail ensemble in a different colour-way. £1500 - 2500

74 (label)

75 (detail)

75 A Balenciaga couture embroidered ivory shantung cocktail gown, Spring-Summer, 1960, Balenciaga Paris labelled and numbered 73209, Princessline with graduated waist, bell shaped skirt, the Lesage embroidery reminiscent of chinese embroidery found on Spanish or ‘manilla’ shawls worked in brilliantly coloured silks, grey and green foliage, bust 92cm, 36in, waist 72cm, 28in £500 - 800

78 A Balenciaga couture chestnut tulle cocktail dress, SpringSummer, 1960, labelled and numbered 73210, the brown faille ground covered with floret-shaped tulle panels, some with organza petals, a double frill of taffeta at the waist interior to give extra fullness, bust 92cm, 36in, waist 77cm, 30in £500 - 700

76 A Balenciaga couture black cloqué satin cocktail ensemble, 1961, Balenciaga Paris labelled and numbered 80913 and 80924, comprising: strapless cocktail dress with wired grosgrain integral corset, curved bodice front with complex drapes and folds, with matching stole and loose jacket with no fastenings, dress bust 86-92cm, 34-36in, waist 69cm, 27in, (3) £1500 - 2500 77 A Balenciaga haute couture ivory soutache lace cocktail dress, circa 1965, Balenciaga Paris labelled and numbered 105080, with coffee chiffon under-dress with goffered organza zocolo underskirt, the lace forming a curved chasuble-shaped panel to the front with large satin bows to the sides, bust 86cm, 34in £500 - 800 28

79 Two christian dior boutique coats, late 1960s, both Boutique Paris labelled, one of opulent gold and red brocaded lurex, lined in wine silk, the other of golden satin and lurex brocatelle diamond weave, chests 107, 112cm, 42, 44in (2) £500 - 700

80 A stylish Rudi Gernreich miniwedding dress and matching stockings, 1969, labelled Rudi Gernreich for Harmon Knitwear, the scalloped jersey collar and upper bodice linked by a lattice of looped knitted tapes, bust 92cm, 36in; the matching stockings with similarly laced upper garters, labelled M; together with an image of the original owner wearing the ensemble (4)

81 A chanel couture ivory slubbed silk suit, mid-1960s, labelled and indistinctly numbered, the jacket edged in ivory petersham, reversing to navy, with bows to neck and four pockets, weighted hem, with matching sleeveless bodice and slim skirt, chest 92cm, 36in, skirt waist 56cm, 22in, (3) ÂŁ600 - 1000

Provenance: Galina Golikova wore this avant-garde Gernreich creation for her marriage to the pop artist Gerald Laing on board the QE II in 1969. ÂŁ600 - 800

81 29

84 A Ramon Valera black gazar evening gown, or ‘Terno’, Philippines, late 1950s, with ‘butterfly’ sleeves, pleated overskirt forming a puff-ball swageffect to the back, culminating in large silk roses with appliqued foliage in shades of green, bust approx 102cm, 40in

Provenance: conchita Gaston £200 - 300

82 & 83 82 A Ramon Valera sequined and beaded gown or ‘Terno’, Philippines, 1960s, the iridescent sequined ground adorned to the hem with blue and white sequins and beads in swirling Paisley motifs, with babarahin stiffened ‘butterfly’ sleeves and gauze overpanel edged in blue beads and droplets, rosettes to the shoulders, bust 97cm, 38in

85 A campbell’s ‘Souper’ paper dress, American, 1968, printed boldly with the iconic Andy Warhol design, with internal stickon care label, bust 86cm, 34in £1200 - 2000

Provenance: conchita Gaston, a renowned opera singer of the day

Provenance: conchita Gaston £200 - 300 30

86 A Mars of Asheville Waste Paper Boutique Yellow Pages paper dress, late 1960s, labelled, printed in black on yellow with assorted advertisements, ties to neck, with alterations leaflet, bust 92cm, 36in; together with a Scott Paper caper black and white printed paper Op-Art dress in original box, bust 97cm, 38in, (3) £300 - 500 87 A Balenciaga couture brown slubbed silk suit, late 1960s, labelled and numbered 104550, with patch pockets to the breasts and upper sleeves, single button to the neck, matching skirt, chest 92cm, 36in, waist 71cm, 28in, (2) £400 - 600

Ramon Valera (1912-1972) was sometimes referred to as the ‘dior of the Philippines’. He took the traditional long Philippino dress or ‘terno’ with ‘butterfly’ sleeves and transformed it into glittering, luxurious evening wear, favoured by women such as Imelda Marcos. £250 - 350 83 A Ramon Valera cloth of gold and white lace evening gown or ‘Terno’, Philippines, 1960s, the columnar gown embellished overall with gold elliptical beads, white seed beads and pearl droplets to the hem, with matching gold shoes, bust 97cm, 38in, (3)

88 A Madeleine de Rauch black cloqué satin cocktail dress, circa 1960, labelled, with six domed jet beaded buttons to the front plastron, draped sack-back, broad satin shoulder straps and bow, bust 92cm, 36in £350 - 550 85

89 A dior boutique brown mink coat, circa 1970, Paris labelled and numbered 506/506, horizontally banded, double-breasted with domed metal buttons with cd initials, leather lapels, pocket flaps, massive leather belt and trim, silk lining, chest 92cm, 36in £600 - 800 90 ∆ An ocelot swing coat, late 1950s, with shawl collar, wide sleeves, of generous cut, lined in brown satin, chest 127cm, 50in

Provenance: Elizabeth Rosamund Meredith, MBE from Sutton coldfield who was in charge of the WRVS for the area during the war. £700 - 1000 91 ∆ A leopard skin coat and hat, 1960s, single-breasted with mother of pearl buttons, lined in brown satin; the hat with black wool bow to the back, labelled ‘Langee’, chest 122cm, 48in, (2) £600 - 1000 92 A fine dark brown mink coat, late 1970s-early 1980s, labelled Harrods and Grosvenor canada, of classic cut, three-quarter length, chest 92cm, 36in £350 - 500 93 A fine dark brown sable and mink coat, 1980s, labelled diamond Mink Brand, three-quarter length, with sable fur collar, beaded buttons, and tie belt, chest 92cm, 36in £400 - 600

94 (detail)

94 (label) 94 A Pierre cardin cream wool crêpe ‘circle’ jacket and mini-dress ensemble, circa 1969, labelled ‘Pierre cardin Paris “collection” Modeles Exclusifs pour L’Allemagne’, the jacket collar and hem in one piece formed from a quilted circle, matching shift-dress with top-stitched panel to waist and padded top-stitched neck opening, bust 86cm, 34in, (2)

For a video of cardin’s AutumnWinter 1969 collection which featured a similar circle jacket and midi-length dress see www.youtube.com/watch?v+Pi_c k1R3cXQ. £600 - 800

95 A scarlet Biba logo-lace mini dress, circa 1968, with woven artnouveau label, zips to the cuffs of the long sleeves, bust 82cm, 32in £200 - 300

96 96 An Ossie clark/celia Birtwell squiggle print diaphanous chiffon gown and cape, circa 1976, un-labelled, the pale pink ground adorned with green, red, blue and black print, with halter neck ties to camisole-like empire bodice, matching cape, bust approx. 86cm, 34in; together with an image of Agnes Best (Kostrowski) modelling the ensemble, (3)

96 98 An Ossie clark/celia Birtwell for Radley printed maroccain dress, mid 1970s, labelled and size 12, smock style - with deep yoke, side tie belt, stand collar and wide sleeves, the pale apricot ground with floral repeats, bust 86-92cm, 34-36in £400 - 600

Provenance: This gown belonged to the late Agnes Kostrowski - one of Ossie clark’s favourite models and lifelong friend. He mentioned her frequently in his diaries. She was one of the first black models to appear on British catwalks. £600 - 1000 97 An Ossie clark ivory damask ‘Bridget’ dress, early 1970s, labelled ‘Quorum’, with plunging neckline, wrap-over skirt with knife-pleated side panels, bust approx 86cm, 34in

Provenance: Agnes Kostrowski £300 - 500 98 32

99 An Ossie clark/celia Birtwell ‘Step by Step’ pattern printed grey wool jersey dress, early 1970s, with black on white printed satin label, with flounces over shoulders, button-fronted, tie belt, bust 92cm, 36in £400 - 600

100 100 A Rudi Gernreich black jersey evening gown, Spring, 1975, labelled Rudi Gernreich for Bob cunningham, with shaped, futuristic silvered collar engraved to the interior by the jeweller he commissioned ‘christian den Blaker’, the columnar gown with side slit, bust approx 82cm, 32in; together with an image of Peggy Moffat modelling an identical gown, (2) £1500 - 2500

101

102

100 (detail)

102 A Biba gold and silver lace evening gown, circa 1970, with woven art nouveau label, with wide flared sleeves, bust 82cm, 32in £350 - 500 103 A Lanvin ecru lace cocktail dress, early 1960s, with woven Lanvin Paris label, the guipure lace flowerheads with gold rhinestone centres, integral boned corset and oyster taffeta petticoat, bust 8186cm, 32-34in £350 - 500

101 A Madame Grès couture deep burnt orange silk jersey sari-dress, 1979, woven ivory satin label, separate inked atelier tag - La Marise, R.52, 11204, the columnar gown with jersey overdress, the trained skirt section linking to the over-bodice with cut out for neck, bust 86cm, 34in

Literature: An identical gown was illustrated in ‘L’Art de Madame Grès’, (Tokyo: Bunka Shuppan Kyoku, 1980), p.32. £1000 - 1500

101

104 A Pierre cardin brown chiffon cocktail dress, circa 1960, labelled Pierre cardin edite par le Printemps, with two draped scarf like panels to the side and back, bust 92-97cm, 36-38in £250 - 350

105 105 A rare Granny Takes a Trip satin flamenco style satin ensemble, late 1960s-early 1970s, labelled, with tiered fluorescent sleeves, satin buttons, the skirt piped in shocking pink, bust 86cm, 34in, waist 61cm, 24in (2)

This famous boutique opened on the Kings Road in early 1966 and was a collaboration between two friends - Nigel Waymouth and Sheila cohen and the Savile Row trained tailor John Pearse. It was sold to Freddie Hornik in 1969 and remained open until the mid 1970s. It was famed for its ever changing windows which included the windows being painted with a huge portrait of Jean Harlow and a full sized dodge car seemingly driven through the window. For a video of the interior of Granny Takes a Trip filmed in 1967 see: www.youtube.com/watch?v =b0u1iRkN1ro, accompanied by the Purple Gang’s ‘Granny Takes a Trip’ song. £400 - 600 34

106

106 (label) 106 A rare Pamela Harvey for Mr Freedom velvet ‘baseball’ ensemble, circa 1971, labelled, of black velvet with red trims, yellow boot laces to fasten, chest 92cm, 36in, waist 71cm, 28in, (2) £2000 - 3000

107 107 A fine Biba 30s-inspired satin ensemble, late 1960s, with woven art-nouveau label, comprising: wrap-over wine satin bodice with tricolour angel-wing sleeves above matching striped satin midi skirt, bust approx 86cm, 34in, waist 66cm, 26in (2)

Literature: The Biba Experience, by Alwyn W. Turner, p.204-5 for photographs of a similar ensemble. £400 - 600 108 A Michael Vollbracht quilted silk jacket, 1980s, labelled, printed with abstract design, gathered at sides to give pleated detailing over the hips, chest 92cm, 36in

Michael Vollbracht is an illustrator and designer, having launched his own label in 1979. He was also creative director for Bill Blass from 2003 to 2007. £350 - 500 105 (label)

110 (detail)

110

109 A rare and early Vivienne Westwood ‘Sex Original’ labelled sky-blue wool suit, 1976, woven pink label to the trousers, the fitted single-breasted jacket lined in striped sateen; the matching trousers with buttoned flies, narrow, broad waist with multiple button loops, pleats to the dramatically tapering legs, turnups, chest 102cm, 40in, waist 66cm, 26in, (2)

111 A pair of Seditionaries red leather boots, circa 1977, the laced eyelets concealed by large buckled tongues, the uppers adorned with silvered star medallions, brothel creeper soles, 29 cm, 11 1/4in long

Provenance: This suit was specially made for its owner Mr Rob Roy by Vivienne Westwood in 1976. He was a member of the Bromley contingent (a group of fans and followers of the Sex Pistols and david Bowie). david Bowie had a similar suit in pink and Vivienne was persuaded to make this version in blue as a special one-off for Rob Roy. The Bromley contingent are credited with popularising the Punk-look in its early days and included amongst its members Siouxsie Sioux, Jordan, debbie Juvenile, and Billy Idol. Many of its members lived in the borough of Bromley and went on to form their own highly successful bands. £600 - 800

Provenance: Mr Rob Roy £400 - 600

109

110 A rare Westwood/McLaren ‘Let it Rock’ waistcoat, circa 1974, unlabelled, of black leather with bicycle tyre edges to the armholes and white nylon fringes, adorned with metal studs, chains, lined in green acetate, the reverse with ‘Rebel’ written in red nail varnish, Harley davidson silk badge appliquéd above, ‘Elvis’ written in studs to the hem, chest approx 77cm, 30in when closed; together with a letter of authenticity from the Vivienne Westwood archive, (2) £1500 - 2500

112 A rare and early Vivienne Westwood ‘Sex Original’ labelled pair of pink wool trousers, 1976, woven pink label, with buttoned flies, narrow, broad waist with multiple button loops, pleats to the dramatically tapering legs, turn-ups, chest 102cm, 40in, waist 66cm, 26in

Provenance: Mr Rob Roy £300 - 500

111

113 113 An Yves Saint Laurent black velvet and shocking pink cocktail dress, mid 1980s, Rive Gauche labelled and size 36, with polonaised skirt, satin bows to shoulders and pink tulle petticoats, bust 86cm, 34in £600 - 1000 114 An Yves Saint Laurent cocktail dress, mid 1980s, Rive Gauche labelled and size 42, black guipure bodice over pink slubbed silk skirt, bust 92cm, 36in £200 - 300 115 A Loris Azzaro draped scarlet satin evening gown, 1980s, labelled, figure-hugging with tighter pleats to the boned bodice, bust 82-86cm, 32-34in £250 - 350 36

116 & 118 116 An Yves Saint Laurent Rive Gauche leopard-print satin cocktail suit, Autumn-Winter, 1986, labelled and size 40, the jacket with gilt leopard spot buttons, slim skirt; together with the St Laurent Rive Gauche catalogue for the collection, bust 92cm, 36in, waist 72cm, 28in (3) £500 - 800 117 A Jean-Louis Sherrer couture silvery chiffon and sequined evening gown, mid 1980s, labelled and numbered 005828, of iridescent chiffon, the bodice adorned with irridescent sequined lilies in pastel shades, handkerchief hemline, bust 86cm, 34in £300 - 500

118 A Thierry Mugler black velvet cocktail dress, circa 1986, blue label, size 38, with wired rhinestone encrusted collar, slightly pointed waist, padded shoulders, fin panels outline each sleeves, bust 92cm, 36in £600 - 1000 119 A Thierry Mugler black sequined cocktail suit, 1980s, labelled and size 40, comprising fitted jacket cut higher at front, with slim skirt, chest 86-92cm, 34-36in, waist 71cm, 28in, (2) £400 - 600

120

121

123

120 An early Rei Kawakubo/comme des Garçons black cotton jersey distressed-effect ensemble, Spring/Summer, 1983, labelled, comprising: a wide asymmetric blouse with simple slit for the neck, unbalanced sleeves - one deep and wide, the other a slit in the left side, adorned with irregular vertical ribbons of jersey, the matching gathered skirt similarly adorned; together with a black cotton jersey bodice, labelled comme des Garçons, Tricot, button-fronted with slashed decoration to the hem, skirt waist 66-71cm, 26-28in, (3)

121 A Rei Kawakubo/comme des Garçons printed cotton dress, Spring-Summer, 1984, labelled, the charcoal grey cotton ground with white brush stroke-like resist prints, tunic-like under-dress with voluminous asymmetric overdress with v-neck, shirred, elasticated cuffs set at angles £2000 - 3000

123 A comme des Garçons black tousled knit tunic, probably 1990s, labelled ‘Tricot comme des Garçons’, with simple arm-holes, asymmetric hem, the knitted ground entirely covered in strands of twisted tapes and wool to give a de-constructed appearance, chest approx 102cm, 40in £800 - 1200

122 A commes des Garçons royal-blue wool jersey dress, probably 1990s, labelled, with irregular draped panel cascading down the front, bust approx 97cm, 38in £350 - 500

123A A Gianni Versace black 'bondage' catsuit, Autumn-Winter 1992-3, couture labelled, the bodice formed from top-stitched silk breast cups and straps, on a beaded tulle ground, adorned with gilt Medusa medallions and taps, inset with topaz-coloured stones, above black wool trousers, bust 86cm, 34in, waist 66cm, 26in; together with an image of an identical piece being modelled, (2) £1000 - 1500

This collection was sometimes derisively referred to in the press as ‘The beggar look’. Literature: ‘Future Beauty’ 30 Years of Japanese Fashion’ by Akiko Fukai, p.44, 45 for images of similar garments in ivory cotton. Provenance: Fiona Ronaldson, fashion co-ordinator at Harvey Nichols, 1983-88. £1000 - 1500

126 A Vivienne Westwood fuchsia pink bondage suit, Anglomania collection, 1993, Gold label, size 36, comprising: double-breasted wool jacket with satin facings; matching satin waistcoat and wool trousers with bondage straps to legs, lined in hair-print satin, chest 97cm, 38in, waist 86cm, 34in (3) £500 - 800

124 124 A Vivienne Westwood 18th century-inspired gentleman’s frock coat, ‘cut and Slash’ collection, Spring/Summer, 1991, Red label, the white satin ground printed with photographs of roses to the front openings, cuffs, large rosettes to the back panels, with faux horn buttons engraved with orbs, chest 97cm, 38in

127 A Thierry Mugler black velvet cat suit and corset, circa 1986, blue label and size 38 to the black satin corset, with large rhinestone buttons to the integral draped tailcoat, zippered cuffs and ankles, broad sailor collar, the corset forming a structured decolleté to the front, bust approx 86cm, 34in, (2) £400 - 600

128 A Jean Paul Gaultier cable-knit dress, Autumn-Winter, 1985-86, labelled Jean Paul Gaultier Equator, size 42, of cotton chenille, with raised concentric ring knitted breast panels, high neck with zip fastener to the shoulder, bust 86-92cm, 34-36in

There is a short, sweater version of this model in the Metropolitan Museum of Art, ref 2004.470.2. This model was chosen as the bridal gown for the show’s finalé. £600 - 1000

This coat was worn in Westwood’s first fashion show in Florence and was modelled by the elderly and elegant Bertie Hope-davies. It is a one-off piece made specially for the occasion. £500 - 800

129 Vivienne Westwood ‘Nostalgia of Mud’ collection satin bra and stockings, Autumn-Winter, 1982, comprising: pale pink bra with World’s End label, suede backstraps; and three pairs of stockings - one with buffalo-girl print, (7) £250 - 350

125 A Halston charcoal-grey flounced organza cocktail dress, Resort collection 1980, bearing Halston and I.Magnin retail label, the panelled/gored bodice sculpted to follow the curves of the torso, the skirt applied with petal-like tiers of organza ruffles, bust 92cm, 36in, waist 74cm, 29in

cf ‘Halston’ edited by Steven Bluttal, pp.494-495 for examples of this design £350 - 550 126 38

128

130 A rare complete Vivienne Westwood ‘Pirate’ ensemble, Autumn-Winter, 1981-82, World’s End labelled, comprising: scarlet brocade jacket and trousers woven with shamrocks, the sleeves lined in spotted black satin; a matching spotted black satin doublet/ waistcoat; printed navy on orange squiggle printed knee length shirt and matching tasselled sash, a black bicorne hat with gold cockade; black and orange squiggle print stockings; and a pair of chisel toed black suede and leather pirate shoes, (10) £6000 - 10000

131 & 132 Lots 131 to 136 the property of a 1980s dandy 131 A Vivienne Westwood ‘Harris Tweed’ collection blue tweed and silver lurex plush trimmed ensemble, Autumn-Winter, 1987-8, Red label and size 40, comprising loosely cut double breasted jacket with silvered crown engraved buttons, breeches and overcoat all trimmed with gun-metal blue lurex plush, the coat with large faux horn buttons, jacket chest 102cm, 40in (3) £600 - 1000

133 & 134 132 A Vivienne Westwood ‘dressing Up’ collection Harris tweed and denim suit, Autumn-Winter, 1991-2, Red label and size 36, with curved denim and green tweed lapels and trim, blouson stylejacket, the trousers with zip flies and short, tapered legs, chest 117cm, 46in, waist 82cm, 32in, (2) £700 - 1000 133 A Vivienne Westwood plum velvet suit, probably ‘Time Machine’ collection, Autumn-Winter, 1988-89, Red label, size 42, comprising: double breasted jacket with loose, flared skirt, gilt orb buttons; half-mast pirate trousers and matching deerstalker hat embroidered with an orb, chest 117cm, 46in, trouser waist 82cm, 32in (3) £600 - 1000

134 A fine Vivienne Westwood ‘dressing Up’ collection tartan suit, Autumn-Winter, 1991-2, Red label, size 40, comprising: long single breasted jacket with two pocket flaps to one side, one to the other; waistcoat; and voluminous wide-legged ‘clown’ trousers, jacket chest 97cm, 38in, trouser waist 76cm, 30in (3) £1000 - 1500

133

136

136 A rare Vivienne Westwood sheepskin armour jacket, ‘Time Machine’ collection, Autumn-Winter, 1988-89, Red label, size 40, comprising waistcoat with optional buckle on/off sleeves, orb engraved faux horn buttons, chest 112cm, 44in £1200 - 1800 135 137 A rare pair of Vivienne Westwood ‘Savages’ collection embroidered leather chisel-toed ankle boots, SpringSummer, 1982, the uppers of Indian embroidery inset with mirrors, light tan toes, heels and cuffs, size 6, (2)

135 A rare Vivienne Westwood ‘Witches’ collection trench coat, Autumn-Winter, 1983-4, World’s End labelled, and ‘Fabrique en Italie’, of ivory cotton with deep lobed lapels, pointed shoulders, curved pockets and tie belt, of loose voluminous cut £700 - 1000

cf ‘Vivienne Westwood’ by claire Wilcox p 56 for a full page illustration of a similar pair of embroidered boots. £350 - 500 137 41

138 Vivienne Westwood ‘Savages’ collection clothing, SpringSummer, 1982, comprising: a printed cotton jersey dress with ethnic print in peach and grey with open weave front panels and underarms, bust 92cm, 36in; together with an ikat cotton and jersey dress with floating panels to the back and matching culotte skirt, waist 66cm, 26in, (3) £400 - 600

144 A Jean Paul Gaultier shot brown taffeta dress, 1990s, Femme labelled, of voluminous pleated smock form with large metal eyelets to the hem, with taffeta sash for wrapping around the body, a black webbing belt inset with eyelets and elasticated bondage hooks to create a tightly swathed and bound appearance; together with a magazine cutting illustrating how the dress should be worn, (qty) £400 - 600

139 Vivienne Westwood separates, ‘Savages’ collection, SpringSummer 1982, comprising: striped cotton trousers, World’s End label; together with a white and broken striped woven culotte skirt; and a long brown cotton skirt of similar weave with drawstring waist, (3) £200 - 300 140 A Vivienne Westwood ‘Punkature’ collection ‘Blade Runner’ skirt, Spring-Summer, 1983, World’s End label, printed in purple and gold on an aqua ground with scenes from the Ridley Scott film, cotton gauze waistband and ties £400 - 600 141 Vivienne Westwood ‘Savages’ and ‘Nostalgia of Mud’ collections, 1982, all with World’s End labels, comprising: a Nostalgia of Mud voluminous rainbow-knit sweater dress with power station print to the front and curved, low back; Savages striped cotton openweave shorts with lavender cotton and pink tufted lining; and a matching shift dress, bust 107cm, 42in, (3) £350 - 500

145 A Thierry Mugler glazed cotton wet-look evening gown, probably early 1990s, blue label and size 40, the boned bodice with single shoulder strap, broad belt, wide pocket flaps forming points at the hips over tapering skirt, bust 8692cm, 34-36in £350 - 550

142 142 A Jean Paul Gaultier black vinyl straight-jacket evening gown, 1990s, Femme labelled and UK size 10, with v-necked panel to the neck and ribbed bust darts, zip fasteners and additional buckles down the back and to the puff sleeves, bust 86cm, 34in £400 - 600 143 A christian Lacroix tweed and tartan suit, probably late 1980s, labelled and size 36, comprising: vividly coloured double breasted jacket with red enamelled gilt floret buttons, velvet appliqués to the sleeves, matching wide legged plaid trousers similarly adorned, chest 86cm, 34in, waist 71cm, 28in (2) £350 - 500

146 A Maison Martin Margiela beadnecklace jacket, ‘Artisanal’ collection, Spring-Summer, 2006, labelled and size 40 Italian, the flexible strip frame covered in peach bias binding and overlaid with pearl, gilt and coloured beads and pendants

An identical beaded waistcoat was included in the Maison Martin Margiela ‘20 Non classic Retrospective exhibition showing two decades of the designer’s work at MoMu - Antwerp. The accompanying catalogue states in regard to this design: ‘Production time 41 hours. costume jewellery beaded necklaces are hand sewn onto a bone-line structure to form a jacket. Each string is weighted thereby creating a perfect balance in the finished garment.’ £400 - 600

147

149

151

147 A Vivienne Westwood blue satin ‘transformation’ evening gown, Autumn-Winter 2007, Gold label, UK size 12, the bodice and skirt formed from curved panels buttoned together allowing the sleeves to be elongated from puff sleeves to long and the skirt to be long or short, bust 86-92cm, 3436in, (2) £450 - 600

149 A Jean Paul Gaultier leather jacket, Spring-Summer, 1991, with shaped leather breast cups, cage-like ribs to the sides, blue faille inserts to the front waist with contrasting yellow and red leather banding, serpent and chalice appliqué to the back, bust 86cm, 34in

151 An early Alexander McQueen stretch shift dress, ‘The Hunger’ collection, Spring-Summer, 1996, un-labelled, of semi-transparent white rubberised stretch-jersey, printed with scattered feathers and daubed with splashes of pink and blue paint, bust 92cm, 36in £400 - 600

148 A World’s End/Malcolm Maclaren double-breasted sheepskin coat, 1990s, (a later copy of the 1983 version) with World’s End and Malcolm Maclaren thumb print labels, of voluminous cut, the deep lapels can fasten to one side by toggles made of rolled pieces of fleece, chest 102cm, 40in £400 - 600

A similar jacket forms part of the Metropolitan Museum of Art collection, acc.2003.266. £600 - 800 150 An Alexander McQueen trouser ensemble, 2000, labelled and size 42, of finely striped grey wool, the jacket with wide lapels and pointed, pleated shoulder panels, nude spandex vent to centre back above peplum; the trousers with shaped, curved legs, chest 86cm, 34in, low hipster waist 76cm, 30in, (2) £400 - 600

152 A Bruce Oldfield scarlet swathed chiffon evening gown, 1990s, labelled, with draped cross-over bodice, full skirt, ties to the shoulders, together with a photograph of Jerry Hall wearing the dress in the company of clive James, bust 86cm, 34in, waist 69cm, 27in, (2)

Provenance: Jerry Hall, sold by KTA June 2008, lot 85 £250 - 300

153 (detail)

154 A Thierry Mugler navy crêpe evening gown, 1990s, blue label and size 36, the under-dress with sweetheart neckline, with draped sari-like panel over one shoulder edged in metal pendants with fasteners and tie to waist, bust 82-86cm, 32-34in £250 - 400

155 A Jean Paul Gaultier black rayon jersey evening gown, probably 1990s, Femme labelled, UK size 8, the low-cut scooped back adorned with abstract panels linked by chains and rivets, bust 81cm, 32in £350 - 500

153 153 An Alexander McQueen black satin and bugle beaded evening gown, ‘In memory of Elizabeth Howe, Salem 1692’ collection, Autumn-Winter, 2007, labelled and size 38, also bearing press sample label, the silver beading applied in tress-like bands down the front and back of the gown, trained skirt, bust 86cm, 34in, waist 66cm, 26in, together with a catwalk image of the gown, (2) £3000 - 5000 153 44

158 (detail)

156 An Alexander McQueen for Givenchy black crêpe and leopard lace evening gown, AutumnWinter, 1997 collection, couture labelled and size 40, the black crepe column with spaghetti straps, curvaceously cut with godets to the hem, with lacecovered nude silk panels intersecting the waist and hips, bust approx 92cm, 36in

A similar though not identical gown was used in the 1997 Givenchy advertising campaign. £1000 - 1500

158 158 An Alexander McQueen black velvet and bugle beaded evening gown, ‘In memory of Elizabeth Howe, Salem 1692’ collection, Autumn-Winter, 2007, labelled and size 38, also bearing press sample label, the iridescent gun metal-blue beading forming a star-burst around the high neck and upper shoulders which descend and trail down the front of the skirt trained skirt, bust 86cm, 34in, waist 66cm, 26in, together with a catwalk image of the gown, (2) £3000 - 5000

157 A Jean Paul Gaultier polka-dot corset dress, circa 1990, Junior label, size 44, with black elastane sides and wide elasticated straps, bust approx 81-86cm, 32-34in £300 - 500

158 45

Lots 159 to 161 and 164 to 172 all come directly from the estate of the late duchess of Windsor, have never been offered for sale before and have remained in the Windsors’ home in the Bois de Boulogne, Paris since her death. The proceeds of the sale of this collection will benefit the dodi International charitable Foundation

159

Prince Edward with his grandfather King Edward VII

159 A gazelle trophy paper knife bearing the cypher of Edward, Prince of Wales, 1922, the ivory blade engraved with the garter badge with large central ‘E’, and ‘Arabian Gazelle (gazella arabica), Great Hamish Island, Red Sea, 6th June, 1922’, with base metal mounts, gazelle hoof grip; the reverse with EP paper cypher and Windsor inventory no 1248, 25/3 36, 37cm, 14 1/2in long

161 King Edward VII’s crocodile and silver mounted cigar case, used from when he was Prince of Wales, London, 1894, also used by his grandson Edward, Prince of Wales later the duke of Windsor, crocodylus porosus, the outer sleeve edged in ribbed, curved silver band and mounted with a central silver Garter badge with Prince of Wales plumes, below Princely crown, the inner sleeve embossed on the upper edge in gold with indistinct patent details, 15cm, 6in long

This was obviously a favourite piece as the hide on the grip is quite worn with use. £600 - 1000

160 160 A photograph of Edward, Prince of Wales, circa 1930, the oval sepia print within black lacquered mount within gilt cartouche and crown, 19 1/2cm, 7 3/4in long £400 - 600

This cigar case was photographed prominently displayed on a table in the duke of Windsor’s Study, Government House Nassau, Bahamas, February 1941 by Harold Haliday costain (see oppsite page). The table was covered with pipes, a tobacco jar, other smoking accoutrements and photographs of the duke and Wallis. King Edward VII was often photographed smoking large cheroots - a habit that his grandson Edward VIII was to continue. £6000 - 10000

161 (detail)

The duke enjoying a cigar

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The cigar case in the duke of Windsorâ&#x20AC;&#x2122;s study

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162 The duke of Windsor’s cartier brown pigskin travelling toilet case, circa 1930, stamped in gold cartier, Paris, Londres, with rosegilt metal lock and clasps, scarlet morocco interior, with lift-out accessories tray, polished metal mirror in case, a paper luggage tag is attached ‘From H.R.H. The duke of Windsor, Government House, Nassau, Bahamas’, original Sotheby’s lot tag, key and foul weather cover for the handle, 51cm, 20in long

Provenance: ex lot 3264, The Sotheby’s duke and duchess of Windsor collection, February 1998. £3000 - 5000 163 The duchess of Windsor’s black patent leather handbag, circa 1957-60, with gilt rope-twist interlaced W’s cypher, ribbed gilt metal sliding clasp to one side of the metal frame, lined in black grosgrain with six compartments, 21cm long; with original Sotheby’s sale tag, (2)

164 The duchess of Windsor’s spectacle cases, 1950-60s, comprising: a faux ocelot case, another printed piebald hide case; a faux zebra and black leather example, the longest 18cm, 7in long; and a tiny red leather pouch, possibly for cribbage pins, (4) £200 - 300

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163 detail 165

Provenance: ex lot 2321 Sotheby’s The duke and duchess of Windsor collection, February 1998. £1200 - 1500 164

165 Four photographic copies of cecil Beaton portraits, made for the Museum Room at the Windsor mansion, modern, comprising: three portraits of the duchess in the 1930s and one of the duke, with facsimile Beaton signatures, each approx 37 by 28cm within mounts and frames (4) £200 - 300

166 & 167 166 The duchess of Windsor’s printed Japanese silk damask informal coat, circa 1960, of pale green silk with stylised chrysanthemum print, frogging fasteners, side pockets and side slits, lined in silk, chest 102cm, 40in £200 - 300 167 The duchess of Windsor’s red oriental brocaded coat, 1960s, with pockets, side slits, frogging fasteners, un-lined, chest 107cm, 42in £200 - 300 168 The duchess of Windsor’s short, oriental jackets, 1960s, the first of scarlet oriental brocade with frogging fasteners, patch pockets, the other of scarlet cotton stencilled in gold, lined in yellow silk, average chest size 112cm, 44in (2) £250 - 350

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169 169 The duchess of Windsor’s blue oriental brocade informal jacket, 1960s, with simple patch pockets, frogging fasteners, lined in white rayon, chest 117cm, 46in £200 - 300 170 A group of the duchess of Windsor’s lingerie, stockings, lingerie cases and cosmetic capes, 1960s, including gold and silver lurex stockings, navy dior pair; lace and printed nylon waistslips, 3 nylon bed jackets; a lacy baby-doll negligee, assorted scarves and others, (qty) £200 - 300 171 A portrait of the duchess of Windsor by Alejo Vidal-Quadras (1919-1994), dated 1967, charcoal on paper showing the duchess with one of her favourite pugs and also in profile, with classic Alexandre de Paris centre-parted hair-style, 98 by 68cm, 38 1/2 by 26 1/2in within mount £1000 - 1500

172 172 The duchess of Windsor’s embroidered dressing gown and bed jacket, late 1950s-early 1960s, of loose-cut with graduated, gored back panels, embroidered overall with strawberry sprigs, dressing gown chest 122cm, 48in; together with a quilted melon-pink bed jacket, the peter-pan collar and pocket studded with rhinestones, bust 97cm, 38in (3) £300 - 500

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173 Elizabeth Taylor’s chanel couture gold brocatelle cocktail suit, circa 1964, un-labelled, comprising: simple A-line strapless cocktail dress, lined in raspberry silk, edged and piped with silk moiré grosgrain; the matching short, boxy jacket with stand collar, patch pockets, characteristic lion mask buttons, moiré lining and gilt chain-weighted hem, dress bust 94cm, 37in, waist 71cm, 28in, together with a letter of authenticity signed by the vendor (3)

Provenance: The gown was given as a gift to the wife of Elizabeth Taylor’s accountant Ernest E. Greenberg who was a similar height and size. He represented Miss Taylor and her husband Richard Burton in the mid 1960s. Elizabeth Taylor and Richard Burton’s romance began on the set of ‘cleopatra’ which was filmed in 1961. At the time they were married to Eddie Fisher and Sybil Williams. It was not until 1964 that their respective divorces were complete and they were able to re-marry which they

174 Elizabeth Taylor’s Balenciaga couture gold figured cloqué silk sari gown, Autumn-Winter 1964, labelled and numbered 92934, of masterly construction, the golden silk woven with leaf and bud motifs appears to closely spiral the body, comprising: strapless sheath with integral boned grosgrain corset with elasticated back straps and hook and eye fastenings, gold silk waist slip, the skirt cut on the bias, the pointed hem with side slit trimmed with a bow, edged in rhinestones and tassels of amber and clear crystal beads, the diagonal back fastening with embedded prestud fasteners; the over tunic similarly edged, with invisible fastenings, and with beaded band to midriff, pointed rear hem, silk ties to one side which forms a sleeve opening, bust 95cm, 37in, waist 61cm, 24in; together with a letter of authenticity signed by the vendor (3)

Miss Taylor was photographed wearing this Balenciaga gown in the company of Richard Burton on december 2nd, 1964 to attend the premiere of the New Review Lido in Paris. Her hair was plaited and interlaced with ribbons by the leading Parisienne hairdresser Alexandre de Paris. She carried a gold clutch bag and wore golden shoes to match. 173

did in Montreal on March 15th, 1964. This lot and the following ensemble were produced when the Burton’s were still relative newly-weds. It seems that Elizabeth Taylor’s time on the lavish cleopatra set gave her something of a penchant for wearing gold and it is interesting that this is the colour chosen for both ensembles. £10000 - 15000

174

ÂŠ copyright Getty Images

175 Audrey Hepburn’s Edith Headdesigned ivory lace gown from ‘Roman Holiday’, 1952 but also adapted and worn to collect her Oscar for the same film in 1954, of ivory guipure, the bodice cut high and straight at the front with slender organza shoulder straps, lightly boned rayon under-bodice with sweetheart neckline, the back cut low, over full, circle skirt with matching belt, bust 81cm, 32in, waist 61cm, 24in; together with a letter of authenticity signed by the vendor, see provenance below (2)

‘Roman Holiday’, which was filmed in Italy in 1952 and released in 1953, was Audrey Hepburn’s first major film role for which she won the Academy Award for Best Actress. She played the character of Princess Anne - who visits Rome and with the help of an American journalist (Gregory Peck) goes incognito to explore the city, its nightlife and in the process ultimately learns to accept her responsibilities as a ‘Royal’. It was a hugely successful film and Audrey was confirmed as a major star after it was released. Her performance received critical and commercial acclaim. She wears a version of this dress in the very last scene of the film where she meets and greets her public and resumes her Royal role. In the film, the dress has a low neck and matching jacket. Edith Head also won an Oscar for her costume designs for the film. It was also during the making of this film that she called off her engagement to James Hanson (see lot 177 for related material). Audrey’s next film was ‘Sabrina’, which she filmed in 1953. Although the official designer for the costumes was again Edith

Head - Audrey asked Hubert de Givenchy to supply the costumes for herself. The combination of Audrey’s personal style and Givenchy’s elegant sophisticated creations caused a sensation. The film went on to win the Oscar for the costumes - but Edith Head took the credit - and also the award. Givenchy was understandably furious and Audrey used him as her designer of choice from that point on. In 1954 when Audrey was nominated for the Oscar for Best Actress for ‘Roman Holiday’ - it seems that when faced with the decision of what to wear - that she chose the beautiful lace dress worn in the last scene of the film designed by Head - but Givenchyfied it! Having suffered the privations of a World War - Audrey had something of a make-do and mend mentality. She could never just throw something away and preferred to adapt a gown or give it to someone else to wear. The basic dress was an Edith Head creation - but the new bodice cut straight across at the front, plunging low at the back with pretty spaghetti straps was undoubtedly inspired by the gowns she had been wearing by her beloved Givenchy. Faced with the dilemma of whose dress to wear - she probably hoped to appease both sides? Youtube footage shows Audrey collecting her award - processing to the stage with inimitable grace and elegance to collect the award in this gown www.youtube.com/watch?v=pvR7d21wqI&NR=1 Provenance: Audrey later gave the dress to her mother countess Ella van Heemstra - who in turn gave it to a close friend in America where she had gone to live in the late

1960s. She told her friend that Audrey always referred to this as her ‘Lucky dress’. When Tante Ella (as the family called her) moved back to Brussels to live (before moving to Audrey’s home in Switzerland), she gave away many things she did not wish to transport back including this dress. It has been with that family ever since. It is an extremely important gown - for although Audrey appeared to great acclaim in many films - this was the only Oscar she ever won and it is in this dress that she accepted it. It also unique in the sense that it is the only time that an Oscar was collected in a gown worn in the actual film. £40000 - 60000

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176 A group of correspondence, press clippings and a photograph of Audrey Hepburn, relating to her planned marriage to James Hanson in 1952, comprising: handwritten letter from James Hanson April 26, 1952, asking his personal assistant Miss Joan Mayall, if she would like to act as chaperone to Audrey in Rome (where she was filming ‘Roman Holiday’); handwritten letter from Audrey, 12th May 1952 giving thanks for a birthday message, hoping she will meet Miss Mayall in Paris, but informing her that she will not be required to act as chaperone in Rome as her mother would be accompanying her; a typewritten letter signed by Audrey dated 3rd October, 1952, where she writes “Needless to say, the disappointment has been very great on the postponement of our wedding...”; another from Baroness Ella van Heemstra, (Audrey’s mother) thanking her for organising tickets on her behalf from London to Paris; another from the Baroness, 9th October, 1952 which accompanied a thank-you gift purchased for her in Rome; a letter from James Hanson thanking Joan Mayall for her wedding gift of napkin rings, 10th September, 1952; printed official announcement cards for the marriage itself from Baroness van Heemstra; church and reception admittance cards; wedding invitation to Miss Mayall; printed cancellation card “Baroness Ella van Heemstra much regrets to announce that the wedding of her daughter Audrey Hepburn to James Hanson, arranged to take place on 30th September, 1952, at Huddersfield Parish church, is unavoidably postponed and will take place in New York later this year”; a black and white photograph of Audrey and two newspaper cuttings, (12)

177 An autographed photograph of Audrey Hepburn in her role as Holly Golightly in Breakfast at Tiffany’s, circa 1961, signed in gold ink ‘Pour dominique with all my Love Audrey’, 24 by 18cm, 9 1/2 by 7in £500 - 900

Provenance: By direct descent from the family of Miss Joan Mayall who worked as James Hanson’s private secretary for many years. See website for expanded footnote. £400 - 600

178 Sold in aid of the Amy Winehouse Foundation The disaya printed chiffon dress worn by Amy Winehouse for the cover of ‘Back to Black', 2006, with engraved gilt metal disaya label, the short dress printed with bands of graduated dark-red polka dots, the corset-like bodice with under-wiring and central lace bow insertion and waistband, elasticated puff-ball skirt, UK size 8, bust approx 82-86cm, 32-34in, the high waist 71cm, 28in; together with a letter of authenticity signed by the designer - disaya, (2)

ÂŠ copyright Mischa Richter/Universal Island Records

Provenance: In 2006, the young St Martins trained, Thai based designer disaya was approached by her British PR agent with a request for the loan of a dress for Miss Winehouse's photoshoot. This request came via his friend Louise Winwood who was Amy's stylist at the time and was working on the album cover project for Universal Island Records. Although this was Amy Winehouse's second album (she was re-launching her career after a break) there was reluctance on the part of many of the leading fashion designers initially approached to assist. However, disaya was happy to help as she was launching her new label in the UK and felt that her young, innovative designs would be a good match. The photoshoot took place in the photographer Mischa Richter's house. Louise took over a selection of clothes for Amy to try, and they both agreed that this dress suited her best. After the photo-shoot the dress was returned to the designer and carefully stored in the disaya archive. The album went on to sell over 3.2 million copies. In the light of Amy's untimely and tragic death, disaya has decided that rather than keep the dress stored away, that it should be sold and the money raised used by the Amy Winehouse Foundation to benefit vulnerable young people in need in the UK and overseas. ÂŁ10000 - 20000

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179 The duplicate bridal shoes, designed and made by clive Shilton, fitted to and worn by Princess diana, 1981, labelled to the insoles, of ivory satin, topstitched with a lattice design and spangled with 542 individually hand knotted mother of pearl sequins,134 seed-pearl beads, the heart-shaped tabs piped in gold kidskin, applied with a shimmer of sequins and edged in pearl beads and Nottingham lace, the leather arches painted in gold leaf with the initials ‘c' and ‘d' with hearts and blossom, UK size 6 - 6 1/2, 24cm, 9 1/2in long; together with individual blue satin shoe pouches and a blue velvet bag, the draw-string with pleated satin lotus bloom ties; together with a group of associated ephemera comprising: a letter from Oliver Everett, Buckingham Palace dated 12th May, 1981 conveying Lady diana Spencer's gratitude to Mr Shilton for making the shoes and warning him not to make any press announcements or to use his involvement with the bridal shoes as a vehicle for personal publicity; a photograph

of clive Shilton and his partner Julie Smith taken at the time of the commission; a letter dated February 2nd from Mrs ShandKydd asking Mr Shilton to justify his invoice for £621.25 for the shoes (in the event he was never paid);1981 press information relating to clive Shilton and his team; a letter of authenticity signed by clive Shilton, (qty)

clive Shilton states "In 1981, I was commissioned by Buckingham Palace to make the Royal wedding shoes for the then Lady diana Spencer. This involved numerous visits and fittings. Because she was tall the shoes had to be flat and so I created special new elegant lasts which were made using measurements of diana's feet. Fittings were required to check for the new topline and also the fit to her foot. We had to alter continuously as she continued to lose weight. Undecorated fitting samples were made but only two finished pairs of shoes were ever made - this pair and the pair now in the Althorp collection. They were not made of glass but they were real cinderella slippers.

H.R.H. Princess diana wore both pairs for the final fitting and gave her approval. The two pairs of shoes are completely identical in every respect. We actually made two left and two right shoes and the choice of which to use was made after the final fitting. We made the extra shoes just in case there was a mishap either during the final decorating processes or a mishap on the eve or morning of the wedding and another pair had to be delivered to the Princess at short notice. The shoes have remained with me ever since." The request to make the shoes came initially from the Emanuels who asked clive if he could visit them to meet a 'special client' who turned out to be Lady diana Spencer, accompanied by her mother, Mrs Shand Kydd. He remembers diana at this time as "a young radiant bride-to-be, glowing with excitement and blushing frequently." High heels were out of the question because of diana's height in comparison to her fiancé HRH Prince charles and so clive created new pointed toe flat lasts especially for her which incorporated her

measurements. He then made tiny fluted heels which complimented the elegant flowing line of the flat shoe - a revolutionary look for its time. clive Shilton met with diana about half a dozen times. He showed the initial sketches putting forward four different tab designs including a diamond, oval, circle and a heart - which is the one she selected. He remembers that she was very adamant that it should be the heart. The two pairs of shoes took approximately four months to make, with every person in the Shilton studio playing a part in the process - be it major or minor. The beautiful hand-gilded instep decoration was the final touch, delicately and painstakingly perfected by clive. The shoes were finished and delivered about a week before the wedding which took place on July 29th, 1981. clive remembers how diana grew in poise in the months leading up to the wedding. At one of the last fittings, as she was about to leave the Emanuel's studio (which was by now surrounded by paparazzi and had a policeman permanently stationed outside the door), he recalls diana stood at the top of the stairs, took a deep breath, smiled broadly and said â&#x20AC;&#x2DC;Well let's hope I don't fall on my a***'!', before pushing her way through the thronging crowd amid a blaze of flash bulbs." ÂŁ50000 - 70000

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179 (detail)

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180 ‡ The Emanuel replica of H.R.H. Princess diana’s bridal gown and related accessories, 1981, specially commissioned at Princess diana’s request for Madame Tussauds, of ivory paper taffeta specially woven by Stephen Walters & Son from silk produced at Lullingstone Silk Farm, the front bodice with broad panel of antique carrickmacross lace studded with seed-pearl beads, with bertha, ruffled cuffs and edging lace made by Roger Watson, spangled with pearlised sequins and pearl beads, full, balloon sleeves adorned with taffeta bows, a detachable train, approx 4 metres, 13ft long, bust approx 92cm, 36in, waist 71cm, 28in, silk replica bouquet, replica shoes, replica tiara (a copy of the Spencer tiara) made by cyril Wakefield; a silk tulle veil adorned with a shimmer of sequins; and a layered tulle petticoat, (qty)

180 (detail)

This gown is almost identical to the gown worn by the Honourable Lady diana Spencer on her wedding day, 29th July, 1981, when she became H.R.H. Princess diana, the Princess of Wales. It was made by the Emanuels for Madame Tussauds at the time of the Royal wedding using the same toile, same fabrics and trimmings as the original. There are two small differences however - the antique carrickmacross lace on the bodice front is similar but not identical to Queen Mary’s carrickmacross lace used on the original gown and the train and veil are around a third of the length of the original. This is the only contemporaneous replica gown in existence made by the Emanuels using the same materials as the original gown. £45000 - 65000 180 58

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181 ‡ The Samantha Shaw replica bridal gown and accessories for Sophie Rhys-Jones, 1999, labelled, comprising plain, silk crepe under-dress with small V-of pearl beading to the front neck; the trained organza over-gown with gored, trained skirt, the edges and seams outlined in seed-pearl beads, bust 82cm, 32in; together with a pair of ivory satin shoes, a replica diamond tiara, of the one loaned from the Royal collection made by cyril Wakefield, a silk replica bouquet and veil, (qty)

182 A Bruce Oldfield crushed purple velvet evening gown, similar to the one worn by Princess diana during an official visit to Portugal in 1987, labelled, with broad collar framing the shoulders, with narrow tapering skirt and draped, trained overskirt to the sides, bust 86cm, 32in, waist 66cm, 26in

183 A catherine Walker/chelsea design company ivory satin and lace evening gown, circa 1995, identical to that worn by H.R.H. the Princess of Wales at the State Opening of Parliament, labelled, the long, fitted bodice overlaid with lace adorned with pearlised sequins, tiered sash to one hip, bust 92cm, 36in, waist 76cm, 30in

Sophie Rhys-Jones married H.R.H Prince Edward on June 19th,1999 at Windsor castle and was created countess of Wessex. Provenance: specially commissioned from the designer for Madame Tussauds at the time of the wedding. £1500 - 2500

diana was famously photographed by the late Terence donovan for an official portrait wearing the identical Bruce Oldfield gown model. She also wore it to a Bruce Oldfield Gala held at Grosvenor House in 1988. diana was Oldfield’s dinner partner on that occasion. £400 - 600

Provenance: specially commissioned from the designer for Madame Tussauds. £700 - 1000

184 184 ‡ The Linda cierach replica of the bridal gown worn by Sarah Ferguson, 1986, labelled, of ivory duchesse satin, the fitted, slightly pointed bodice and elbow length sleeves elaborately embroidered and beaded with thistles and bees (which formed part of the arms of the new duchess of York), bust 86cm, 34in, waist 66cm, 26in, with short bow-shaped train to the rear and also with magnificent detachable 15 foot train, similarly adorned but including large letter ‘A’ for Andrew and anchors (in reference to Prince Andrew’s naval

184 (detail) career), with matching Manolo Blahnik shoes; two tulle veils edged with lace bows; a silk replica of her bouquet; and a replica diamond tiara made by cyril Wakefield of the original loaned from the Royal collection, (qty)

184 (detail)

Provenance: specially commissioned from the designer for Madame Tussauds at the time of the wedding which took place on 23rd July, 1986 at Westminster Abbey, and the dress was delivered to Tussaud’s shortly after. £5000 - 8000

184 (detail) ENd OF SALE 61

cONdITIONS OF BUSINESS FOR BUYERS 1. Introduction (a) The contractual relationship of Kerry Taylor Auctions Ltd &. and Sellers with prospective Buyers is governed by:(i) these conditions of Business for Buyers; (ii) the conditions of Business for Sellers displayed in the saleroom and available from Kerry Taylor Auctions Ltd; (iii) Kerry Taylor Auctions Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement. (b) As auctioneer, Kerry Taylor Auctions Ltd acts as agent for the Seller. Occasionally, Kerry Taylor Auctions Ltd may own or have a financial interest in a lot. 2. definitions “Bidder“ is any person making, attempting or considering making a bid, including Buyers; “Buyer“ is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller“ is the person offering a lot for sale, including their agent, or executors; “KT” means Kerry Taylor Auctions Ltd of Unit c21 Parkhall Road Trading Estate, London SE21 8EN, company number 7173571 “Buyer’s Expenses” are any costs or expenses due to Kerry Taylor Auctions from the Buyer; “Buyer’s Premium“ is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price“ is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price“ is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price“ (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

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10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 14 working days of the auction, the lot will be stored at the Buyer’s expense and risk at KT’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, KT will re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion. The sale proceeds, less all KT’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction. 11. data Protection (a) KT will use information supplied by Bidders or otherwise obtained lawfully by KT for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties worldwide for the purposes outlined in condition 11(a) and to Sellers as per condition 9(i). 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by KT are the copyright of KT. (b) These conditions of Business are not assignable by any Buyer without KT’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in condition 1(a) set out the entire agreement between the parties. (d) If any part of these conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English courts, in favour of KT.

KERRY TAYLOR AUcTIONS LTd AUTHENTIcITY GUARANTEE If Kerry Taylor Auctions Ltd sells an item of Property which is later shown to be a “counterfeit”, subject to the terms below Kerry Taylor Auctions Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to Kerry Taylor Auctions Ltd for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“counterfeit” means an item of Property that in Kerry Taylor Auctions Ltd ‘s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered counterfeit solely because of any damage and/or restoration and/or modification work. Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a counterfeit would have been by means of processes not then generally available or accepted, unreasonably

expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Kerry Taylor Auctions Ltd’s reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this Guarantee, the Buyer must:(i) notify Kerry Taylor Auctions Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be counterfeit; and (ii) return the Property to Kerry Taylor Auctions Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

Kerry Taylor Auctions Ltd has discretion to waive any of the above requirements. Kerry Taylor Auctions Ltd may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field. Kerry Taylor Auctions Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Kerry Taylor Auctions Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by Kerry Taylor Auctions Ltd.

GUIdE TO PROSPEcTIVE BUYERS Purchasers will be charged a premium of 20% on the hammer price. The premium is subject to VAT at the prevailing rate. There is no VAT charged on lot prices unless otherwise specified in the catalogue by the following symbols Property with a † symbol These items will be sold under the normal UK Vat rules and VAT will be charged at 20% on both the hammer price and buyer’s premium. Property sold with a ‡ symbol. These items have been imported from outside the EU to be sold at auction under temporary importation. VAT will be charged at 5% of the hammer price and 20% on the buyer’s premium. Property sold with a ∆ symbol. These items require a cITES licence to export outside of the EU. These cost £59 each and we are happy to assist our clients with applications. Payment Payment is due immediately after the sale in Pounds Sterling and may be made by Banker’s draft, cashier’s cheque, Personal cheque, Wire transfer, credit cards, debit cards, cash and Traveller’s cheques. Payments should be made to Kerry Taylor Auctions. cash payments will not be accepted above £6,000 or $10,000. Payments in person can be made in the saleroom on the day of the sale, after this payments must be made by post, credit, debit card or wire transfer credit cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and UK Mastercard 3%; AMEX 2.6%; EU Mastercard 3.1%; International Mastercard 3.5%. For payments over £20,000 the cardholder must be present. There is no charge for using debit cards. Please note it may be advisable to notify your credit card provider of your intended purchase in advance, to reduce delays caused by us having to seek authority when you come to pay.

Payment by cheque If payment is to be made by cheque and the cheque exceeds the cheque card guarantee limit, then goods can only be collected on the day of the sale if the buyer is known to us, or if accompanied by a letter from your bank to guarantee your cheque. cheques often take as long as eight days to clear. We reserve the right to hold goods until a cheque is cleared. Electronic & Wire Transfers Wire transfers can be made to Bank of Scotland 59 Bath Street Glasgow G2 2dH account number: 06607706 account name: Kerry Taylor Auctions sort code: 12-24-81 Iban: GB19 BOFS 1224 8106607706 SWIFT: BOFSGBS1BBL If paying by bank transfer the amount received after either the deduction of bank fees or for the conversion to pounds sterling, must not be less than the sterling amount payable on the invoice.

commission bids commission bids are confidential and will be executed at no extra charge. Kerry Taylor Auctions endeavours to purchase lots as cheaply as possible, allowing for other bids and the reserves. Absentee bidding forms can be found at the back of the catalogue and should be completed and faxed at the number shown at the front of the catalogue. Please do not post in commission bid slips. It is in your interests to return your form as soon as possible as if two or more bidders submit identical bids for a lot, the first bid received takes preference. All bids should be received at least 24 hours before the start of the sale. It is your responsibility to check with us that your bid has been received. If you have never bid with Kerry Taylor Auctions before (even though you may be a past Sotheby’s client) you must also provide proof of identity. Failure to do this may result in your bids not being processed. Successful commission bidders will be notified by post immediately after the sale or you can phone us. Full payment must be sent to the Auctioneers.

Bidding in Person To bid with us you must register to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity and you may be given a paddle number. All lots sold will be invoiced to the name and address in which the paddle has been registered and may not be transferred to other names and addresses. If you instruct an agent to bid on your behalf you will need to provide a letter of authority and they will also need to provide proof of identity. Kerry Taylor Auctions reserves the right to refuse. Please hand back the paddle after use.

dESIGN ANd PROdUcTION Jamm design Ltd www.jammdesign.com

VENUE, STORAGE, cOLLEcTION ANd SHIPPING LOGISTIcS

On receipt of cleared funds, lots can be collected from La Galleria (see map above) during the auction or immediately after its completion. On the sale day at 5pm all purchased lots will be transferred to Kerry Tayor’s warehouse - see map below. Lots will be available to collect from 12 noon onwards on the following day and between the hours of 9.30am - 5pm. After a period of 14 days following the auction, uncollected lots will additionally incur a storage charge of £3.50 per lot per week (or part thereof ) and storage insurance at a rate of 0.1% of the purchase price per lot per month (or part thereof ), with a minumum fee of £1 per lot. Purchases can be collected in person from Kerry Taylor’s premises or by the buyer’s authorised agent or shipper. Bullit courier company are our appointed shippers. They can supply competitive worldwide quotations for the packing and shipping of purchases using FedEx and will also offer a cost effective registered post service for UK clients with shipment values of less than £1,000. They can also assit in the application for any export licence should they be required. Buyers are reminded that it is their resposibility to comply with UK export regulations and with any local import requirements.

Kerry KerryTaylor TaylorFashion FashionAuctions Auctions Unit Unitc25 c21 40 40 Martell Martel Road Road London London SE21 SE218EN 8EN

Bullit courier company Tel: 00 44 (0)845 226 8556 email: info@bullitcouriers.com attention attentionMr MrGary TheoMartin Birch

Tel: 00 44 (0)208 676 4600 Fax: 00 44 (0)203 137 0112 email:info@kerrytaylorauctions.com Post sale collection point - Martell Road

We are now accepting consignments for our upcoming sales: february 9th 2012 - General antique and vintage fashion and textiles June 12th 2012 - Passion for fashion

a rare Charles ii crewelworked picture, worked on linen, circa 1660. Estimate ÂŁ1200-1800 february 9th 2012 auction We will also have another general fashion and textiles sale in april 2012, date to be confirmed. Please check our website nearer the time as dates may change - www.kerrytaylorauctions.com Kerry Taylor auctions, Unit C21, 40 Martell rd, London sE21 8En