Kerry Taylor - Fit for a Princess

Page 1


19th March 2013

SPEcialiStS in antiquE,vintagE faShion and tExtilES

Kerry Taylor

Kate Osborn




Kerry Taylor Assistant: Kate Osborn Tel: 00 44 (0)208 676 4600 Fax: 00 44 (0)203 137 0112 Email:

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 24 for details.

£5 at the gallery £8 by mail (UK) £10 by mail (Europe) £12 by mail (Rest of the World)

Sale number: KT018

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

SPEcialiStS in antiquE, vintagE faShion and tExtilES

Online Catalogue

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

Fit for a Princess Important dresses formerly in the collection of Diana, Princess of Wales Auction Tuesday 19th March 2013 at 3pm

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

Exhibition Sunday 17th March - 12noon to 5pm Monday 18th March - 10am to 5pm Tuesday 19th March - 10am to 1pm Other dates by special appointment

InTRODuCTIOn Princess Diana was one the most iconic, most photographed fashion figures of the 20th century. Wherever she went her style was minutely scrutinised, discussed and imitated - whether it was just going for a walk or appearing on the red carpet. In the early days – as a young Sloane-ranger she wore demure blouses with pie-crust frilled collars and simple gathered skirts. However, in March, 1981 on her first official engagement with her fiancé, Prince Charles there were intimations that inside this shy young woman there was an embryonic style icon just waiting to emerge. For this much-awaited photo-opportunity of the newly engaged couple, Lady Diana Spencer chose to wear a daring black taffeta gown by Elizabeth and David Emanuel with strapless bodice and plunging neckline. As the nineteen year old stepped out of the car at Goldsmith’s Hall her daring décolleté was revealed to the awaiting press and onlookers against a glare of frenzied camera flash bulbs. She later quipped that the press ‘got frightfully excited’. The resulting pictures were wired around the world and created massive headlines the next day. The Emanuels went on to make the most important dress of them all – the ivory silk taffeta creation she wore for her marriage to Prince Charles at Saint Paul’s Cathedral on 29th July, 1981. In the early years the Princess favoured romantic ball gowns or pretty, delicately printed chiffon cocktail dresses. As she matured, so did her taste in clothes. She liked to wear rich velvets, often in dark colours which acted as a great backdrop to her fine jewels and served to emphasise her English-rose complexion. She liked black, and often chose to wear it, despite the fact that Prince Charles had warned her that it was strictly against Royal protocol – as members of the Royal family are only supposed to wear it for periods mourning. By the 1990s the Princess’ self-confidence in her own style had grown. She wore more sculpted clothes that emphasised and enhanced her slim, athletic physique. Whilst still regal, the clothes had become more daring and sophisticated. Although still loyal to her favourite British designers – Catherine Walker, Zandra Rhodes, Victor Edelstein, Bellville Sassoon, Bruce Oldfield, Jacques Azagury, she began to wear clothes by foreign designers such as Gianni Versace and Christina Stambolian. In June, 1997 the Princess decided to hold a charity auction of her Printed with kind permission of most lavish evening wear at the suggestion of her young son, Said Ismael/Catherine Walker & Co Prince William. It was her aim to raise as much money as possible to help people in need – but she also desired that the dresses, so long stored away in wardrobes should again see the light of day and be appreciated. One of the purchasers at that auction was Mrs Maureen Rorech Dunkel who bought arguably the most important and representative group of gowns. It is this collection that is offered for sale now. Mrs Dunkel initially bought the dresses as a long term investment, but after the tragic death of the Princess in August 1997, decided to exhibit them in aid of charity and has philanthropically raised thousands of dollars to that end. The story of these ten rare and special dresses now continues…


1‡ A Victor Edelstein bottle-green velvet evening gown, worn for private entertaining, Winter, 1985, labelled Victor Edelstein, London, forties-inspired with wide, accentuated padded shoulders, figure-hugging with ruched gathers to the front midriff and rear hips to accentuate the curves of the figure and the narrowness of the waist, slim skirt with slight train, with facetted black glass buttons to rear neck and narrow cuffs, bust 86cm, 34in, waist 61cm, 24in

The dark green velvet would have provided the perfect back-drop for fabulous jewels. The lack of any pattern or adornments served to further emphasise the willowy figure of the Princess. On the front of the skirt there are a cluster of small spots - which the previous owner speculated could be the imprint of a young prince’s hand. The dress formed part of Victor Edelstein’s winter 1985 collection. The large facetted jet black beaded buttons used to fasten the gown came from a Victorian cape that Mr Edelstein discovered in a Paris antiques market. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 15. £20000 - 30000

1 3

2‡ A Zandra Rhodes white chiffon cocktail dress, worn to the Birthright benefit at the London Palladium, May 1987, printed with ivory ‘Buttons & Bows’ pattern, zig-zag bands to the hem on white silk chiffon, over white silk jersey lining, the cross-over pleated bodice studded with pearl beads and sequins, waistband of quilted, top-stitched white satin over gently draped skirt, the whole edged with pink crystals and white pearlised beads, small pearl quatrefoils to the rear closure all applied by hand, bust 92cm, 36in, waist 66cm, 26in

This gown was model 85/133 from the Zandra Rhodes Autumn/Winter 1985 collection ‘India Revisited’. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 7. £30000 - 40000

© Getty Images 4

Reproduced by kind permission of Zandra Rhodes

2 5

3‡ A Catherine Walker burgundy velvet sheath with embroidered tailcoat, worn for the State visit to Korea in 1992, and to the premiere of ‘Steel Magnolias’, in aid of the Prince’s Trust, 7th February 1990, labelled ‘Catherine Walker for the Chelsea Design Co. London’, comprising: columnar strapless sheath of Bouton Renaud silk velvet, with boned bodice, tapering skirt with slit to rear hem, the matching tailcoat embroidered to the front opening, shoulders, cuffs and tails with raised pearl beaded flower heads against gilt thread embroidered foliage by S.Lock, lined in wine satin, bust approx 92cm, 36in, waist approx 66cm, 26in (2)

In Catherine Walker’s Autobiography pp 44-45 she writes of this ensemble ‘After ten years of designing for the Princess I was well aware of the fact that she was photographed from every conceivable angle. The embroidery around the nape of the neck and back vents emphasises the femininity of the silhouette. The cutaway shape of the jacket elongates the waist and adds formality to the design. This design was in fact inspired by the colouring of an Imperial Russian court dress and was originally offered to the Princess as a burgundy tailcoat over a rich ivory silk crêpe bustier dress. The Princess, however, felt that all burgundy would be more fluid and easier to wear, and I think she was right.’ Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 63. £40000 - 60000


3 7

4‡ A Catherine Walker sea-green sequined evening gown, worn for the State visit to Austria in 1989, labelled ‘The Chelsea Design Co Ltd, London’, of Jacob Schlaeper sequined satin, figure-hugging with ruching down the centrefront seam, the skirt with front slit to the knee, bust 86cm, 34in, waist 61cm, 24in

This dress formed part of a large group order from Catherine Walker about a month before the Princess’ intended State visit to Austria. Diana had enormous faith in Catherine’s taste and judgement, so much so - that on this occasion she didn’t even ask to see provisional sketches - just asked her to select and make the dresses on her behalf. This extremely glamorous, sparkling gown was the only totally sequined example to form part of the Princess’ 1980s wardrobe. Diana wore it with a diamond and emerald choker necklace which she had been given as a wedding present by H.M. The Queen Mother. She was photographed wearing the dress many times: To the Vienna Burgtheater to see ‘All for Love’ in 1989; To a charity ball at Osterley House to raise funds for the British Paraplegic Society; To the 1993 film premiere of ‘Biggles’. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 50. £30000 - 50000

4 8

Photo by Mauro Carraro/Rex Features


5‡ A Bruce Oldfield black velvet evening gown, worn for an official portrait by Lord Snowdon and at the first night gala opening of ‘Les Miserables’ at the Barbican centre, 10th October, 1985, labelled ‘Bruce Oldfield, Custommade, London’, with plunging V neckline and even deeper V back with strap to rear neck applied with a large velvet bloom with beaded stamens, dropped waistline with gently gathered skirt, bust 92cm, 36in, waist 76cm, 30in

The Princess was photographed for an official portrait wearing this gown by Lord Snowdon in 1985. This gown is a variation of a sleeveless, white taffeta dress from Bruce Oldfield’s Spring, 1981 collection. Princess Diana always had an input into the design, colour and fabric of the gowns she wore. She would visit the Oldfield studio and select fabrics from the shelves. Black was a favourite colour of the Princess, despite royal protocols which dictated that it should be worn only for mourning – a rule which she was to flaunt from the very start. For this particular dress up to three fittings took place at Kensington Palace. Because the neckline was plunging at both the back and the front, to ensure it was held securely in place, a band was added at the nape of the neck and disguised with a black velvet rose. Bruce Oldfield was one of the Princess’ favourite designers, making around 50 dresses for her over the years. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 37. £30000 - 50000


© Getty Images

5 11

6‡ A Catherine Walker pink sequined ivory crêpe gown with asymmetric neckline, worn at a banquet given by President Collor at the Itamaraty Palace whilst on a State visit to Brazil, 23 rd April 1991, labelled ‘Catherine Walker for the Chelsea Design Co London’, of Clerici Tessuto ivory silk crêpe embroidered with a shimmer of sequins in shades of pink and ivory - in imitation of a chiné weave effect, lightly boned bodice, slim tapering skirt with back slit to hem, bust approx 92cm, 36in, waist 71cm, 28in

This dress proved to be a favourite with the Princess. She also wore it to the film premiere of ‘Stepping Out’ and to the party afterwards at the Langham Hilton, 20th September, 1991. She was photographed laughing and chatting with the actress Liza Minnelli and the pictures appeared in the press the following day. In ‘Diana: Her True Story’ p.195 Andrew Morton writes: ‘The smallest breach of royal behaviour was deserving of complaint. After a film premiere, the Princess attended a party where she enjoyed a long conversation with Liza Minnelli. The following morning it was pointed out to her that it was not done to attend these occasions. The party had one happy result however. She enjoyed the rapport with the Hollywood star who talked at great length about her difficult life and told her simply that when she felt down she thought of Diana and that helped her to endure. It was a touching and very honest conversation between two women who had suffered much in life and which formed the basis of their longdistance friendship.’ 6 12

© Getty Images

Catherine Walker in her autobiography wrote of this commission on p51: ‘The softness of the colours imitates the faded feeling of antique fabrics and contrasts with the sharp asymmetry of the design. The Princess of Wales took great care to honour the traditions and feelings of each country that she visited. Shortly before this visit to Brazil, the national football team had lost to Argentina in the World Cup and the country was depressed about this disaster. We received instructions that in view of these circumstances we should not design anything in green, yellow and blue, which were the official colours of the Brazil team, and definitely not in blue and white, which were the colours of the Argentinian football team.’ Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 65. £40000 - 60000


7‡ A Catherine Walker black velvet and beaded evening gown, worn for the Vanity Fair photo-shoot by Mario Testino at Kensington Palace, 1997, labelled ‘Catherine Walker London’ and also handwritten tags ‘HRH The Princess of Wales’ and ‘Audrey’, of black silk velvet, the bodice and and halter-neck straps covered with a shimmer of black bugles and larger bauble-shaped beaded edging, with draped pleats to one hip, similarly edged, thigh-high side slit to skirt, the bodice with integral satin corset, bust approx 92cm, 36in, waist 71cm, 28in

Catherine Walker made two of these dresses, the first in black silk crêpe was worn for a dinner given at the palace of Versailles in December 1994. The Princess returned it to Catherine Walker for a slight alteration at which point Catherine suggested that the dress would work even better in black velvet. Princess Diana agreed and the second velvet version (this one) was worn for Princess Diana’s famous Mario Testino photo-shoot at Kensington Palace for Vanity Fair in 1997. The photographs of Diana with slicked back hair, looking healthy and happy are arguably some of the finest portraits ever taken of the Princess. In her autobiography, Catherine Walker describes this dress, pp 112-113: ‘It was not long before this that the only dresses we worked on for the Princess were very formal. As I moved away from politically correct to slightly more sexy, I preserved the formality by still keeping them very structured inside.


This dress draped towards the hip and was held at an embroidered pocket. The inspiration for the embroidery originated from an antique picture frame which was finished with exquisite marquetry edged in ‘lead shot’, I used black bugle beads for the marquetry and small boule for the lead-shot edging in the same proportion. I thought it made a pretty picture frame and here in the dress it frames the face and neck’. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 66. £50000 - 70000


Photo by news (uK)Ltd/Rex Features 15

8 16

Princess Diana wearing the dress with the Spencer tiara in Australia, november 1985. © Getty Images

© Getty Images 8‡ A Catherine Walker burgundy crushed velvet evening gown, worn for a State visit to Australia and to the film premiere of ‘Back to the Future,’ 1985, labelled ‘The Chelsea Design Co Ltd’, bias-cut with converging seam points at the front waist, the neck cut high at the front, low V-back with shirred gathers below and large shot-silk taffeta bow, leg of

mutton sleeves, bust approx 8692cm, 34-36in, waist 69cm, 27in

When Princess Diana wore this dress in november 1985 for her State visit to Australia, she accessorized it with the famous Spencer tiara. She also wore it in January 1985, to the film premiere of ‘Back to the Future,’ where she accessorized it with a long rope of

pearls knotted at the back and a pair of droplet earrings - which was much-photographed. However, she later complained that although the necklace looked very chic, that the knot dug into her back during the film! Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 74. £40000 - 50000 17

9‡ A Catherine Walker Mughalinspired lavishly embroidered pink slubbed silk evening gown and bolero, made for the State visit to India, February 1992, labelled ‘Catherine Walker, London’, the sleeve-less gown with deep scooped neckline, long princess-line bodice densely embroidered to the dropped waist-line with three dimensional exotic blooms in looped and satin-stitched corded silk, layered pink sequins, centred by amber, green and pink crystal beads, scattered with small white floretshaped sequins against a green iridescent sequined ground with gold chain-stitched leaves, the bolero jacket similarly embroidered to front and back, lined in ivory satin, the plain silk cuffs each with three large buttons inset with emerald and pink rhinestones, bust 92cm, 36in, waist 76cm, 30in (2)

It was during this State visit to India that Diana was famously photographed sitting alone at the Taj Mahal - the monument to lost love, which caused a good deal of comment and speculation in the press at the time. Her official separation from Prince Charles was to be announced in December of the same year. The Princess was also photographed wearing this gown by Lord Snowdon in 1997. It is one of the most lavish of all her gowns. Richly embroidered royal dresses have been a tradition for royalty and aristocracy since Elizabethan times. This elaborate embroidery was commissioned by Catherine Walker from S.Lock Ltd. She had first used them to embroider dresses for the Princess’ State visit to the Arab Emirates in 1989.


The inspiration for this particular embroidered design came from the lid of an Indian inlaid marquetry box discovered by the designers in a London market. Great care was taken when choosing the colours of the needlework - it needed to be colourful and exuberant to reflect the country of her visit. A sketched design was given to Lock who over several weeks produced numerous embroidered samples until this final, highly textured and layered version was finally approved and selected.

The long line of the bodice with the dropped waistline, combined with the short boxy shape of the bolero helped to emphasise the height and slimness of the Princess - a technique Catherine Walker often employed in clothes she made for the Princess. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 19. £80000 - 120000

9 See back cover for detail of embroidery and sequins


Photo by Courtesy Everett Collection/Rex Features 10 ‡ A Victor Edelstein midnight-blue velvet evening gown worn to the State dinner at the White House given by President and Mrs Reagan, when Princess Diana memorably danced with John Travolta, 9th november, 1985, labelled ‘Victor Edelstein, London’, the lightly boned bodice with off the shoulder straps, the diagonally swathed velvet skirt hugs the figure tightly to the knee with bow to one side, and then flares out into a broad flounce above layered tulle petticoats, bust approx 92cm, 36in, waist 71cm, 28in

This is one of the most iconic and famous of all Princess Diana’s dresses. Victor Edelstein made 20

dresses for Princess Diana over an eleven year period. She would often pop into his shop at 3-4 Stanhope Mews and look through the collections whilst her security guard waited outside. The Princess saw this model in his studio in burgundy and requested it be made for her in midnight blue. The fittings for the gown took place in her private apartments at Kensington Palace. At the last fitting, Princess Diana was so delighted with the final result that she rushed to show it to Prince Charles. Mr Edelstein recalls that the Prince, who appeared in full regimental dress (as he had an official engagement that day), told the Princess that she looked wonderful in the gown

and that it would be perfect to wear with jewels. In 1985 the royal couple made their first joint State visit to the united States. It lasted for four days and wherever they went they were greeted by thousands of cheering people. On the first evening of their arrival, with the Princess still suffering from jet-lag, they attended the grand gala dinner at the White House. Although painfully thin, Diana was still the image of sophisticated elegance in her Edelstein gown worn with long satin gloves and a sapphire and pearl choker that she had converted from a brooch that the Queen Mother had presented to her.

At the dinner, Prince Charles and Princess Diana met the leading politicians and business leaders of the day, mixed with a sprinkling of Hollywood movie stars and entertainers, including Clint Eastwood and neil Diamond. However, the most memorable image of the trip - was not to be of the married couple - but of the Princess and John Travolta, twirling and gliding across the White House dance floor to the strains of ‘You Should be Dancing’ from his movie ‘Saturday night Fever.’ unusually, Mr Travolta had not been invited with a companion but he soon understood the reason why. Afterwards, in an interview with chat show host Andrew Denton, he described how nancy Reagan quietly took him aside and whispered that Princess Diana had only one wish on this American trip - and that it was to dance with him! At midnight with a little prompting from the First Lady and with his heart pounding, he crossed the floor. He recalls, ‘She turned around and she did that look that she did so, so beautifully and I asked if she would care to dance and she said she’d love to and we danced for twenty minutes to a medley of ‘Grease’ and ‘Saturday night Fever.’..I was on cloud nine. She has great rhythm. We did spins and turns. We did a kind of modern fox-trot and she followed me very well. ‘Maybe some day we’ll get to do this in a lesswatched situation’, I said near the end. ‘That would be great’, she replied. Then, as everybody applauded, he thanked her. He described the experience as being ‘like a fairytale’. This highly important gown is one of the most repeatedly worn dresses in her collection. She wore it on at least four more major occasions:


In Vienna on the State visit to Austria, 14th-17th April 1986. To accompany Prince Charles to the annual banquet of the Asian Affairs Society, at the Savoy hotel, 5th February 1986. In Bonn on a State visit to Germany, 2nd november 1987.

In this last portrait, the thirty-five year old Princess appears self assured, confident and of course dazzlingly beautiful. Provenance: Dresses from the Collection of Diana Princess of Wales auction, Christie’s, 25th June, 1997, lot 79. £200000 - 300000

To the Royal Opera House in 1991, when she met Vivienne Westwood. For an official portrait by artist Israel Zohar in 1990.


This dress must have been of special significance to the Princess because in 1997 she chose to wear it for her last portrait by Lord Snowdon - and with the same necklace she had worn twelve years earlier when she had so memorably danced at the White House. 21

COnDITIOnS OF BuSInESS FOR BuYERS 1. Introduction (a) The contractual relationship of Kerry Taylor Auctions Ltd &. and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Kerry Taylor Auctions Ltd; (iii) Kerry Taylor Auctions Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement. (b) As auctioneer, Kerry Taylor Auctions Ltd acts as agent for the Seller. Occasionally, Kerry Taylor Auctions Ltd may own or have a financial interest in a lot. 2. Definitions “Bidder“ is any person making, attempting or considering making a bid, including Buyers; “Buyer“ is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller“ is the person offering a lot for sale, including their agent, or executors; “KT” means Kerry Taylor Auctions Ltd of 249-253 Long Lane, London SE1 4PR, company number 7173571 “Buyer’s Expenses” are any costs or expenses due to Kerry Taylor Auctions from the Buyer; “Buyer’s Premium“ is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price“ is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price“ is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price“ (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s


Expenses and Hammer Price are subject 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. Import, Export 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 Purchase 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 Protection (a) KT will use information supplied by Bidders or otherwise obtained lawfully by KT for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties worldwide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by KT are the copyright of KT. (b) These Conditions of Business are not assignable by any Buyer without KT’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of KT.


GuIDE TO PROSPECTIVE BuYERS Purchasers will be charged a premium of 20% on the hammer price. The premium is subject to VAT at the prevailing rate. There is no VAT charged on lot prices unless otherwise specified in the catalogue by the following symbols Property with a † symbol These items will be sold under the normal uK Vat rules and VAT will be charged at 20% on both the hammer price and buyer’s premium. Property sold with a ‡ symbol. These items have been imported from outside the Eu to be sold at auction under temporary importation. VAT will be charged at 5% of the hammer price and 20% on the buyer’s premium. Property sold with a ∆ symbol. These items require a CITES licence to export outside of the Eu. These cost £59 each and we are happy to assist our clients with applications. Payment Payment is due immediately after the sale in Pounds Sterling and may be made by Banker’s draft, Cashier’s cheque, Personal cheque, Wire transfer, Credit cards, Debit cards, Cash and Traveller’s cheques. Payments should be made to Kerry Taylor Auctions. Cash payments will not be accepted above £6,000 or $10,000. Payments in person can be made in the saleroom on the day of the sale, after this payments must be made by post, credit, debit card or wire transfer Credit Cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and uK Mastercard 3.1%; AMEX 2.6%; Eu Mastercard 3.1%; International Mastercard 3.6%. 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 email 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

KERRY TAYLOR AUCTIONS LTD AUTHENTICITY GUARANTEE If Kerry Taylor Auctions Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below Kerry Taylor Auctions Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to Kerry Taylor Auctions Ltd for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable. “Counterfeit” means an item of Property that in Kerry Taylor Auctions Ltd ‘s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work. Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a

Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Kerry Taylor Auctions Ltd’s reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this Guarantee, the Buyer must:(i) notify Kerry Taylor Auctions Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and

(ii) return the Property to Kerry Taylor Auctions Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. Kerry Taylor Auctions Ltd has discretion to waive any of the above requirements. Kerry Taylor Auctions Ltd may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field. Kerry Taylor Auctions Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Kerry Taylor Auctions Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by Kerry Taylor Auctions Ltd.