Kerry Taylor

Passion for Fashion 3rd December 2013

Kerry Taylor

Kate osborn

Lucy Bishop

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Payments

Kerry Taylor assistants: Kate osborn and Lucy Bishop 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 pages 52-53 for details.

sale number: KT020 front cover: lot 70 frontispiece: lot 40 Back cover: lot 190 photo credit: rEX

There is an additional 3% charge for purchases made by online bidding.

for multiple images of every lot please see www.kerrytaylorauctions.com go to ‘Current sale’, and click on the individual lots

online Bidding www.invaluable.com/kerrytaylorauctions

storage, Collection and shipping Logistics see inside back cover 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.

Kerry Taylor auctions Ltd incorporated in England

registered no oC7173571

VaT no 835506036

Passion for Fashion Auction Tuesday 3rd December 2013 at 2pm

Venue 249-253 Long Lane London SE1 4PR See map on inside back cover

Exhibition Sunday 1st December - 12 noon to 5pm Monday 2nd December - 9am to 5.30pm Tuesday 3rd December - 9am to 11am

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ACCESSORIES Please note all lots bearing ∆ symbol require a CITES licence for export outside of the EU, which we are happy to assist with.

See page 53 for more information.

1 An Hermès black leather collier de chien belt, 1980s, engraved with maker to gilt hardware, with elephant key fob to one loop, max waist approx 82cm, 32in £500 - 800 2

2 An Hermès brown leather Birkin bag, 1999, blind stamp C, with gold plated hardware, key fob and padlock, 35cm, 13 3/4in £4000 - 5000

3 A Chanel 2.55 quilted leather shoulder bag, probably 1990s, with plastic card no 6421063, lined in wine leather, chain strap threaded with leather, 25 1/2cm, 10in long with cotton cover and box (3) £800 - 1200

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4 An Hermès bleu jean clemence leather Birkin bag, 2000, blind stamp D, with silver palladium hardware, key fob and padlock, 40cm, 16in £5000 - 7000

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5 A Be@rbrick Chanel doll, 2006, limited edition no 335 of 1000, designed in collaboration with Karl Lagerfeld, the large articulated doll with lithographed sun-glasses, camelia to one ear and classic Chanel suit, 71cm, 28in high

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8 An Hermès vert foncé togo leather Birkin bag, 1998, blind stamp B, with gold plated hardware, key fob and padlock, 35cm, 13 3/4in £5000 - 8000

These dolls were never sold, but used as Chanel store window displays and as gifts to fashion editors and VIP clients. £2000 - 3000 6 A Chanel gilt metal gold bullion minaudiere, modern, engraved with CC logo, 31 Rue Cambon address, and registration numbers, lined in gold leather, 15cm, 6in long £500 - 800 7 A Chanel black faille and white enamelled evening purse, modern, with internal registration number, the chequered exterior outlined in rhinestones, lined in black suede, with wrist loop, 12 1/2cm, 5in wide £500 - 800

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9 An Hermès black togo leather Birkin bag, 1996, blind stamp Z, with gold plated hardware, key fob and padlock, 40cm, 15 3/4in £5000 - 9000

10 Two belts, comprising: brown hide Chanel example with burnished brass buckle and multiple chains, 71cm, 28in; together with a Versace black leather belt with Medusa head buckle, 77cm, 30in (2) £250 - 350

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11 A Louis Vuitton hard-sided suitcase, with traditional LV monogram canvas, leather trim, brass lock with two keys, complete with foul weather cover, 37 by 50 by 18cm £400 - 600

12 An Hermès gris tourterelle clemence leather haut à courroies overnight bag, 2000, blind stamp D, with silver palladium hardware, key fob and padlock, 50cm, 19 1/2in £6000 - 9000

13 ∆ An Hermès Constance black crocodile handbag, 1974, crocodylus porosus, with gilt metal H-lifter clasp, stamped with maker’s name to the interior, adjustable shoulder strap, 23cm, 9in long £4000 - 6000

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14 A Line Vautrin cast gilt metal ‘Forest’ belt, circa 1945, signed to the clasp, with cornucopia buckle, the links formed from stylised leaves, 69cm, 27in long

Literature: ‘Line Vautrin, Poesie in Metall’, Museum für Kunst und Gewerbe, Hamburg, 2003, pp 139 and 106 for an identical belt £1200 - 1800

15 A Scemama for Yves Saint Laurent parure, 1970, signed YSL, comprising gilt rope twist daisy shaped pendant, ear-rings and matching belt with faux hardstone centres (4) £400 - 600

16 An Hermès black box calf leather Birkin, 1999, blind stamp C, with silver palladium hardware, padlock and key fob, 35cm, 13 3/4in £4000 - 6000

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17 ∆ An Hermès white whaleskin ‘Constance’ handbag, circa 1970, delphinapterus leucas, with gilt H lifter-clasp, maker’s stamp to the interior, adjustable shoulder strap, 23cm, 9in long £600 - 1000

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18 An Hermès black toga leather Birkin, 2000, blind stamp D, with gilt hardware, padlock, fob with keys and original receipt, 40cm, 15 3/4in long, with storage case and box (3) £6000 - 8000

19 A Louis Vuitton hard-sided suitcase, with traditional LV monogram canvas, leather trim, brass lock with two keys, complete with foul weather cover, 42 by 60 by 18cm £600 - 800 18

20 ∆ An Hermès brown crocodile malette, probably 1930s, the lock signed and stamped with Faubourg address to the interior, with sliding catches to the upper frame, gold velvet lined jewellery compartment to the base, 27cm, 10in long £700 - 1000

21 An Hermès black box calf leather Kelly bag, 1994, blind stamp X, with gilt hardware, padlock fob and keys, with detachable shoulder strap, 36cm, 14in long £1200 - 1800

21A A group of Christian Dior luggage and accessories, circa 1970, all of CD monogrammed canvas, comprising: two suitcases, the larger 60 by 36cm; overnight bag; holdall; satchel; pochette; travel document holder; purse; pair of slippers and two slipper pockets, (12) £450 - 600

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22 An Yves Saint Laurent heart-pendant necklace/brooch, Autumn-Winter, 1996-7, signed to the reverse, of smoke-grey tinted and red brilliant cut stones, baroque pearl beads, with cabochon droplet, brooch pin to the reverse, the white metal chain inset with red stones, the chain 44cm long £1000 - 1500 22

23 A Scemama for Yves Saint Laurent couture collection jewelled belt, 1972, signed YSL, the chain links studded with blister ‘pearls’ and green stones, with large circular medallion inset with red, green and topaz ‘gems’, 71cm, 28in

This belt worn as a choker is photographed in L’Officiel, no 594 p.331. £600 - 800

24 ∆ An Hermès black lizard handbag, late 1960s, varanus salvator, stamped to the interior ‘Hermès Paris’, with gilt baton shaped clasp and fixings, 22cm, 8in long in Hermes box (2) £600 - 1000

25 An Yves Saint Laurent necklace, 1994, signed, composed of black beads and marquetry plaques, 35cm, 14in long

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Literature: ‘L’Officiel’, no 789 1994 £250 - 350

26 A Pierre Cardin gilt metal necklace, late 1960s-early 1970s, with Cardin logo tag to closure, the chunky barbaric pendant formed from five cast gilt metal plaques, adjustable chain, main pendant element is 20cm, 8in £350 - 500

27 An Hermès black box-calf leather miniature Kelly bag, 1997, with detachable shoulderstrap, 20cm, 8in long, with storage bag (2) £1200 - 1800

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28 A René Bouet Willaumez fashion illustration of a Schiaparelli nightdress, 1951, pencil, pink watercolour washes on white artist’s board, signed to lower corner, 39 by 33cm, together with a sketch of a Schiaparelli petticoat trimmed with lace, 42 by 28cm (2)

31 Elliot Hodgkin fashion sketches, circa 19289, each signed in the margin, gouache on artist’s board, day and evening wear ensembles, each approx 35 by 25cm (16) £400 - 600

33 A René Bouet Willaumez fashion illustration of a Schiaparelli petticoat, 1951, pencil, pink watercolour washes on white artist’s board, depicting a ruffled petticoat, 42 by 28cm; together with a girl with a dove in acid green and black gouache, 34 1/2 by 29cm (2)

32 British Vogue, 1936, comprising: Jan 8, 22; Feb 5, 19 and supplement, Mar 4, 18; April 29, July 8, 22; Aug 5, 19 and supplement; Sept 2, 16, 30; Oct 14 and supplement; Oct 28, Nov 11, Dec 9, 23 (22) £400 - 600

Provenance: Sale of the artist’s studio, Passion for Fashion, Sotheby’s 25th November, 1998 lot 311. The petticoat image was published in American Vogue, November 1st, 1951 p.133. £600 - 800

Provenance: Sale of the artist’s studio, Passion for Fashion, Sotheby’s 25th November, 1998 lot 312. The petticoat image was published in American Vogue, November 1st, 1951 p.133. £600 - 800

29 Elliot Hodgkin fashion sketches, circa 19289, each signed in the margin, gouache on artist’s board, day and evening wear ensembles, each approx 35 by 25cm (16) £300 - 500

34 British Vogue, 1937, comprising: Jan 6, 20; Feb 3,17 and supplement, 27; Mar 3, 17, 31; April 14 and supplement, 28 (Coronation number); May 10, 26; June 9, 23; July 7, 21; Aug 4, 18 and supplement; Sept 1, 15, 29; Oct 13 and supplement, 27; Nov 10, 24; Dec 8, 22 (31) £450 - 600

30 British Vogue, 1934-35, comprising: 1934, Jan 10; Feb 7, 21; May 2; June 27; July 11, 25; Aug 8, 22; Sept 5, 19; Oct 3, 17; and 1935: Jan 9; July 24; Sept 4, 18; Oct 2, 16; Nov 13, 27 (21) £600 - 800

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35 British Vogue 1938, comprising: Jan 5, 19; Feb 2, 16 and supplement; Mar 2, 16, 30; Apr 13 and supplement, 27; May 11, 25; June 8, 22; July 6, 20; Aug 3, 24 and supplement; Sept 7, 21; Oct 5 and supplement, 19; Nov 2, 16, 30; Dec 14, 28 (30) £700 - 900

36 British Vogue 1939-40, 1939 comprising: Jan 11, 25, Feb 8, 22 and supplement; Mar 8, 22; Apr 5, 19 and supplement; May 3, 17, 31; June 14, 28: July 12, 26; Aug 9, 23 and supplement; Sept 6, 20, November and December; 1940 comprising JanuarySeptember single issues per month inclusive (33) £600 - 800

FASHION 1700s-2000s 37 A rare pair of starched calico sleeve puffers, 1820s, approx 28cm, 11in diam (2) £800 - 1200

38 A rare snuff-brown silk boy’s coat, circa 1770, with seven self-covered functional buttons, lined in the same fabric, no collar, full skirts with pockets within the swordslits, adorned with three buttons, chest 46cm, 18in £700 - 1000 38 9

40 A rare pair of printed and painted satin garters, 1820s, with scenes of boys and girls at play with dogs, a girl feeding chickens, padded and edged in blue chenille, elasticated section and embossed metal clasps, together with the remains of a hand-written note, ‘White satin garters, 1826’ (3) £500 - 900

39 A rare Ernest Raudnitz chiné 18th century inspired taffeta ball gown, circa 1893, stamped in gold to the waist-stay ‘Ernest Raudnitz, 23 Rue Louis le Grand, Paris’, the separate bodice with wide square neckline, ruffled, pleated sleeves, pink chiffon edging and frills, and plastron, adorned with absinthe-green silk ribbons and a silk rosebud, the interior with baleen boning, ivory taffeta lining; the matching skirt with pink chiffon insertion to centre front edged with ruffles of taffeta and posy of silk flowers and ribbons, bust 92cm, 36in, waist 66cm, 26in (2) £700 - 1000

41 ∆ A rare pair of wig bellows bearing the cypher of King George III, circa 1775, of mahogany with leather sides and ivory tip, painted in gold with a kingly crown and GR III, 16cm, 6 1/4in long £1000 - 1500

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42 A fine old-rose silk walking dress, 1820s, with piped tab adornments to the shoulders and lower sleeves, padded hem, integral silk waistband at the high waist from which fan-shaped pleats spread over the bodice, fastened to the back by hooks and eyes £500 - 700

43 A brown taffeta dress, circa 1835, with gigot sleeves, notched wide collar, bust 92cm, 35in £300 - 500

44 A rare chamois leather lady’s riding jacket or under-jacket, 1890s, lined in pale blue silk with brown-stained mother of pearl buttons, bust 86cm, 34in £200 - 300 40

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46 A fine broderie anglaise summer gown, circa 1815-20, the empire-line bodice, skirt hem and sleeve sides trimmed and inset with cutwork lace, cotton tassels and tufts; together with a whitework sprigged cotton empire line skirt (2) £800 - 1200

45 The ivory and pale blue silk taffeta bridal gown and accessories worn by Henrietta Cordery for her wedding on June 27th, 1857, comprising: day bodice with glass buttons coiled with metal snakes, short sleeved evening bodice trimmed with pale blue ribbon ruffles and fringes, similarly trimmed over-skirt and plain silk underskirt, matching satin pumps with palest blue rosettes; a wax bridal wreath, a later silk floral wreath and a dried floral bridesmaid posy (qty)

Henrietta Cordery married Thomas William Jex-Blake, an eminent Anglican clergyman and educationalist, in 1857. They had two sons and nine daughters. Although a snake motif might seem an unusual adornment for a bridal gown, in the 19th century it was thought to symbolise wisdom and eternity.

Prince Albert presented Queen Victoria with an emerald inset snake ring at their engagement which further fuelled the craze. £400 - 600

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47 A Redfern primrose-yellow melton wool coat, circa 1890, the black silk lining bearing the remains of a printed gold ‘Redfern 242 Rue de Rivoli’ label, with integral capelet, couched gold thread embroidered black faille collar, edged in black ostrich plumes, fastened to the front by hooks and eyes, chest 81cm, 32in £300 - 500

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Sophie Benckendorff

by John Singer Sargeant

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48 A Charles Frederick Worth brocaded satin Russian court dress, circa 1890, un-labelled, the satin woven with gold silk roses, the front plastron and skirt panels entirely covered with floss silk and pearl beaded roses, the bodice with hanging sleeves edged in silver braid, bust approx 86cm, 34in, waist 66cm, 26in; together with three non-related Russian embroidered panels (qty)

Provenance: Sophie Benckendorff (nee Shuvalov) c.1860-1925.

The Shuvalov family were well-established courtiers over many centuries. The Benckendorff family were originally Baltic Germans who moved to Russia at the invitation of Peter the Great in the early 18th century. They established close links with the the Imperial family, and successive generations were given senior positions in the court or public service for over a hundred years. Count Alexander Benckendorff, was the last Imperial Ambassador in London from 1904-1916. Ambassador Benckendorff’s brother, Count Paul, was a Chamberlain at the court and ended up as one of the chief courtiers and advisers to the last Tsar, with whom he stayed loyally until the deposed Tsar and his wife were sent from St Petersburg to their execution in the Urals. Count Paul wrote an important memoir entitled ‘Last Days at Tsarskoe Selo’, which was his diary of the last tragic months of the Imperial family’s life. £600 - 800

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49 An opulent be-jewelled orientalist cloth of silver evening gown, probably Callot Soeurs, 1907 and altered in the 1920s, columnar with gold embroidered filet lace over-dress studded with cabochon turquoise stones and pearls, the hem with deep band of Egyptian papyrus blooms, bust 102cm, 40in

For a similar highly embellished robe see ‘Paris Haute Couture’ catalogue, Palais Galliera, no 29 for a 1907 model ‘Carthage’. £450 - 600

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50 A Madame Hayward bridal gown worn by the Chilean heiress Regina de Bittencourt for her marriage to the Earl of Lisburne, 15th July, 1914, labelled ‘Madame Hayward, 6768 New Bond Street W’, of ivory silk overlaid with swathes and tiers of net on net lace, with integral taffeta cummerbund sash embroidered in silver thread with orange blossom; the skirt with broad petersham waistband bearing the bride’s name, pointed train to skirt lined in pale pink satin; with wax orange blossom wreath and pearl-bead edged veil, bust approx 81cm, 32in, waist 56cm, 22in (4)

Mademoiselle Bittencourt was the beautiful eldest daughter of Ambassador Don Julius of the Chilean Legation to London.

Newspaper reports of the day ran the headline ‘A Chilean Beauty’s Wedding to an

English Earl’. She was described as ‘very beautiful with Spanish features and dark hair’. The wedding took place at St Paul’s Knightsbridge just a couple of weeks before war was declared. They set off on honeymoon for a planned tour of Europe in their Rolls Royce. However, war was declared, the Earl was called up to fight and the Rolls was abandoned in a garage in Dieppe (which they recovered after the war).

Her husband Ernest was wounded in action and then contracted pneumonia.

Regina hired an ambulance, drove out to Northern France and brought him safely home. They had a happy marriage with four children. Regina died in 1949.

Ernest remarried and spent the rest of his days on the Cote d’Azur. £1000 - 1500

50A The remains of an empire-line dress and a large group of underwear and accessories, late 18th-early 19th century, including two lawn bodices, a girl's cotton bodice, a tamboured shawl, two whitework embroidered skirt panels, woven gauze aprons, embroidered muslin aprons, a good Dresden-work fichu; a muslin fichu embroidered with acorns, needlerun stoles, a Lille stole and assorted edgings, three single engageants, 1780s and others (qty)

Provenance: Pat Earnshaw collection £600 - 1,000

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54 A rare and important Natalia Goncharova for Myrbor futurist appliquéd cocktail dress, circa 1924-5, un-labelled, crêpe de chine ground applied with abstract metallic panels, richly coloured silks and velvets, with triple tiered flounces to one hip embroidered with gold thread bands, small weights hold the waistline in place to the interior, bust approx 96cm, 36in

Natalia Goncharova (1881-1962) was a leading Russian avant-garde Cubo-Futurist artist who also applied her talents to costume and set design, collaborating with Serge Diaghilev to produce the costumes and sets for ‘Coq d’Or’ in 1914 (see lots 183, 184, 186). Paintings by Goncharova are also highly desirable - ‘The Flowers’ sold at auction in 2008 for $10.8 million - one of the highest prices ever paid for a female artist.

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51 A Maison Worth jade-green velvet orientalist opera coat, circa 1924, bearing narrow ivory ribbon label, the wide cloth of gold furisode sleeves adorned with large beaded and wool embroidered poppies and foliage in mauve-pink and jade, edged in gold braid with green wool embroidered stripes, lined in cloth of gold, chest approx 102cm, 40in £800 - 1200

52 A sea foam-green beaded tabard-dress, mid 1920s, the tulle ground covered over the midriff in silver herring-bone patterned bugle beads, with cut-work effect foliate iridescent sequins to the upper bodice and hem, outlined in silver beads, with slashed sides, attached only at the hips, bust approx 86-92cm, 34-36in £350 - 500 53 A Maison Worth couture silver lace and black tulle evening gown, circa 1929, with narrow woven ivory signature label to the waist, the black tulle ground applied with pointed bands of silver lace with beaded waistband, floating panel forming a train to the back, bust 92cm, 36in £400 - 600

In the early 1920s she fled to Paris in the wake of the Bolshevik revolution and the First World War, as did so many other Russian intellectuals and creative talents at that time.

Between 1922 and 1926 she designed dresses for the Paris fashion house - Myrbor.

Goncharova’s designs for Myrbor first appear in French Vogue in 1922 and continued until 1926. Her clothes combined contemporary style with cutting edge cubist/futurist patterns. She employed strong Slavic inspired colours in her clothes and adorned them using striking Cubo-Futurist appliqué patterns in shimmering metal fabrics, coloured silks and velvets. Myrbor, although Russian-sounding was the brainchild of a Frenchwoman - Marie Culloti, the wife of an influential French statesman. Situated on 17 Rue Vignon, Paris, the shop sold not only fashion but interior design, with rugs and tapestries designed by such luminaries as Braque, Leger, Miro and Picasso.

Goncharova’s designs for Myrbor are a fusion of fashion with the prevailing Russian Cubo-Futurist art movement of the day. Few have survived and of these even less are strong enough to be displayed on mannequins - the Victoria & Albert Museum includes a very similar but poor condition gown in its collection, inv.329-1968.

This gown is a particularly fine example of Goncharova’s work where fashion becomes wearable art.

Literature: ‘Deux Artistes dans l’Industrie de la Couture Parisienne’ by Valerie Guillaume, pp 97-98.

Palais Galleria catalogue ‘Europe 1910-1939 Quand l’Art Habillait le Vetement’ p.95.

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‘Beauty in Exile’ by Alexandre Vassiliev, pp.199, 212. A similar dress is illustrated in French Vogue in 1925. Mr Vassiliev also notes that a 1924 design for Myrbor held in a private Paris collection is very similar to this gown and the one held by the Victoria & Albert Museum. £4000 - 6000

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56 A gold and wine sequined evening jacket, late 1920s, the tulle ground covered with a lattice of passion flowers and foliage with rhinestone stamens, chest 107cm, 42in £350 - 500

55 A rare Paul Poiret printed chiffon afternoon dress, the print by Raoul Dufy, circa 1924, un-labelled, with pink crêpe de chine petticoat, the front panels, collar and cuffs of white organza with Valenciennes ruffles and scalloped detailing, the overdress of bold navy and white floral print with navy and pink moiré ribbon belt and trim, bust 86cm, 34in

57 A good coral-pink muslin beaded flapper dress, late 1920s, the muslin ground covered with vermicular silver beads, with white wave motifs to the dropped waist and edges, bust 92cm, 36in £300 - 500

We are grateful to Madame Fanny GuillonLaffaille the leading authority on Raoul Dufy, for confirming the print attribution and for dating the fabric design to 1921-24.

Provenance: the estate of Mrs Edwin White, Doyle New York, 2004, which comprised a group of five Poiret dresses, three of which were labelled. £3500 - 5000

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58 A Paul Poiret ‘Cavalier Hindou’ brocaded satin evening gown, the fabric designed by Raoul Dufy for Bianchini Ferier - ‘Chasse Persane’, 1920s, large woven label with Iribe rose, handwritten to the reverse No 44530, ‘Robe Patinerre, Baroness de Lagrange’, the partially un-picked gown of grey satin woven with Persian hunters, with wide flared skirt, piped trim to waist, bust 86cm, 34in

For an identical dress, but intact with black satin facings at the collar, cuffs and hem see Beaussant Lefevre auction, ‘Les Robes de Paul Poiret’ lot 70. That example was dated by the auctioneer 1921 and was from the personal collection of Denise Boulet-Poiret.

The original sketch for the fabric formed part of the Bianchini Ferier archive, no 1091 which was sold at Christies, lot 1753, 27th July, 2001. Madame Fanny Guillon-Laffaille, the acknowledged Dufy expert confirms that the fabric was designed some time after 1920. Although the silhouette of the dress is more typical of the 1930s, Paul and Denise Poiret divorced in 1928 and his house closed in 1929 and so this robe must pre-date that. £600 - 1000

59 A Dickins & Jones midnight-blue sequined flapper dress, late 1920s, with small colourful sequined orchid motifs against a shimmering crimped blue textured sequined muslin ground, flare to skirt, bust 102cm, 40in £300 - 400

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60 A beaded cutwork organza evening gown, circa 1930, the foliate lattice in metal thread tambour-work edged with silver beads, bias-cut with flared, gored skirt, bust 86cm, 34in £400 - 600

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61 A Chanel couture black chiffon evening jacket and dress, early 1930s, the dress with narrow woven label and stamped 93607, the bias-cut jacket with odeonesque panels, flared sleeves; the satin-backed crêpe dress overlaid with chiffon, but shortened at the lace bodice and now with later added ribbon straps, bust 97cm, 38in (2)

Provenance: originally belonged to Natalie Papineau (1885-1967) £600 - 1000

62 A rare Redfern beaded and sequined ‘flapper’ dress, circa 1928, gold printed black moire label, stamped number 56821, the black crêpe de chine column adorned with bugle beaded floral sprays, sequined upper bodice, the skirt covered in black bugle fringes, bust 102cm, 40in

Although Redfern appeared almost weekly in British Vogue in the 1920s, very few examples from this period have survived. £500 - 800

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63 A rare Chanel sequined head-dress, 1930s, woven label, composed of dark blue sequined stars mounted onto tulle, with elastic headband and single star to the back £500 - 800 63 18

64 A fine and important Chanel couture gold satin evening ensemble, circa 1930-31, narrow woven label and indistinctly stamped 5229 (dress) and 5230 (jacket), bias cut, the jacket formed from patchworked panels which form petal shapes towards the flared hem, all with double rows of top-stitch edging, self lined; the dress with top-stitched V-neck, zig-zag waistline above gored flared skirt, bust 92cm, 38in; together with a matching pair of gold leather shoes, maker’s label indistinct, size 7 1/2 (4)

Provenance: the descendant of an aristocratic family from the Swabian region of Germany.

The Metropolitan Museum includes in its collection a similar dress and jacket with similar top-stitched detailing, see accession no 1984.437a, b. ÂŁ10000 - 15000

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65 A rare Mary Nowitzky (Maria Novitskaya) ‘butterfly’ dress, circa 1930, with narrow blue on ivory woven signature label, ‘Mary Nowitzky, Paris’, the blue columnar dress with printed and hand painted butterfly winged sleeves, an acid-green rear panel with double-tiered butterfly print to hem, sash ties to the front, bust approx 92cm, 36in

66 An early Mainbocher purple satin-backed crêpe evening gown, 1930s, labelled ‘12 Avenue George V, Paris’, with ruched bodice, interesting sleeve details, embroidered and fringed in silver-blue cord, bust 97cm, 38in £450 - 600

67 Two pairs of silk lounging dungarees, attributed to Mary Nowitzky (Maria Novitskaya) circa 1930, un-labelled, one of bottle-green silk, the other of wine silk, with clear glass buttons to the shoulders, bias cut pointed waist seams, wide trouser legs, bust 102cm, 40in (2)

See website for extensive footnote on Mary Nowitzky’s lounging pyjamas. £400 - 600

Mary Nowitzky (the French spelling) opened her fashion house in Paris around 1924.

She became famous for her silk beachpyjamas, knitwear, sportswear and painted silk creations. She married Prince Victor Kochubei and emigrated to America in the 1930s where her success continued.

In 1928 Harper’s Bazaar commented that, ‘The combinations of colours are notable for their brightness and fancifulness...bold yet harmonious colour combinations’.

Literature: `Beauty in Exile’ by Alexandre Vassiliev pp 212-213. £1000 - 1500

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68 A fine and rare Vionnet embroidered tulle evening cape, circa 1931, labelled and numbered 56783, green on white label with printed thumb-print, the golden tulle ground cut in an arc to the centre back, embroidered overall in silver chain stitch with radiating ellipses, edged in gold lame, small button and loop to fasten at the neck with long lame scarf panel ÂŁ3000 - 5000

69 A pale pink/beige guipure couture gown, early 1930s, with tiered skirt, belt, edged with small appliquĂŠd flowerheads, press stud fastened to one side, bust 86-92cm, 34-36in (2)

The vendor of this lot was informed when she purchased it, that this was a bridal gown worn with the previous lot - the Vionnet cape. ÂŁ200 - 300

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70 A fine and important Elsa Schiaparelli couture Zodiac jacket, the Astrology Collection, Winter, 1938-39, Paris labelled and numbered 64010, of midnight blue velvet, with twelve magnificent Lesage couched and embroidered gilt strip signs of the zodiac (or glyphs) to the front opening and neck, edged with rhinestones and crimped metal strip, the front panels and rear hips sprinkled with miniscule glass bugle beaded stardust, rhinestone and gold thread embroidered planets and constellations, glass shooting stars with embroidered comet tails, the left shoulder and hip panel embroidered and beaded with the Big Dipper (part of the Ursa Major constellation and Schiaparelli’s good-luck emblem), the fabric gently gathered over the hips and held in a vertical band at the centre back, invisibly fastened by gilt hooks and silk-wrapped eyes and lined in blue silk, bust 86cm, 34in, waist 71cm, 28in

This is arguably one of the most beautiful of all Schiaparelli’s creations with its glittering embroidery, shimmering star-shaped beads and rhinestones set against a midnight blue velvet ground. It would have been worn over a matching bias-cut evening gown. Marlene Dietrich, a huge fan and client of Schiaparelli, ordered numerous pieces from her. She was photographed in her Beverly Hills residence in 1938 wearing the zodiac ensemble with matching dress.

The collection was first presented in Paris in August 1938. Schiap was fascinated by the night sky that she used to view as a child through her uncle’s telescope the renowned astronomer Giovanni Schiaparelli, director of the Brera Observatory in Milan. He inspired in her a lifelong fascination with the celestial realm. He commented that the moles on her cheeks reminded him of the Big Dipper which she adopted as her ‘lucky star’, incorporating it into printed fabrics, the fabric lining her salon, her own personal jewellery as well as on this magnificent jacket.

Schiaparelli’s press agent Hortense MacDonald stated that the Astrology collection was defined by Euclid’s famous geometric treatise - ‘Elements’. The lustrous embroidery and superb condition of this jacket, make it one of the most important and beautiful Schiaparelli garments ever to come onto the market.

70 (detail)

Literature: ‘Elsa Schiaparelli’ by Palmer White, p.90; ‘Shocking: The Art and Fashion of Elsa Schiaparelli’ by Dilys Blum pp.188-9. £40000 - 60000 70 (label)

70 (back)

70 (detail) 23

73

71

73

74

71 A B. Altman & Co brushed knitted green wool ski ensemble, circa 1935, labelled, comprising: sweater with yellow and brown knitted ribbed waistband, wool braid edgings, integral scarf, the roomy trousers with ribbed ankles, elasticated waist and chunky metal side zip (3)

73 A rare and early Christian Dior ‘New Look’ black wool jacket, circa 1948, with un-dated black on white Paris label indistinctly numbered 5078, fastened by hooks and eyes with rounded, lightly padded hips, button detailing to the collar and shoulders, bust 86cm, 34in

74 A rare Jeanne Lanvin couture dinner dress, made in occupied Paris, Summer, 1942, large woven dated label, of black crêpe with draped red and silver sleeves edged in gold braid, metal zip to fasten, bust 86-92cm, 34-36in, waist 61cm, 24in

A similar suit is photographed being worn

by Marsha Hunt in 1935 in ‘The Way We Wore, Styles of the 30s and 40s’, p.55. £450 - 600

In Dior’s Envol and Zig Zag collections of 1948 he played with winged shapes and asymmetry. The collar of this jacket when worn buttoned up forms a triangulated point. £600 - 1000

72 An art-deco gold sequined and beaded evening jacket, late 1920s, with sun-ray bands of gold beads on a sequined muslin ground, chest 97cm, 38in £200 - 300

74 (label) 24

Provenance: the Garrigue-Guyonnaud collection. £800 - 1000

75

75 A rare and early Christian Dior black faille dress coat, Autumn-Winter, 1949-50, ‘Mid Century’ collection, un-labelled, with selfcovered buttons to centre-front closure and waist, highly embellished black velvet cravat-like collar and front skirt panels, with three dimensional felt berries and foliage, jet-like beaded C-scroll tendrils, broad box pleats to the rear skirt, bust 92cm, 36in

75 (detail)

77 A Schiaparelli newspaper-print silk tie for Austin Reed, 1950s but using the original 1935 print, the design composed from a montage of Schiap press clippings, 112cm, 44in long £100 - 150

78 A ‘Vionnet London’ pale green beaded velvet flapper dress, circa 1928, mauve on ivory satin label ‘Vionnet, 64 Regent Street, London’, the front with deep scooped band of silver bugle beads, the hem with flowerheads in shades of pink and blue, bust 86cm, 34in

This dress is interesting because although it bears a Vionnet label, it is not haute couture nor does it bear any of the masterly construction techniques Madeleine Vionnet employed. The eponymous couturier spent her life fighting copies of her designs - but in this case it seems just her name was adopted! £400 - 600

See ‘Dior’ Thames & Hudson p.107 for a photograph of an identical model. £10000 - 15000 76 A Nardi natural linen riding habit, 1931, labelled ‘Nardi, 73 West 47th St, New York’, and with client name Mrs Davis Ireland, 6.9.31, comprising: jacket, jodhpurs and over-skirt, chest 107cm, 42in, waist 102cm, 40in (3) £250 - 400

75 (detail) 25

79

79 A Madame Grès black draped silk jersey evening gown, late 1930s-early 1940s, unlabelled, with pleated front bodice, cap sleeves, back slit open to the waist, draped wrap-around skirt, bust approx 86cm, 34in, waist 66cm, 26in

Provenance: Baroness Cora von Regensburg £700 - 1000 80 An embroidered and beaded black velvet dress, circa 1924, embroidered with chinoiserie blossom and branches in pink, blue and gold, bust 97cm, 38in £250 - 350 81 An electric-blue and black sequined flapper dress, mid 1920s, the black tulle gown entirely covered in a shimmer of blue sequins with large black spidery motifs in large black paillettes, lined in organza, bust 97cm, 38in £300 - 500

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85

82 A Jeanne Lanvin couture black satin crêpe evening gown, Autumn-Winter, 1930-31, woven and dated label, no 41097, the dress falling in gores from the shoulders culminating in petal shaped lobes to the hem, tiered satin-edged fichu capelet to the shoulders, bust 86cm, 34in £450 - 600 83 An Agnes-Drecoll couture black crêpe dinner gown, circa 1940, large woven yellow and white label, with elaborate rouleaux strap-work embroidery, black sequined flowerheads, sheer chiffon sleeves, bust 97cm, 38in, waist 71cm, 28in £300 - 500 84 A beaded flapper dress, late 1920s, the crisp, white muslin ground covered in a shimmer of silver beads, with white beaded banding and lozenge motifs, van-dyked hem, bust 92cm, 36in £250 - 400

85 A Christian Dior London deep scarlet taffeta ball gown, late 1950s, labelled and numbered 22156, with integral boned tulle corset, a swathe of silk encircles the waist with bow to upper flounced bodice, columnar skirt with gathered silk overskirt with tulle padders, bust approx 86cm, 34in, waist 66cm, 26in £700 - 1000 86 A black lace and ciré (wet look) rayon evening gown, circa 1935, bias-cut with ruched gathers to bodice, silk flowers to hem, matching bolero; with a photograph of the original owner, bust 92cm, 36in (qty) £200 - 300

87

87 A black velvet cocktail dress, attributed to Maggy Rouff, circa 1955, the front skirt with Lesage chenille embroidered floral medallions framed in black cellophane and beading, multi-layered petticoats with horsehair stiffening, bust 86cm, 34in, waist 66cm, 26in £600 - 1000 88 A Christian Dior London slubbed wine silk cocktail dress, circa 1959, labelled and numbered 21031, the bodice trimmed with rouleaux piping and bows, bust 92cm, 36in, waist 71cm, 28in £250 - 350 88A An Yves Saint Laurent for Christian Dior puff-ball cocktail dress, probably AutumnWinter, 1958, labelled 'Boutique, Christian Dior Paris, no 219501', of chiné silk taffeta in shade of blue on a black ground, bust 86-92cm, 34-36in, waist 66cm, 36in

This lot is being sold in aid of a hospice £1000 - 1500

90

89 ∆ A black Columbus monkey fur cape, circa 1940, labelled ‘Simpsons, Toronto, Montreal’, lined in black silk £400 - 600 90 An Yves Saint Laurent for Christian Dior couture black faille cocktail dress, probably Spring-Summer, 1958, un-labelled, with princess-line bodice and skirt, the skirt sweeping round to the back waist which frame vertically draped flounces centreback, creating a bustle-like effect, with cross-over closure panel to back bodice, integral tulle corset with suspenders, layered tulle petticoats, bust approx 86cm, 34in, waist 66cm, 26in £4000 - 6000

90 (detail)

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93

91 A Christian Dior London aqua slubbed silk dress, circa 1959, labelled and numbered 23512, with curved bodice panel and button to midriff, bust 92cm, 36in, waist 66cm, 26in; together with a Dior London navy wool suit, the boxy jacket with large buttons, knee length skirt c.1960, labelled and numbered 23507, chest 97cm, 38in, waist 71cm, 28in (3)

A similar model of the dress in black was advertised in British Vogue, October 1958 p.133 £300 - 500 92 ‘Kent Record’ Pearly King and Queen ensembles, 1940s, the King comprising ornately decorated suit, cap, tie, bow-tie, brace; the Queen with coat, chemisette, two hats, a handbag and shoes (qty) £400 - 600

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93 (detail)

93 A Christian Dior London pale-green silk gazar evening gown and matching coat, 1969, labelled and numbered 55915, the sleeveless gown with elaborately embroidered, sequined and beaded bodice, the matching coat with nehru collar and self covered buttons and loops to fasten, bust 86cm, 34in (2) £600 - 1000

96 An early Pierre Cardin slubbed beige silk cocktail gown, circa 1956-7, labelled Pierre Cardin, Jeunesse, Paris and also with Canadian retail labels, with couture standard internal finishing, the puff-ball skirt with large grey silk blossom to each side, cross-over rear bodice, bust 97cm, 38in £200 - 300

94 A Jean Dessès sage green pleated chiffon cocktail dress, circa 1960, bearing ‘Prêt a Porter’ label as well as handwritten tags, the under-dress of velvet with chiffon tabard panels to front and back, bust 86cm, 34in, waist 66cm, 26in £250 - 350

97 A Christian Dior London black silk taffeta cocktail dress, circa 1953, labelled and number stamp 01686, size 12, comprising separate bodice with pleats to short sleeves, swathed fichu to the shoulders, double-breasted, with matching buttons to the front of the box-pleated skirt, bust 8692cm, 34-36in, waist 66cm, 26in (2) £400 - 700

95 A Sybil Connolly Irish crochet and orange moiré evening ensemble, late 1950s, labelled ‘Sybil Connolly, Dublin’, the short bodice backed in tulle, the skirt with broad waistband, bust approx 86cm, 34in, waist 66cm, 26in (2) £350 - 500

98 A champagne coloured mink coat, probably 1960s, lined in satin, chest 92cm, 36in; and a glossy dark brown mink jacket, chest 102cm, 40in (2) £300 - 500

99

106

99 A Chanel couture golden cut-velvet shorts ensemble, 1969, un-labelled, the gold lurex flecked tunic and shorts edged in gold braid with sequined centres, lined in yellow silk, the tunic hem with side slits and chainweight, bust 92cm, 36in, waist 66cm, 26in (2)

102 A Balenciaga couture navy wool suit, circa 1960, Paris labelled and numbered 97424, the jacket of loose cut with black domed buttons to fasten, chest 102cm, 40in, waist 71cm, 28in (2) £400 - 600

Marisa Berenson was photographed at the time wearing a similar pink brocade version of this ensemble. £500 - 800

103 A Malcolm Starr pink and black brocatelle cocktail ensemble circa 1965, labelled Elinor Simmons for Malcolm Starr, the geometric weave highlighted in gold lurex, bust 86cm, 34in (2) £200 - 300

100 A Balenciaga jade-green velvet hat, probably early 1960s, Paris labelled, the top-stitched pill-box with two jersey turban ties £150 - 250 101 A Christian Dior London ivory satin cocktail ensemble, circa 1959-60, labelled and numbered 20096, the dress with bow to raised waist, the bodice scattered with beads and sequins, with gold star bead and silver beaded borders, matching bolero jacket, bust 97cm, 38in, waist 81cm, 32in (2) £400 - 600

104 A Marc Bohan for Dior couture brown wool mini-dress, Autumn-Winter, 1969, labelled but not numbered, with two large patch pockets to front skirt, bust 86cm, 34in £250 - 350 105 A Pierre Cardin tangerine wool crêpe minidress, late 1960s, Paris labelled, with U-shaped top-stitched panel to yoke, bust 86cm, 34in £300 - 500

106 A Loris Azzaro silver and black chequered, fringed cocktail dress, circa 1965, unlabelled, bust approx 86cm, 34in; together with a gold chain-mail tunic with fringed hem, late 1960s in Paco Rabanne style (2)

Brigitte Bardot was photographed wearing an identical Azzaro dress in the mid 1960s. £400 - 600 107 A Marc Bohan for Christian Dior couture dark-grey tweed cocktail ensemble, Autumn-Winter, 1962, labelled and numbered 116477/116478, comprising shift dress, the midriff with lavish Lesage embroidery, matching jacket with braceletlength sleeves, bust 97cm, 38in (2) £400 - 600 108 A Balenciaga black fur `helmet’, circa 1960, labelled and numbered 2303, in original hat box (2)

Provenance: Countess Beatty/Lady Nutting £300 - 500

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109

115

109 A Campbell’s ‘Souper’ dress, American, 1968, intact original label glued to inside, boldly printed with the iconic Andy Warhol design, bust 102cm, 40in £1000 - 1500

112 A rare and early Ossie Clark mini-dress, circa 1966, with large printed ‘Ossie Clark for Quorum’ label and a woven label ‘Made in England expressly for Gimbels’, of pink wool with satin ribbon stripes to collar and pocket, bust 81cm, 32in

114 A pair of Courrèges white plastic sunglasses, 1964, signed along the arms, the solid lenses with horizontal slits, 15cm, 6in long £250 - 350

110 MPH paper dresses, early 1970s, comprising: World Trade Center, showing the twin towers, satellite dish, lightning storm, surfer and shark, in original packaging, medium size (5) £600 - 1000

This dress was sold through the American department store group - Gimbel Brothers at a time when so many ‘swinging London’ designs were being imported into the US. The label is one of the earliest known - used at the beginning of Clark’s career. The very simple mod-lines are typical of his early work after he graduated from the Royal College of Art in 1965. £250 - 350

115 An Yves Saint Laurent couture black satin bias cut evening gown, circa 1978, labelled and numbered 47055, with large bow to centre front, bust approx 86-92cm, 34-36in £600 - 800

111 Jean Patou sunglasses, probably 1960s70s, in red, yellow, white and tortoiseshell (4) £150 - 200

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113 Three paper dresses, American, 1960s, comprising: Mars of Asheville ‘Nixon’ campaign dress, bearing Waste Basket Boutique paper label; James Sterling Paper Fashions Nelson Rockefeller, printed to the front with photographic portraits, the back with, ‘Rocky’; and a Time Magazine promotional black on tan print dress (3) £200 - 300

116 A Pierre Balmain couture printed organza gown and stole, circa 1970, labelled and numbered indistinctly, the bodice attached to the fitted collar, matching triangular shawl and belt in tartan print in shades of mauve-pink, bust approx 82cm, 32in (3) £300 - 400

119 A Givenchy couture black gazar evening ensemble, ‘Jours de France’ collection, Autumn-Winter, 1971, un-labelled, comprising jump-suit and matching jacket of Abraham’s silk with Joan Miro inspired chenille embroidery, bust 86cm, 34in, waist 61cm, 24in (2) For a coat from the same collection see KTA June 8th, 2010 lot 116

Also http://blog.momu.be/2013/exhibition /hubert-de-givenchy-abraham/ for a photograph of a model wearing a similar coat from the collection. £500 - 800 120 A Thea Porter black chiffon and gold sequined kaftan gown, 1970s, couture labelled, with star-burst of sequins to the yoke, slotted tie belt, the cord edged sleeves trimmed with tassels £600 - 1000

117

121

117 An Ossie Clark/Celia Birtwell printed chiffon gown, mid 1970s, Radley labelled, with floral and naked woman prints in peach, green and yellow against a black ground, wrap-around with tie belt, bust approx 86cm, 34in; together with a Bernard Neville print woollen kaftan dress, late 1960s (2) £500 - 700

121 A Zandra Rhodes Ayers Rock collection evening gown, 1978, labelled, the chiffon printed with Lace Mountain pattern in shades of peach, grey and lilac, with matching pink satin sash and a headband adorned with floret and shell shaped sequins, bust approx 86-92cm 34-36in (3)

Although the Ayers Rock collection was first presented in 1974, this dress was worn as a bridal gown in 1978. £500 - 900

118 A pair of ‘glam-rock’ snakeskin platform boots, early 1970s, lycodonomorphus rufulus, adorned with zig-zag bands of multi-coloured leather, with red heels and blue platforms, UK size 5 1/2 (2) £400 - 600

122 An Yves Saint Laurent Rive Gauche bottlegreen wool coat and capelet, 1970s, labelled and size 38, with sleeve-less under-tunic, chest 97cm, 38in £200 - 300

118A An Ossie Clark/Celia Birtwell printed chiffon evening gown, 1970s, labelled, size 10, with prints including ‘Marie-Antoinette’, bust approx 86cm, 34in £1000 - 1500

120 31

127 A Thierry Mugler black lace and oyster satin cocktail suit, early 1990s, woven blue label, size 36, with curved seams to emphasise the breasts and hips, black velvet bow, pointed hem, over short pencil skirt, chest 86cm, 34in, waist 60cm, 24in (2) £200 - 300

123 A Zandra Rhodes printed pink chiffon cocktail dress/tunic, mid 1980s, labelled, edged with pearl beads and fringes, approx bust 86-92cm, 34-36in, elasticated waist £200 - 300 124 A Zandra Rhodes black ultra-suede and wool cocktail dress, circa 1980, labelled, boldly printed in gold, the cuffs trimmed with gilt bells, with matching belt, bust approx 86-92cm; together with a gold embroidered black Palestinian jacket c.1950 (3) £200 - 300

128 An Ossie Clark black moss crêpe and satin evening dress, mid 1970s, labelled and size 12, with draw-string to neck, bodice has slit-openings to waist front and back, decostyle bias cut satin bands to hips, bust 86-92cm, 34-36in, waist 66cm, 26in £200 - 300

125 An Ossie Clark/Celia Birtwell ‘Ziggy Stardust’ printed chiffon evening gown, late 1970s, labelled and size 12, the pale grey ground printed with purple and green bouquets, bust approx 86-92cm, 34-36in £600 - 800

129 A Zandra Rhodes flounced tulle and printed chiffon ball gown, 1970s, labelled, the ivory chiffon bodice printed with radiating squiggles and adorned with opalescent shell and foliate shaped sequins, above a multi-tiered white tulle skirt, with matching petticoat and ivory satin sash, bust 92cm, 36in, waist 61cm, 24in (3) £450 - 600

126 A fine Ossie Clark/Celia Birtwell printed chiffon evening gown and cape, circa 1976, labelled and size 10, printed in fresh green, blue, red, black and red on a white ground, halter-neck ties to dress, bust approx 86cm, 34in £1000 - 1500 126

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129

130

130 A Valentino couture evening gown, circa 1985-8, un-labelled, of deep peach crêpe, the bodice covered in swirls of bugle beads and rhinestones, the skirt formed from pleated interwoven godets of chiffon in shades of deep wine to peach, bust 86cm, 34in, waist 66cm, 26in £800 - 1200 131 A Zandra Rhodes pink and lilac printed chiffon evening gown, mid 1980s, labelled, with quilted satin waistband, wing-shaped transparent panel to the bodice, printed in gold and blue with scrolling palmettes, bead-edged flounced sleeves, bust 86cm, 34in, waist 66cm, 26in £300 - 500

132 & 134

132 A Zandra Rhodes printed pink chiffon evening gown, circa 1984, labelled, with grey and ivory leaf print, quilted grey satin waistband, ruched and gathered skirt, the bodice edged and adorned with pearl beads, pink and clear zig-zag beaded bands, hand rolled edges, bust approx 8692cm, 34-36in, waist 66cm, 26in £400 - 600 133 A Zandra Rhodes printed white chiffon cocktail dress, 1980s, labelled, printed with grey and ivory stars, with fan-shaped pleats radiating from hip to shoulder, edged in pink beads and crystal droplets, bust 8692cm, 34-36in, waist 66cm, 26in £200 - 300

134 A Zandra Rhodes printed blue chiffon evening gown, circa 1984, labelled, printed with sea shells in shades of peach and mauve, with elaborate shell shaped sequins to the upper bodice, low back, ruched and gathered skirt with central flounce and zig-zag hem edged in pink metallic beads, bust 86cm, 34in, waist 71cm, 24in £400 - 600 135 An Yves Saint Laurent couture fuchsia silk crêpe dinner dress, early 1980s, labelled and numbered 57618, black glass buttons to fasten, bust 92cm, 36in, waist 66cm, 26in £250 - 350

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Lots 136 to 140 are from the wardrobe of the late Mark Golding (Marc Vaultier) 1966-1986.

Marc was the friend and collaborator of Leigh Bowery, the outrageous performance artist, fashion designer, artist’s model and club host. Marc is photographed with Leigh Bowery in ‘Leigh Bowery’ Violette edition on pp.17, 52 (the picture is wrongly identified as Trojan) and p.62 inside the Taboo club.

In 1985 the club entrepreneur Tony Gordon invited Bowery to become the public face of Taboo, which was a languishing night club in Leicester Square. Bowery transformed it almost overnight into the most outrageous and talked about club in London. The journalist Alix Sharkey described it as ‘the sleaziest, campiest, and bitchiest club in London’. The clientele included Boy George, Sade, Derek Jarman, the Bodymap crew and John Galliano. In the 1980s London clubs became the place where fashion, music, art and self-expression collided, interacted and produced a whole new creative energy.

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The young Marc Vaultier with his classic good looks became part of the scene, was befriended by Bowery and given the important role of greeter/doorman at Taboo between 1985-6. If Marc didn’t like the way you looked - you didn’t get in. You had to dress as though your life depended on it; anyone regarded as looking remotely ‘normal’ was turned away. Marc would stick a mirror in the faces of those waiting outside and say ‘Would you let yourself in?’. Bowery stated in 1985, ‘We only let in fabulous, over the top dressers and stars’. The longer the queue became - the greater the desire to get in.

Leigh Bowery dressed Marc in gorgeous shimmering satins, deep soft velvets and frilled lace shirts. The proportions and cut of the clothes were large and generous (Boy George commented that Bowery’s designs made him look fat) and gave the impression of something chosen from a crazy dressing up box. Pete Silverman writing about the club in 1985 described Marc as ‘having clumped up the stairs in his high-heel wedgies. His long blonde hair falls in strands over a blue cord top with shoulders peaked to ear level and D-cup breast mouldings.”

Marc Vaultier and Leigh Bowery both died tragically young. Perhaps these clothes represent a youth spectacularly mis-spent but also hugely enjoyed. It wasn’t just a matter of exhibitionism, or trying to look interesting (although that was a part of it) the clothes were integral to the world they invented and inhabited and were taken very seriously. The fashions spawned in these London clubs went on to influence catwalk fashions and culture for the following decade.

136

138

136 A rare Leigh Bowery swastika cropped smock-top, circa 1985, the brown and white checked cotton ground hand-printed with black swastikas, the brown knit armholes hand-printed with yellow spots, the collar of multicoloured 1970s printed knit

Leigh Bowery was photographed by his friend Sue Tilley, plastered in polka dots making one of these tops - see ‘Leigh Bowery’, Violette editions p.51. £600 - 900 137 An early John Galliano shirt, 1985-6, labelled Galliano 1, formed from panels of lavender-blue, taupe and pink cotton and broderie anglaise with mauve cotton sleeves and back, striped and cutwork cuffs threaded with neon laces, brown buttoned fin-like panels to the sleeves £400 - 600 138 A Leigh Bowery ivory satin-backed crêpe bolero jacket, circa 1985, the fabric folding over and doubling back to the rear yoke, deep collar which becomes floating panels at the back which attach to the pink nylon cuffs, deep pouched pockets to the front, of voluminous cut £400 - 600

136

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139

140

139 An important Leigh Bowery triple collared shirt, circa 1985, of semi-circular bat-wing shape, the pink and white hound’s toothchecked cotton edged in peach acetate and white nylon lace, the exaggerated pointed central collar with three Chanel buttons to fasten, to further ‘collar’ openings at the shoulders, with long sleeves, knitted cuffs, diagonal pocket vents below the empireline frill to the chest

140 An important Leigh Bowery peacock-blue three piece evening suit, circa 1985, comprising: voluminous striped satin shirt with pointed hem and integral cape panel to the back, slanting diagonal buttons to chest; a plush full-length coat with striped satin/faille lapels and facings, two outsized buttons, pouched pockets set high at the waist and matching breeches with pouched patch pocket to one knee (3) £3000 - 5000

Marc was photographed wearing this shirt inside the Taboo club in ‘The Encyclopaedia of the Eighties - a Decade of I/Deas’. £3000 - 5000 Marc wearing lot 139

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141 A rare pair of Westwood/McLaren ‘SEX’ stilettoes, circa 1976, the insoles stamped `Especially for SEX, 430 Kings Road, Chelsea, Made in England’, with rounded toes, metal spikes protruding from the heels, UK size 5 1/2 (2)

Kate Moss in a recent article in Love magazine stated that an identical pair of ‘Sex’ labelled shoes are her favourite possession. £1500 - 2000

141 (label)

141

142 A striking Thierry Mugler white fur coat, early 1990s, blue couture label, the white fur with criss-cross lattice of black fur, pointed rear tails, chest 92cm, 36in £600 - 1000 143 A Granny Takes a Trip ‘cowboy’-style black velvet jacket, late 60s-early 70s, with magic-mushroom logo World’s End label, with curved lapels, sage-green velvet facings, chest 86cm, 34in £350 - 500 144 Two Mr Freedom shirts, early 1970s, one with yellow windowpane check, embroidered appliquéd terriers to the pocket, printed pink and blue label; the other a navy satin sailor shirt with red ribbon trim, remains of label, chests 8692cm, 34-36in (2) £300 - 500 141 (detail)

145 A Mr Freedom navy and scarlet velvet ‘cowboy’ shirt, 1970s, labelled ‘Mr Freedom, London, 14 1/2’, with popper fastenings; together with a pair of dark blue velvet trousers, chest 97cm, 38in, waist 76cm, 30in (2) £250 - 350

142

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148 An Alexander McQueen quilted waxed steel grey cotton jacket, Autumn-Winter, 1999, labelled and size 44, fastened by hooks and eyes, with pointed, wing-like lapels which form a deep pouched point centre back, chest 107cm, 42in £500 - 800 149 A Nina Ricci couture evening ensemble, 1996, labelled, comprising cropped turquoise satin bodice encrusted with large turquoise beads, embroidery and sequins in scrolling palmettes, the skirt with deep waistband similarly worked in orange over a crisp white cotton matelasse skirt woven with botehs, bust 81cm, 32in, waist 66cm, 26in (2) £500 - 700

146

150

146 An Azzedine Alaïa black knitted silk bodycon evening gown, early 1990s, labelled and size M, with single button to collar, sculpted and gored panels which follow the contours of the body, bust approx 86cm, 34in £450 - 600

150 An Alexander McQueen for Givenchy black crêpe and leopard lace evening gown, Autumn-Winter, 1997 collection, couture labelled and size 36, the black crêpe column with spaghetti straps, curvaceously cut with godets to the hem, with lacecovered nude silk panels intersecting the waist and hips, bust approx 86cm, 34in

147 An Alexander McQueen for Givenchy black satin evening gown with wide beaded belt, circa 1997, couture labelled and size 42, the long black tunic dress with broad belt to the midriff covered in bugle beads in geometric patterns, bust 92cm, 36in, waist 81cm, 32in (2) £500 - 700

A similar though not identical gown was used in the 1997 Givenchy advertising campaign. £800 - 1200 151 A Pierre Balmain couture blue silk dress and tweed coat, 1997, labelled, no 172699, the sleeveless dress formed from multiple tiers, bust 86cm, 34in (2) £200 - 300

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152

152 A Comme des Garçons black tousled knit tunic, probably early 1990s, labelled ‘Tricot Comme des Garçons’, with one short, wide sleeve and one long narrow sleeve, irregular hem, the knitted ground entirely covered in strands of twisted tapes and wool to give a de-constructed appearance, chest approx 102cm, 40in £2000 - 3000 153 A Rochas couture brick-red silk quilted coat, Autumn/Winter, 1992-93, with hand-written collection tag, lined in printed cotton, with large gilt buckle to waist, chest 97cm, 38in £250 - 350

155

154 An Alexander McQueen for Givenchy embroidered black crêpe cat-suit, Spring/Summer 1998 ready to wear collection, with Givenchy Paris ‘couture’ label, the strapless bodice with boned inner corset, embroidered with two golden eagles on a bough, bust 76-82cm, 30-32in, waist 56cm, 26in

155 An Issey Miyake ‘circle’ jacket, probably mid 1980s, labelled, with concealed bauble buttons to centre front, large knitted pink and black felted wool discs to front and back and forming shoulder pads and sleeve adornments, chest 117cm, 46in £600 - 1000

For an image of this piece on the catwalk see: http://forums.thefashionspot.com/f116 /1996-2001-givenchy-alexander-mcqueenready-wear-haute-couture-121177.html, page 5 £400 - 600

156 A Yohji Yamamoto black crêpe de chine dress, probably late 1990s, labelled and size 2, with fitted, zip fastened skirt, the partly attached bodice with one fully formed sleeve, a shaped panel to the other side, the bodice draping to form a cowl at the back and rising to partially reveal the midriff, waist 66cm, 26in £200 - 300

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157

161

157 An Alexander McQueen silver-grey satin bias cut evening gown, 2007, narrow white on grey label, size 44, the draped cowl neck edged with silver beaded fringes, embossed sequin edges, zip fastened to one side, long trained skirt, bust approx 92cm, 36in, waist approx 76cm, 30in; with original shop tag and spare beads £800 - 1200

160 An Alexander McQueen giant hound’s tooth checked wool trapezoid cape, ‘The Horn of Plenty’ collection, Autumn-Winter, 2009-10, labelled, with funnel shaped collar, doublebreasted with large black buttons, curved pocket vents, lined in ivory silk, with original shop-tag

In this collection (where he parodied Dior’s classic checks) the model’s face with clown-like red mouth, emerged mask-like from the deep collar, and was accessorized by a white matador-style cap. £600 - 1000

158 A Chanel black wool suit, 1994, boutique labelled, size 40, with CC logo buttons, chest 92cm, 36in, waist 71cm, 28in (2) £250 - 350

161 An Alexander McQueen black bugle beaded halter-neck cocktail dress, 2007, labelled, with low scooped back, undulating black bugle beads to the bodice, the skirt falling in multi-layered tulle tiers inset with flaring godets, bust approx 86cm, 34in; with bag of spare beads (2) £800 - 1200

159 A John Galliano Tudor inspired tweed coat, circa 2004, London label, trimmed with white rabbit fur, chest 86cm, 34in £400 - 500

160 40

162 A Yohji Yamamoto silk tweed Chanel inspired suit, Spring-Summer, 1997, labelled, comprising: un-lined jacket edged with gold sequins, un-hemmed long wrapover skirt and vest top, chest 86-92cm, 34-36in (3)

168 A Chanel cream wool ensemble, circa 2000, labelled ‘Chanel’ and size 38, comprising bodice, skirt and coat with large silver paillettes, bodice bust 92cm, 36in, waist 71cm, 28in (3) £600 - 800

The 1997 tribute to Chanel collection combined her classic styling with hobo tailoring.

169 A Chanel grey tweed gown with ‘gem’ encrusted brooches, labelled ‘Chanel’ and size 38, edged in gilt thread, with long, floating panels falling from the shoulders, the brooches in baroque style with cruciform centres, bust 86cm, 34in (3) £600 - 1000

Literature: KCI Archives, Taschen p.486 £400 - 600

163 An Alexander McQueen printed silk jersey evening dress, ‘Natural Distinction, UnNatural Selection’ collection, Spring-Summer, 2009, narrow woven label and size 46, printed in shades of blue with prismatic jewel-like forms, sleeve-less but with looped panels falling from the rear shoulder to the front hip, bust approx 92cm, 36in £600 - 800

170 An Alexander McQueen evening gown, probably Spring-Summer 2003, un-labelled but with McQueen paper retail tag, the corset-like bodice of black organdy crisscrossed with boning struts above a tiered black broderie anglaise skirt, bust 86cm, 34in, waist 66cm, 26in £400 - 600

164 A Chanel mauve tweed suit, 2003, boutique label and size 40, the jacket with frayed/tousled trim, chest 97cm, 38in, waist 79cm, 31in (2) £350 - 500

171 A Junya Watanabe for Comme des Garcons denim dress, 2001, labelled and size S, formed from intricately pieced, spiralling panels of fabric, zip fastening concealed to one side, bust approx 86cm, 34in £600 - 800

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172 An Alexander McQueen for Givenchy burnished metal belt, 1998, un-signed, hand-forged with two large flowers forming the centre, approx 71cm, 31in diam £150 - 200

165 A Gucci quilted brown leather jacket, modern, labelled and size 46, chest 97cm, 38in £200 - 300

166 A Chanel cream tweed suit, labelled ‘Chanel’ and size 38, skirt and jacket edged in cream and beige chiffon, with wheelbarrows of wheat formed from buttons; together with a Wunderkind silk camisole top, bust 86cm, 34in, waist 71cm, 28in (3) £600 - 800

167 A Chanel black and white tweed suit, labelled ‘Chanel’ and size 36, the tweed overlaid with strips of silk ‘fringing’, the clear perspex buttons with CC centres, bust 86cm, 34in, waist 71cm, 28in (2) £600 - 800

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171 (detail) 41

173 (detail)

173 An Alexander McQueen ‘Plato’s Atlantis’ collection reptile-print organza dress, Spring-Summer, 2010, grey label and size 42, with python-like photo-collage print, rounded satin cap sleeves, bust 86cm, 34in, waist 66cm, 26in £5000 - 8000 174 An Alexander McQueen purple satin cocktail dress, Autumn-Winter, 2007, labelled and size 40, the short, fitted dress with outsized funnel collar, hooped insert to hem, bust 81cm, 32in £500 - 900

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175 A Riccardo Tisci for Givenchy couture dark brown coat and skirt ensemble, 2005, labelled and numbered 87148, 87185, the gabardine coat with heart-shaped panels to the bodice and intricate pieced geometric panels to the tails, crochet and silk fringed sides, the leather skirt with simple vertical panels, chest 86cm, 34in, skirt waist 66cm, 26in (2) £400 - 600

173 (label) 42

176 An Alexander McQueen beige chiffon cocktail dress, Autumn-Winter, 2006, labelled and with shop tag, size 42, with integral corset, the pleated draped chiffon plaited into a single shoulder strap, with floating scarf panel to the other, with asymmetric stomacher-front bodice of gilt military style embroidery, bust 86cm, 34in £500 - 800

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177 (detail)

177 An Alexander McQueen gold and silver brocaded evening dress, ‘Angels & Demons’ collection, Autumn-Winter, 2010-11, with narrow grey label, the shimmering fabric woven with angels with outstretched wings, with fold-over bodice front fastened with a gilt button, the back with severe point of fabric with large woven wing motifs over the shoulders, short gathered and tucked skirt, lined in gold silk, bust 86cm, 34in, waist 66cm, 26in

Angels & Demons was the last collection designed by McQueen before his untimely death. It was characterised by rich opulent fabrics, the use of golds and reds, gothic and renaissance references and imagery.

The lavish silk gives a first impression of shimmering moth wings - it is only when one looks closely that the figures of angels holding aloft coronets can be detected in the complex weave. ÂŁ3000 - 5000 177 (back)

177 (detail) 43

178 A fine and important Alexander McQueen enamelled metal ‘buttercup’ dress, ‘Natural Distinction, Un-Natural Selection’ collection, Spring-Summer, 2009, bearing Alexander McQueen Press Sample label, and numbered ‘49, 5017-1 Original’, the boned strapless yellow satin dress encrusted with gilt metal and yellow enamelled buttercups with French-knotted silk stamen centres, the nude satin side panels appliquéd with embroidered floss silk flowers in ivory and yellow, the skirt inset with struts to form exaggerated hips/panniers, bust approx 86cm, 34in, waist 61cm, 24in

In this collection McQueen pondered the fate of the planet and celebrated the beauty of nature and a world un-touched by the hand of man. The runway backdrop showed a video of a revolving Earth flanked by various stuffed endangered species.

McQueen explained in programme notes that he had been pondering Darwin’s theory of the survival of the fittest. The first section of the show represented Nature unviolated with clothes smothered in blossom in pinks and yellows, lace embroidered with wild flowers and grasses or prints reminiscent of moth’s wings. This was followed by brilliantly coloured kaleidoscopic crystal prints, which segued into the Un-Natural Selection garments -black and white or metallic-look dresses, some shimmering with Swarovski crystals. Perhaps to re-iterate his love of nature and the dangers inherent with its corruption, at the end of the show he appeared dressed as a giant white rabbit!

The show was hailed as one of the most beautiful and commercially successful of all of his collections.

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£8000 - 12000

178

178 (detail)

178 (detail)

BALLETS RUSSES 179 Diaghilev’s Ballets Russes: ‘Scheherazade’, costume for a Young Man, designed by Leon Bakst in 1910, comprising: a mossgreen velvet bolero jacket with slashed sleeves lined in peacock blue cotton satin, appliquéd and painted satin botehs to each shoulder, and a pair of brown cotton satin Turkish trousers painted with gold stripes, drawstring to waist (2)

Provenance: Sotheby & Co, 3rd March, 1973, lot 52 £1500 - 2500 180 Diaghilev’s Ballets Russes: ‘Scheherazade’, a printed cotton tunic, designed by Leon Bakst in 1910, of rust-red and blue satinised cotton, printed with silver droplets and golden stripes, prestud fastened to neck, the hem edged in tousled silver braid

Provenance: Sotheby & Co, 3rd March, 1973, lot 52 £1000 - 1500

181 Sotheby & Co catalogue of the ‘Costumes and Curtains from the Diaghilev and de Basil Ballets’, 1973, paperback with hand-written annotations £80 - 120 182 Diaghilev’s Ballets Russes: ‘Scheherazade’, costume for a Young Man, designed by Leon Bakst in 1910, comprising: sagegreen velvet bolero jacket with slashed sleeves, circular Ballets Russes stamp to the lining and inked names and label ‘Scheherazade En Suite’, Arigliarco?, lined and faced in mustard cotton-satin, with gold braided trim, gold and sage silk botehs appliquéd to the shoulders, inner sleeves of brown cotton-satin; and a pair of purple cotton satin Turkish trousers printed with gold stripes, draw-string to waist (2)

Provenance: Sotheby & Co, 3rd March, 1973, lot 52 £1500 - 2500 179

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183

184

183 Diaghilev’s Ballets Russes: ‘L’Oiseau de Feu’, a cloth of gold robe with ivory satin appliqués, designed by Natalia Goncharova, first performed at the Lyceum Theatre London, November 1926, signed in ink to the lining ‘Rykoff’, press stud fastened centre-front, the front panels with mauve painted motifs studded with green ‘jewels’, the satin under-sleeves with bright blue beading, wired collar and lapels with painted mauve zig zag edging, lined in yellow calico; together with a gold gauze bejewelled cap, with turquoise and black beads, large sapphire-blue stone and baroque ‘pearl’ to the centre, signed to the pink rayon lining ‘Rykoff, Fron, Yaizey’ (2)

Provenance: Sotheby & Co auction, 3rd March, 1973 lot 81 part Alexander Golovine’s original scenery and costumes were destroyed by damp, and so before the 1926 revival in London, Natalia Goncharova was commissioned to design a new set and costumes which were much more colourful and fantastical than the original Golovine designs. £3500 - 5000

183 (hat) 46

184 Diaghilev’s Ballets Russes: ‘L’Oiseau de Feu’, a cloth of gold and pink taffeta tunic, designed by Natalia Goncharova, first performed at the Lyceum Theatre London, November 1926, muslin tag to the interior ‘S.P or D’, adorned with facetted blue stones, curved wired gold collar and shaped fin-like cuffs

Provenance: Sotheby & Co auction, 3rd March, 1973 lot 81 part £2000 - 3000

185 Serge Lifar’s grey challis jodhpurs, worn in Diaghilev’s Ballets Russes ‘Romeo and Juliet’, designed by Joàn Miro and Max Ernst, first performed in 1926, with black cords tied at the knee, signed in ink to the cotton lining ‘Lifar, Romeo & Juliette’

Provenance: Sotheby & Co auction, 3rd March, 1973 lot 216 Serge Lifar was the principal dancer of Diaghilev’s Ballets Russes in its latter years of the 1920s. Born in Kiev in 1905 he joined Diaghilev’s company in Paris in 1923 and became one of the most celebrated male dancers of the 20th century alongside Nijinsky and Nureyev. £600 - 800

186 Diaghilev’s Ballets Russes: ‘L’Oiseau de Feu’, a hand-painted cotton robe, designed by Natalia Goncharova, first performed at the Lyceum Theatre London, November 1926, of white calico painted white with mauve strapwork, wired black cotton collar, lined in mauve flannel

185

Provenance: Sotheby & Co auction, 3rd March, 1973 lot 81 part £1000 - 1500

187 De Basil’s Ballets Russes: a group of costume and accessories designed by Constantin Terechkovitch for ‘Choreatium’, first performed in 1933, comprising: two black bumfreezer jackets; a red crêpe evening gown and headdress with chiffon scarf; a yellow crêpe nymph-like dress; a black chiffon over-dress with twisted black and white shoulder strap, two net snoods, and a quantity of tights and stockings (qty)

Provenance: Sotheby & Co auction, 3rd March, 1973 lot 227 £300 - 500

188 De Basil’s Ballets Russes: a group of costume and accessories designed by Constantin Terechkovitch for ‘Choreatium’, first performed in 1933, comprising: two black bumfreezer jackets; a grey crêpe Grecian style dress with floating chiffon panels, a pink and grey chiffon over-skirt and sash; a grey chiffon overskirt and satin bonnet trimmed with silk flowers; a black chiffon dress; ivory and black tights; a net snood and others (qty)

Provenance: Sotheby & Co auction, 3rd March, 1973 lot 227 £300 - 600

186 47

190 Princess Diana’s Bakst-inspired Emanuel ball gown, ‘Diaghilev’ collection, 1986, labelled ‘Emanuel Special, England’, the boned ivory satin strapless bodice with pointed peplum, over white organza skirt, adorned with large gilt lozenge shaped paillettes edged with gilt or pearl beads, the embroidery by S.Lock Ltd, the bodice emblazoned with magnificent gem-like rhinestones to the centre-front; together with a separate layered tulle petticoat, also labelled, matching padded headdress and a pair of separate detachable lozenge-shaped sleeve panels, bust approx 86cm, 34in, waist 71cm, 28in (5)

Provenance: ex lot 26, ‘Dresses from the Collection of Diana, Princess of Wales’, Christies New York, 25th June, 1997.

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The Princess first saw this dress at a Red Cross benefit fashion show in the summer of 1986. She selected it from the twelve glittering gold and white creations that the Emanuels had sent for the occasion. The dresses were inspired by Leon Bakst’s designs for Diaghilev’s Ballets Russes, with his bold use of geometric patterning.

Unusually, the Princess acquired the show model, rather than specially commission another gown. It is a standard model size, which fitted her perfectly. The Princess wore this gown on many occasions - wearing with and without the petticoat, with and without the sleeve panels, often choosing to wear a diamond tiara instead of the headband.

She was photographed wearing it on the 4th July,1986 to attend a banquet at the German Ambassador’s residence in London for a State visit of Richard von Weizsaker (President of the Federal Republic of Germany from 1984-94). On this occasion she chose to wear a glittering diamond tiara to accessorize the gown, but wore no petticoat, which revealed her ankles.

189 (signature)

189 A signed Christies auction catalogue ‘Dresses from the Collection of Diana, Princess of Wales’, 1997, signed on the frontispiece ‘Diana, 186/250’, with blue hardback binding, 43 by 50cm folio

Sold in aid of the Corporation for Thomas Jefferson’s Poplar Forest which preserves Jefferson’s personal retreat which is now a museum. £2000 - 3000

On the 22nd July 1986 (a day or two before the wedding of the Duke and Duchess of York) she wore the dress to the Royal Opera House for a performance of ‘Ivan the Terrible’ by the Bolshoi Ballet. On this occasion she also wore the padded headdress, sleeve panels and petticoat.

She was also photographed in the gown when she attended the premiere of the James Bond film ‘The Living Daylights’, almost a year later, at the Odeon, Leicester Square on June 29th, 1987 (with the petticoat), see back cover.

The Emanuels were the favourite designers of the Princess during the 1980s. It began with their white chiffon blouse which she wore for her official engagement photograph by Lord Snowdon. This was followed by the headline-grabbing black taffeta gown she wore for her first public engagement with Prince Charles after the announcement of their engagement at Goldsmith’s Hall in 1981 (now affectionately known as the ‘Take the Plunge’ dress). Of course the most memorable and important Emanuel dress of them all was the Royal bridal gown for her marriage to Prince Charles in 1981. The Emanuels went on to make special ensembles and evening gowns for her important overseas State tours with the Prince of Wales, as well as producing a wardrobe of maternity-wear during her confinements.

The dress has a pretty, fairy-tale princess feel to it - with its opulent, shimmering gold panels, jewel-like rhinestones and pearl adornments.

Importantly this is a dress that was not specially designed for the Princess but one she chose herself from an existing collection and one she chose to wear repeatedly. Elizabeth Emanuel said that because of its lavish decoration and striking gold and white colours that it was something that one either would love or hate and she remembered that the Princess had told her that she ‘loved it.’ £50000 - 80000

190 (headdress)

End of Sale 48

Photo credit: Today/REX

Princess Diana attending a banquet at the German Embassy

190

190 (detail)

190 (detail) 49

Available on Amazon and in all good bookshops.

Signed copies can be purchased at the saleroom.

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FORTHCOMING SALES We are now accepting entries for our 2014 Spring/Summer auctions FASHION & TEXTILES: Including the final part of the Anne Dettmer Collection and the Henning Thorsen Collection Tuesday February 25th 2014* PASSION FOR FASHION: Fine Haute Couture, Antique Fashion and Accessories Tuesday June 24th 2014* *Dates to be confirmed, please check our website before arranging travel Kerry Taylor Auctions, 249-253 Long Lane, London SE1 4PR

A Ceil Chapman mint-green tree-bark taffeta evening gown and matching coat, mid 1950s, labelled, the dance-length dress with boned bodice, a swathe of fabric encircles the breast and rises to form a strap, matching voluminous tent coat, bust 86cm, 34in, waist 71cm, 24in (2) Estimate ÂŁ400-600 Grace Kelly was photographed wearing a similar coat. cf :'A Touch of Grace' by Cindy de la Hoz p.122, photo from the Lou Valentino collection.

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Property sold with a ‡ symbol.

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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 Sort code: 12-24-81 Account number: 10040762 Account name: Kerry Taylor Auctions Limited Iban: GB28BOFS12248110040762 SWIFT: BOFSGB2S 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.

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.

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 email immediately after the sale or you can phone us. Full payment must be sent to the Auctioneers.

DESIGN AND PRODUCTION Jamm Design Ltd www.jammdesign.co.uk

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VEnuE, sToragE, CoLLECTion anD shiPPing LogisTiCs

on receipt of cleared funds, lots can be collected (see map above) during the auction or immediately after its completion. Lots will be available to collect 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 1% of the purchase price per lot per week (or part thereof ). 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.

Buyers are reminded that it is their resposibility to comply with uK export regulations and with any local import requirements

Kerry Taylor auctions Ltd 249-253 Long Lane London sE1 4Pr Tel: 00 44 (0)208 676 4600 fax: 00 44 (0)203 137 0112 email:info@kerrytaylorauctions.com

Bullit Courier Company Tel: 00 44 (0)845 226 8556 email: info@bullitcouriers.com