Kerry Taylor - Fashion by Jamm Design Ltd

PASSION FOR FASHION AND FINE TEXTILES 17th March 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 85 for details.

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

Sale number: KT014

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

Storage, Collection and Shipping Logistics

Front cover: lot 180 Frontispiece: lot 29 detail Introduction: lot 29 detail Back cover: lot 290

Please note that all property will be removed to Kerry Taylor Auctions’ warehouse immediately after the sale. Storage charges will apply – see page 88 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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Passion for Fashion & Fine Textiles Auction Thursday 17th March 2011 at 2pm

Venue La Galleria 30 Royal Opera Arcade Pall Mall London SW1Y 4UY See map on page 88

Exhibition Wednesday 16th March 9am to 5pm Thursday 17th March 9am to 11am

InTROdUcTIOn In the lead up to the next Royal wedding, we are delighted to announce the sale of the dress that may have started it all - the see-through knitted lace dress designed by charlotte Todd and modelled by Kate Middleton at the annual St Andrew’s University charity fashion show in 2002, (lot 293). charlotte was studying a degree in fashion/textile design at the University of the West of England in 2000 when she was invited by the organisers to submit a garment for the show (appropriately named the ‘Art of Seduction collection’). This piece was selected for Kate Middleton to wear and it was decided that it should be worn as a dress rather than a skirt - and the rest as they say is history! continuing the Royal theme we have two highly important gowns worn by the late HRH diana Princess of Wales for official Royal visits to Tokyo and France in 1986 and 1988 (lots 290 and 291)and a replica ‘Revenge’ dress made by christina Stambolian (lot 292). The Princess wore lot 291 to a State Banquet in Kyoto, during her official visit to Japan on the 9th May, 1986. She is photographed wearing the gown whilst seated at the banquet, taking instruction on how to eat with chopsticks (hers are the wrong way round in the photo). Sadly, although still undeniably beautiful she appears thin as she was suffering from a particularly bad bout of bulimia at the time. Princess diana wore lot 290, the catherine Walker gown (one of her favourite and most trusted designers) to a dinner hosted by the French Minister of culture, Jacques Lang at the chateau de chambord in november 1988. It has a more grown-up, sophisticated silhouette. I feel I have a special relationship with Wallis – the duchess of Windsor, having worked on the sale of the Windsor wardrobes during my time at Sotheby’s in the late 1990s. In this auction we offer the last remaining collection of her effects, which have remained in the Windsors’ Paris home since her death. The proceeds will benefit the dodi International charitable Foundation which provides assistance to children in need in the UK, USA, France and Egypt. Renowned for her sense of elegance and style, she once described her lifestyle as ‘Wallis in Wonderland’. Behind the doors of her Paris home the wardrobes were filled with superb couture gowns and cupboards crammed with luxury bags, shoes and drawers of sumptuous lingerie. People often mused on why the Prince of Wales fell for the rather severe-looking Wallis Simpson. She wrote “My husband gave up everything for me…I’m not a beautiful woman. I’m nothing to look at”. In contrast to her renowned ‘less is more’ style code - where Wallis turned sobriety into something of an art-form, a glimpse into the drawer containing her lingerie shows an entirely different side to her. The sublime bias-cut confections that were her nightwear give an intimation of the sensuousness and secret allure of the duchess. Adorned with delicate appliqué work and lace insertions they come in romantic sugary pink and lemon tones. More unexpected are those of shocking pink chiffon edged in black chantilly and scarlet chiffon with delicate Honiton lace applications. For someone regularly branded by the establishment as a ‘scarlet’ woman (for her three marriages and numerous liaisons) it is amusing to see that she actually chose red for bed! If I had to choose my favourite couture piece from the sale – it would have to be the Yves Saint Laurent Mondrian collection gown, 1965 (lot 180) - from the renowned Sandy Schreier collection. Its iconic, cutting-edge design with bold blocks of colour are synonymous with all that was cool and swinging in the 1960s.

AccESSORIES & TEXTILES 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 85 for more information. 1 A Pucci printed velvet bag, 1960s, labelled Emilio Pucci bag by Jane, with yellow leather interior, 23cm, 9in long £300 - 500

2 An Hermès collier de chien belt and wristlet, 1980s, stamped with maker’s marks, black leather with gilt metal hardware, max waist 77cm, 30in, both in boxes, (4) £350 - 500

3 A large Hermès burgundy leather Kelly bag, 1991, stamped Hermes Paris, Made in France, with gilt hardware, padlock and keyfob, 36cm, 14in long £800 - 1200

4∆ An Hermès black crocodile Kelly bag, circa 1952-3, crocodylus porosus, the interior with three pouch compartments, gilt brass hardware, 33cm, 13in long £5000 - 8000

5 An Hermès ox-blood leather malette bag, 1950s, with maker’s name to lock, owner’s initials JR embossed on the pull-tab, velvet lined jewel compartment to the base, complete with fob and two keys, 26cm, 10 1/4in long £700 - 1000

6 A chanel quilted black jersey 2.55 bag, 1980s, lined in wine leather, with plastic authenticity card, textured gilt chain straps, 25.5cm, 10in long £400 - 600

8∆ A Gucci café au lait crocodile handbag, 1960s, crocodylus porosus, with maker’s stamp to the interior and gilt Gucci armorial zip-pull, the interior lined in soft tan kid, with matching wallet and mirror, curved ‘rusty mandarin’ rhodoid handle and clasp, 23cm, 9in long £700 - 1000

9 A chanel quilted satin evening bag, 1980s, stamped with regd mark to interior, ‘gem’ set prestud clasp, textured gilt chain, 19cm, 7 1/2in long £300 - 500

7 An Hermès black leather Kelly bag, circa 1960, stamped Hermes Paris, with gilt hardware, padlock and keyfob, 33cm, 13in long £1200 - 1500

10 ∆ An Hermès brown crocodile Kelly bag, circa 1960, crocodylus porosus, stamped Hermes Paris, with gilt hardware, padlock and keyfob, 33cm, 13in long £3500 - 5500

15 An Hermès black box-leather Kelly bag, 1960s, stamped with maker’s and Bonwit Teller’s marks to the inside flap, gilt hardware and padlock with two keys, 33cm, 13in long; with non-original shoulder strap and box (qty) £1000 - 1500

11 ∆ An Hermès black lizard ‘constance’ bag, 1972, with gilt H lifter clasp, lined in soft kid, 23cm, 9in long £2000 - 3000 12 A Givenchy porcelain necklace, haute couture collection, circa 1986, un-signed, composed of porcelain vine shapes studded with glass beads, and linked by irregular black and green beads, 36cm, 14in long £400 - 600

13 Gripoix for Givenchy ‘Hommage à Klimt’ earrings, circa 1986, unsigned, with irregular cabochon stones in shades of blue within gilt mounts, blue bead pendants, 11cm, 4 1/4in long £350 - 500 14 A faux pearl double strand necklace and matching earrings, probably Gripoix for chanel, 1980s, un-marked, the clasp of pink glass camelias with rhinestone centres, 36cm, 14in long (3) £300 - 500

16 A cartier gold mounted black silk grosgrain evening bag, 1955, the black satin interior stamped ‘cartier Ltd, London’ with 9 carat gold engraved frame, prestud fastened, 22cm, 8 1/2in long, in original box (2) £600 - 1000 17 A pair of Trefousse suede Schiaparelli-esque gloves, 1930s, with gold leather appliqued ridges, size 6 1/2 cf. ‘Shocking: The Art and Fashion of Schiaparelli’ by dilys Blum, pp.206-7 for a similar pair £200 - 300

22 A chanel chain linked belt, 1980s, stamped chanel, with triple strands, chanel Rue Gambon medallions and pendant, 66cm, 26in long £200 - 300 23 A brooch/pendant, probably Goosens for chanel, circa 1960, un-signed, of gilt filligree with cabochon red and black stones, pearls and brilliants, 9cm, 3 1/2in diam £250 - 350 18 18 A chanel nugget and blister pearl necklace, probably 1980s, signed chanel, with cast Russian style eagle emblems, rampant lions and lion masks to some of the beads, 31cm, 12in diam £600 - 800 19 A christian Lacroix parure, 1980s, comprising: gilt metal crucifix pendant/brooch, jointed metal necklace, large filligree bauble earrings, each earring 10cm, 4in (4) £250 - 350 20 A pair of chanel outsized earrings and cuff ffllinks, 1980s, with maker’s stamps, with large facetted orange and topaz coloured stones in gilt metal mounts, each 5.5cm, 2 1/4in long (4) £300 - 500

25 A pearl and rhinestone choker necklace attributed to Jacques Fath, circa 1956, un-signed, composed of five strands of pearl beads studded with rhinestones and elaborate lower strand of pear-shaped droplet stones, 27cm, 10 1/2in long £400 - 600 26 A Gripoix brooch/pendant, 1960s, unsigned, with red, green and blue cabochon stones, brilliants in gilt mount, 7cnm, 2 3/4in £250 - 400

21 & 22

24 A Gripoix brooch, circa 1970, un-signed, of elongated cruciform shape with red and blue cabochon stones and blister pearls within gilt filligree mount, 13cm, 5in long £250 - 350

21 A chanel plaited gilt metal belt, probably 1960s, the red glass cruciform applied with gilt lion’s head stamped to the reverse ‘chanel’, 66cm 26in long £250 - 400 27 6

27 Two pairs of embroidered garters with romantic messages, circa 1780, blue satin pair embroidered in white silk ‘Ta pour suite nest pas vaine’; the ivory satin pair woven with coloured silks and ‘La bonne amitie lesa fait eclore’; ‘cest ainssi que je vous aime’, the embroidered sections 28cm, 11in wide, (4) £350 - 500

28 28 A rare quill-work top hat, possibly for tropical use, 1820s, the interior with engraved label ‘Ignaz Wilhelm Tols, Wien’, superbly woven, with pronounced curved brim lined in beige silk, the crown widening at the top, 20cm, 8in tall; together with a pair of cotton underpants with button flies, first half 19th century, (2) Provenance: Schloss Ramholz, Baron von Kuhlmann-Stumm £1500 - 2500 29 A rare Queen Anne embroidered coverlet, English, circa 1710, the linen ground with overall trellis of yellow silk false quilting, a giant urn to the centre which sprouts a fruiting and flowering tree, at each side an elegantly attired couple, she with embroidered black stomacher, red and yellow open robe, her hair piled in curls, he in smart red coat, ivory stockings heeled shoes and periwig offers her a fruit, 189 by 170cm, 74 by 66 1/2in

Provenance: Originally in the Trehawke Kekewich collection. Purchased from christopher Gibbs Ltd by the vendor in 1977 for $6200. Illustrated in ‘English Secular Embroidery’ by Margaret Jourds, 1910 p.88 £4000 - 6000

30 30 A pair of embroidered green velvet pattens, early 18th century, embroidered in silver thread and with red morocco backs, 7 1/2in, 19cm long (2) £700 - 1000 29

31 detail 31 An embroidered bed or wall han ging, Gujarat for the Europea n ma rket, circa 1700, formed from two panels of joined cotton, finely worked in minute chain stitch in vibrant pinks, blues and greens with overall floral meanders, backed in yellow silk and edged with coloured fringes, 264 by 163cm

Provenance: probably acquired by Isoline Tate, who was particularly interested in embroidery. She was related to Henry Tate, 1st Baronet (1819-1899) the sugar magnate and married to Thomas Gee. The vendor is a descendent. £5000 - 8000

35 32 A purple silk calèche bonnet, late 18th century, lined in blue silk, with open back and bent cane frame, 37cm, 14 1/2in high; together with a pale pink silk wired bonnet, 1830-40 with deep brim and neck shade, (2) £200 - 300 33 A printed cotton ‘Indiennes’ chintz purse, circa 1780, block printed and hand coloured in gold, edged in pale blue ribbon, containing a lavender pomander, 18cm, 3in high £200 - 300 34 A whitework embroidered apron panel, circa 1780, together with a single embroidered muslin triple engageant; and a Bucks bobbin lace bridal veil c.1820-30, (3) £150 - 250

35 A suite of embroidered bargello or flame stitched wall panels, Italian, late 17th or early 18th century, each panel worked in wools with flame stitch background in mainly pinks and greens with yellow accents, comprising: eight narrow panels with corinthian column and scrolling acanthus leaves to just one side, three of the panels have additional narrow gold and red stylised leaf motif border and one central panel with columns on both sides, the narrow panels approx.180 by 79cm, 71 by 31in; the double bordered panel, 194 by 113cm, 76 1/4 by 44 1/2in, (9) £8000 - 12000

36 36 An interesting group of chinese kingfi fissher feather hair ornaments and other costume jewellery, 1900-1930s, including three feather adorned headbands; another of silver coloured with matching pin; approx 14 pins some with ‘tremblant’ adornments and coloured beads; a necklace, a brooch, 4 pairs of ear-rings including coral bead and feather fruits; butterfly pair in original card box; 2 pairs of glass bauble ear-rings, a brooch, necklace; an enamelled filligree pendant with mirror, enamelled earrings, two enamelled pins and an orate floral wired glass ornament and pin, (qty) £600 - 1000 37 A child’s embroidered dragon robe, circa 1920-30, of peach satin embroidered with coiling dragons in mainly vivid blues and greens, lined in blue damask £600 - 800

38 An embroidered dragon robe, chinese, circa 1920-30, the blue silk ground couched and embroidered with coiling dragons, with sea and earth bands to the hem worked in shades of green and blue, gold edging bands £2000 - 3000 39 A lavishly embroidered surcoat, Greek, possibly Yaninna, 19th century, the flaring skirts of red wool elaborately couched and embroidered in gold cord, with gold braid bands and scrolling, scalloped borders, lined in striped ikat satin £1500 - 2500

39 9

FASHIOn 1700s-2000s 40 A brocaded apricot robe à la française, circa 1765-70, woven with blue and mauve stripes and undulating flowerheads, the upper bodice lined in linen with internal lacing, saque-back, with compères formed of horizontal tabs, front robings trimmed in fly-braid, matching petticoat, (2) £2000 - 2500

41 A gentleman’s striped wool tailcoat and waistcoat, circa 1790, in navy and wine wool with basket-weave effect metal buttons, none of which are operational, lined in white silk faille, (2) £600 - 900

42 A brocaded cinnamon satin robe à la française, circa 1770, with sacque back compères formed from joined panels of the fabric, ruched robings to the front, partly lined in striped shot silk, matching petticoat, (2) £1500 - 2500

43 A grey moiré silk gown, circa 1865, the bodice trimmed with black braid frogging and pendants, bow to belt £350 - 500

46 (bodice)

44 A whitework embroidered open robe, circa 178595, embroidered with floral sprigs, the 3/4 length sleeves with latticed blind tuck pleating, un-boned English back, short front closing bodice panels, side ties to waist, trained skirt £800 - 1200 45 A brocaded silk open robe ‘a la polonaise’, circa 1785-90, of figured oyster silk woven with small floral sprigs, edged in peacock-green satin, the closed-front bodice with pointed low waist, single bone to fitted centre-back; together with a pale quilted pale pink silk petticoat adorned with quatrefoils and scrolls, (2) £1000 - 1500 46 A mint green taff ffe eta bodice, circa 1780-90, the narrow, curved sleeves with buttoned cuffs, trimmed in pink silk, fitted, boned centre back panel culminating in a layered ruffle £400 - 600 47 A fi fin ne muslin gown, circa 1800, with narrow empire line fall-front bodice, the sleeves, front skirt and hem with insertions of fine loom- lace, tamboured with delicate trailing foliate scrolls, trained hem £1000 - 1500

48 (evening bodice)

48 A fi fin ne ivory moiré and wine satin gown with day and evening bodices, late 1860s, comprising: day bodice with curved high waistline, large bows and tulle trim to the sleeves, button and hook front fastening; the evening bodice cut low over the shoulders with pointed waist and back lacing; the long oval skirt with polonaise tapes to the interior, trimmed with tulle and satin, (3) £1000 - 1500 49 A quilted ivory silk petticoat, circa 1760-80, with undulating bands and flower sprays to the hem; together with a striped pink satin skirt panel c.1780; assorted apron panels, stoles, and fabric fragments, late 18th-early 19th century, (qty) £400 - 600 50 12

50 Highland dress belonging to captain Ross, circa 1890, comprising: Ross tartan kilt, matching underpants and plaid; silk flashes; engraved brooch with facetted topaz coloured stone; large silver plaid brooch by J.M. crouch 1885; a scarlet velvet waistcoat for the Kings Own Light Infantry; a black silk evening jacket by Macdougall & co; a sgian dubh knife with topaz stone to hilt; a silver mounted dirk with inset knife and fork by RH & B Kirkwood; a silver sporran 1887 also by Kirkwood; a Glengarry cap with feather, the badge with the motto ‘Think on’, black leather dancing brogues; knitted hose; lace trimmed jabot; silk handkerchief, all contained within a metal trunk annotated ‘captain Ross K.O.L.I.’ (qty) captain Ross lived at Balnagown castle in Ross-shire, Scotland. £600 - 800

51 detail

51 A rare gentleman’s day ensemble, early 1850s, comprising: navy facecloth double breasted tailcoat, with brass buttons stamped to the reverse ‘Hardmans & IIiffes, Birmingham’, ‘Hon i soit qui mal y pense’ below a crown, angular lapels with buttonholes, velvet collar, narrow curved sleeves, deep pockets in the rear skirt folds; the dove grey trousers with brass buttons to fasten and for braces, small fobpocket at the waist; and three waistcoats of ivory figured damask, velvet woven with thistles and blooms; and floral brocaded black satin, (5) £8000 - 12000

51 detail 13

52 A brocaded satin evening gown with rare Maison Lucile waistband, circa 1897, the waistband embossed Hanover Square with a faint armorial to one side, of brocaded late 18th century silk, the boned bodice lined in striped cotton and trimmed with black chantilly lace, shocking pink moiré ribbons and pink chiffon ruffles, the skirt adorned with broad tri-angular panels of chantilly, (2)

53 A rare Lucile jade green velvet evening gown, circa 1913, the ivory chiffon and lace bodice piped in velvet and edged in satin, labelled ‘Lucile Ltd, 23 Hanover Square’, and also two handwritten labels ‘Miss Shenley as 34 Model’, the bodice front with two points of velvet, the velvet on the skirt seeming to fall from these, with side panels of tiered tulle edged in velvet rouleaux, satin waistband, bust approx 86cm, 34in

Lucy duff Gordon was fond of using 18th century inspired fabrics in the 1890s - see KTA, May 2005 lot 181 for a brocaded 18th century style jacket which bore the slightly earlier Maison Lucile label of 24 Old Burlington St, 1893-96. The label on this gown is for the 1896-98 period and is previously un-recorded which makes it particularly interesting despite the alterations. £400 - 600

Lucile operated at 2 Hanover Square between 1903 and 1925. See the website for an image of a very similar Lucile fashion sketch of 1913. £3000 - 5000

54 An Irish crochet summer gown, circa 191012, of white cotton with elaborate floral designs overall, bust 86cm, 34in ÂŁ600 - 1000

55 An ivory satin bridal gown, late 1870s, of princess-line with broad swathed bands to skirt, pointed side pocket, cascading bows down one side, button-fronted ÂŁ400 - 600

56 An ivory silk bridal gown, circa 1838, with pleats to the bodice front and upper gigot sleeves, deep cuffs with tiny buttons, boning to centre-front and back closure only; together with assorted accessories including a foldover shawl with floral applique edging; a pink silk pelerine; an embroidered satin reticule; two pairs of ivory satin pumps; and an ivory wool waistcoat, c.1840, (qty) ÂŁ600 - 1000 56 15

57 A rare Madame Wengeroff black sequined tulle evening gown, circa 1910, woven St Petersbourg label to the waistband, the black silk taffeta entirely overlaid with elaborately sequined tulle overgown, velvet bands to the bodice and chenille ties to the centre-front and cuffs, bust approx. 86cm, 34in £500 - 800 58 A rare Raudnitz & cie/Huet & cheruit cream plush velvet walking suit, circa 1905, labelled, 21 Place Vendome, Paris, the jacket cut high at the back but with long pelerine-like front panels trimmed with brown fur, chemical lace and voided velvet bands; the flared skirt with similar braid and ribbon banding to hem, bust 86cm, 24in, bust 61cm, 24in, (2) £400 - 600 57

THE MARY HOLdEn ILLInGWORTH cOLLEcTIOn Mary Holden Illingworth (1838-1908) had a life long passion for clothes. The daughter of a wealthy industrialist she enjoyed family homes in Bradford, London and Paris where she was able to indulge her interest. Mary’s father was Isaac Holden (1807-1897). He was a self-made man an inventor and manufacturer. He developed patents for wool-combing and weaving, became an MP in his seventies and was created Baronet in his eighties. This is a unique collection as so much of Mary’s life and family history has been retained by her family through diaries, photographs and family letters, where her clothes are often mentioned. Isaac was a selfmade man who, through his own ingeniousness and hard work, rose from a poor, working class background to become the employer of thousands of men, women and children. He lived in palatial residences and became the owner of the largest wool combing firm in the world. As a prosperous mill owner he chose to bring up and educate his daughter Mary as befitted a gentlewoman of great means. We are able to chart her life as a school-girl, young bride, wife, mother and grand-mother through this collection of clothes, so carefully cared for, many with hand-written provenance notes made by her descendants. Through these clothes we are able to look back in time - to gain glimpses into Mary’s life in the second half of the 19th century. Additional provenance details, photographs, letters are available to view on our website.

59 A fi fin ne pink taff ffe eta and black tulle ball gown, late 1850s, the boned bodice with accentuated V waistline, back-laced to fasten, adorned with black velvet ribbon and silk roses, Valenciennes trimmed lace under-sleeves, circular skirt with ruffles of tulle to the hem £600 - 1000

60 A braid trimmed linen summer ensemble, circa 1866, comprising: front-buttoning one piece gown with white cotton tape trim to skirt and cuffs; matching bolero jacket with short tails to the back and matching paletot of loose cut, with shield shaped patch pockets fastened by frogging and rows of double buttons, (3)

‘Femmes au Jardin’ by claude Monet, 1866 depicts women in similar fashionable summer gowns, collection Musée d’Orsay £400 - 600

63 A printed cotton morning robe probably for maternity-wear, late 1860s, with overall lozenge repeat in blue and red, single button fastening at the neck front opening, fitted, curved seams to back bodice and gathered skirt; optional peter pan collar, (2) £300 - 500 61 61 A straw bonnet, early 1860s, with curved and wired front opening inset with blonde lace and edged in black Bedfordshire Maltese lace, black velvet ribbons, beading and blue taffeta, ribbon ties, with provenance note; together with another of black and natural straw by ‘Mrs Ritchie, court Milliner, 293 Regent St, near the Polytechnic’, trimmed with black satin ribbons, feathers, rosettes and spotted veiling, with note attached ‘Hat worn by Mother last time she went to Scarborough, Monday Morning, September 14, 1904’; and two lace bonnet veils (6)

The first bonnet is reputed to have belonged to Mary’s mother Marion (Love) Holden. £350 - 500 62 A Thomson patent cage-crinoline, mid 1860s, stamped to the waistband with patent details, with pronounced fullness at the rear of the cage; together with a quantity of camisoles, cutwork, woven horsehair and other petticoats, assorted chemisettes, under-sleeves, a cotton pocket, split drawers mainly late 1850s60s, (qty) £400 - 600

64 A rare cotton maternity corset, probably late 1860s-early 1870s, with double-gored breast panels, the centre-front with graduated elasticated panel, the upper edge trimmed with pink ribbon and white-work, back-laced to fasten £300 - 500 Mary in 1862 with baby Marion 65 An important riding habit and riding hat, circa 1855, of soft, brushed black wool, the jacket fastening to the centre-front but with three rows of domed decorative buttons to the front and two following the curves of the back seams, lined in silk and with padded, quilted areas to the breast to create the correct line, boning to the side seams only, small fob pocket to the waist seam; the extremely long, domed skirt is gently gathered into a shaped deep cotton satin waistband, with finer pleats to one hip with cord loops positioned at intervals along the perimeter of the hem with corresponding internal buttons positioned on the inside of the skirt at the lower thigh level; the black beaver riding hat, stamped to the interior Mugnier, Godefroy Suce, 31 Place de la Bourse, Paris, with upturned sides, black moiré ribbons and ostrich plumes, quilted satin inner headband, (3)

Mary attended the Moravian School at Gomersal, Yorkshire, with her sister Margaret. The fee for instruction and board was £60 a term and the “extras” including French, music, collections, pocket money, books and stationery, excursions, small articles of dress etc amounted to less than £5 in the case of Margaret and about £8 for Mary. Assuming a term lasted about twelve weeks this is little more than one pound per week per head, everything included. She wrote to her father on her 16th birthday, May 4th, 1855 ‘I assure you that I look forward to the time when I shall see you again with great delight. I thought of you on the 1st of May. I should think that Paris would be very gay for the opening of the Exhibition. did you go? I just want to ask one favour of you my dear Father, that is if you will allow me to get a riding habit made before we go home and to ride a little in the holidays. I should like it so very, very much if you would allow me the pleasure. I don’t want a very good habit, a merino one would do very well. It would not cost so much in England. ..Will you again accept of the affectionate congratulations of Your ever dutiful and loving daughter. Mary Holden” (A full version of this letter appears on our website). £1500 - 2500

65 19

69 A rare evening headress, 1860s, of deep purple velvet with crystal and large pearl pendants, three chains of smaller pearls to the back; together with a wired tulle chignon frame 1870s or 80s; and three lace caps with note stating they were worn by Mary in 1908 (qty) £200 - 300 70 ∆ An ivory satin carriage parasol, circa 1860, with fringed trim, carved and turned ivory folding handle; together with another of purple and checked taffeta with softwood handle (2) £150 - 250 66 66 A group of bodices, mainly late 1850s-late 1860s, ten including purple and sapphire blue taffeta, one of velvet adorned with silk blossoms; another of velvet with beaded mesh sleeves 1879 in which Mary was photographed in Bradford (qty) £300 - 500 67 A sprigged chiné taff ffe eta gown, circa 1865, woven with small grey flowerheads, trimmed with blue velvet ribbon and black chantilly lace, with separate bodice, belt and trained skirt (3) £200 - 300 68 A striped black and white cotton summer gown, circa 1865, the separate bodice with woven brown and white lattice braid trim; together with four assorted paletots/shawls late 1850s-60s and a black silk and lace bustle panel (7) £300 - 500

71 Two printed muslin summer gowns, 1860s, comprising: one-piece gown with band of purple grasses to the hem and overall sprigged design; the other a bodice and skirt with blue rose sprigs and spots; together with three jackets - one of white organza; another of glazed cotton with large star-shaped repeats; matching fragment of fabric; and turquoise wool with black ribbon edging, (7) £350 - 500

72 A charles Frederick Worth voided velvet gown, 1881, with gold stamped label to the waistband, the pale blue sik gown woven with olive green undulating flower and seedheads, matching green velvet facings, the boned bodice with facetted crystal buttons, with fringed trim to the pointed hem; the skirt which attaches to the bodice back with large metal hooks, with blue satin front panel outlined with crystal beads, fringes to the tabbed hem, long trained skirt, bust 97cm, 38in, waist 87cm, 34in (2)

Mary Holden Illingworth is photographed (see below) wearing this gown for the marriage of her daughter Marion to Tom Mitchell, the son of another eminent mill owning family. For this special occasion Mary commissioned the great couturier charles Frederick Worth to make this lavish gown. However, she recounted to her grand-daughter Elsie that fittings were a dubious delight as Monsieur Worth was in the habit of taking a cup of warm, fresh blood straight from the local abattoir at 11am each day! £2000 - 3000

72 21

75 75 A rare Gabrielle chanel beaded silk crepe evening cape, early 1920s, with narrow woven label ‘Gabrielle chanel, Paris’, numbered 16525, with simple ties at neck and hem, adorned with deep bands of of silver and gold tambour work and black beads,

73 A Mariano Fortuny apricot silk Peplos gown, circa 1920, the tunic over-bodice weighted with striped Murano glass beads, matching belt stencilled with silver leaves and marked ‘Fortuny’ on the reverse £1000 - 1500

Provenance: Anna Piaggi collection £1500 - 2500

74 An opera coat, late 1920s, of printed floral silk brocaded in silver, with deep brown fur shawl collar and cuffs, the hem appliquéd in rose velvet and studded with pastes, lined in gold lamé, chest 92cm, 36in

75 label

Provenance: orginally the property of Lady cornwallis. £400 - 500 74 22

76 A Maria Gallenga stencilled velvet evening cape, 1920s, the royal blue velvet ground with silver and gold Renaissance style pomegranite motifs, lined in pale green satin, padded collar with Murano glass beads to fasten

79 77 A Gilbert Adrian wool day dress, probably ‘Shades of Picasso’ collection, 1944-5, labelled, in blocks of grey and black wool with integral capelet, brick-red rectangles to the sleeves, bust approx 86cm, 92cm, waist 61cm, 24in £400 - 600

This cape was given by Graham Seton Hutchison, author and journalist (1890-1946) to his wife in 1923. He purchased it at the daily Mirror International Fashion Fair, which he helpted to organise and which was held in the Holland Park Hall. He wrote of the fair in his memoirs - “I secured couturiers of international fame...From Italy came Gallenga, the Florentine House whose studios reproduce in velvet and silks the historic designs of the old Italian masters, studios which have clothed queens and princesses, duchesses and a world‘s aristocracy for countless years”. £600 - 1000

78 A Jeanne Lanvin couture black silk crepe evening gown, circa 1936-8, labelled and numbered 1554, the flowing bias-cut gown with lightly padded shoulders, balloon sleeves, the key-hole neckline and shoulders bound in silver leather, bust 86-92cm, 34-36in £800 - 1200 79 A Paquin pale blue embroidered orientalist evening coat, 1940s, the satin lining with embroidered Paquin signature, with padded shoulders, the blue satin ground densely embroidered in gold thread with floral repeats, chest 97cm, 38in £500 - 800 78 23

80 Lucien Lelong fashion sketches, 1942-43, worked in ink and watercolour, three with attached fabric swatches, including ‘Lettre d’Amour’ ball gown, with annotations re fabrics and bearing the model’s name Suzanne, each 27 by 17 1/2cm, (5)

83 Lucien Lelong fashion sketches, 1942-43, worked in ink and watercolour, five with attached fabric swatches, including day ensembles with matching hats, a ‘pyjama de diner’ in red chiffon and two evening gowns, annotations re fabrics and bearing the model’s name Suzanne, each 27 by 17 1/2cm, (6) £400 - 600

See KTA auction June 8th 2010, lot 57 for the corresponding ‘Lettre d’Amour’ dress. £400 - 600

84 A rare Schiaparelli shocking pink satin coat-dress, circa 1939, printed red on white Schiaparelli Paris label, numbered 50928, fastened by five detachable chunky turquoise stone buttons, the lower skirt fastened by selfcovered buttons and loops, bust 92cm, 36in

81 A Balenciaga couture black velvet redingote, circa 1948, labelled and numbered 33191, with broad capelet-like over-sleeves, diagonally inset front pockets, short stand collar, lined in black taffeta, chest 101cm, 40in £800 - 1200

Provenance: Baroness von Stohrer. She was married to Baron Eberhard von Stohrer, the German Ambassador to Madrid 19391942. A woman renowned for her great taste and elegance, she included coco chanel amongst her circle of friends. £500 - 900

82 A Burberry printed velvet evening jacket, early 1930s, with narrow woven ribbon label, brightly coloured Paisley print with enamelled brooches to the collar, wide sleeves which gently gather at the cuffs, chest 117cm, 46in £250 - 350 84 24

An IMPORTAnT dUcHESS OF WIndSOR cOLLEcTIOn SOLd TO BEnEFIT THE dOdI InTERnATIOnAL cHARITABLE FOUndATIOn

The Foundation benefits children in need of medical care, psychological needs and learning difficulties and gives material support for those without family assistance. It is a permanent memorial to dodi Al Fayed. The work it carries out benefits children in Egypt, UK, France and USA. Working with hospitals, clinics, schools, residential homes and orphanages, the Foundation’s sole purpose is the relief of suffering in its many forms as it affects the most vulnerable members of our human society - children, who would be entirely alone and without hope but for the financial, material and emotional support given by the charity. Lots 85 to 119 all come directly from the estate of the late duchess of Windsor, the majority of which have never been offered for sale before and have remained in the Windsors’ Paris home since her death.

85 A silver heart-shaped photograph frame bearing a photograph of the duchess of Windsor in her Red cross Uniform, engraved with the dates 1937-1962, the image of the duchess cut from a larger photograph and placed against a red ground within the mount, 7cm, 2 3/4in high £400 - 600 86 ∆ Wallis Warfi fie eld Simpson’s tortoiseshell dressing set, circa 192836, (eretmochelys imbricata), inlaid with gilt WSW art-deco style roundels, comprising: an oval pin box with hinged cover, two cut glass jars with tortoiseshell lids, pair of long brushes, smaller hair-brush and a mirror, the mirror 27cm, 10 1/2in long (7)

Bessie Wallis Warfield was married first of all to Earl Winfield Spencer, a naval pilot on the 8th november 1916 in Baltimore. It was a short-lived, unhappy affair and ended in divorce. She then married Ernest Aldrich Simpson (a businessman and former officer in the coldstream Guards) on 21st July 1928 at chelsea Registry Office. This dressing set probably dates from that time. £3000 - 5000

87 & 88 87 A lemon chiff ffo on nightdress, late 1930s-mid 1940s, with low front and back necklines, flounced sleeves adorned with bows, the lace midriff panel appliquéd with silk blossoms outlined in pink running stitch which form tie panels at the back; with matching chiffon capelet, bust approx 87cm, 32in (2) £500 - 900 88 A pale rose-pink chiff ffo on and black chantilly lace trimmed nightdress, late 1940s-mid 1950s, bias cut with halter-neck ties, low back, bust approx 87cm, 32in £400 - 600

90 & 91 90 A pale pink chiff ffo on nightdress, circa 1935-40, the bodice embroidered with a delicate lattice sprigged with stars, edged and flounced in cream blonde lace, bust 86cm, 34in £400 - 600 89 89 ∆ A tortoiseshell bowl bearing the Windsor cypher, probably 1950s, (eretmochelys imbricata), inset with gold angular W below a crown, 11cm, 4 1/4in diam £500 - 800

91 An ivory chiff ffo on nightdress, 1950s, with lace insertion to the front, white satin ribbons, the skirt falling in pleats from the front waist, with graduated hemline and slightly trained skirt, bust approx 87cm, 32in £350 - 500

92 92 ∆ A brown alligator handbag, circa 1947-50, (alligator mississippiensis), with gilt ring swivel clasp, self-covered frame, lined in brown calf and grosgrain, with special lipstick compartment, 22cm, 8 3/4in long

The duchess was photographed with this bag in 1949 (see right) and again in canada in 1950. See our website. The bag is illustrated in Suzy Menkes ‘The Windsor Style’ p.113. £600 - 800

93 ∆ A Roger Vivier melon shaped alligator pochette and pair of shoes, circa 1965, (alligator mississippiensis), stamped with maker to the interior, buttontopped prestud fastener, lined in tan calf, 23cm, 9in long; the Vivier crocodile (crocodylus porosus) shoes with bow and toggle pompoms, shoes UK size 4, (3)

This bag is illustrated in Suzy Menkes, ‘The Windsor Style’ p.113. £700 - 1000 93 27

94 94 ∆ A brown calf and alligator handbag bearing the cypher of the duchess of Windsor, 1945-46, (alligator mississippiensis), the front flap bearing a gilt top-twist wire monogram of interlocking W’s below a royal coronet, both sides with brown crocodile flaps interior cosmetic pouches and a gold satin wallet, padded leather rouleaux handles, 27cm, 10 3/4in long

The duchess was photographed using this bag in Toulon, France in 1945, see right. £1500 - 2500

96 95 Six petticoats, 1940s-50s, mainly silk and just below knee length and one shortened ‘mini’ length example in ivory (3), peach, white and grey, all trimmed with lace, three also with shadow-work, bust approx 87cm, 32in; and a cream wool house coat embroidered with blue blossom, (7) £400 - 600

96 An ivory crepe de chine nightdress embroidered with the duchess of Windsor’s cypher, late 1940s, bias cut with faux pocket flap, embroidered in red and blue with entwined W’s below a crown, shaped lapels and triangular rear neck panel, low back, bust approx 87cm, 32in £600 - 1000

97 97 ∆ An important christian dior black crocodile handbag, circa 1964, (crocodylus porosus), stamped to the interior christian dior, Paris, the envelope shaped flap applied with fantasy clasp composed of two silvered rings engraved ‘W E 30 x 1934’, with carved carnelian rosette inset with a small cabochon ruby, rigid brief-case like handle, lined in black textured leather, 11 1/2in, 29cm long

The significance of the date on the handbag has not been identified. The duke and duchess throughout their lives regularly sent each other gifts inscribed with romantic, private messages, often accompanied by dates.

By 1934, their relationship had deepened and the Prince of Wales had ceased his relationships with his former friends - Freda dudley Ward and Thelma Furness. Wallis Simpson not only became a regular guest at the Prince’s weekend retreat of Fort Belvedere and his London base of York House, but became their chatelaine, organising and directing the Prince’s domestic arrangements, much to the annoyance of his domestic staff. In August 1934, the Prince rented the castle Meretook outside Biarritz for a holiday and invited Wallis (accompanied by her Aunt Bessie Merryman as token chaperone) to join him. From there he chartered, Lord Moyne’s

ship the Rosaura, and sailed along the Portugese, Spanish and Italian coasts. They returned to Paris by the Orient Express on September 23rd. On november 27th, Wallis met King George and Queen Mary for the first time at a party to celebrate the impending marriage of his brother Prince George and Princess Marina of Greece. The King and Queen had insisted that the Lord chamberlain remove Wallis’ name from the invitation list but the Prince of Wales swept in with her none the less and much to their dismay insisted on presenting her. The inscription on this bag is placed between the vacation and the Royal presentation. £8000 - 12000 29

98 ∆ A cartier alligator clutch bag, circa 1938-40, (alligator mississippiensis) stamped ‘cartier’ to the textured tan leather lining, the curved flap opening to reveal integral mirror on the inside flap, with ridged, gilt lifter flap, 23cm, 9in long £3000 - 5000

99 ∆ A christian dior scarlet alligator handbag, circa 1962-3, (alligator mississippiensis), with maker’s stamp to the interior, the two front flaps with self-covered buttons, popper fastenings, lined in red calf, 24cm, 9 1/2in long

This bag is photographed lying on a table at the Windsor’s weekend retreat - the Mill. It is also probably being carried by the duchess in a photograph developed in September 1966. See our website. £600 - 800

100 ∆ A christian dior brown alliga tor handbag, French, 1958-60, (alligator mississippiensis), stamped with maker to interior, of trapezoid shape with amberlike bead and gilt wire handle, lined in brown leather, 15 1/2cm, 6 1/8in long £1500 - 2500 101 A black bias-cut chiff ffo on and chantilly lace nightdress and matching cape, early 1950s, the bodice formed from a patchwork of antique chantilly lace, with goffered chiffon flounces to the shoulders, pink satin neck edging, a point of embroidered lattice to the waist, bust approx 87cm, 32in; the chantilly lace cape lined in pink tulle and with satin ties, (2) £400 - 600

100 30

102 102 A scarlet chiff ffo on nightdress, capelet and full length cape, late 1940s-early 1950s, the bodice and hem with white zig-zag embroidered edging, ruched gathers below the breasts, appliquéd with Victorian Honiton lace flower sprays, décolléte front and back; the capelet with deep panel of Honiton guipure; the fulllength cape with zig-zag edging, bust approx 87cm, 32in; together with a photograph showing the bejewelled duchess wearing the nightgown and Honiton capelet, (4)

101

Literature: Suzy Menkes, ‘The Windsor Style’ p.149 £600 - 1000

101

102

102 31

103 ∆ A brown alligator handbag, probably Ferest, 1950s, (alligator mississippiensis), with two deep side pockets, gilt lifter clasp to central compartment, lined in beige calf, 26cm, 10in long £500 - 700

103

104 ∆ An alligator handbag, bearing the cypher of the duchess of Windsor, possibly by Ferest, 1940s, (alligator mississippiensis), the engraved gilt clasp with W’s below a coronet, torpedo shaped opener, tan calf lining, 26cm, 10in long £3000 - 5000

104 detail

104

105 The duchess of Windsor’s Louis Vuitton vanity case, probably 1960s, no 87026, lock no 121051, with faux tortoiseshell address tag bearing the name and Paris address of the duchess, stencilled in yellow to one side panel ‘the duchess of Windsor’, with LV monogram canvas and brown leather exterior, tan canvas interior, narrow lift-out tray, 41cm, 16in long

The duke and duchess owned 118 travelling trunks at one point, each with numbered lid. A journalist describing their arrival in America wrote ‘They brought more trunks and suitcases than harassed customs officials could count’. £6000 - 10000 105 32

108

106 106 A Marc Bohan for christian dior glass droplet beaded evening bolero, circa 1963, possibly embroidered by Rebe, the pale blue tulle ground covered with a shimmer of opalescent paillettes, studded with rhinestones, with crystal beads and large facetted droplets, bust approx 87cm, 32in £800 - 1200

109 108 ∆ A christian dior toque, 1956-59, labelled, with ocelot brim and brown tulle crown, silk lining, 20cm, 8in diam

This bag is illustrated in Suzy Menkes, ‘The Windsor Style’ p.117. £400 - 600

109 ∆ A Maximillian sweater, 1956-59, labelled ‘Maximillian, new York’, with fur front, knitted sleeves and black felted wool back, satin lining, bust 86cm, 34in £600 - 800

107 A pair of shell and coral ‘chandelier’ earrings, possibly Miriam Haskell, circa 1968, with gilt filligree backs, applied with pierced gilt domes and coral slivers, with pendant gilt ‘wishbones’ attached to cowrie shells, long coral pendants, 8cm, 3in long, in modern fitted leather case bearing the WE cypher below a crown, (3)

The duchess of Windsor is photographed wearing these earrings in the boudoir of her Paris home c.1968. £800 - 1200

107

110 ∆ The duchess of Windsor’s tortoiseshell powder compact, 1950s, (eretmochelys imbricata), with gold cypher to the lid of angular W below a crown, with integral mirror to the lid interior, hinged powder compartment, 9.5cm, 3 3/4in diam £600 - 1000 111 A cartier gold perfume atomiser, late 1940s, marked ‘cartier, 14k’ to the base, the cylindrical body engraved with a lattice, the screw-top lid inset with a small cabochon ruby, 6.5cm, 2 1/2in long

There are still traces of the duchess’ perfume in the container. £3000 - 5000

110

112 ∆ Two pairs of Anglisano crocodile shoes, circa 1960-5, (crocodylus porosus), of mid brown and dark brown leather, with bevel-edged bows to the vamps, approx size UK 4; together with a photograph of the duchess wearing a pair of these shoes in 1960-5, (5) £400 - 600

111

112 34

112

113 Three lace boudoir jackets, 1930s-50s, comprising: ivory blonde lace jacket with design of pagodas and blossoms, late 1930s, with pink taffeta shoulder ruffles and blue bows; a black chantilly bolero, c.1950 with Wallis blue organza flounces to the shoulders; a pink chiffon capelet adorned with antique needlerun lace; and a pink chiffon handkerchief edged in black machine chantilly bearing traces of perfume and lipstick, (4) £350 - 500

The duchess wearing a sweater of similar cut to lot 114.

114 The duchess of Windsor’s knitwear, 1950s, comprising seven short sleeved or sleeveless sweaters, two labelled ‘christian dior colifchet’, in cream and red with square necklines, navy handknit example with rouleaux curl to neck; three hand knitted short cardigans in yellow, blue and black and two pairs of silk socks/slippers, (14) £300 - 500

113

114

115 ∆ Two pairs of Roger Vivier crocodile shoes, circa 1965-5, (crocodylus porosus), of dark brown leather with gilt edged tongues, chisel toes and mid brown leather with almond toes, beveledged bows to the vamps, approx size UK 4, (4) £400 - 600 115 35

117 117 ∆ A rare Schiaparelli waist pouch, ‘boutique des Ensembles Schiapsport’, 1949, the cylindrical ocelot fur pouch with large leather heart shaped panel, through which slides a metal loop to fasten, knitted beige cotton upper edge, lined with tan chamois, a loop to the rear attaches to the leather and fur trimmed belt, 15.5cm, 6 1/8in long, waist belt 56cm, 22in

116 116 A shocking pink chiff ffo on nightdress and matching capelet, late 1940s-early 1950s, bias-cut, the upper edges of the bodice appliquéd with Brussels duchesse bobbin lace, satin ribbon ties, the pointed front panel embroidered with chainstitched chevrons, the low back intersected by three chiffon bands, bust approx 86cm, 32in; the matching capelet edged in flounces, (2) £400 - 600

The duchess of Windsor was photographed wearing this pouch at Palm Beach, April, 1950. A similar plain leather pouch was illustratred in French Vogue, 1949, p.92 as an advertisement for ‘Boutique des Ensembles Schiapsport’. £2000 - 3000

118 36

118 A group of lingerie and cosmetic cases, 1950s-60s, one of purple satin embroidered in white cotton with WE below a crown cyper, raised white cotton braid edging; three sets in blue and pink moiré, pink satin; navy rayon; a striped stocking pouch; and a pair of of red satin travel slippers in pouch with trapunto Prince of Wales feathers, (qty) £200 - 300 119 Three hand towels and a bath mat bearing the Windsor cypher, 1960s, of white cotton with pink, grey, lemon and green entwined Ws below a crown, (4) £300 - 500

119

VARIOUS OWnERS

120

120 label

121 label

121

122

120 A rare Marcel Rochas couture black velvet and silk faille ‘siren’ gown, circa 1948, labelled and indistinctly numbered, with boned, strapless bodice edged in silk which descends down the side of the gown and curves across the lower skirt from which cascade tiers of pleats, bust approx 82cm, 32in, waist 61cm, 24in

121 A fi fin ne Jacques Heim couture black satin evening gown, mid 1950s, labelled, with integral corset, the bodice with notched neckline, bow to bust, full skirts with interesting broad pleat detailing to the skirt, bust 86cm, 34in £800 - 1200

For a similar silhouette by Rochas see L’Officiel de la Mode, no 321322, 1948 p.108. Rochas re-introduced this line again in 1950. Irving Penn photographed his wife, the model Lisa Fonssagrives for Vogue in 1950 wearing a gown of similar lines but with feather or petal trimmings. £600 - 1000

122 A dior London black velvet ball gown, circa 1955-7, labelled and numbered 01896, with corsetted strapless bodice adorned with scallops of silver sequins and rhinestones, full skirt, bust 86cm, 34in, waist 69cm, 29in £450 - 600

125 A Balenciaga couture black jersey coat, 1957, labelled and numbered 62030, with simple buttonfronted closure, skirt is gathered into belt-like band attached to rear hem, bust 107cm, 42in £250 - 350

123

126 A Bruyère couture embroidered linen ensemble, early 1950s, labelled and numbered 10550, embroidered in white cord and metal thread with wheatears and renaissance inspired palmettes, with boned bodice, halter-neck straps, accentuated pocket flaps and matching bolero, bust 86cm, 34in, waist 71cm, 28in, (2) £400 - 600

127

123 A Serge Kogan couture ivory taff ffe eta presentation/bridal gown, circa 1951, labelled ‘Serge Kogan’, Paris, the strapless boned bodice and skirt with puckered rosettelike panels of taffeta, full skirt with petticoats, later added lily of the valley corsages, bust 86cm, 34in, waist 56cm, 22in £500 - 800

127 A Lanvin/castillo couture evening gown, late 1950s, labelled and numbered 38374, the bodice tightly bound with swathes of tulle, black bow to one shoulder, the full skirt with bouffant flounce edged in white chantilly style lace, horsehair underskirts, bust 86cm, 34in, waist 66cm, 26in £500 - 900

124 A Gilbert Adrian beaded black wool crepe dinner gown, 1940s, labelled, with criss-cross pleats of fabric intersecting the bodice and emphasising the hips, adorned with looped fringes of bugle beads, bust 86-92cm, 34-36in £350 - 500

128 A Pierre Balmain couture black satin and ivory taff ffe eta striped cocktail gown, early 1950s, with unusual red and ivory woven satin label, numbered 108 169 and ‘Suzanne’, the integrally corsetted bodice with graduated black stripes that follow the curves of the breast, narrow at the waist and expand down the skirt, bust 82cm, 32in waist 51cm, 20in £300 - 500 126

129 129 A christian dior couture ‘Musique de nuit’ smoke-grey silk faille ball gown, Aimant collection, AutumnWinter, 1956, no 82479, the A-line skirt falling from the ruched bodice which is gathered into a narrow band above the centrepleat with stiffening behind; the grey organza and tulle petticoat with three layers of horse-hair stiffening, corsetted bodice, bust 81-86cm, 32-34in, (2)

Literature: Harper’s Bazaar, October 17, 1956 where the gown is photographed with matching stole by Richard Avedon and modelled by Suzy Parker. See our website. £1500 - 2500

130 130 A Maggy Rouff couture ivory tulle bridal/presentation gown, mid 1950s, square woven satin label, the boned bodice criss-crossed with pleats of tulle and threaded with satin ribbons which cascade down the rear skirt amid tiered tulle panels and pale yellow silk roses, very full layered tulle skirt, bust 82cm, 32in, waist 56cm, 22in £600 - 900

131 A Jean dessès couture intricately pleated black chiff ffo on dinner gown, late 1940s-early 1950s, labelled and numbered 3907, the bodice with central T-shaped band and radiating pleats, the plain upper bodice forming a curve to incorporate the sleeves, the front skirt falling in myriad tight handkerchief pleats, the back of the gown is plain apart from horizontal pleats at the midriff, bust 86cm, 34in, waist 66cm, 26in £400 - 600

132

134

135 A Balenciaga black and white mohair tweed suit, late 1950s, Eisa labelled, with short, boxy jacket, black silk cord wrapped pendant buttons, velvet collar over slim pencil skirt, bust 97cm, 38in, waist 72cm, 28in (2) £600 - 800

132 A fi fin ne Balenciaga couture grey wool/silk day suit, circa 1954, labelled and numbered 54098, the fitted jacket with wide curved pocket flaps to the front, turnback cuffs, long pencil skirt, the flecked grey fabric has a sheen which emphasises the curves of the jacket, bust 86cm, 34in, waist 61cm, 24in (2)

Provenance: Elizabeth Firestone collection £1000 - 1500 133 A Balenciaga couture black day suit, 1956, labelled and numbered 57117, of wool/silk mix, with angular patch pockets to the breasts above three darts which form a curved waist and flared hem, above straight skirt, chest 102cm, 40in, waist 74cm, 29in (2) £350 - 500

134 A Balenciaga couture black wool suit with fur collar, Autumn/ Winter 1953, labelled and numbered 47439, the loosely cut black wool double breasted jacket with deep cape-like beaver lamb collar which lifts to almost form a hood or cowl, straight skirt, chest 117cm, 46in, waist 77cm, 30in (2)

Literature: ‘L’Officiel’ december 1953 p.82 for a coat of the same design (see above). £600 - 1000

135

136 A Balenciaga slubbed silk dress, 1962, labelled and numbered 810793, with side 3/4 length sleeves, curved front pocket panel, attached tie belt and slit to rear hem, bust approx 97cm, 38in, waist 82cm, 34in £400 - 600 137 A Pierre Balmain black bouclé wool dinner gown, late 1950s, labelled and numbered 173318, the slotted ribbon edged in small glass beads, bow to one hip, bust 86cm, 34in £400 - 600

LOTS 138 to 140 THE cOLLEcTIOn OF MAUREEn SWAnSOn/THE cOUnTESS OF dUdLEY Maureen Swanson was a graduate of the Sadler’s Wells ballet school and went on to become a film star during the 1950s with major roles in films including ‘A Town Like Alice’, ‘The Spanish Gardener’, and ‘Knights of the Round Table’. She retired from acting upon her marriage in 1961 to the 4th Earl of dudley. 138 A Balenciaga couture ivory gazar gown, Spring-Summer, 1967, labelled and numbered 103678, of stream-lined shape, cut high at the front with integral cap sleeves, slightly trained skirt, bust 92cm, 36in £400 - 600 The countess of dudley

139 A Marc Bohan for dior couture evening gown with jewelled bodice, circa 1964, un-labelled, the tulle bodice smothered with silver embroidery, blue glass droplets and large blue stones above aqua satin skirt, with petticoat, bust 86cm, 34in, (2) £350 - 500

The countess wearing lot 140 140 A Marc Bohan for dior couture white organza gown, 1960s, labelled and numbered 23089, with Lesages embroidered bands of white cotton flowerheads, seed beads and sequins, with hints of pink and yellow; together with an unlabelled dior blue gazar cocktail dress with elaborately beaded and embroidered centrepanel, curved waist, matching slip, busts 86cm, 34in (3) £350 - 500 141 A Balenciaga couture doublefaced wool great coat, February 1968, labelled and numbered 104254, also bearing a Marshall Field & co 28 shop label, the black wool reversing to ivory, double-breasted with large crinkly pearlised buttons, chest 112cm, 44in

138

Provenance: doris duke Estate £500 - 800 138 label

138 41

LOTS 142 to 145 THE cOLLEcTIOn OF SIAn PHILLIPS

142

Miss Phillips wearing lot 142

142 A chanel couture blue tweed suit, 1964, labelled, the short, boxy jacket with lion’s mask buttons, four pockets with blue silk edging, chain weighted hem, quilted silk lining, and pencil skirt, chest 97cm,38in, waist 66cm, 26in; together with a pair of gilt lion’s mask cufflinks; and a pair of blue leather shoes which were worn with the ensemble, (qty)

coco chanel personally over-saw the fitting of this suit for Miss Phillips. She recalls coco sitting on the steps of the atelier smoking. She became impatient with the person fitting the suit, marched over and started pinning and adjusting the garment herself. Miss Phillips was sketched by Angela Landels whilst wearing this suit. £600 - 800

143 A christian dior London brocaded gold lamé evening coat-dress and matching boots, early 1970s, christian dior Boutique label, and numbered 52029, with outsized Paisely motif weave - the front panels cut so that the fabric design matches perfectly over the closure, the boots by The chelsea cobbler, chest 86cm, 34in; together with a photograph of Miss Phillips wearing the ensemble whilst being presented to H.M. The Queen at a premiere in 1969; and a blue silk dior London suit, labelled and numbered 48609 (4) £400 - 600

143 144 An Yves Saint Laurent silk jersey evening gown, 1976, Rive Gauche labelled, the semi-transparent fabric with overall marbled print in burgundy, green and black, button fronted, bust 92cm, 36in; together with a slip and a photograph of Miss Phillips wearing the gown to receive an award in 1976, (3) £400 - 600

143

Miss Phillips wearing lot 144

145 & 146

144

145 A rare Sybil connolly black pleated linen evening skirt and tunic, 1968, labelled ‘Sybil connolly, dublin’, the full, panelled skirt and tunic with fine horizontal pleats, satin ties to the chest with curved, pink satin sash, bust approx 92cm, 36in, waist 64cm, 25in; a pink satin dior blouse which Miss Phillips sometimes wore with this ensemble; together with a photograph of Miss Phillips wearing the ensemble to a premiere in new York, (5) £600 - 1000

146 A Sybil connolly pleated linen evening ensemble, late 1950s, the skirt labelled ‘Sybil connolly, dublin’, the blouse also with 100% pure linen, made in Eire ‘Irish Moss’, the vertically pleated cream bodice with gentle rolls of fabric to the sleeves and waist, the skirt of pale blue-green linen horizontally pleated with tulle and silk petticoats, bust approx 92cm, 36in, waist 71cm, 28in (2) £500 - 800

150 A Givenchy couture brilliant yellow silk taff ffe eta gown, circa 1962, labelled and numbered 12.368, with integral boned corset, the high-waistline adorned with a simple bow, three silk covered buttons to rear fastening, bust 86cm, 34in £1200 - 1500 151 A christian dior couture evening coat, late 1960s, black Paris label, indistinct numbered client tag, with dramatic metallic brocade in autumnal tones highlighted in gold, deep fox fur collar, tie belt, chest 97cm, 38in £600 - 800

147

150

147 A clare Mccardell chagall-print cotton dress, American, circa 1955, labelled and dress selvedge printed ‘Fuller Fabrics, Evening of Enchantment by Marc chagall, Modern Master Original’, in shades of blue, green and mauve with figures and fruits, bust 82cm, 32in £500 - 700

152 A claire Mccardell for Townley printed cotton shirt, circa 1955, labelled, the print by Picasso of abstract fish against news-print on a red and orange ground, with black buttons, bust 86cm, 34in; together with a Mccardell skirt, labelled, with ‘Parade Sauvage’ print by Fernand Leger, waist 69cm, 27in (2)

148 A Sybil connolly Irish crochet cocktail dress, late 1950s, labelled, of grey cotton interwoven with undulating bands of mauve satin ribbon, lined in grey satin, bust 92cm, 36in, waist 74cm, 29in £400 - 600

Literature: Life Magazine 1955, which featured claire Mccardell’s 1955 collection where she collaborated with living artists to create fabrics for her. Anne Gunning is photographed with Fernand Leger wearing a skirt of his fabric; and Pablo Picasso is photgraphed with Bettina Graziani wearing the blouse. See website for images. £300 - 500

149 An Hermès ‘boutique’ Sport olive green wool jacket, 1950s, labelled, lined in tan rayon, with pleats to waist and faux pockets, bust approx 92cm, 36in £300 - 500 151 44

LOTS 153 to 167 THE cOLLEcTIOn OF THE cOUnTESS BEATTY/LAdY nUTTInG diane Kirk Blundell married david Field Beatty, 2nd Early Beatty in december 1959. After his death she re-married in 1973 and became Lady nutting. Many of the couture gowns in this collection date from the early years of her marriage to Lord Beatty when she regularly travelled to Paris for the couture shows and favoured cristobal Balenciaga, arguably the leading designer of his day. She has a keen sense of colour, this combined with Balenciaga’s sculptural designs resulted in a collection of very dramatic and beautiful gowns.

153 A John cavanagh couture sky-blue taff ffe eta ball gown, 1950s, labelled, with horizontal pleats to the boned, corsetted bodice, narrow belt over full skirt with tulle and silk petticoats, bust 86cm, 34in, waist 61cm, 24in

The countess Beatty was photographed wearing this gown by cecil Beaton at chicheley Hall in April 1960 (see right). £300 - 500

154 An Yves Saint Laurent couture navy wool coat, circa 1966, labelled and numbered 012119, double-breasted with beaten gilt buttons, short belt to the back, chest 92cm, 36in £600 - 1000

The countess Beatty wearing lot 153 155 A Balenciaga couture black gazar evening gown, circa 1962-3, with pronounced sloping waist at the back, wide petersham inner band to the waist and hips, neckline cut straight at the front and low at the back, bust 86cm, 34in, waist 66cm, 26in £600 - 800 156 A Marc Bohan for christian dior couture yellow bouclé wool suit, Spring-Summer, 1965, labelled and numbered 126406, with short, slightly flared short jacket over knee-length skirt, chest 92cm, 36in, waist 62cm, 24in (2) £300 - 400

155 45

157

159

161

157 A Balenciaga couture salmon pink layered organza ball gown, circa 1962-3, with corsetted, strapless bodice the waistline slightly decending to the back with trained skirt, with taffeta ruffles to the hip lining to create curves, the organza laid over taffeta ground, gently gathered skirt, bust 86cm, 36in, waist 66cm, 26in £800 - 1000

159 A Valentino couture white organza and feather trimmed evening gown, mid 1960s, labelled, the sleeves and hem adorned with organza petals and ostrich fronds, bust 86cm, 34in £400 - 600

161 A Lanvin-castillo couture salmon pink ensemble, Spring, 1961, labelled and numbered 61550, comprising crepe de chine gown, the skirt falling in broad gathered pleats to the front, belt with pink bobble tassel, matching linen/silk coat with two large glass buttons and side slits, dress bust approx 92cm, 36in, waist 66cm, 26in (2) £500 - 800

158 A courrèges black wool coat, la te 1960s, Paris labelled, initial A, with gilt buttons to the pocket flaps and fastenings, wide suede and leather belt, chest 86cm, 34in (2) £350 - 500

160 A Balenciaga couture deep salmon pink shantung satin evening gown, February, 1965, labelled and numbered 93771, with fitted sleeveless bodice, later added rosebud corsage to the front waist, bust 86cm, 34in, waist 66cm, 26in £350 - 500

162 A Balenciaga couture black pleated wool cocktail/dinner gown, August 1964, labelled and numbered 92254, the pleats formed from applied bands of wool braid, deep pockets concealed within the gentle folds of the skirt, bust 86cm, 34in, waist 66cm, 26in £400 - 600

163 A Balenciaga couture apple-green slubbed layered organza ball gown and jacket, model 113, February 1962, the shot green organza laid over a gazar ground which produces a shimmering effect, the fitted bodice with slightly sloping waistband to the rear, wide boned webbing inner waistband to hold the line, interior ruffles to give a curve to the hips, flamenco-style flounce to the hem, with matching jacket lined in green silk with matching graduated flounced waist, bust 86cm, 34in, waist 66cm, 26in, (2) ÂŁ2500 - 3500 Photo courtesy of The Balenciaga archive

163 47

167 An Yves Saint Laurent dark green Prince of Wales checked wool ensemble, 1959, Paris boutique labelled, the dress with button detailing to the shoulders, short sleeves, broadly pleated skirt, matching jacket with velvet collar and belt, bust 86cm, 34in (2)

The countess Beatty wore this ensemble as her going away outfit when she married david Field Beatty, the 2nd Earl Beatty 3rd december, 1959. £250 - 400

164 164 A courrèges navy and white wool tunic dress and matching jacket, early 1970s, labelled and numbered 44485, the tunic with white patent belt, navy and white buttons, notched neckline; the jacket with white wool yoke, fastened by buttons and prestud, bust 86cm, 34in (2) £500 - 900 165 Two Ungaro coats, late 1960searly 1970s, both labelled, one couture of fluorescent pink wool, numbered 588.5.67, with high waist, additional skirt flap to rear, patent belt and white buttons; the other day-glo orange, with Parallele label, white vinyl trim and leather belt, chests 86-92cm, 34-36in (2) £450 - 600 166 A courrèges bright green wool day dress, early 1970s, labelled and initial A, with short sleeves, gilt buttons to the faux pocket flaps, black patent belt, bust 86cm, 34in £300 - 500 48

169 170 A Marc Bohan for christian dior couture silver cloqué cocktail dress, Autumn-Winter, 1963, labelled and numbered 129485, of simple shift-form with plunging back, overskirt forms apron like panels at the back with large bow, bust 102cm, 40in 168 168 A vinyl Mondrian-style coat, mid 1960s, labelled ‘Imperial comarra, Soft n’ Supple’, formed from top-stiched panels of red, white and black vinyl, lined in synthetic silk, chest 102cm, 40in £400 - 600 169 A Pierre cardin pistachio-green wool suit, late 1960s, labelled Pierre cardin, Paris, with diagonal weave effects, top stitched edgings, the cropped jacket with side cutaways over A-line skirt, chest 92cm, 36in, waist 66cm, 26in (2) £400 - 600

This dress was included in two exhibitions in Germany - “Zauber der nacht”- (Splendour of the night), Euskirchen/cologne and “nachtaktiv”-(Things happening at night) in Ratingen/dusseldorf ). The fabric is by a Krefeld weaver . £500 - 700 171 A chanel couture suit, 1960s, labelled and numbered 42276, of black and white silk herring-bone weave flecked with gold threads, raised gilt filligree lion’s mask buttons, black satin trim, lined in ivory satin, chain-weighted jacket and skirt, bust 102cm, 40in, waist 87cm, 34in (2) £500 - 900

172 A Ha rry Go rdo n disposa bl e pa per dress pri nted wi th a n Allen Gin sburg poe m, 1 968, printed by Poster dress Ltd, London, the newsprint-effect with giant hand, bust 92cm, 36in £800 - 1200

173 A Harry Gordon disposable paper dress ‘Eye’, 1968, printed by Poster dress Ltd, London, with giant eye to front and back in outsized newspaper print effect, size medium, bust 92cm, 36in £800 - 1000

174 A Harry Gordon disposable paper dress ‘cat’ 1968, printed by Poster dress Ltd, London, with cat portrait to front and back in outsized newspaper print effect, size medium, bust 92cm, 36in £400 - 600 172, 173 & 174 175 A courrèges black wool coat and handbag, 1960s-70s, the doublebreasted coat with couture Future label, chest 92cm, 36in; the black grosgrain and leather satchel with the designer’s name in gilt studs to the flap, 20cm, 8in long £400 - 600

176 A Pucci cotton beach set, 1960s, comprising bikini top, briefs and tunic, in shades of brown, yellow and grey, tunic bust 86cm, 34in, (3) £400 - 600 177 A Pierrre cardin voluminous printed slubbed silk gown, late 1960s, labelled ‘Pierre cardin creation, Paris’, with integral scarf panels, the full skirt with rouleux outlined slit openings, bust 97cm, 38in £350 - 500

178 ∆ A leopard skin coat, circa 1965, with black petersham covered buttons and seam edgings, chest 102cm, 40in £400 - 600 179 ∆ A leopard skin and dark brown mink coat, late 1960s, with sprigged black satin lining, double breasted with black mink collar, cuffs and hem, with additional panel of mink to make the coat longer if desired, chest 107cm, 42in (2) £500 - 900

180 A fi fin ne and important Yves Saint Laurent couture ‘Mondrian’ dress, Autumn-Winter, 1965, labelled and numbered 10494, of Abraham and Bianchini Ferier silk crepe de chine in scarlet and yellow colour blocks on an ivory ground with defining black lattice banding, lined in ivory silk, of loose cut, bust 97cm, 38in

Provenance: Sotheby’s, 9th May 1991, lot 73. This sale included the couture wardrobe of Mrs Jean Outland-chrysler. She was the wife of Walter P. chrysler Junior, the son of the founder of the famous car company. 1991 to present day - the renowned Sandy Schreier collection. This Mondrian gown is made even more rare because it is made of silk rather than the more commonly found wool. Yves Saint Laurent personally told Sandy Schreier that he made just two couture dresses in silk of this design. The other example he donated to the the Victoria & Albert museum collection, (T.3691974). Sandy Schreier designed the accessories for Yves Saint Laurent’s first ready to wear collection in the USA. This and other dresses which were inspired by the dutch de Stijl artist Piet Mondrian (1872-1944) came to be known as the ‘Mondrian collection’ and were featured on the cover of French Vogue, September 1965. The radical new look made a huge impact and was quickly taken up - cheaper high street copies were made for the mass market. The sharp, clean modern lines of this collection were hugely influential at the time and the iconic Mondrian dress has become synonymous of all that was young, ‘cool’ and modern during the ‘Swinging Sixties’. 50

Literature: Patrick Thévenon ‘Le couturier qui a pensé aux femmes d’aujourd’hui’ candide, August 15, 1965: An interview with SaintLaurent: “One night his mother gave him a book on Mondrian, and when leafing through he glimpsed what 1965 fashion might be, and what he would do.’I suddenly realised that dresses should no longer be composed of lines, but of colours. I realised that we had to stop conceiving of a garment as sculpture and that, on the contrary, we had to view it as mobile. I realised that fashion had been rigid up till then, and that we now have to make it move....’ methodically without fury or regret, he tore up his drawings..... laden with furbelows, ribbon and embroidery, and went back to work with the idea of superseding all the current conceptions of elegance, including his own just two days earler...Yves Saint Laurent does not believe for an instant that this movement will stall - ‘I’m convinced that we’re on the eve of a an upheaval in our lifestyle as important as the one introduced by the Art deco exhibition (in 1925). down with the Ritz, down with the moon, up with the street!” Yves Saint Laurent, quoted by Laurence Benjamin in ‘Yves Saint Laurent’ (Paris: Grasset, 1993) pp 299-300: ‘Mondrian is purity and one can go no further in purity in painting. This is a purity that joins with that of the Bauhaus. The masterpiece of the twentieth century is a Mondrian’. Yves Saint Laurent and Pierre Bergé owned a 1921 painting by the artist on which this and the other dresses in the collection were presumably based.

The collector Sandy Schreier

Sandy Schreier has always collected things that personally appealed to her - usually strong signature pieces. She has collected first and foremost for love - being guided by her knowledge of and passion for the subject. The late Richard Martin (former head of Metropolitan Museum costume Institute) said of her collection, “It’s the broadest and deepest of any private collection in the world”. Fashion designers, historians and celebrities have all made their way to Sandy’s home to pay homage. Her collection has been the focus of her entire career, writing books and articles on fashion and film costuming, making regular TV appearances (including Oprah) and becoming a renowned public speaker. £25000 - 35000

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183 A Halston irridescent blue sequined dress, 1970s, labelled, simple shirt-waister style with tie belt, bust 92cm, 36in £250 - 350 184 An Eve carver (aft fte er Yves Saint Laurent) Mondrian mini dress, circa 1965, labelled, formed from blocks of fine wool jersey, bust 92cm, 36in; together with a pair of Mondrian style leather pumps by Magderians, california, (3) £600 - 800

185 A good Pierre cardin black wool futuristic mini, mid 1960s, labelled Pierre cardin creation, Paris, with top-stitched keyhole opening with ties to the the neck, the hem punctured with circular cut-outs, bust 82cm, 34in £400 - 600 186 A courrèges ivory wool maxi-cape, early 1970s, labelled courreges cpitire Future, b,no 0040248, two buttons to the yoked neck, white vinyl banding to the armslits and edges £400 - 600

181 181 A campbell’s ‘Souper’ dress, American, 1968, printed boldly with the iconic Andy Warhol design, together with the original envelope, care instructions and additional Souper dress order form, bust 86cm, 34in, (4) £1500 - 2000 182 A rare Rudi Gernreich ‘nun’ dress, American, 1965, labelled Rudi Gernreich for Harmon knitwear’ and size 10, of loosely cut black and ivory wool jersey, the sleeves formed from tiered flounces, bust 97cm, 38in £400 - 600

182

184 & 185

188 A Georgio Sant Angelo multicoloured dress, early 1970s, labelled, the stretch lycra jersey bodice with striped edging bands, shredded printed chiffon trailing panels to the skirt and sleeves, bust 92cm, 36in £300 - 500

187

189 A fi fin ne Rudi Gernreich black jersey evening gown, Spring, 1975, labelled Rudi Gernreich for Bob cunningham and neiman Marcus label, with shaped, futuristic tubular collar engraved by the jeweller christian den Blaker ‘cdB/RG’ the columnar gown with side slit, bust approx 86cm, 34in; together with an image of Peggy Moffat wearing a similar gown with a matching chiffon and metal framed hat, (2) £800 - 1200 190 190 A Pierre cardin black wool evening gown with barbaric metal collar, late 1960s, labelled Paris and new York, the polished metal collar with key-hole opening to the front, matching cuffs, midilength hem with front split, bust 97cm, 38in £2000 - 3000

187 187 A fi fin ne Rudi Gernreich black jersey evening gown, Spring, 1975, labelled Rudi Gernreich for Bob cunningham, with shaped, futuristic metal collar engraved to the interior by the jeweller ‘christian den Blaker’, the columnar gown with side slit, bust approx 86cm, 34in; together with an image of Peggy Moffat modelling an identical gown, (2) £1000 - 1500 189

189 53

191 191 A Zandra Rhodes brilliant yellow felted wool circle coat, circa 1968, labelled, with red top-stitched detailing to shaped collar panels, adorned with streamers of silk cord with coloured wooden beads, chest approx 86cm, 34in £600 - 1000 192 A Zandra Rhodes shell-print jacket, 1972, labelled, the padded jacket of pink satin with copper satin trimmings, printed with curved panels of various shells, batwing sleeves, labelled size 8 US £400 - 600

193 & 195 193 An Ossie clark fuchsia pink silk jersey evening gown, 1970s, with early printed satin label and size 10, with heart shaped sequined and beaded panels to the shoulders and central lozenge to the waist with side ties, bust approx 92cm, 36in £400 - 600 194 A good Jean Muir art-nouveau printed satin evening gown, 1970s, labelled and stye 10, with Liberty printed stylised seed heads, the gown with peplum and pockets in imitation of a jacket, bust 86cm, 34in, waist 72cm, 28in £300 - 500

195 An Ossie clark black moss crepe ‘cuddly’ dress, mid 1970s, labelled and size 10, with cross over bodice and side tie, slit to the back, full sleeves, bust 8692cm, 34-36in £400 - 600 196 An Ossie clark/celia Birtwell ‘constellation’ dress, early 1970s, early printed satin label and size 8, with black and yellow beestripes to collar and flounced sleeves, yellow target print to the sleeves, bust 86cm, 34in; together with a pair of black moss crepe Ossie clark wide legged trousers, waist 64cm, 25in (2) £400 - 600

197 197 A good Thea Porter printed chiff ffo on and brocade kaft fta an, early 1970s, couture labelled, printed in shades of blue with Iznik floral patterns, the hem inset with royal blue and metallic brocade patchwork panels trimmed with silver tassels, with pale blue Thea Porter petticoat, size 10; and a blue and metal thread tie sash, (3) £11500 - 2500

198 198 A dramatic Thea Porter embroidered black chiff ffo on and brocade kaft fta an, early 1970s, couture labelled, worked in gold chain stitch and spangled with sequins, the hem inset with a patchwork of vintage metallic weave fabrics and embroidery, black silk tassels, embroidered rope-twist belt, (2) £1500 - 2500

200 A Thea Porter chazara blouse and gipsy skirt, circa 1975, labelled Thea Porter couture, the lace blouse inset with floral ribbons, the skirt formed from patches of black satin and velvet, bust 97cm, 38in, waist 66cm, 26in; together with xerox design and photograph of the chazara blouse in the 1970s, (4) £200 - 300

199 Thea Porter archival material, including swatches of damascus brocade, ikat silk, xeroxes of Thea Porter designs, and seven pages of typed manuscript by Thea Porter where she describes her use of textiles and colour (qty) £250 - 350 55

201

203 203 A good Thea Porter kaft fta an, 1970s, couture labelled, with oriental brocade in brown and gold to the centre panel, Turkish gold embroidered blue and brown chiffon sleeves inset with blue and gold Indonesian brocade, ties to waist £1000 - 1500

201 A Thea Porter black tulle kaft fta an, late 1970s, couture labelled, the black tulle robe covered with opalescent curleque sequins, with integral bodice panel, embroidered and sequined edging bands in shades of lilac and pearl

The vendor believes that this robe was lent by Thea Porter to Princess Margaret for her to wear. £600 - 1000

204 A group of Bill Gibb knitwear, Autumn-Winter, 1977-78, mainly labelled, in pale blue with black and pink foliate pine cone repeats, comprising: long kimono coat with fringed edges; short kimono jacket, trousers with ties to ankles, two camisoles, two sweaters, two berets; matching tartan skirt, and a scarf, (11) £400 - 600

202 A John Bates ‘ethnic’ look evening gown, early 1970s, labelled and size 12, the brown suede bodice panels and cuffs embroidered with birds, the vibrant printed wool gown with huge balloon sleeves, bust approx 92cm, 36in £250 - 350 204 56

205 & 206

207 & 209

205 An Ossie clark/celia Birtwell printed crepe de chine gown and matching chiff ffo on bolero jacket, early 1970s, early printed label and size 12, boldly printed with dark red and blue floral bands, the dress with simple spaghetti straps, the jacket with ties to fasten, bust 92cm, 36in (2) £350 - 500

207 An Ossie clark/ celia Birtwell printed chiff ffo on and crepe ensemble, circa 1969, labelled and size 10, comprising coat with angular lapels and puffed sleeves, contrasting printed transparent chiffon skirt; and matching wide legged trousers, bust 86cm, 34in, trouser waist 66cm, 26in (2) £500 - 800

206 An unusual Ossie clark/celia Birtwell printed crepe de chine gown, early 1970s, early printed satin label and size 12, the off the shoulder bodice with flounced sleeves, low back with ties, pleated central panel with boning to hold in shape, abstract matchstick print, bust approx 92cm, 36in £500 - 700

208 A Thea Porter printed chiff ffo on and lavishly embroidered blouse and skirt, early 1970s, couture labelled and size 10, printed in purple, red burnt orange and green, with dense gold Indian embroidery and sequins, with scarf or sash tie, waist 61cm, 24in, (3) £450 - 600

209 An Ossie clark/celia Birtwell printed moss crepe summer ensemble, 1969, labelled, comprising: full length coat with bolero-style front tie fastening and matching wide flared trousers in brick-red, black and blue ‘Poppy’ and trellis prints, bust approx 86cm, 34in, waist 66cm, 26in (2)

This ensemble was photographed in Vogue, 1969, Ossie clark at Quorom, price 37 guineas to order. £600 - 1000 210 A Thea Porter acid-yellow ensemble, 1970s, couture labelled, size 10, comprising: blouse and skirt with Indian embroidered flowerheads, matching tie belt, and a blouse printed with trees and blossom, waist 69cm, 27in, (4) £450 - 600 57

213 213 An Ossie clark snakeskin jacket, early 1970s, lycodonomorphus rufulus, labelled and size 12, formed from a patchwork of multicolured bands, lined in brown acetate, bust 92cm, 36in

211 211 A fi fin ne Ossie clark/celia Birtwell printed chiff ffo on halterneck gown, early 1970s, printed early label, with low back and ties to rear waist and neck, printed with trailing bands of pink and blue blooms and foliage, bust approx 86cm, 34in £500 - 900

See page 64 and 71 ‘Ossie clark 1965-74’ by Judith Watt, for an illustration of similar watersnake jackets, “They were exotic with added glamour attached to wearing part of a dangerous animal and the association with fetish in clothing oneself in another creature’s skin”. £400 - 600

212 A Pauline Trigère woven windowpane cape, 1974, labelled, of grey wool with cream windowpane pattern, with short collar and slits for arms at waist, button-fastened, voluminously cut; together with a contemporary picture of a model wearing the cape, (2)

214 A Thea Porter black tulle dress with sequined flowerheads to the skirt, late 1970s-early 1980s, with detached label, the uneven hemline formed from irregular gores falling from the gold and sequined lotus blooms; together with a postcard bearing a photo of the dress, bust 86cm, 34in, (2) £400 - 600 215 An Ossie clark/celia Birtwell printed and quilted satin jacket, circa 1972-3, early printed satin label and size 10, cut high at the back with low pointed waist to the front, pearl buttons, bust 8692cm, 34-36in £300 - 500

cf. ‘American Fashion’ by Sarah Tomerlin-Lee, 1975, p.470 £500 - 700 212 58

214

216 216 An Ossie clark/celia Birtwell printed chiff ffo on ‘Ziggy Stardust’ dress, 1977, labelled Ossie clark and Quorum, size 10, with spiral of flounced chiffon running from neck to hem, bust approx. 86cm, 34in £600 - 1000 217 A nina Ricci embroidered brown leather evening coat, early 1970s, Paris labelled, kaftan-style, the borders lavishly embroidered with gold thread strapwork, bust 112cm, 44in £300 - 500

218 & 219 218 An Ossie clark ‘Lamborghini’ suit, 1968, labelled, comprising: button-fronted black satin jacket and matching trousers with celia Birtwell Japanese lacquer print design, bust 86cm-92cm, 34in36in, waist 66cm, 26in; together with a picture of Twiggy wearing a similar ensemble in 1968 (3) £450 - 600

219 A good Jean Muir sequined black jersey evening gown, early 1980s, labelled and size 14, the sleeves and hip pockets adorned with red sequined roundels edged in green bugle beads, with disc-buckled belt, bust approx 92cm, 36in (2) £400 - 600 220 A chanel couture navy satin cocktail gown and matching coat, early 1970s, labelled and numbered 79191, the A-line dress with long sleeves, the coat edged with tousled tulle, bust 89cm, 35in (2) £450 - 600 59

221

222

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221 A fi fin ne Ossie clark/celia Birtwell ‘Milky Way’ printed chiff ffo on gown, 1970, early printed satin label and size 12, with flounces inset at the shoulders, wide flared sleeves, wrap-over skirt with ties to fasten, bust 92cm, 36in £600 - 1000

223 A fi fin ne Ossie clark/celia Birtwell printed chiff ffo on evening gown, 1976, labelled and size 10, with printed, lightly padded satin shoulders, the bodice and tiered skirt in contrasting Birtwell chiffon prints, bust 86-92cm, 34-36in £700 - 1000

222 A Vivienne Westwood/Malcolm Maclaren Seditionaries black cotton bondage suit, 1970s, with woven Seditionaries ribbon to pocket, three bondage straps attached across the sleeves, the trousers with numerous YKK zips, broad webbing belt and bondage strap, chest 107cm, 43in, waist 77cm, 30in; together with a letter of authenticity by Murray Blewitt of Vivienne Westwood, (3) £800 - 1200

224 A rare and early Vivienne Westwood/Malcolm Maclaren peter pan shirt, 1970s, with ‘dirty stripper’ label, with repeat prints in red and pink of a face and a kneeling woman, cream leatherette armholes, chest 97cm, 38in £700 - 1000

224

225

226 226 A Vivienne Westwood shorter printed cotton toga dress, Savages collection, SpringSummer, 1982, blue World’s End label, with cream jersey bodice and long sleeves, draw-string below the bust, with wrap around cotton skirt which forms a draped toga panel printed in black with Manet’s ‘dejeuner sur l’Herbe’, together with a phot of the gown being modelled in 1982. (2)

225 A Vivienne Westwood ‘nostalgia of Mud’ (Buff ffa alo) collection printed cotton jersey toga dress, AutumnWinter, 1982-3, World’s End labelled, the pink gown cut shorter at the front and with long train-like panel printed in dark brown with Matisse inspired motifs

See V&A catalogue ‘Vivienne Westwood’ by claire Wilcox p.60 for an identical gown being modelled in 1982. This collection was the first to be shown on the catwalk in Paris. The printed design is derived from Henri Matisse’s ‘Femmes et Singes’ series of lithographs, 1905-1907. £600 - 1000

226

Annabella L’Win of Bow Wow Wow appeared naked with her dressed male band members as a reworking of the famous painting as marketing ploy for ‘Go Wild in the country’ - the motif also chosen to print on this gown. She appeared on Top of the Pops performing the song in a similar but splashprinted jersey toga dress from the same collection. £400 - 600 61

227 & 228 227 A Vivienne Westwood horse blanket toga, circa 1988, Red label, with two arm-holes, overthe-shoulder plaid, woven with navy and yellow checks £400 - 600 228 A Vivienne Westwood ‘Time Machine’ Harris tweed ensemble, Autumn-Winter, 1988-89, Red Label and size 40, comprising: green jacket with velvet collar, matching tweed armour waistcoat, two pairs of breeches, one with armour panel sides, chest 107cm, 42in, waist 77cm, 30in, (qty) £600 - 900

229 & 230 229 A Vivienne Westwood ‘dressing Up’ collection 18th century style black velvet suit, Autumn-Winter, 1991-2, Red label and size 40, comprising: frockcoat with outsized orb engraved buttons, waistcoat and breeches, chest 97cm, 38in (3) £500 - 900

231 A rare and early Vivienne Westwood/Malcolm Maclaren peter pan shirt, 1970s, with ‘dirty stripper’ label, blue and gold print of a face and a kneeling woman on a pink ground, chest 97cm, 38in £600 - 1000

231 62

230 A Vivienne Westwood norfolkjacket ensemble, ‘Time Machine’ collection, Autumn-Winter, 198889, labelled and size 40, comprising short jacket with velvet facings engraved faux horn buttons; plus-fours and matching velvet flat cap, chest 112cm, 44in, waist 77cm, 30in (3) £400 - 600

234 A Vivienne Westwood hunting pink, ‘Time Machine’ collection, Autumn-Winter, 1988-89, Red label size 40, comprising huntsman’s coat in scarlet wool with tan jersey facings, matching shaped breeches, chest 112cm, 44in, waist 87cm, 34in; together with a nautically themed doublebreasted blazer, size 40(3) £350 - 500 235 A Per Spook sequined evening gown, 1980s, bearing handwritten muslin tape, possibly for defilé, covered in chalk-white sequins, painted with grey abstract patterns, bust 92-97cm, 36-38in £350 - 500

232 232 A fi fin ne Thierry Mugler metallic silver/lilac evening gown,1987-9, labelled and size 40, with boned streamlined bodice with fin shaped panels and curleque breasts; the separate skirt with curved, trained hem, cut high at the front, lined in pink taffeta, bust 86cm, 34in, waist 64cm, 25in (2) £4000 - 6000 233 A Vivienne Westwood striped pink Harris tweed ensemble, ‘Time Machine’ collection, AutumnWinter, 1988-89, labelled and size 40, comprising: fitted jacket, waistcoat, plus-fours, faux fur gilet and flat cap, chest 112cm, 44in, waist 77cm, 30in (4) £400 - 600

236 An early Thierry Mugler ice-blue satin corset-like bodice, circa 1978-80, with brown and gold label, clear vinyl and stretch satin shoulder straps, boning and girdle-like seaming to the skirt, bust approx 86cm, 34in £600 - 900

237 237 A Thierry Mugler snakeskin printed lycra evening gown, circa 1985, blue and silver label, figurehugging, with asymmetric slashes to the chest, thigh and upper leg, clear sequins overall, bust approx 86cm, 34in £1000 - 1500 238 A comme des Garçons pleated black satin evening gown, probably 1980s, with 1920s style dropped waistline, pouched front panel, tie belt, of loose cut, wide sleeve openings to the sides £300 - 500

236 63

239

240

239 A rare Yohji Yamamoto black cutwork cotton plain weave coat, Spring-Summer, 1983, labelled, with semi-abstract floral cut-outs, wrap-over front panels with tie fastening to one side, long wide sleeves

240 A Gianni Versace man’s suit Autumn-Winter, 1988-9, labelled, comprising voluminous black wool jacket with abstract print collar, wide lapels, exaggerated shoulders; printed silk shirt printed with black and white chequers, ethnic inspired motifs; a woven purple tie, black trousers with dramatically tapering legs and zips to the ankles, chest 122cm, 48in, waist 82cm, 32in; together with a photograph of the vendor modelling the collection, (4)

Yamamoto wrote in Sato, 1982, ‘If one has only one piece of clothing in life, it becomes patched together, exposed to sun and rain, frayed from the course of daily life. I wanted to create clothing with the same kind of unconscious beauty and natural appeal’. Yamamoto’s Spring-Summer 1983 collection was the antithesis of European mainstream fashion at the time with their hard silhouettes, powerdressing shoulders and vivid colours. In his collection he demonstrated a gentler, more natural approach not only in the soft silhouettes, fragmented fabrics but in the earth toned palette that he chose. Literature: ‘Future Beauty: 30 Years of Japanese Fashion’, published by Merrell to accompany the Barbican centre exhibition of the same name p.51, where a short sleeved version of the coat in white is illustrated. £800 - 1000 64

This ensemble was given to the vendor by Gianni Versace himself. It was used to promote the 1988-89 Pret a Porter menswear collection which was shot in Miami. £400 - 600

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243

245

241 A Jean-Louis Sherrer couture shot silk evening gown, mid 1980s, labelled and numbered 006464, of shot pink and green silk taffeta, with shirred and ruched bodice, the balloon sleeves adorned with petals of pink and green silk organza, bust 86cm, 34in, waist 61cm, 24in £700 - 1000

243 A Valentino couture ela borately beaded and sequined evening ensemble, Winter, 1985, couture labelled, comprising: ivory silk crepe skirt, the zip-fronted bodice with bead tassel pull, integral faux bolero, beaded and sequined overall with foliate Paisley motifs, bust 86cm, 34in, waist 61cm, 24in, (2) £600 - 1000

245 An elaborate Jean-Louis Scherrer couture brocaded silk ball gown, mid 1980s, labelled and numbered 005522, the silver, gold and blue brocade woven with feathers and foliate plumes, with leg o’mutton sleeves, long bodice, the waist accentuated by heavily beaded belt with large blue jewelled butterfly buckle, matching padded headband labelled Jean Barthet, Paris; and a pair of matching shoes, bust 86cm, 34in, (5) £800 - 1200

242 A Loris Azzaro black jersey evening gown, late 1970s-early 1980s, labelled, with rhinestone studded circlet collar, similar motifs to tie belt and underarms; and separate rhinestone band possibly used as a headband, approx 86cm, 34in (3) £400 - 600

244 Elton John’s Jean-claude Jitrois black leather jacket, 1980s, labelled and numbered 0056, with silver studs to padded shoulders and back, zip-fastened, of loose cut, chest approx 103cm, 44in

Provenance: Sotheby’s Elton John Auction, 8th-9th September 1988, lot 1414. £400 - 600

246 A chanel boutique beige tweed and navy silk suit, 1980s, labelled, the chainweighted cropped jacket with turn-back cuffs, pierced cc gilt button; with navy silk bodice, chest 97cm, 38in, waist 66cm, 26in, (3) £400 - 600 65

249 A Jean Louis Scherrer couture yellow and black sequined ensemble, mid 1980s, labelled and numbered 003642, the cropped bodice with dramatic basket-weave effect sequined bands and large sequined corsage to one shoulder, matching yellow sequined skirt and velvet belt, bust 86cm, 34in, waist 61cm, 24in, (3) £350 - 500 250 A Loris Azarro pewter sequined evening gown, 1980s-early 90s, labelled and size 42, the sculpted bodice with key-hole back opening, figure hugging with mermaid hem, bust 86cm, 34in £300 - 500

247 247 A Valentino couture scarlet silk crepe evening gown, late 1980s, couture labelled, with padded shoulders, long sleeves, twists of fabric converge at the waist front, bust 86cm, 34in, waist 61cm, 24in £400 - 600

251 A Jean-Louis Sherrer couture silvery chiff ffo on and sequined evening gown, mid 1980s, labeled and numbered 005828, of irridescent chiffon, the bodice adorned with irridescent sequined lilies in pastel shades, handkerchief hemline, bust 86cm, 34in £500 - 800

248 An Andrea Odicini couture embroidered black satin jacket and skirt, mid 1980s, couture labelled, the fitted jacket embroidered and beaded by Lesage with stylised Paisley motifs, crinkly hand gathered and fixed cloqué-effect sleeves, slim fitted satin pencil skirt, bust 86cm, 34in, waist 61cm, 24in, (2) £400 - 600

252 A Givenchy couture silk rose-petal covered cocktail dress, late 1980s, labelled and numbered 75796, the strapless gown with integral boned corset, with matching tulle shawl, bust 86cm, 34in, (2) £500 - 900 253 Two Givenchy couture floral silk cocktail dresses, mid 1980s, both labelled and numbered, one of chiffon with matching belt, the other in crepe de chine with wrapover skirt and bow to one hip, busts 86cm, 34in (3) £300 - 500 254 Two Givenchy couture cocktail dresses, mid 1980s, both labelled and numbered, one of leopard print silk with cummerbund-like panel and large bow to one hip; the other in black and bronze satin woven with trailing blooms, draped skirt with swag to one hip, busts 86cm, 34in, (2) £400 - 600

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255

257

258

255 An elaborate Jean-Louis Scherrer couture golden velvet evening gown and headress, Venetian collection, mid 1980s, labelled and numbered 005509, with pronounced leg o’mutton sleeves, the long, fitted bodice adorned with scrolling gold sequined and beaded foliage and flowerheads with pink-mauve stones, gold/black velvet skirt, the headress labelled Jean Barthet, Paris, bust 86cm, 34in, (2) £800 - 1200

257 An Emanuel Ungaro couture floral printed silk cocktail dress, second half 1980s, labelled and numbered, 2254 6 88, with overall swathes of pretty purple roses, ruffled hem and optional detached sleeves, bust 86cm, 34in, waist 64cm, 25in, (3) £400 - 600

258 A chanel boutique black chiff ffo on cocktail gown, 1990s, labelled and size 38, with ruched empireline bodice, satin band and bow, graduated skirt, bust 86-92cm, 34-36in £450 - 600

256 A Versace cream wool suit, Autumn-Winter, 1992 collection, labelled and size 42, with black top-stitched detailing, conical breast pockets, gilt Medusa head tips to the faux pocket flaps, circle skirt, bust 92cm, 36in, waist 66cm, 26in; together with an image of the ensemble being modelled in the Versace catalogue, (3) £350 - 500

259 A Givenchy couture croc-printed chiff ffo on and sequined bodice and trousers, mid 1980s, couture labelled, with croc-patterned deep sequined waistband, simple black crepe trousers, bust 86cm, 34in, waist 61cm, 24in (2) £350 - 500

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261

260

260 A Versace black ‘bondage’ cocktail dress, Autumn-Winter 1992-3 collection, couture labelled and size 8, the bodice formed from pointed pockets, leather staps and Medusa-head medallions above figure-hugging wool skirt, bust approx 86cm, 34in, waist 71cm, 28in; together with the 1992 Versace catalogue which shows naomi campbell modelling the gown, (2) £1200 - 1800 261 A Viktor & Rolf ivory silk gown, probably Spring-Summer 1998, labelled, with full, ruff-like bodice formed above tubular skirt, bust 81cm, 32in; together with a white plaster boater, probably used in one of their fashion shows; and an image of an identical silk gown being modelled, (3) £300 - 500

262 A Gianni Versace snakeskin embossed blue metallic leather suit, 1994, labelled and size 40, comprising wide shouldered jacket with zips and buckles to fasten and tight fitting skirt; chest 92cm, 36in, waist 71cm, 28in; together with a photograph of naomi campbell wearing this model on the catwalk, and two pictures of Elizabeth Berkely wearing a similar suit in the film ‘Showgirls’, 1995, (5) £400 - 600

262 264 A Moschino ‘Jigsaw’ suit, early 1990s, cheap & chic labelled, composed of brilliant coloured interlocking wool panels, the single breasted jacket with contrasting buttons to fasten and to cuffs, chest 86cm, 34in, waist 64cm, 25in, (2) £350 - 500

263 An unusual Viktor & Rolf metallic weave suit, circa 1998, labelled, comprising: slim-line coat with accentuated shoulders, encrusted with tiered bundles of silver sequins to the shoulder cuff and skirt front; matching shaped trousers with deep-turn ups; and a woven gold and silver lamé bodice with complicated ties and pleats, chest 86cm, 34in, waist 72cm, 28in, (3) £500 - 900 263

265 Rei Kawakubo/comme des Garçons black satin and white tulle ensemble, 2006, labelled and size M, the label dated 2006Ad, comprising long sleeved triactetate/polyester dress appliquéd to the rear skirt with a hinomaru (rising sun) motif in scarlet velvet, pocket slits to the wide waistband, no fastenings; the black satin coat with irregular waistline, unfinished seams on display, broad belt which slots through loops at an angle, chest 92cm, 36in

265

Literature: ‘Future Beauty: 30 Years of Japanese Fashion’, published by Merrell to accompany the Barbican centre exhibition of the same name p.109, which illustrates a dress from the same collection. It is described as Spring/Summer 2007 collection and Kenya Hara writes philosophically on the meaning of the symbol - ‘The national flag of Japan is white with a red disk in the centre. We can say that the flag is a symbol that exemplifies the meaning of emptiness...’. £700 - 1000 266 A Martin Margiela Semi-couture bodice front, 1996, the tan toileeffect exterior stamped ‘Semi couture, Paris, Brevete, SGEG, 35059’, lined in black cotton, bust 81cm, 32in £600 - 1000 267 Hussein chalayan tan leather coat, Ambimorphous collection, Autumn-Winter 2002, labelled, zip fastened with notched, irregular appliqued front closure, funnel collar, chest 97cm, 38in £250 - 350

266

268 268 A Junya Watanabe for comme des Garçons suit, 1996, labelled, the fabric an interesting mixture of traditional Japanese print and finely woven Prince of Wales checked wool, the jacket with floral front panels and sleeves cut long at the front and short at the back, the sides and back of navy panelled cotton, the construction redolent of a corset; the skirt with broad furisode-like side panel, the front panels in wool, the back in navy cotton, bust approx 81cm, 32in, waist 71cm, 28in (2) £450 - 600 269 A Moschino ‘Sunset at the end of the Road’ suit, early 1990s, cheap & chic labelled, of green wool, the skirt with appliqued highway, cows crossing sign and large orange and yellow sunburst, double breasted jacket with c+c gilt buttons, chest 97cm, 38in, waist 71cm, 28in (2) £250 - 400

272 A John Galliano printed velvet evening coat, circa 2000, rubber label, with overall psychedlic figurative print, trimmed in burgundy fox fur, damask newsprint lining, chest 92cm, 38in £400 - 600

270

273 A Yohji Yamamoto black gaberdine dress, probably early 1990s, labelled, with prestud fasteners to the curved front shoulders, outsized metal zips the the centre back and rear sleeves, bust 92cm, 36in; together with a navy gaberdine jacket with open, labelled, size s, with open shoulders, one side cut with long tail, the other with shorter point, (2) £300 - 500

274 A John Galliano oriental printed chiff ffo on evening gown, AutumnWinter, 2002 collection, with printed rubber label, the horizontal shoulder panels applied with chinese star-shaped, fur-trimmed medallions, pullcords within the dress cause it to ruche at the sides, bust approx 86cm, 34in; together with an image of the dress on the catwalk, (2) £400 - 600

270 An Alexa nder Mc Queen black jersey a nd tulle even ing gown, Au tumn -Winter 2001 collection, as se en in ‘Wha t a Me rr y Go Round’ London ca twalk show, un-labelled, the dress formed from a zippered spiral of jersey with tiered, tousled tulle collar and handkerchief sleeves, the skirt with jagged hemline applied with tulle panels, bust 9cm, 36in; together with an image of the model being worn on the catwalk, (2) £600 - 1000

275 A good Vivienne Westwood tartan three piece suit, ‘Vive la cocotte’ collection, Autum-Winter, 1995-6, Gold label, size 12, comprising jacket with long fitted lower sleeves, curved front and back panels with inset pocket vents; matching sunray pleated skirt and fitted waistcoat, bust 86cm, 34in, waist 69cm, 27in, (qty) £400 - 500

271 An Issey Miyake grey polyester suit, circa 1991, labelled, size M, of loose-cut with broad padded shoulders, off-centre top-mounted chunky zip, wide, straight-legged trousers with webbing belt, chest 117cm, 46in; together with a Yohji Yamamoto brown tweed double breasted jacket with sharp tapestry inset lapels, c.1991, chest 107cm, 42in, (3) £300 - 500 272 70

274

BALLETS RUSSES 276 diaghilev’s Ballets Russes: ‘Thamar’ costume for a Lezghin, designed by Léon Bakst, fi firrst performed, 1912, comprising: cyclamen pink satin coat with decorative cartridges to the chest and foil covered plaques, midnight blue velvet lozenges to the skirt fronts, inner sleeves of fuchsia satin striped in green ribbon, hanging outer sleeves, all edged in broad silver braid; together with a skirt of purple cotton edged in matching braid with applied metal plaques; a broad belt with large turquoise medallions and an alternative narrow belt of the same fabric, (4)

The coat is from the original production but the skirt is probably 1930s and is re-using the original metal adornments and braids. It bears the names Laz and Unger.

277

276

The skirt bears the names Algy, Kodel (Kobel?), Slavins, Psota, the narrow belt bears the names Barth, Boposcusatch, Bousk? Bousl, Zoritch; the broad belt bears the names of Izm, Πetri (Petri?), dolotine. The coat bears the names Laz, Unger. Full footnote details regarding the dancers can be found on our website for the individual lots.

277 diaghilev’s Ballets Russes: ‘Oiseau de Feu’, two Princess’s nightgowns, designed by Alexander Golovine, fi firrst performed in 1910, of grey cotton, painted with golden leaf scrolls, edged in raised gold cord, the elongated sleeves with shaped cuffs, the neck edged in metal braid, (qty)

Provenance: Sotheby & co., 3rd March 1973, lot 80. £600 - 1000 278 diaghilev’s Ballets Russes: ‘Scheherazade’ designed by Léon Bakst, fi firrst performed, 1910, comprising: stencilled maroon cotton ‘Turkish’ trousers for a young man,, purple Ballets Russes stamp and inked names ‘Kpemh, Kpemhebzc’, with remains of gold spotted decorations, blue satin ribbons; together with a 1930s painted rayon sash, (2)

Provenance: Sotheby & co., ‘costumes and curtains from The diaghilev and de Basil Ballets’, 3rd March 1973, lot 116. £6000 - 8000

Provenance: Sotheby & co., 3rd March 1973. £200 - 300 276

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279

279 detail

279 diaghilev’s Ballets Russes: ‘Thamar’ costume for a Friend of Thamar, designed by Léon Bakst, firrst performed, 1912, the dress of fi cyclamen pink taffeta adorned with painted blue and white diamond lozenges and edged in black and white striped bands, edged in metal braid, green and red striped sleeves, with underskirt of mustard, red, blue and white banded satin, with silver stencilled blue chiffon veil

280 diaghilev’s Ballets Russes: ‘Thamar’ costume for a Serving Girl, designed by Léon Bakst, fi firrst performed, 1912, comprising onepiece dress with integral bolero jacket and trousers, of sky-blue satin with stripes of silver braid to the sleeves and borders, mauve and wine striped panel to the upper waist above ivory silk band, decorative silver buttons to the lower waist and trouser sides, with wired circular ivory satin hat trimmed with braid; and two detached buttons, (4)

The interior with names including Queiro, Larenska, dimin. See website for further details. Provenance: Sotheby & co., ‘costumes and curtains from The diaghilev and de Basil Ballets’, 3rd March 1973, lot 116. 5000 - 8000 £5

Inked names to the interior including Zarova, Zorina. Inside the hat are the names nelidova, Bzanitika (Byzanitzka), Lipkoshka (Lipkowska). See website for further details. Provenance: Sotheby’ & co., 3rd March 1973, lot 116. £5000 - 8000

280

Bakst design 1912 for a serving girl

281 diaghilev’s Ballets Russes: costume for a nymph, L’Après-midi d’un Faune, designed by Leon Bakst, choreographed by Vaslav nijinksy and fi firrst performed in Paris in 1912, inked to the pink calico bodice lining with the names ‘Golovina, Lauro, Vetlana’, the silver lamé gown with pleated hem and cream chiffon overlay stencilled with pink horizonal vines, undulating stripes and gold chequers, gold ribbon to the empire line bodice; with matching chiffon underskirt, bearing original Sotheby’s sale tag, (2)

Provenance: Sotheby & co, 3rd March 1973, lot 113 400 - 600 £4

281 & 282

282 diaghilev’s Ballets Russes: costume for a nymph, L’Après-midi d’un Faune, designed by Leon Bakst, choreographed by Vaslav nijinksy and fi firrst performed in Paris in 1912, inked to the pink calico bodice lining with the names ‘Rasumna, Larkk, Haz, the silver lamé gown with pleated hem and cream chiffon overlay stencilled in blue with spadeshaped leaves, floating panels at the underarms, gold ribbon to the empire line bodice, bearing original Sotheby’s lot ticket

Provenance: Sotheby & co, 3rd March 1973, lot 113 £400 - 600

283 diaghilev’s Ballets Russes: costume for a nymph, L’Aprèsmidi d’un Faune, designed by Leon Bakst, choreographed by Vaslav nijinksy and fi firrst performed in Paris in 1912, inked to the pink calico bodice lining with the names ‘Kara, Karlot’, the silver lamé gown with pleated hem and cream chiffon overlay printed with gold spots and blue scrolling bands, floating panels at the underarms, gold ribbon to the empire line bodice; with contrasting underskirt printed with leaves and chequers, bearing original Sotheby’s sale tag, (2)

Provenance: Sotheby & co, 3rd March 1973, lot 113 600 - 800 £6

283 73

284 diaghilev’s Ballets Russes: ‘Sleeping Princess’, costume for a Lady in Waiting, designed by Léon Bakst, choreographed by Marius Pepita, fi firrst performed in London in 1921, the calico lining bearing the dancer’s name ‘Savitska’, and in ink ‘Polonaise 5 Act’, the woven waistband stamped in gold ‘Mon.Muelle Rossignol, costumier de l’Opéra, 12 Rue de la Victoire, Paris’, of rose pink cotton velveteen, with boned bodice, ivory satin stomacher with silver bows long trained skirt with floating panels to the front appliqéd with gold tissue, edged in fringes, sprigged overall with gold rosettes; the ivory satin underskirt with stencilled gold curleques spangled with gilt discs; with original Sotheby’s lot tag, (2)

285 diaghilev’s Ballets Russes: ‘Sleeping Princess’, costume for a Lady in Waiting from Scene I, designed by Léon Bakst, choreographed by Marius Pepita, fi firrst performed in London in 1921, the bodice with inked dancer’s name ‘Astafieva’ to the waistband, which is also stamped in gold ‘Mon.Muelle Rossignol, costumier de l’Opéra, 12 Rue de la Victoire, Paris’, the 18th century inspired robe of burnt orange satin, the bodice applied with strands of ivory coloured beads, others scattered over the skirt and in bands to the sleves, with contrasting wine velvet skirt panel which forms a shoulder swag to the rear, pierced gold medallion to the waist, apricot silk strapwork to the faux underskirt, hooped interior supports

See website for extensive footnote.

Provenance: Sotheby & co, 3rd March 1973, lot 172. £2000 - 3000

Provenance: Sotheby & co, 3rd March 1973, lot 172. £3000 - 5000

284 74

285

286

287

288

286 diaghilev’s Ballets Russes: ‘Sleeping Princess’, costume for Act I, scene 3, probably for a Mazurka girl, designed by Léon Bakst, choreographed by Marius Pepita, fi firrst performed in London in 1921, the bodice with inked dancer’s name ‘Astafieva’ to the waistband, which is also stamped in gold ‘Mon.Muelle Rossignol, costumier de l’Opéra, 12 Rue de la Victoire, Paris’ and inked to the lining ‘1 Act, 3, Ewich, nuvci, Lala Scuda and Beovick’, the 18th century inspired robe, with integral panniers, the boned bodice and graduated overskirt of ivory velveteen edged in gold braid and two gilt tassels, the skirt of wool applied with silver braid, pink and blue cord acanthus scrolls

287 diaghilev’s Ballets Russes: ‘Oiseau de Feu’, a stencilled silver doublet robe designed by Alexander Golovine, fi firrst performed in 1910, of grey ribbed cotton, with integral silver painted doublet, cuffs and upper skirt tier, the lower skirt stencilled with silver scrolls, bearing original Sotheby’s lot tag

289 diaghilev’s Ballets Russes: ‘Sleeping Princess’, designed by Léon Bakst, fi firrst performed in London in 1921, comprising: a black wool 18th century style coat with midnight blue velveteen cuffs and pocket flaps, edged in silver lace, lined in blue cotton, (probably from a 1930s production), with inked nametape ‘Michkovich’; together with an open-robe from the same production of black rayon satin with wine and silver brocade stomacher and skirt panel trimmed in metal lace and flowerheads (3)

Provenance: Sotheby & co, 3rd March 1973, lot 172. £600 - 1000

Provenance: Sotheby & co, 3rd March 1973, lot 80. £600 - 1000 288 diaghilev’s Ballets Russes: ‘Oiseau de Feu’, a fuchsia pink wool tunic, designed by Alexander Golovine and natalia Goncharova, fi firrst performed in 1910, adorned with gold painted appliqués edged in cord, painted wooden beads, button detailing and strapwork to centre-front skirt opening

Provenance: Sotheby & co, 3rd March 1973, lot 173. £300 - 500

Provenance: Sotheby & co, 3rd March 1973, lot 80. £800 - 1000 75

290 ‡ The catherine Walker formal white lace evening gown worn by HRH the Princess of Wales for a state visit to France, november, 1988, labelled ‘catherine Walker for the chelsea design company’, the double-breasted gown of white Riechers lace embroidered with foliate bands of pale blue and pearl-white sequins, three buttons to fasten, long, curved lapels, lined in white satin, edged with scalloped lace, angular, padded shoulders, bust 92cm, 36in; together with two pictures of Princess diana wearing this gown, (3)

Provenance: christie’s auction of the dresses from the collection of diana, Princess of Wales, lot 53, 25th June 1997. Princess diana specially commissioned this robe for her official State visit to France and chose it to wear at a dinner hosted by the French Minister of culture, Jacques Lang at the chateau de chambord. The late catherine Walker was often the Princess’s choice when a classic but dazzling evening gown was required. catherine understood the protocols related to the various countries that the Princess visited, (in the 1980s there were up to 20 overseas tours) as well as the styles the Princess preferred and that best suited her changing physique.

p.63 “don’t wear any cheap clothes, The French will knock you”. By that I did not mean that she should only wear my designs, but she had developed complete trust in me, and, being French, I felt I had the right to say it. We had to focus a little harder for the French tour, and when diana saw how good the response was, she realised that these more “serious designs” had worked for her”. p.141 “I chose white lace for this commission because it was a textile common at the court of Versailles, but I tailored it into a modern shape. Given the Princess’s sense of panache I really do not know anyone else who could carry off this long sheath of glittering icy embroidery in quite the way she did....This reception was also attended by HRH Princess caroline of Monaco, and there was tremendous press interest in what the Princesses would wear on this occasion. Princess caroline of Monaco was dressed by the House of dior”. Although Princess diana had met Princess Grace of Monaco on numerous occasions (and had

On pages 61-62, catherine Walker wrote “I was applying my growing knowledge of men’s tailoring techniques as I cut her dress patterns, and in so doing I tried to hone a clean silhouette that matched my own brief for the formality and presence I wanted diana to have. She too saw how the slim elongation of the torso increased her poise and matched her clean smile and openness of face… In the early eighties diana’s designs had to be more elaborate, had to look special in a particular way, and all the little details - the buttons, the binding - helped to reflect this. It felt as though diana needed a sort of royal uniform that was a legacy from eighteenth century English court dressing, where etiquette decreed that sartorial finery and rich apparel were appropriate. Her designs could not be simple”. She again mentions this gown to demonstrate the special relationship and rapport that she shared with Princess. p.64 “On another occasion George rang me and said “I’ve got a problem”. It emerged that while he was pressing a richly embroidered full-length white lace coat dress that I had designed for diana’s State Banquet at the chateau de chambord in France in november, 1988, he had left a scorch mark on the inner lining. I rang diana’s dresser in a panic and she decided not to mention it. I finally confessed years later, and needless to say diana giggled about it”. £40000 - 60000

This was obviously an important gown as Miss Walker mentions it repeatedly in her memoir ‘catherine Walker: an Autobiography by the Private couturier to diana, Princess of Wales’. 290 detail

formed a close relationship with her) this was the first time she had met her daughter, Princess caroline.

291 ‡ The Zandra Rhodes pink chiff ffo on dinner gown worn by HRH the Princess of Wales for her Offi fficcial State visit to Japan, 1986, labelled ‘Zandra Rhodes’, London, the chiffon ground printed in white with ‘Buttons and Bows’ design, quilted satin waistband which buttons to the rear with faux bustle-effect panel, the layered collar and weighted zig-zag hem, with hand-rolled edges, sparkling

rhinestones, crystal beads and pearl droplets, bust approx. 92cm, 36in, waist 69cm, 27in; together with a picture of the Princess wearing the gown, (2)

The Princess wore this gown to a State Banquet in Kyoto, during her official visit to Japan on the 9th May, 1986. She is photographed wearing it whilst seated at the banquet, taking instruction on how to eat with chopsticks (hers are upside-down in the photo).

news reel footage exists showing the Princess wearing this dress on the tour, joking with Prince charles as to who had managed to eat the most whilst using their chopsticks, and mischievously widening her eyes when she surveyed the food courses yet to come. Sadly, although still undeniably beautiful, she appears thin in the photographs as she had suffered a particularly bad bout of bulimia on this tour. Zandra Rhodes remembers the Princess commissioning this gown for her overseas tour. She popped into her shop in Grafton Street, unannounced (something she had a habit of doing) and pointed out a dress of this design which was made in black with fluorescent pink print. Zandra suggested changing the colour to this pale rose shade with ivory print. The commission took a further two fittings to complete which took place in the Princess’s private apartments at Kensington Palace. The gown took three days to make and this print and colour-way remain exclusive to the Princess. This gown was clearly something of a favourite as it was also worn by the Princess to attend a Torvill & dean party, July, 1985 and to charleston Manor, Seaford, Britain, in aid of the London city Ballet and the Purcell School, July, 1987. Exhibited: ‘diana, Fashion & Style’, 2008 at Kensington Palace; ‘diana, Princess of Wales, dresses for a cause’ at the Appleton Museum of Art, in Florida, 2007. Provenance: christies auction of the dresses from the collection of diana, Princess of Wales, lot 47, 25th June 1997. £30000 - 40000

292 christina Stambolian’s ‘Revenge’ dress, a replica of the original made for diana, Princess of Wales, 2010, labelled, of black silk damask, the bodice criss-crossed with tiny pleats which continue over the dropped shoulder-line, the figure-hugging gown with diagonally swathed chiffon skirt which culminates in a trailing sideswag, bust 86cm, 34in, waist 71cm, 28in; together with a letter of authenticity stating that the gown is the only dress in existence other than the one made for the Princess and that it is made in accordance with the original, using the same fabrics and to the same measurements, and that the designer has no intention of producing other replicas, (2)

See our website for extensive footnote. £6000 - 9000

292 80

293 293 The knitted mesh slip-dress worn by Kate Middleton at the St Andrew’s University charity fashion show, designed by charlotte Todd, 2002, the central ground of gossamer-fine gold and black knitted silk, the peacock blue hem slotted through with a ribbon, the upper elasticated border in shades of blue wool, waistband/upper band 71cm, 28in; together with a photograph of Kate Middleton wearing the dress. (2)

charlotte Todd was studying a degree in fashion/textile design at the University of the West of England in 2000 working on a project appropriately entitled ‘The Art of Seduction’ when she produced this piece. It took around a week to make and was intended as a skirt rather than a dress. In 2002 she was invited by the organisers to submit a garment for the annual St Andrew’s University charity fashion show. This piece was selected for Kate Middleton to wear and it was decided that it

should be worn as a dress rather than a skirt - and the rest as they say is history! charlotte Todd says of the piece, “If it is true that my design helped change the Prince’s interest in Kate from platonic to romantic as has been reported, then I am pleased to have played a part however minor. I never would have imagined as I sat knitting this piece that one day it would be so important”. £8000 - 10000

End of Sale 81

cOndITIOnS OF BUSInESS FOR BUYE RS 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, “B attempting or considering making a bid, including Buyers; Buyer“ is the person who makes the “B 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 “S 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 “B 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 “H the Property accepted by the auctioneer at the auction or the post auction sale price; Purchase Price“ is the Hammer Price “P plus applicable Buyer’s Premium and Buyer’s Expenses; Reser ve Price“ (where applicable) is “R the minimum Hammer Price at which the Seller has agreed to sell a lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subjec t to VAT, where applicable. 3. Examination of Lots (a) KT’s knowledge of lots is partly dependent on information provided by the Seller and KT is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elswhere are statements of KT’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at KT’s absolute discretion. 4. Exclusions and limitations of liability to Buyers (a) KT shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a counterfeit, subject to the terms of KT’s Authenticity Guarantee. (b) Subject to condition 4(a), neither KT nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by KT, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by KT in connection with the conduct of auctions or for any matter relating to the sale of any lot.

(c) Without prejudice to condition 4(b), any claim against KT and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. neither KT nor the Seller shall be liable for any indirect or consequential losses. (d) nothing in condition 4 shall exclude or limit the liability of KT or the Seller for death or personal injury caused by the negligent acts or omissions of KT or the Seller. 5. Bidding at Auction (a) KT has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as KT requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case KT’s prior and express consent must be obtained). (b) KT advises Bidders to attend the auction, but KT will endeavour to execute absentee written bids provided that they are, in KT’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to KT’s other commitments; KT is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 6. Impor t, Expor t and copyright Restrictions KT and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required under the convention on the International Trade in Endangered Species (cITES).

7. conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these conditions of Business. 8. Payment and collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment date”). (b) Title in a lot will not pass to the Buyer until KT has received the Purchase Price in cleared funds. KT will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earliest of (i) collection or (ii) 10 working days after the auction. Until risk passes, KT will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. KT’s assumption of risk is subject to the exclusions detailed in condition 5(d) of the conditions of Business for Sellers.

(e) All packing and handling of lots is at the Buyer’s risk. KT will not be liable for any acts or omissions of third party packers or shippers. 9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction,KT may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by KT against any amounts owed to KT by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above The Bank of England’s Base Rate from the Payment date to the date that the Purchase Price is received in cleared funds; (f ) re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion, in which case the Buyer will be liable for any shortfall between the original Pu rchase Price and the amount achieved on re-sale, including all costs incurred in such resale; (g) exercise a lien over any Buyer’s Property in KT’s possession, applying the sale proceeds to any amounts owed by the Buyer to KT. KT shall give the Buyer 14 days written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

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 Protec tion (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 AUTHE nTIcIT Y 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 (iiii) 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 BUYE RS 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 ∆ symb ol. 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 Kerr y Taylor Auc tions. 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

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 Taylor Fashion Auctions Unit c25 40 Martell Road London SE21 8En

Bullit courier company Tel: 00 44 (0)845 226 8556 email: info@bull itcouriers.com attention Mr Gar y Martin

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

FASHION AND TEXTILES Monday April 11th at 10.30am Viewing: Friday 8th April 9.30am - 5pm and Sunday 10th April 12noon - 4pm

Lot 1036 A Paco Rabanne kit-dress, 1996 Estimate: ÂŁ250-350

Kerry Taylor Auctions Unit C21, 40 Martell Rd, London SE21 8EN

Kerry Taylor would like to thank the wonderful interns who have helped this year including Lucy Bishop, Ashley Palmer, Alex Dives, Henrietta Rix, Mica Noble, Isabel Hibbert, Claire Afford & Claire Robinson. Their hard work and enthusiasm is a major part of every sale and without them these wonderful catalogues could not be acheived to the same level.