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PASSION FOR FASHION AND FINE TEXTILES 4th December 2012


Kerry Taylor

Kate Osborn

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

Purchasers will be charged a premium rate of 20% on the hammer price. The premium is subject to VAT at the prevailing rate. See page 79 for details.

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

Sale number: KT017

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

Front cover: lot 119 Frontispiece: lot 48 Introduction: lot 46 Inside back cover: lot 55 Back cover: lot 285

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

Storage, Collection and Shipping Logistics See page 80 for details and a map.

Photography and general assistance: Lucy Bishop This auction is conducted by Kerry Taylor Auctions Ltd in accordance with our Conditions of Business printed in this catalogue. All questions and comments relating to the operation of this sale or its contents should be addressed to Kerry Taylor Auctions Ltd and not to Sotheby’s.

Kerry Taylor Auctions Ltd Incorporated in England

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Passion for Fashion And Fine Textiles

Auction Tuesday 4th December 2012 at 2pm

Venue 249-253 Long Lane London SE1 4PR See map on page 80

Exhibition Sunday 2nd December - 12noon to 5pm Monday 3rd December - 9am to 5.30pm Tuesday 4th December - 9am to 11am


InTRoDucTIon What makes my job so interesting is not just the pieces themselves but the people who have owned them. In this auction we have some highly individual collections belonging to some fascinating people. Lots 158 to 175 are from the Joanna Lumley collection. Joanna joined Jean Muir as her house model in 1964 and although she remained there for just a few months (Joanna turned her attention to acting) they remained lifelong friends. She continued to model in her fashion shows, (her diary permitting) over the following decades. Her collection includes a simple black satin dress (lot 161) which was Joanna’s first ever Muir purchase. She saved up from her £10 a week pay packet to buy it and it bears the early Jane & Jane label. The collection is being sold in aid of ‘Elizabeth’s Legacy of Hope’ charity. Lot 176 is the wedding dress worn by nikki Squire for her marriage to the musician chris Squire of ‘Yes’. The photograph of the couple on page 46 illustrates so perfectly the back to nature, flower-power hippy trend, with flowers on the skirt and also in her hair. The dashing groom in 18th century style coat and thigh high boots makes me think that rock stars really knew how to dress in those days! It’s interesting to reflect that just a few years later Vivienne Westwood and Malcolm McLaren burst onto the fashion scene and swept away all that romanticism with obscene images, graffiti like slogans, slashed fabric and safety pins. Highly prized Seditionaries pieces from the collections of Dean Thatcher and the late ‘Marty’ Martinson are offered as lots 205-211. Scarlett cannon was an 80’s club Kid, and at just eighteen became the founder and host of the ‘cha cha’ nightclub in 1981. She was a walking style statement. Her extreme and unique looks well suited her avant-garde wardrobe by Leigh Bowery, Bodymap, Westwood , christopher nemeth and Judy Blame. Her Leigh Bowery pieces are exceptional and museum quality (lots 212-223). of course in addition to these wonderful single-owner collections there is a plethora of glamorous, wearable couture and rare early pieces by Gabrielle chanel, Madeleine Vionnet and Paul Poiret. Add to this a mixture of superb, early textiles and you have yet another highly individual, high quality auction which I hope you enjoy!


AccESSoRIES Please note all lots bearing ∆ symbol will need a cITES licence to export outside of the Eu, which we are happy to assist with. See page 79 for more information.

1 A Paco Rabanne chain-mail bag, circa 1966, with detached paper label, the silver leather covered with pierced metal platelets, chain handle, 22cm, 8 1/2in long £200 - 300 2 2 A Gucci black patent leather handbag with cane handle, 1960s, stamped with maker to interior, 27cm, 10 1/2in £600 - 800

3 An Hermès green epsom leather Kelly bag, 1989, blind stamp u, with gold-plated hardware, with fob and gilt padlock, 35cm, 13 1/2in long £3000 - 5000

4 An Hermès black box calf leather Bolide bag, 1994, blind stamp X, with gilt hardware, padlock, fob and shoulder strap, 36cm, 14in long £700 - 1000

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5 An Hermès tan calf leather Birkin, 1996, stamped and engraved with maker’s name, blind stamp A, with gilt hardware, padlock and two keys, 35cm, 13 1/2in long £3000 - 4000

6 An Hermès black leather handbag, late 1960s, stamped in gold to the interior ‘Hermès, Paris’, with two circular gilt push-button type clasps, shoulder strap, 27cm, 10 1/2in long £400 - 600 5 7 An Hermès grey-brown ostrich leather Kelly bag, 1986, blind stamp P, with leather covered padlock and fob, 36cm, 14in long £4000 - 6000

8 An Hermès wine leather envelope shaped clutch bag, 1985, blind stamp o, with gilt H clasp, side chains and optional shoulder strap, 26cm, 10in long £500 - 800

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9 4

9 An Hermès wine pigskin Kelly bag, 1985, blind stamp o, with gilt hardware, fob, 40cm, 15 3/4in long £2000 - 3000


10 An Hermès bleu saphir epsom leather Kelly bag, 1991, blind stamp u, with gilt hardware, shoulder-strap, padlock and fob, 36cm, 14in long £3000 - 5000

11 An Hermès bleu saphir epsom leather clutch bag, 1992, blind stamp V, with circular horse and carriage medallion to closure, 25cm, 10in long £450 - 600 10 12 An Hermès golden-brown ostrich Kelly bag, 1994, blind stamp X, with gilt hardware, leather covered padlock, fob and shoulder strap, 36cm, 14in long £4000 - 6000

13 Six Hermès scarves, 1980s-90s, mainly on the theme of nature, including ‘cols Vert’ ducks print; ‘Plumes’ by Henri de Lenares, Jardin creole, ‘Grands Fonds’, eggs and feathers print, each approx 89cm, 35in square (6) £500 - 700

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14 An Hermès apple-green leather Bolide bag, 1995, blind stamp Y, with gilt hardware, padlock fob and shoulder strap, 32cm, 12 1/2in long £800 - 1200

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15 An Hermès brown box leather Kelly bag with contrasting black trim, 1972, blind stamp B, with gilt metal hardware, padlock and key, stamped black leather panel with ‘SD’ initials added to front closure, 32cm, 12 1/2in long £700 - 1000

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16 An Hermès navy leather Kelly bag, 1960s, stamped in gold to the interior ‘Hermès, Paris’, with brass padlock, fob, keys and shoulder strap, 32cm, 12 1/2in long £400 - 600

17 An Hermès light tan box calf leather Kelly bag, 1981, blind stamp K, with gilt metal hardware, padlock, fob and shoulder strap, 32cm, 12 1/2in long £2000 - 3000

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18 An Hermès scarlet leather Bolide bag, 1994, blind stamp X, with gilt hardware, padlock, fob and shoulder strap, 32cm, 12 1/2in long £600 - 1000

19 Six Hermès scarves, mainly nature themes, 1980s-90s, including exotic fishes, ducks, feathers and eggs, tiger and others, approx 89cm, 35in square (6) £500 - 700

18 6


20 ∆ A rare Hermès ‘Eperon’ black crocodile handbag, 1940s, crocodylus porosus, stamped in gold to the interior, ‘Hermès Paris, 24 Faubourg St Honore’, with hinged spur-shaped gilt brass clasp which secures the pinned heel shaped, rounded, rigid sides, lined in soft calf leather, large gilt brass pins secure the handle at the sides, 23cm, 9in high

Apparently this bag was very popular with black-marketeers during the war, because the rigid curved sides meant that you could not tell if the bag was full or empty, or the nature of the contents. £8000 - 12000

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22 (label) 22 (detail) 7


21 no lot

22 An Hermès gris tourtourelle box calf leather Kelly bag, 1984, blind stamp n, with gilt hardware, brass padlock and fob, 36cm, 14in long £2000 - 3000

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23 An Hermès red epsom leather clutch bag, 1992, blind stamp V, with circular horse and carriage medallion to closure, 25cm, 10in long £450 - 600

24 An Hermès white leather Kelly bag, 1988, blind stamp R, with gilt hardware, leather covered padlock and fob, and two shoulder straps, 36cm, 14in long £800 - 1200

24

25 Six Hermès scarves, mainly equestrian themes, 1980s-90s, including black and white stripes with race horses; ‘La Danse du cheval Marwari’, carousel, polo players ‘Hermes cup Palm Beach’, ‘Real Escuela Andaluza del Arte Equestre’, ‘Brides de Gala’, approx 89cm, 35in square (6) £500 - 700

26 An Hermès midnight blue box calf leather Kelly bag, 1960s, stamped below the flap ‘Hermès Paris’, with gilt hardware, padlock and fob, 35cm, 13 1/2in long £1000 - 1500

26 8


27 ∆ An Hermès brown crocodile handbag, late 1960s, crocodylus porosus, stamped in gold ‘Hermès, Paris’ with gilt brass circular clasp with similar lobed gilt florets to the handle fixings, 24cm, 9 1/2in long £800 - 1200 28 A Louis Vuitton hard-sided suitcase, probably 1950s, with LV canvas exterior edged in leather with brass locks, beige leatherette interior with lift-out tray, complete with key, 52 by 80 by 25cm £400 - 600

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29 An Hermès yellow epsom leather Bolide bag, 1995, blind stamp X, with gilt hardware, padlock, fob and shoulder strap, 35cm,14in long £1000 - 1500 30 Six Hermès scarves, 1980s-90s, including perfume bottles, sewing tools ‘Petites Mains’, fireworks, ‘Smiles in Third Millenary’, ‘cosmos’, ‘concerto’, approx 89cm, 35in square (6) £500 - 700 29 31 An Hermès brown leather Drag bag, 1960s, stamped in gold to the interior ‘Hermès, Paris’, with gilt H clasps, 30cm, 11 3/4in long £400 - 600 32 A Gucci brown pigskin handbag with carved bent-wood handle, 1960s, stamped to the interior, with wooden swivel clasp, 25cm, 9 1/2in long £350 - 500

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33 A Roberta di camerino scarlet velvet handbag, 1960s, maker’s stamp to the interior, with gilt metal hardware, floral voided velvet bands, vacant gilt metal nameplate, 36cm, 14in long £200 - 300

34 A Jean Paul Gaultier corsetshaped back-pack, 1980s, of patent and black leather, 33cm, 13in high; together with a Gaultier faux croc backpack with engraved perspex face, 28cm, 11in high; and two Gaultier umbrellas, with faux fur and velvet edgings (4) £300 - 500

35 Two rare pairs of Yves Saint Laurent ear-rings, 1966, 1967, signed, comprising; wine enamel and faux pearl pendant Pop Art collection disc ear-rings, 1966; and an African collection pair - gilt rings with large orange wooden beads, all 6cm, 2 1/2in long (4) £400 - 600

38 & 37

36 36 A carved hardstone, amethyst and fluorite necklace, attributed to Loulou de la Falaise, 1970s, the triple strand necklace with tricolour silk cord and tassels, with chalcedony, light green and purple beads, approx 94cm, 37in

The vendor of lots 36-40, was editor of Vogue London in the 1970s and 80s and also appeared on their International Best Dressed List. £800 - 1200 37 A chanel five-strand choker necklace, circa 1985, signed, composed of blister pearl beads and gilt camelia medallions, gilt camelia clasp, 46cm, 18in long £400 - 600

38 A chanel sautoir, 1985, signed and dated, with irregular amethyst coloured stones in gilt mounts interspersed with blister pearl beads, 92cm, 36in long £600 - 1000

39 A pair of chanel ear-rings, 1985, signed, the gilt metal applied with a Maltese cross of elliptical amethyst coloured stones, rhinestones with pearl centres, 3 1/2cm, 1 1/2in diam; together with another, smaller pair, signed and dated 1982, with red cabochon centres; and an elaborate brooch, possibly chanel, with central carnelian coloured stone carved with a face, blister pearl beads, 7cm, 2 3/4in long (5) £300 - 500

40 A triple strand grey pearl necklace, 1980s, the freshwater cultured pearls with pink-blue tones, silver clasp, 46cm, 18in long £200 - 300


41 A pair of brocaded silk ladies shoes, circa 1770, the silk circa 1730, with interesting angular, stacked white kid leather ‘Italian’ heel, 22cm, 8 1/2in (2) £2000 - 3000 42 A pair of blue satin pumps, Spanish, circa 1815-20, labelled ‘Hernandez Guerra calle Real de la Salud, frente al campanrio viejo de Guadalupe.no12’, with domed pointed toes, silk rosettes, with elaborately punched and decorated soles also marked ‘12’, 23cm, 9in long (2) £400 - 600 43 Two embossed leather handbags, circa 1820, one of brown leather with embossed scallop shells, the other covered in golden velvet with baskets of blooms to each side, both with cut steel frames and chains, 19cm, 7 1/2in diam (2) £450 - 600

41 45 An Yves Saint Laurent signed sketch, Marrakech, 9th December, 1969, felt tip on paper with a figure wearing a burqa and spotted snake, large central heart with dedication ‘Ma chére Pat, Je vous embrasse trés fort, Yves’, 27 by 20cm, 10 by 8in in frame

Provenance. Sent as a gift to Patricia Mccoll who was fashion editor at Women’s Wear Daily at the time. Saint Laurent used a similar image for a head scarf design that year. £600 - 800

SKETcHES 44 An Yves Saint Laurent signed sketch, Marrakech, 3rd May, 1975, coloured felt tips on paper, with a dove in flight against palm trees, with handwritten dedication ‘Ma chére Pat, J’ai beaucoup ecouté Glenn Gould en pensant à vous. Merci encore. Je vous embrasse trés affecteusement. A bientot. Love Yves’, 30 by 22cm, 12 by 8 1/2in in frame

Provenance: Sent as a gift to Patricia Mccoll who was fashion editor at Women’s Wear Daily at the time. £600 - 800

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45

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TEXTILES 46 A fine embroidered satin pillow cover, English, 1660s, with raisedwork central figure of Flora in flowing yellow robes holding a single rose, the satin worked in split stitch, with tousled green silk hummocks and trees to each side of her, within couched and embroidered scarlet and yellow roundel, fine tent stitched floral slips and insects appliquĂŠd to the ground, and some satin stitched and peacock feather inset caterpillars, the corners with raised gobelin stitched leopard, unicorn, stag and lion, approx 50 by 60cm, mounted onto silk covered board within plexi-glass case ÂŁ2500 - 3500

46

46 (detail) 47 A fine crewel-worked panel, English, circa 1700-10, one side of a work-bag, the fustian ground worked in brilliant wools with large central tree, with squirrel, French knot acorns, striped leaves, the brick-stitched hummocky ground with a hound giving chase to hares and a stag, within foliate border interspersed with exotic birds, 74 by 54cm, on silk mount within glazed frame ÂŁ2000 - 3000

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48 48 An embroidered bed curtain, English, circa 1700, worked in wools in fine chain stitch with a large Palampore-style flowering tree with large exotic flowers, delicately curling leaves emerging from a hummocky base, the linen ground scattered with small embroidered flowerheads in chinese style, a deep meandering floral border on three sides, 209 by 230cm, on linen mount within glazed frame £2000 - 3000

49 A woven kashmir shawl, circa 1860, small black ogival to the centre with embroidered signature, with overall design of meandering palmettes, ivory scrolling curleques, both pieced and woven techniques, the border with black edged arches, embroidered harlequin borders, 320 by 136cm £1500 - 2500

50 A fine woven kashmir shawl, circa 1840, the black central field with embroidered signature, deep boteh borders on two sides and embroidered harlequin edges, 326 by 140cm £1200 - 1800

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51 51 An embroidered cradle cover, English, circa 1710, the linen ground false quilted in fine yellow silk running stitches, worked to the centre in gilt threads and silks with a stylised peacock, floral wreath, similar birds emerging from flowering boughs to each corner, 69 by 95cm mounted onto board within plexi-glass case ÂŁ600 - 1000

51 (detail) 14

52 52 An embroidered coverlet section, English in imitation of Indian work, circa 1710, the finely falsequilted linen ground covered with meanders of carnations and other blooms in shades of red-pink with delicate tendrils and foliage, one border with spot motifs of assorted plants, narrow edging borders, 134 by 117cm in mount and glazed frame ÂŁ2000 - 3000

52 (detail)


53 A fine military or tailor’s patchwork, circa 1850-60, the central diamond shaped medallion of scarlet melton uniform fabrics, appliquéd and embroidered with three-dimensional pansies, daisies and briar roses, with satin-stitched butterflies, against a chequered field of blue, yellow, ivory and scarlet uniform wool patches, within scarlet appliquéd bands applied with black roses and thistles, gold silk embroidered veining to the leaves, the ground composed of diamond shaped suiting fabrics in black and shades of grey, two horizontal scarlet bands appliquéd and embroidered with polychrome raised-work flowerheads, with purple velvet to the thistles and pansies, the outer border in red and black wools adorned with hearts, starbursts and floral sprigs, 217 by 197cm

The central section of the coverlet made up from British military uniforms is redolent of a group of patchworks made by soldiers and dating from the crimean War period. However, it is unusual to also find incorporated men’s suiting fabrics. The raised-work flowers, some of the central roses with three dimensional individually cut petals, also make it exceptional.

53

There was a tradition in the military for the making of these coverlets from the crimean War to circa 1910 when khaki was introduced. Wounded soldiers were encouraged to make them as a means of whiling away their convalescent hours. There is an oil painting of Private Thomas Walker, 1856 in the Royal college of Surgeons collection, which shows the wounded soldier in bed sewing together uniform patches to make a coverlet. See ‘Quilts’ V&A publications p.85 for a reproduction of this painting. Three large wool patchwork covers of this type were exhibited at the Great Exhibition in 1851, all made by men including a policeman and a Bristol tailor. £6000 - 10000 53 (detail)

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54 A Gavin Morton for Morton Sundour woven wool gauze furnishing textile, circa 1910, woven in pastel wools with elongated iris repeats in shades of pink and lilac, yellow and pink blossom, 154 by 118cm within mount and glazed frame

This semi-transparent curtain fabric was woven by the firm of Morton Sundour, an off-shoot of Alexander Morton & co. The parent company was established in Scotland in 1867 under the direction of James Morton (18671943) - the firm that supplied Liberty’s and other leading stores with gauzes, textiles and carpets. It included amongst its designers cFA Voysey, Lindsay P. Butterfield, the Silver Studio and MH Baillie Scott. Gavin Morton (1867-1954) was the nephew of Alexander Morton and cousin of James who became chief designer for the firm. This panel was woven for the drawing room of his own house in carlisle. See illustration on inside back cover. £800 - 1200

55

55 An embroidered and false quilted panel, Indian, circa 1700, the tightly diapered false quilted linen ground worked in floss silks with repeated stylised carnations and couched silver thread leaf sprigs, 58 by 196cm, on silk mount within glazed frame £800 - 1200

55A (detail) 55A An embroidered and patchworked coverlet, by Sarah Woodhouse, December 23, 1799, the central linen field with diamond lattice quilting, embroidered in wool with a bouquet of wild flowers with chain-stitched signature medallion below, within wreath of coiling blooms, embroidered strawberries to the corners, with broad borders of two rollerprinted cotton fabrics, 260 by 237cm, 102 by 93in £700 - 1000

56 A fine William Morris & co ‘Peacock & Dragon’ doublecloth furnishing textile, 1878, woven in pink, sage green and blue wools with large scale medieval-styled beasts and foliage repeats, 227 by 153cm, on linen covered board

This design was woven by Morris at Queen Square and Merton Abbey. An identical fabric was draped around the walls of the first floor drawing room of Kelmscott House in April 1878. May Morris believed the design to be ‘intimate and friendly... the most adaptable to the needs of everyday life. It suggest not the wealth of the millionaire but the modest competence of a middle class merchant who lives...with the few beautiful things he has collected slowly and carefully’. cf Victoria & Albert Museum ‘William Morris’ catalogue, edited by Linda Parry p.270 for a reproduction of this design. £2000 - 3000

55A (signature)


57

56

FASHIon 1780-2009 57 A printed cotton ‘Indienne’ robe, French, the fabric 1770s but altered into a closed-robe circa 1780-90, the block printed cotton with vertical bands of baskets of fruits, roses and ribbons in shades of red, blue and brown, with closed-front bodice, the waist cut high at the back, the skirt panels stitched closed at the centre front and with apron-like fall with ties to fasten, chest approx 92cm, 36in £1500 - 2000

58 Two crinoline frames, circa 1870, the first probably American, with diagonally curving cotton covered wires, linked by ecru cotton tapes; the other with white tapes, of more slender form with pronounced buttock area (2) £500 - 700

59 A fine ivory organza and Valenciennes lace gown, late 1870s, with tiny buttons to fasten, wide satin waistband with rosette, frilled and be-ribboned jabot like panel to front, Valenciennes flounces to skirt and cuffs generally, gathered, bustlebacked trained skirt £400 - 600

55 (detail)

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60 60 A Ballets Russes ‘Le Tricorne’ waistcoat, designed by Pablo Picasso, first performed in 1919, with black satin lapels edged in white cotton braid, with pendant crochet pom-poms, stamped in ink 1584, and with pencilled name ‘Wurpick’? and bearing original Sotheby’s lot tag

Provenance: Sotheby & co, 3.3.1973, lot 149 £600 - 800 61 A Ballets Russes stencilled rayon tunic, probably for a de Basile production in the 1930s, the Russian style shirt printed with black horses, on yellow zig zag lines, interspersed with green triangles, indistinctly signed to the interior with names including ‘Kirsova’, together with a pink brocade waistcoat, with nametag ‘Taras’ (2) £200 - 300

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62 A dark purple wool and moiré silk mourning ensemble, circa 188085, labelled to the waist ‘Arthur chambers & co, Grantham’, the stand collar with tulle ruffles, small fob pocket to the waist, ruched skirt panels and centreback waist, gilt-brass Venetian-style winged lion buttons, matching capelet, bust 86cm, 34in, waist 66cm, 26in (2) £350 - 500 63 A Rouzaud & Rafaillac of Bordeaux navy wool riding habit, circa 1885-90, labelled to the waistband and neck, comprising: boned slim-fitting jacket with satin covered buttons, short tails, lined in finely checked cotton with top-stitched reinforced panels: breeches with small-fall opening, draw-string hems; and long skirt with pocket, bust approx 77cm, 30in, waist 58cm, 23in (3) £400 - 600

64 64 A Mariano Fortuny copper silk Delphos gown, circa 1920-30, stamped Fortuny to muslin tape on inside shoulder, with striped yellow Murano beads to the shoulders, armholes and sides £2000 - 3000 65 An Irish crochet coat, circa 1910, elaborately and densely worked with flowerheads and foliage, with occasional raised-work petals, chest approx 117cm, 46in £600 - 1000


66 A fine and rare Mariano Fortuny stencilled orientalist black silk evening coat, circa 1910-20, with circular label applied to the wine silk lining, stencilled in gold with delicate foliate traceries with vines and grapes, the wide panelled sleeves and skirts linked by striped glass Murano beads, tie cords to neck

Literature: ‘Fortuny’ by Guillermo de osma, p.213 for a photograph of a similar robe in the Tina chow collection, fig 12; also a black and white photograph c.1920 of a figure wearing a similar robe, fig 11; the same photograph is also reproduced in ‘Fortuny’ by Deschodt & Poli p.92. Exhibition catalogue ‘Mariano Fortuny’ 19 April 1980, Musée Historique des Tissus de Lyon, 1980, photo 54 for a similar garment. Exhibition catalogue: ‘Fortuny’ Fashion Institute of Technology, new York, April 1981, p.18 for a similar robe described as an ‘off white Djellabah’. £8000 - 12000

66

66 (label)

66 (detail)

66 (detail) 19


67 67 A Paul Poiret dinner gown, circa 1918-20, labelled ‘Paul Poiret à Paris, Joseph new York’ with Iribe rose to the waist area, comprising chemise-like under-dress of brown satin, with girdle of gold tape with ribbon roses, integral brown silk filet lace coat with knotted chiffon collar £2000 - 3000

68

67 (label)

68 (label)

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68 A rare Madeleine & Madeleine green velvet orientalist robe, circa 1919, labelled to the skirt waist ‘Madeleine & Madeleine, Paris’ also to bodice ‘Bergdorf & Goodman co, 616 5th Ave. nY, the original client details have faded, the Japanese-inspired robe with separate batwing sleeved bodice embroidered in ivory floss silks, pearlised beads with large flowerheads and delicate tendrils, the skirt attached to tulle camisole, with unusual fold-over wing-like skirt flap similarly embroidered, bust approx 86cm, 34in (2) £800 - 1200


69 A rare Paul Poiret navy wool day dress ‘Persique’, Autumn-Winter, 1925, labelled ‘Paul Poiret à Paris’ with Iribe rose, inscribed on the back in ink ‘63182, Mrs Rosambert, Renée, Persique’, with rose ottoman plastron to the front, couched and embroidered in north African style with striped silk cords, silk tassels, in shades of pink, yellow, purple and grey, weighted hem, bust 86cm, 34in

There is a photograph of this gown in the Archives de la Seine, dated 30th november, 1925. £3000 - 5000

69 (detail)

69 (label)

69

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72 A compagnie Lyonnaise brown velvet opera coat, circa 1910, labelled ‘13 Rue Royale, Paris’, with draped dolman sleeves, rouleaux edging and frogging fasteners with large paste inset Directoire style buttons, the back and front skirt panels applied with imitation Gros Point de Venise lace, lined in floral chiffon, bust approx 92cm, 36in

Provenance; The vendor purchased this robe at a Sotheby’s auction of the estate of Ethel Geraldine Rockefeller Dodge (1882-1973) in new Jersey in 1974. She was the heir to the Hartley and Phelps Dodge fortunes and upon her death left an $85 million philanthropic bequest. £400 - 600

70 70 A good beaded flapper dress, circa 1928, labelled made in France, size 44, the beige muslin ground with gold and black bugle beaded designs, hem pointed to the sides, bust 92cm, 36in £700 - 1000 71 A beaded opera coat, mid 1920s, the black muslin ground entirely covered with black seed-beads, gun-metal blue chrysanthemum roundels, of voluminous, draped form with button to fasten, chest approx 107cm 42in. £400 - 600

22

73 A sequined evening coat and beret, late 1920s, the jacket with black muslin ground covered in black sequins with silver bugle beaded snowflake patterned edgings, bust 97cm, 38in; the beret with textured silver and black sequins in zig zag patterns (2) £400 - 600 74 A printed chiffon and beaded gown and jacket, circa 1929, the floral print in shades of pink, mauve and pale green, the motifs edged in clear seed beads, bust 86cm, 34in (2) £200 - 300 75 A black beaded flapper dress, circa 1929, with graduated overbodice and hemline, embroidered with concentric black bugle bead repeats overall, bust 92cm, 36in £250 - 350

76 76 A callot Soeurs beaded satin evening gown, circa 1925, unlabelled, embroidered in pink and blue beads, gold thread with neoclassical strapwork, the rear trained panel shortened to make it the same length as the finished hem, bust 92cm, 36in

For an un-altered example of this dress with long trained panel see Sotheby’s new York, December 19, 1991, lot 251. £500 - 700 77 A finely beaded black chiffon cocktail dress, circa 1920, worked overall with delicate white seedbead repeats, bias cut with tiered handkerchief hem to skirt, bust 86-92cm, 34-36in £200 - 300


78 78 A rare ‘ribbon’ dress, circa 1924, attributed to Gabrielle chanel, un-labelled, of black crêpe de chine with bugle bead 'ribbon' zig zag fringes falling in four crêpe georgette tiers to the skirt front and back, beaded waist belt which ties, picot edging to the integral silk petticoat and ribbon fronds, bust 86cm, 34in

Literature: Metropolitan Museum, ‘chanel’ p.164 for an illustration of a similar gown. WWD (August 15, 1924) reported ‘There is one beaded evening dress that will probably be much seen about ...of black georgette, cut with the deep u neckline at back and a less deep one at front that is the favourite decolletage here this season. Its skirt has two or three layers of the crêpe from waist to about knee-line slit into half inch wide fringes of irregular lengths that are weighted down by being covered with jet bugles’.

78 (back)

A similar gown was also illustrated in French Vogue, 15th november 1924, p.68, and in British Vogue, December 1924, p.37, 'Fringe Holds Graceful Sway over Paris Dancing Frocks', but shows a deeper, lower back than the example in this sale, but has identical beaded details. 1st Dibs sold another version of the black ribbon dress, Spring 2012, with a higher back (similar to lot 78) but with a sheer chiffon overdress with ribbon edged sleeves and similarly worked skirt which was labelled ‘Gabrielle chanel’. It seems that chanel produced a number of variations of this gown for its different markets and clientele. The plunging low back might have been deemed inappropriate or too racy for the more mature client. £10000 - 15000 23


80

79

80 (detail)

82

79 An Alfred Lenief couture bias cut evening gown ‘Yvette’, circa 1930, woven label ‘Lenief Paris’, number 47368, client name ‘Mme Tenaille Albes’, the belt with artdeco rhinestone buckle, bust approx 86-92cm, 34-36in, waist 61cm, 24in

80 A rare Boris Lacroix for Madeleine Vionnet wine suede handbag, initialled in gilt metal ‘MV’, 1930s, with entwined, rope-twist handles, lined in rayon, zip fastened, 24cm, 9 1/2in long

82 A Madeleine Vionnet black velvet evening coat, circa 1935, with printed satin label, thumb-print, numbered 53502, with panelled balloon sleeves, gently gathered collar, half lined in black satin, art-deco chrome plated clip to fasten at neck, chest 86cm, 34in

Alfred Lenief worked for Paul Poiret before leaving to set up his own establishment at 374 Rue St Honoré, Paris. His assistant designer was Marie-Georgette, the Baroness Fouquier. £600 - 1000

79 (label) 24

Literature: for other similar bags by Lacroix for Vionnet see ‘Vionnet’ by Jacqueline Demornix, pp 77-79. £600 - 800 81 A Molyneux couture black cloquéeffect chiffon evening gown, early 1930s, ‘5 Rue Royale’ printed satin label, with raised waistline, slightly flared skirt, bust 76cm, 30in £400 - 600

A Vionnet coat in taffeta with similar sleeve construction was sold by Millon Robert, Paris, lot 164, 29th november 1994. £3000 - 5000

82 (label)


83 (detail)

83 A black lace and rouleaux satin evening gown, attributed to Madeleine Vionnet, probably Spring-Summer, 1936 collection, with square neckline, full sleeves, the gossamer fine lace intersected by the padded silk bands, circular armholes cut out of the lace roundels of the sleeves, bust approx 86cm, 34in

For a black organdy evening coat with horsehair stiffened rouleaux banding see ‘Madeleine Vionnet’ by Pamela Golbin, pp 210-211. £3000 - 5000 83 84 A 1930s summer gown formed of Edwardian lace, the bodice and hem with deep panels of Irish crochet, and including buratto and filet lace panels, bust 97cm, 38in £350 - 500

85 A Jeanne Lanvin couture black velvet evening coat, Winter, 193031, large dated woven silk label, of voluminous cut with no fastenings, also velvet lined, the sleeves with three parallel darts below the elbow £400 - 500

86 A couture Brussels lace and beige chiffon gown, probably Molyneux, late 1920s, un-labelled, with Vneck, with tiered graduated hem, cut longer at the back, chiffon cummerbund-like gathered waistband, bust 82cm, 32in

This dress came from the same vendor as the Molyneux labelled gown lot 81. £350 - 500

25


89 (label)

89 (detail)

89 87 An early Hartnell couture bias-cut evening gown, circa 1930, narrow woven gold and ivory label, the sapphire blue bias-cut chiffon gown with complex lattice of diagonal and criss-cross pin-tucks overall, the hem with goffered pleats of chiffon, flounces to shoulders, with matching capelet, tie belt and satin petticoat, bust approx 92cm, 36in (4) £300 - 500

26

88 A printed crêpe day dress, possibly Schiaparelli, circa 1938, block printed with blue lilac and chartreuse foliage, three navy glazed ceramic buttons to the broad, banded waist, padded shoulders, gathered short sleeves, bust 86-92cm, 34-36in

The fabric is reminiscent of the summer 1938 circus collection, which also included florals. £400 - 600

89 A Gabrielle chanel couture black lace evening gown, circa 1937-8, narrow woven brown on tan label, printed no 17252, with integral black rayon crêpe lining/petticoat, with deep V-neckline and low Vback, the edges and bias cut skirt seams top-stitched in black silk bands, a lace flounce to front hip, the shoulder straps linked to unusual boned ‘wing’ sleeves, bust approx 81cm, 32in

For a dress with similar topstitched banding see Metropolitan Museum catalogue, inventory 2004.447a,b. £1000 - 1500


90 A Gabrielle chanel black lace evening gown, probably SpringSummer, 1933, narrow brown label ‘chanel’ indistinctly numbered to the reverse ‘31 345’, with flounces to shoulders, graduated radiating bands of lace from the centre front waist, the skirt with ruffled tiers, horsehair stiffeners to hem, lace with small animal and flower-sprig repeats, bust 86cm, 34in £6000 - 8000

90 (back)

90 (detail)

90 27


93 An Adrian ivory wool suit, late 1940s, labelled ‘Adrian original’ and retailer ‘ Harzfelds of Kansas city’, the fitted jacket with padded shoulders, one short and one long lapel, three beaten gilt disc buttons, graduated patch pockets placed at an angle, faux hip pockets, long slim skirt, chest 97cm, 38in, waist 72cm, 28in (2) £300 - 500

94 ∆ An ocelot jacket, late 1940s, with three bakelite buttons shawl collar, lined in brown satin, chest 107cm, 42in; and the remains of a hat (2) £350 - 500

91 & 92

95 An Hermès beige linen suit, late 1940s-early 1950s, large woven label, the fitted jacket with padded shoulders, four textured composition buttons, zig zag seams to the waist with vented pockets, the skirt with single pleat, chest 92cm, 36in, waist 64cm, 25in (2) £400 - 600

91 (label)

91 A rare Elsa Schiaparelli couture black wool and astrakhan jacket, circa 1939-1940, with printed petersham label ‘Schiaparelli London’, the loose jacket with three massive coiled leather buttons, copper-hook fastenings concealed behind the closure flap, with unusual hour-glass shaped front panels forming deep chest pockets lined in fur, curved pocket flaps at the waist over diagonal vents, astrakhan trim also to the lapels (which can be worn open or closed), and cuffs, slight padding to the shoulders, chest approx 97cm, 38in £1500 - 2000

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91 (detail) 92 An Elsa Schiaparelli couture rooster-print black satin blouse, white petersham label ‘Schiaparelli London’, with crisscross neck ties, bust approx 92cm, 36in £300 - 500

96 A Balenciaga couture black satin cocktail suit, circa 1953, Paris labelled and numbered 47058, with padded, rounded shoulders, jet bead inset buttons, skirt with back split, bust 97cm, 38in, waist 76cm, 30in (2) £500 - 700


97 (label)

97 (detail)

97

97 A Balenciaga couture black faille ‘Spanish’ jacket, 1940s, Paris label, with rounded padded shoulders, the curved lapels and pointed front waist adorned with elaborate jet-beaded tassels, bust 92cm, 36in, waist 66cm, 26in

A velvet jacket with similar pointed front panels formed part of his 1943 collection. £1500 - 2000

98 A Balenciaga couture black velvet redingote, circa 1950, Eisa labelled, of voluminous cut, the coat and integral capelet gathered into a yoke, 3/4 length sleeves, lined in black taffeta, chest approx 102cm, 40in £1000 - 1500 98

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99

100 99 A Balenciaga couture black organza bolero jacket, 1950s, black Paris label, black sequined and beaded leaves and flowerheads linked by brides overall, bust 92cm, 36in; together with a Balenciaga couture silver-grey satin ball gown, circa 1952, the bodice with white Paris label and numbered 42485, comprising: strapless bustier, full skirt with ties to the back and internal bustle-like ruffles, bust 86cm, 34in, waist 61cm, 24in (3) ÂŁ800 - 1200

99 (back)

30

100 A Balenciaga couture pink satin evening gown, early 1950s, Eisa labelled, button fronted with wide, deep collar to the back, waistline is lower at the back, hem is graduated, bust approx 92cm, 36in, waist 61cm, 24in ÂŁ800 - 1200


101

102 102 A Jacques Fath couture ice-blue satin ball gown, early 1950s, labelled and numbered 24576, the boned strapless bodice with pleats of fabric to breast, dainty ties to front waist, bust approx 8186cm, 32-34in, waist 56cm, 22in ÂŁ1500 - 2000

101 (label) 101 A Balenciaga couture shot silk taffeta ball gown, early 1950s, labelled Eisa, the scarlet silk shot with gold, the fitted bodice with large knots to the shoulders, full skirt, the waistline dropping at the back, matching horsehair stiffened petticoat, bust approx 92cm, 36in, waist 61cm, 24in (2) ÂŁ1500 - 2000

101 (detail)

102 (label)

31


106 A christian Dior London brocaded pink satin evening gown, circa 1958, ‘Modèle original, christian Dior London’ label, no.16039, and ‘sample’, with empire-line bodice, obi-like belt with detachable bow, full tulip-shaped skirt with tulle petticoats, bust approx 86cm, 34in (2) £600 - 1000

107 A christian Dior London red silk faille dinner dress, circa 1958-9, ‘Modèle original, christian Dior London’ label, no 17153, size 12, the under-dress with faille front panel, over-bodice with wide, open sleeves, raised waistline with narrow belt or wider sash belt to tie, bust 92cm, 36in, (3) £400 - 600 103

108

103 A Balenciaga couture black faille dress, late 1940s, Paris labelled, with velvet collar and winged cuffs, with domed silk cord wrapped buttons, bust 92cm, 36in, waist 66cm, 26in £600 - 1000

108 A Balenciaga couture black silk evening or deshabillé coat, late 1940s, Paris labelled, with padded shoulders, buttoning to the waist, large patch pockets, winged cuffs, the waistline curving slightly to the back, with tightly gathered skirt, waist ties, bust 97cm, 38in, waist 71cm, 28in £800 - 1200

104 A Pierre Balmain couture black wool coat, late 1950s, labelled and indistinctly numbered, with ties to neck, chest 112cm, 44in; together with a black felted wool hat with slotted grosgrain ribbon (2) £300 - 500

105 A nina Ricci orange moiré evening coat, late 1950s, of voluminous tent-shape with two large knots forming the buttons, ties to neck, chest 137cm, 54in £300 - 500 32

106

109 A christian Dior couture ink-blue sequined dance dress, late 1950s, with white un-dated label ‘christian Dior Paris’, no 16035, client no behind 21428, the strapless bodice with sweetheart neckline, black elasticated tulle inner corset, the sequins gradually get larger as they descend from bodice to hem, bust 86cm, 34in, waist 71cm, 28in £800 - 1200


110 A fine and rare Germaine Lecomte couture black silk jersey evening gown, circa 1950, labelled, strapless with integral corsetted bodice, diagonal drapes to the bodice and overskirt, the underskirt falling in horizontal folds, with matching stole/scarf, bust 86cm, 34in, waist 61cm, 24in (2) ÂŁ1500 - 2000

110 (label)

110

110 (back)

111 A Jacques Heim couture oriental brocaded satin dress, circa 1959, labelled, the black satin ground woven with pastel blossom and damask roundels, the fitted princess-line bodice with bow to breast and rear waist, bust 86cm, 34in, waist 66cm, 26in ÂŁ500 - 700

112 A Jacques Heim couture oriental brocaded satin dress, circa 1959, labelled, the oyster satin ground woven with multi-coloured carp, the fitted princess-line bodice with bow to breast, bust 86cm, 34in, waist 56cm, 22in ÂŁ600 - 800

111 & 112 33


113 (detail) 114 A christian Dior printed cotton summer gown, circa 1955, Paris Boutique label and numbered 836006, full skirt, bows to the shoulder straps, bust 86cm, 34in, waist 61cm, 24in £600 - 1000

113

115

113 A christian Dior London black wool dinner gown, ‘Invitation’, Autumn-Winter, 1959, ‘Modèle original, christian Dior London’ label, no 20052, size 12, of Sekers ‘crêpe Babul’, with curved low neckline, faux under-bodice panels with large single button, with an optional broad belt, bust 92cm, 36in (2)

115 A christian Dior London black wool crêpe dinner gown, AutumnWinter, 1959, ‘Modèle original, christian Dior London’ label, no 21257, size 10, comprising: underdress with silk camisole and pleated crêpe modesty panel, the separate bodice with deep scooped neckline, two buttons, back-belt of pleated crêpe with short train-like panels, bust 86cm, 34in £600 - 800

This gown was advertised in Vogue, october 1958 p.133 £500 - 800

34

114


116

116 An Yves Saint Laurent for christian Dior black tulle and Valenciennes lace evening gown ‘Algues’, Spring-Summer, 1959, model no 122, un-labelled, with deep fichulike lace collar, black silk rose to the centre, decorative satin covered buttons to bodice front above a panelled skirt of goffered tulle edged with lace, zip fastened to side, bust 81cm, 32in waist 61cm, 24in

This model appears in L’officiel, no 447-448, June 1959, photo by Guy Arsac p.156 ‘on dansera en robe de dentelle...tulle et dentelle de nylon de Dognin’ and also in ‘L’officiel 1000 modeles, Dior 60ans de creation’. £2000 - 3000

119 117 A Jacques Fath couture yellow organza evening gown, early 1950s, labelled and numbered 22052, the boned bodice with vertical and diagonal pleated bands and bow, matching pleated skirt, bust 86cm, 34in, waist 66cm, 26in (2) £400 - 600

118 A Paté couture emerald green faille cocktail dress, circa 1957, labelled Paté, Milano, high waisted with double ruffle to upper bodice, wide belt, bust approx 86cm, 34in (2) £300 - 500

119 A romantic Madame Grès ball gown, mid 1950s, labelled ‘Grès, 1 Rue de la Paix, Paris’, the elaborately boned strapless bodice edged in garlands of silk blossom and roses, the dress formed from four layers of white and yellow chiffon, organza and taffeta and a final translucent overlay of glistening white horsehair which gives glimpses of the primrose yellow layers below and also ensures a perfect silhouette, bust 86cm, 34in, waist 54cm, 21in

See detail on front cover £2000 - 3000

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121

120 120 An Yves Saint Laurent for christian Dior couture ivory wool coat, ‘Trapeze’ collection, Spring-Summer, 1958, labelled and indistinctly numbered, double-breasted, of voluminous cut with large pearlised buttons, bracelet length sleeves, centre-back vent cut high to the shoulder, lined in ivory silk, chest approx 117cm, 46in

This coat is from Saint Laurent’s first collection at Dior when he was just 21. £1000 - 1500 36

121 A christian Dior navy wool dress, late 1950s, labelled ‘christian Dior Europe, manufacturé par christian Dior Export’, no 17839, button fronted with wide belt, buttoned cuffs to sleeves, full skirt with silk and tulle integral petticoats, bust approx 86cm, 34in £600 - 800

122 A chanel couture gold lurex tweed jacket, 1960s, with four patch pockets, lion mask buttons, edged in gold braid, gold chain to hem, ivory silk lining, bust 97cm, 38in £250 - 400


123 A fine Jean Dessès evening gown, believed to have belonged to Margot Fonteyn, circa 1960, with printed Jean Dessès label, made in France, and also ‘Marie Therese, 7 Avenue Gustave V, nice’, the boned strapless bodice edged in a band of black satin, the dress with overlay of black crêpe chiffon which falls in two swags from the rear shoulders, held at the front skirt with a satin bow, bust 86cm, 34in, waist 61cm, 24in

Provenance: Discovered in the attic of Margot Fonteyn’s house after it was sold. £2500 - 3500

123

123 (back)

124 A christian Dior ivory satin and fur-trimmed evening coat, probably 1960s, labelled ‘christian Dior, Paris’, the voluminous satin coat with watteau back, long, luxurious train, fur bands to collar and front openings £1000 - 1500

125 A Dior green mink and suede coat, 1970s, labelled ‘christian Dior Boutique Fourrure’, with overall chequer-board effect of fur and suede squares, green suede belt, chest 92cm, 36in £600 - 1000

126 A couture black silk crêpe evening gown, probably Balmain, circa 1968, with broad collar-like band of large beads and metal sequins to the neck, similarly trimmed hem and cuffs, bust 92cm, 36in £300 - 500 124 & 125

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129 A Balenciaga couture petrol-blue tweed suit, probably SpringSummer, 1961, Paris labelled and numbered 80027, the short, slightly waisted jacket with large domed, incised buttons, straight skirt, bust 92cm, 36in, waist 71cm, 28in (2) £350 - 500

130 A Balenciaga couture blue silk dinner dress, Autumn-Winter, 1965, black Paris label, stamped 97245, with wide black grosgrain inner corselet, fastened by button and hook to neck, diagonal seam with gentle pleats to front skirt, the back with narrow horizontal seam across seat area, bust approx 81-86cm, 32-34in, waist 64cm, 25in £500 - 800 127

131

127 A Balenciaga couture ivory silk shantung evening coat, circa 1960, black Paris label, with patch pockets to the upper chest and waist level, fabric gently gathered into yoke at the back, trained hem, voluminous cut £800 - 1200

131 A cristobal Balenciaga couture ivory brocatelle evening/bridal gown, Autumn-Winter, 1961, Paris labelled and numbered 93846, princess-line, with triangular insert to front of skirt which forms a point to the bodice front, folds of fabric form a collar which descend down the back of the dress and attach to rear floating back panels, bust 86cm, 34in £800 - 1200

128 A Balenciaga couture beige gabardine raincoat, circa 1960, Paris labelled, double-breasted with vented front pockets, chest 127cm, 50in; together with a Balenciaga a beaver-lamb pillbox hat, Paris labelled, adorned with spotted tulle (2) £300 - 500

130 38

132 A Balenciaga couture printed silk ensemble, circa 1960, unlabelled, comprising; sleeveless bodice with floating panel to the back and small bow, over pleated silk skirt, bust approx 92cm, 36in, waist 71cm, 28in (2) £300 - 500


135 A chanel couture charcoal grey mohair coat and skirt ensemble which belonged to the actress Romy Schneider, late 1960s, unlabelled, the double-breasted coat and A-line skirt with gilt lion’s mask buttons, chest 97cm, 38in, waist 66cm 26in (2)

Provenance: Hermi Steckel, movie assistant and friend to Miss Schneider, acquired by the Sisi Museum in 1994 and subsequently auctioned in Munich. £800 - 1000 136 A campbell’s ‘Souper’ dress, American, 1968, printed boldly with the iconic Andy Warhol design, bust 86cm, 34in £1000 - 1500 133

137

133 A good André courrèges couture navy wool coat, late 1960s, labelled and numbered A400, ‘courrèges Paris’, with contrasting ivory facings and belt, chest 86cm, 34in £500 - 800

137 An Yves Saint Laurent green and ivory wool coat, Autumn-Winter, 1965, labelled and numbered 09711, double breasted, chest 97cm, 38in £1000 - 1500 138 An Yves Saint Laurent couture black velvet evening coat, Autumn-Winter, 1965, labelled and numbered 10393, double breasted with stand collar, black silk grosgrain braid edgings, coiled silk thread buttons, chest 97cm, 38in £400 - 600

134 An Yves Saint Laurent couture red tweed suit, Autumn-Winter, 1967, labelled and numbered 12222, single-breasted with domed, ridged buttons, matching skirt, chest 107cm, 42in, waist 82cm, 32in; together with a St Laurent couture navy wool cape, c.1964, labelled and numbered 07296 (3)

A suit of the same fabric is photographed in L’officiel, 545/546 p.342 £300 - 500

136

139 A Givenchy couture suit, circa 1963, labelled and numbered 21554, of ivory and beige wool, the jacket with curved, highwaisted front hem, faux pocket flaps, matching skirt with front pleat and single button, chest 97cm, 38in, waist 66cm, 26in (2) £350 - 500 39


146 A Madeleine de Rauch couture tweed ensemble, 1960s, labelled, comprising an oatmeal tweed coat and matching skirt, chest 97cm, 38in, waist 77cm, 30in; together with a de Rauch grey wool coat with fur collar, chest 117cm, 46in (3) £300 - 500

143

143

140 A Balenciaga couture dark blue slubbed linen/wool suit, probably Autumn-Winter, 1963-4, Paris labelled and numbered 88829, double-breasted with small black beaded buttons, slightly padded shoulders, bracelet length sleeves, straight skirt, bust 92cm, 36in, waist 71cm, 28in (2) £350 - 500 141 A Givenchy couture navy silk crepe cocktail dress, early 1960s, labelled and numbered 25452, with empire-line diagonal seams to bust, a circlet of rhinestones holds drapes of fabric to centre front, bust 92cm, 36in £400 - 600 142 An Emilio Pucci printed cotton ensemble, late 1960s, labelled and size 10, the sleeveless top and matching skirt with psychedelic pink, yellow and orange print, bust 86cm, 34in, waist 66cm, 26in; and a yellow silk jersey dress with pink patterned skirt (3) £250 - 400 40

143 A Jacques Griffe black chiffon cocktail dress, defilé model for the Spring-Summer 1961 couture collection, handwritten atelier label ‘Fidele’, and indistinctly numbered, the boned sheath with broad satin ribbon straps, drapes of chiffon and bow to one side, bust approx 86cm, 34in

See L’officiel, no 467/468 for a similar model. £1200 - 1800 144 An Yves Saint Laurent black cloqué evening coat, circa 1965, labelled and numbered 06545, with large beaded medallion to chest, hook and eye closure, bust 112cm, 44in £400 - 600 145 Three Pucci printed silk jersey dresses, late 1960s, one is labelled others signed in the print, in shades of brown, blue and green and mauve, average bust size 92cm, 36in (3) £300 - 500

147 A Pierre cardin black cloqué evening coat, circa 1965, labelled ‘Pierre cardin Paris Prestige, modeles exclusifs pour la Rinascente’, double breasted with large beaded bauble buttons, chest 86cm, 34in; together with a black velvet cardin couture jacket, early 1960s with large toggle buttons, chest 112cm, 44in (2) £200 - 300 148 An Yves Saint Laurent couture black and white tweed suit, circa 1960, labelled and numbered 096710, comprising short, boxy jacket with black bauble buttons, below the knee skirt and waistcoat, bust 92cm, 36in, waist 66cm, 26in (3) £350 - 500 149 A Jacques Heim couture blue mohair dress and short jacket, circa 1958-60, labelled, the slimline dress with bolero-like overbodice, silk camisole below, four buttons, matching jacket with curved front hem to follow the line of the bodice, bust 92cm, 36in, waist 71cm, 28in (2) £300 - 500


152 A Pierre cardin fur-lined suit, 1960s, labelled ‘Pierre cardin Modes Paris’, of black diagonal weave tweed, lozenge buttons, chest 102cm, 40in, waist 71cm, 28in (2) £250 - 350 153 A chanel couture black lurex plush cocktail suit, mid 1960s, labelled, the loose jacket lined in ivory satin, with chain-weighted hem, matching plush camisole top and skirt, with cummerbundlike belt, chest 102cm, 40in, waist 77cm, 30in (4) £500 - 900

150 150 A Marc Bohan for christian Dior stylish grey suede ensemble, Autumn-Winter, 1964, which belonged to Madame Bricard, christian Dior’s friend and muse, labelled and numbered 30739, comprising: two transparent chiffon chemises with bows to the straps in shades of grey, short boxy jacket and A-line skirt, with grey suede clutch bag and shoes, bust 86cm, 34in, waist 66cm, 26in; together with two pairs of christian Dior suede shoes in brown and black in original boxes bearing Mme Mitza Bricard’s name and writing (qty) £800 - 1200

154 An Yves Saint Laurent couture violet linen cutwork evening gown, probably Spring-Summer, 1968, labelled and numbered 19248, the graduated hem with lavish Lesage cutwork blooms edged in ivory buttonhole stitch, scattered with white beads, ribbon belt to waist, bust 86cm, 34in, waist 66cm, 26in £600 - 800

155 155 A chanel couture shocking pink and navy slubbed silk evening suit, circa 1960, labelled and numbered 34802, the slightly waisted jacket with chain to hem, bow to neck, chest 97cm, 38in, waist 76cm, 30in £600 - 1000 156 A Balenciaga couture gold and champagne silk cloqué cocktail ensemble, circa 1965, Paris labelled and numbered 94892, comprising: double-breasted dress with coiled gilt chain buttons, the matching coat lined in turquoise silk, dress bust 86cm, 34in (2) £450 - 600

151 An Yves Saint Laurent couture black silk evening coat, circa 1963, labelled, with concealed buttonholes (lacking fasteners), 3/4 sleeves, of voluminous cut, chest 153cm, 60in £400 - 600

157 A Madeleine Vramant black chiffon cocktail dress, circa 1960, labelled, the simple shift with silk corsage and bow to empire line waist, bust 92cm, 36in £250 - 350 154 41


THE JoAnnA LuMLEY coLLEcTIon oF JEAn MuIR AnD VInTAGE FASHIon Lots 158-175 will be sold in aid of Elizabeth’s Legacy of Hope charity. The charity offers children in developing countries who have lost limbs, an active future through providing low-cost prosthetics, vital operations, educational and psychological assistance.

In 1962 Jean Muir produced her first independent collection under the Jane & Jane label with the backing of the entrepreneur David Barnes. She traded out of 19 Great Portland St. Although the design was under her complete control she did not own the label. In 1966 she set up her own label with her husband Harry as her co-director and opened a showroom in Bruton Street. Jean Muir’s designs were voted Dress of the Year twice in the 1960s - in 1964 when trading as Jane & Jane and in 1968 under the Jean Muir label. Joanna Lumley became one of Miss Muir’s house models in 1964 at the age of 18. Joanna remembers: ‘My job as Jean’s house model was to have clothes built on me while I stood rock still, or bent an arm, or twirled ... I only worked for her for a few months but I stayed her friend for life. Although I went on to become an actress, I always modelled in Jean’s shows if I was in the country. Those who were in her inner circle nick-named themselves ‘The Muirettes’... The collection I am selling is about half of my Jean Muir dresses; the others were given away, worn to shreds or have been kept by me and worn to this day. I want them to go on to another life, another wave of appreciation, even though each one tugs at my memory’s heartstrings’. A fascinating and greatly expanded account of Joanna Lumley’s relationship with Jean Muir can be seen on our website.

158 A Jean Muir Liberty-print silk dress, circa 1964, Jane & Jane label, D282 and size 12, printed with berries, borage and other blooms, empire line with puff sleeves, bust 86cm, 34in; together with two pictures of Miss Lumley modelling the gown in the 1960s (qty) £200 - 300 158 42


160 161 Two Jean Muir Jane & Jane labelled dresses of grey tweed and black satin, circa 1964, the black satin gown labelled, numbered D.495 and ‘Miss Lumley’ handwritted tag, with button collar, bow to raised waist, bust 86cm, 34in; the other of grey tweed, labelled and size 10, with button-detailing, bust 81cm, 32in (2)

159 159 A Jean Muir printed chiffon cocktail dress, 1967, unlabelled but with handwritten tag D597, with psychedelic leaf print, the collar and cuffs with goffered frills, undulating hemline, empireline bodice, bust 86cm, 34in; and a colour photograph of the gown being modelled (2) £200 - 300 160 A watercolour by John Ward of Miss Lumley wearing the Jean Muir printed chiffon gown, (lot 159), dated 1968, 32 by 50cm in frame £1000 - 1500

The black satin dress is the first Jean Muir that Joanna Lumley ever acquired ‘It was my first ever little black dress and I saved up out of my admittedly pretty small pay packet of ten pounds a week to buy it’. £200 - 300 162 A group of Jean Muir clothing, 1970s-80s, including two jersey dresses, both labelled, one of black jersey with serpentine buttoned closure, bust 92cm, 36in; the other of crimson jersey with raglan sleeves, bust 86cm, 34in; a tan wool dress suit, bust 86cm, 34in; a rose mohair top and matching skirt; and a grey wool trapeze coat, chest 112cm, 44in (6) £300 - 500

163 Jean Muir coats and jackets, late 1970s-early 1980s, labelled, the first of fuchsia suede with floral cutwork, chest 40in, 102cm, with an image of Miss Lumley wearing it on the Private Lives tour in 1981; a navy gabardine swing coat with curved lapels and wide sleeves, chest 127cm, 50in; an orange moss-crêpe shift dress and matching coat, labelled, the coat with curved lapels and front closure, chest 97cm, 38in, with a picture of Miss Lumley wearing the coat; a navy crêpe jacket, with perspex buttons, chest 97cm, 38in (6) £350 - 500 164 Six Jean Muir jersey dresses, midlate 1970s, labelled, comprising: emerald-green example with shirred waist; a bottle-green gown with art-deco style buckle; black orchid print dress; black smock dress with white leaf print; brown dress with delicate jigsaw print; and a poor condition blue dress with white zig zag print and an image of Miss Lumley wearing it, average bust size 86cm, 34in (7) £200 - 300

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165

169

165 A Jean Muir printed silk dress, circa 1970, probably a Liberty print, Jean Muir label, and size 10, with high waistline, bias-cut skirt, button-fronted bodice, with vibrant print, bust 86cm, 34in; together with two photographs of Miss Lumley wearing the gown and a newspaper clipping of her in the gown in 1977 to promote the new Avengers (4) £300 - 500

169 A Granny Takes a Trip printed crêpe blouse, late 1960s, labelled, with stand collar and repeat bow motifs, bust 92cm, 36in; together with a Deborah & clare printed chiffon blouse, late 1960s, labelled, with poppy print repeats, bust 92cm, 36in; and a picture of Miss Lumley wearing the blouse in the late 1960s (3) £200 - 300

166 A Jean Muir cherry-red printed jersey blouse, circa 1977, with overall squiggle prints, ties to neck; together with two photographs of Miss Lumley wearing the blouse; and two Jean Muir jersey dresses - one of plain navy with scalloped peter pan collar, the other black with scooped neckline and small square repeats, busts 86cm, 34in (5) £200 - 300

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165

167 A Jean Muir printed silk ‘peasant’ dress and shawl, early 1970s, labelled, empire-line, of foliate paisley stripes with, contrasting shawl, bust 92cm, 36in; together with a Jean Muir Liberty-print silk dress in primary colours, labelled, size 10, no D410, 1960s with pintucked yoke and ties to neck, bust 97cm, 38in (3) £300 - 500

168 A large group of Jean Muir separates, mainly 1970s, mainly labelled, approx. 14 pieces, including two silk and rayon crêpe dresses one of red satin, the other brown crêpe, assorted blouses, skirts, trousers, a tartan skirt and blouse (qty) £150 - 250

170 Jean Muir jackets and coats, 1980s, comprising: a wine suede jacket with stand collar, curved tabs to front skirt; a pink mohair jacket with padded shoulders, cinched waist; a navy moss-crêpe coat with hexagonal buttons, average chest size 97cm, 38in (3) £150 - 250


172

171 171 A Jean Muir printed moss-crêpe evening gown, circa 1970, Jean Muir label, no D216 and ‘Repeat Model’, size 10, the fabric probably by Liberty, printed with bold undulating colour blocks and outsized polka dots, stand collar and deep cuffs with top-stitched detailing, high-waisted, bust 81cm, 32in; together with a picture of Miss Lumley wearing the dress to judge a beauty competition with Tony Blackburn (2) £300 - 500

172 A fine Jean Muir brocaded evening jacket, late 1970s-early 1980s, labelled, woven with metallic pink, blue and purple jewel-like medallions, the lightly padded shoulders with top-stitched epaulettes adorned with rows of glass buttons, chest 86cm, 34in; together with an image of Miss Lumley wearing the jacket, which was also used for the promotion of ‘Private Lives’ in which she performed in 1981 (2) £400 - 600

173 A Jean Muir pale pink suede jacket, 1980s, labelled and size 10, with lightly padded shoulders, top-stitched angular lapels, filigree metal buttons, tie belt, chest 92cm, 36in £200 - 300

172 174 A group of Jean Muir jersey clothing, mid 1970s-early 1980s, comprising: a printed jersey playsuit, Autumn-Winter, 1976, labelled and size 10; a printed grey jersey top; four jersey dresses - a jade-green shirtwaister; saffron-yellow with blue and red floral print; black with blue top-stitching late 70s; and black with leather trim, busts 8692cm, 34-36in (6) £300 - 500

175 A Jean Muir printed scarlet jersey dress, circa 1977, labelled Jean Muir size 10, with 20s style dropped waist falling in pleats, large elliptical button to the chest; and a scarlet jersey Muir dress, 1979, of grey ‘spider print poppy jersey’ as described by Vogue, october 1979, busts 97cm, 38in; both with images of Miss Lumley wearing the dresses including the opening of the Daily Mail Ski show in 1977 (4) £250 - 300

45


© Doreen Spooner

176 176 The hippy-style wedding dress worn by nikki Squire for her marriage to the musician chris Squire of the super-group ‘Yes’ at chelsea Town Hall, 19th June 1972, purchased from ‘Sharon’s Shoppe’ in Kensington Market, of dove-grey jersey and ecru crochet, studded with wooden beads, silk blossom to skirt, bust approx 86cm, 34in; together with the Andres velvet 18th century style jacket, worn by the groom, with green velvet collar and cuffs; an image of the ensembles being worn on the wedding day; and two labelled Sharon’s Shoppe hippy style dresses (5) £400 - 600

46

177 & 178 177 A good ossie clark black moss crêpe evening gown, circa 1970s, Radley labelled, button-front closure, curved collar, full sleeves, ties to waist, bust approx 92cm, 36in £250 - 400 178 An ossie clark/celia Birtwell ‘Floating Daisies’ moss crêpe evening dress, circa 1970s, Radley labelled, plunging neckline with button fastening, contrasting black midriff, edgings and sleeves, bust approx 92cm, 32in £350 - 500

179 An ossie clark/celia Birtwell black chiffon ‘come Fly With Me’ blouse, circa 1970, wrap-around, with centre-front slit, open back, balloon sleeves, bust approx 86cm, 34in; together with two moss-crêpe dresses, one an ‘Interstella overdrive’ model in red with Radley label, keyhole to midriff and open back, bust 82cm, 32in; the other black with satin edged V-neck, red piping, bust 86-92cm, 34-36in (3) £250 - 400 180 An ossie clark/celia Birtwell printed morocain dress, early 1970s, Radley label, size 14, the overall design in black and white with blue outlines, 40s style ruched bodice, flounced sleeves, pleats to skirt centre-front, bust approx 86-92cm, 34-36in £300 - 500


181 & 182 181 An ossie clark ‘traffic light’ dress, early 1970s, printed satin label and size 12, the black moss crêpe bodice button-fronted with flounced, graduated skirt in yellow, red and orange, bust 86cm, 34in £400 - 600

182 An ossie clark for Radley printed morocain dress, early 1970s, labelled and size 12, fortiesinspired with green, black and white celia Birtwell print, bust approx 86cm, 34in £400 - 600

183 & 185 183 A Zandra Rhodes printed ivory chiffon evening gown, 1978, labelled, with curved slightly padded shoulders, chiffon insert to decolletage edged in pink pearl beads, quilted satin waistband, the draped chiffon overskirt edged in rhinestones, printed in shades of grey and cream with ribbons and florets, bust 86cm, 34in £400 - 600

184 A good ossie clark black moss crêpe ‘cuddly’ gown, early 1970s, labelled and size 12, wrap-around with key-hole back, wrap-over front with waist ties, bust 8692cm, 34-36in; together with a plaited south Korean handbag, 1950s (2) £400 - 600

185 A Zandra Rhodes ‘Lace Mountain’ printed chiffon evening gown, Ayers Rock collection, 1975, labelled, printed in shades of blue and pink, with spaghetti shoulder straps, goffered sleeves, trimmed with pink satin ribbons and pierced mother of pearl shellshaped plaques, bust approx 86-92cm, 34-36in

See ‘The Art of Zandra Rhodes’, p.138 for a pink version of this dress. £600 - 900

186 A Zandra Rhodes ‘Indian Feather Sunprint’ jacket, 1974, labelled, of pleated white satin printed in shades of blue with crinkly ‘lettuce’ edging £250 - 400

47


189 Yves Saint Laurent Russian collection ensembles, 1976, Rive Gauche labels, comprising: black cotton peasant blouse, flounced red skirt, black cummerbund with red rick-rack braid, bust approx 86-92cm, 34-36in; together with a black velvet bolero with matching trousers trimmed with gold braid, accessories including YSL wedge shoes, velvet shoulder bag, satin clutch, and crochet beret (qty) £400 - 600

190 A rare Rae Spencer cullen/Miss Mouse printed satin evening jacket, early 1970s, labelled, printed overall with playing cards, sharp black satin lapels, tie belt, silk wrapped buttons, chest 8186cm, 32-34in £350 - 500 187

191

187 An ossie clark for Quorum red morocain crêpe ‘Bridget’ evening gown, early 1970s, labelled ‘Quorum’, with plunging neckline, wrap-over skirt, padded waistband, the skirt with finely pleated sides, bust approx 8692cm, 34-36in £600 - 800

191 A fine ossie clark/celia Birtwell ‘Ziggy Stardust’ printed chiffon dress, early 1970s, the navy ground with yellow and ivory ‘African Violet’ print, a bias cut spiralled flounce traverses the body from neck to hem, bust approx 86-92cm, 34-36in £1500 - 2500

188 A Zandra Rhodes ‘Mexican Turnaround’ printed chiffon dress, 1977, labelled, of midnight blue chiffon printed in shades of pink and brown, with triangular cut outs to front and back bodice, adorned with pearlised, copper toned and red shell, floret and leaf shaped sequins, bust approx 86-92cm 34-46in £400 - 600

192 A christian Dior couture navy chenille coat, Autumn-Winter, 1970, labelled and numbered 153071, with black mink collar, double breasted, chest 86cm, 34in £450 - 600

190 48


193

195

196

193 A Madame Grès ivory jersey evening gown, Autumn-Winter, 1976, bearing House label and also defilé tag handwritten ‘Mireille, catherine, model 101, A.H.76, the shaped breast panels formed from radiating curved pleated panels, hook fastened at the neck and tied at the front midriff, criss-cross straps to back, long trained, double-layered skirt, bust approx 86cm, 34in, waist 61cm, 24in £600 - 1000

195 A Loris Azzaro deep turquoise jersey dress and matching cape, circa 1970, labelled, with halterneck collar and plastron of coppola e Toppo floral beading and sequins in shades of blue and silver, matching hooded cape, bust approx 81-86cm, 32-34in (2) £700 - 1000

196 A Madame Grès striped silk and lurex evening gown, circa 1975, labelled Grès Paris, comprising simple striped columnar underdress with integral wine silk camisole, worn under matching poncho-like bodice with complex wine silk ties and belt to hold it in place correctly, weighted to create rear cowl, bust 81cm, 32in £700 - 1000

197 An Yves Saint Laurent black velvet cocktail dress, circa 1975, Rive Gauche label, size 40, with flounced satin ruffle to plunging neckline, matching cuffs, tie belt, bust 92cm, 36in £300 - 500

194 An Yves Saint Laurent black wool redingote, 1970, labelled Rive Gauche, size 36, midi-length with integral capelet, chest 86cm, 34in £300 - 500

195 (detail) 49


200

198

198 198 An Yves Saint Laurent couture black taffeta cocktail dress, Autumn-Winter, 1971, labelled and numbered 29504, with ruffles to scooped neckline and tiered skirt, finely pin-tucked bodice, tie belt, bust 86cm, 34in, waist 71cm, 28in

An identical dress is illustrated in ‘L’officiel, 1000 Modeles Yves Saint Laurent’. £700 - 1000 199 A nina Ricci black sequin and satin cocktail dress, circa 1970, Haute boutique, Paris labelled, with flounced organza collar, tiered wrap-around effect skirt, bust 86-92cm, 34-36in, waist 66cm, 26in £200 - 300

50

200 An Yves Saint Laurent couture velvet evening jacket, AutumnWinter, 1971, labelled and numbered 31523, embroidery by Lesage, the velvet printed with a patchwork-effect of velvet scallops edged with metal thread and sequins, lined in purple satin, chest 86cm, 34in

The pattern on this jacket was inspired by Elsa Schiaparelli’s ‘comedia del Arte’ collection in 1939. In ‘Lesage, Maitre Brodeur de la Haute couture’ by Palmer White, 1988 p.119 it describes this jacket, the Schiaparelli influence and the techniques incorporated. £800 - 1200 201 A Halston purple satin evening gown, probably late 1970s, labelled, with long dolman sleeves, bodice V-opening to waist, fastened by hook to waistband, bust approx 86cm, 34in £400 - 600

202 An Yves Saint Laurent burgundy wool coat, Autumn-Winter, 1969, Rive Gauche label, with patch pockets to the breast, wide belt, full midi-length skirt, domed pewter buttons, chest 86cm, 34in £250 - 350 203 A green crêpe georgette evening gown, probably Yves Saint Laurent couture, early 1970s, classic shirtwaister style with pleated skirt, bust 97cm, 38in, waist 71cm, 28in; together with an un-labelled Rive Gauche ivory crêpe blouse with goffered collar and velvet bow c.1967 (2)

See L’officiel de la Mode no 539, 1967 p.123 for a picture of a similar blouse. £300 - 500 204 A Loris Azzaro green metallic lace evening gown, 1970s, labelled, figure-hugging with V-neck front and back, pale green crêpe underdress, bust 86cm, 34in £250 - 400


205

206 & 207

Lots 205 to 210 from the wardrobe of Dean Thatcher. Dean first started going to London clubs and gigs in the summer of 1976 and became an active member of the punk scene. He regularly attended Global Village, The Roxy, The nashville, the 100 club, The Marquee, The Vortex, The Music Machine amongst many others. He purchased his punk wardrobe in the 1970s from the Seditionaries shop in the Kings Road.

206 A Westwood/McLaren Seditionaries ‘Anarchy’ t-shirt, circa 1977, with black ribbon label to left shoulder, printed with union flag ‘Anarchy in the uK’, ‘Sex Pistols’ and safety pins, chest 97cm, 38in £400 - 600

209 A Westwood/McLaren ‘Snow White’ t- shirt, late 1970s, unlabelled, pink and blue print, chest 92cm, 36in; together with a pair of blue donkey trousers with leather trim, Personal collection label, waist 76cm, 30in (2) £300 - 500

207 A Westwood/McLaren ‘Snow White’ muslin bondage shirt, circa 1977, black ribbon label to one shoulder, with long sleeves, clips and hooks to cuffs, velcro fasteners to shoulders, chest 86cm, 34in £400 - 600

210 A Westwood/McLaren Seditionaries ‘Dickens’ t-shirt, late 1970s, black ribbon label, with cruikshank print to the front and graffiti text to the back, inserts to elbows; together with a pair of red Donkey trousers, Personal collection label, waist 76cm, 30in; and two Boy tops (4) £400 - 600

205 A Westwood/McLaren Seditionaries white cotton parachute top, circa 1977, with black ribbon label to the breast pocket, with rubber buttons, buckles and black hoover rings, chest 107cm, 42in £1000 - 1500

208 A Westwood/McLaren Seditionaries King Kong ‘Expose’ t-shirt, late 1970s, Personal collection label, long-sleeved with yellow and black print, one long sleeve with gusset to elbow, chest 112cm, 42in £300 - 400

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© Thomas Degen

211

211 A fine Westwood/McLaren Seditionaries printed muslin ‘Destroy’ shirt, circa 1977, with black ribbon label to one shoulder and Personal collection label embedded into muslin of front waist, printed in shades of blue with crucifix and swastika, chest 97cm, 38in

Provenance: belonged to the late Makku Martinson, known as ‘Marty’, who was an active member of the London punk scene in the 1970s and was on first name terms with Glen Matlock (early line up of the Sex Pistols) and Jo Strummer (The clash). £500 - 600

Lots 212 to 223 the collection of Scarlett cannon, ‘80s club-kid’ and cha cha nightclub founder and host in 1981, aged eighteen. Scarlett cannon with her Modigliani-looks and bleached, cropped hair made a striking figure on the early 80s club scene. Her distinctive looks made her the perfect model and she was chosen by the new wave I.D magazine in 1982 for their front cover. A close friend of Leigh Bowery, performance artist and designer - upon first meeting him she barred him from her club until he agreed to remove his cape!

213 52

212 A Body Map turquoise gabardine jacket and wrap around half-skirt, circa 1985, labelled, the voluminous jacket with elongated sleeves and outsized lapels printed with large copper stars, the pleated skirt with smaller scale compasses, asteroids, ties to fasten (2) £200 - 300

213 A Westwood/McLaren Seditionaries ‘cambridge Rapist’ muslin shirt, circa 1979, with black ribbon label to one sleeve, printed to the front with leather mask and ‘cambridge Rapist’ in green, Brian Epstein portrait and type face coroner’s report to hem, velcro fasteners to the shoulders, chest 81cm, 32in £450 - 600

214 A Vivienne Westwood blue and red denim man’s suit, probably ‘Witches’ collection, AutumnWinter, 1982-83, World’s End label to trousers, comprising: voluminous jacket with curving hemline, massive crumpled patch pockets to the shoulders, diagonal vented pockets to the waist front, red velcro straps to the cuffs, matching belt; the bondage trousers zip fastened from front to back, large white zips to rear legs, large patch pockets to the hips, waist 82cm, 32in (2) £300 - 500


215 A Body Map black and white printed cotton jersey dress and massive hooded coat, circa 1984, labelled, the dress with wide ribbed collar, elongated sleeves, circular cut-away to one hip, bust 112cm, 44in; the voluminous coat with stepped bat-wing sleeves, sling-like pockets to the hips, black ribbed inserts to the sleeves, chest approx. 132cm, 52in (2)

Literature: I.D magazine, Summer 2012 p.64 for this lot being modelled. £400 - 600

216 A Vivienne Westwood/Keith Haring Witches collection ‘Smiley face’ knitted top, Autumn-Winter, 1983-4, World’s End labelled, with angular short sleeves, fluorescent pink Haring print, bust 76cm, 30in

Literature: I.D magazine, Summer 2012 p.65 for this lot being modelled. £400 - 600

216

215 & 217 217 A Body Map white stretch velvet and black rib-knit dress, circa 1985, labelled, with Body Map printed repeats to the hem, chest approx 142cm, 56in; together with a B-Basic black stretch towelling boob tube printed with stars and scrolls; and a black stretch-jersey skirt with fish-tail hem (3)

218 Two pairs of shoes, comprising: red patent John Moore elevated wedges, early sample pieces pre House of Beauty & culture, mid 1980s; and a pair of Sandra Straukaite black ziggurat wedge ‘rocking’ shoes, 1991 with leather uppers and elasticated sides, size 39 (4)

Literature: I.D magazine, Summer 2012 p.64. This garment is photographed in a feature on Scarlett cannon’s personal style. £300 - 500

The rocking shoes by the Lithuanian designer Sandra Straukaite are photographed in ‘Alternative Fashion before Glossies’ by Misha Buster p.77, see website for details. £150 - 250

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220 A Body Map ‘Barbie’ dress, circa 1985, labelled, together with a pair of printed cotton stockings; a pair of black star-print knickers with ra-ra frill; white tubular skirt with ties; bra, boob-tube; together with a casa Vasalina denim jacket c.1986 with knitted back panel and two David Holah chemises (9)

Literature: I.D magazine, Summer 2012 p.66 for part of this lot being modelled. She states ‘Having spent the early part of the 80s covered up in shroud-like clothing I enjoyed getting my legs and arms out in 1985 when Bodymap Leigh Bowery pyjama suit

219 (hat)

219 A rare Leigh Bowery printed cotton pyjama suit, 1981, with hand-written label by Bowery to the neck, black and white fencewire print, adorned with red rick-rack braid and buttons, matching night-cap, chest 92cm, 36in, waist 61cm, 24in (3)

Literature: I.D magazine, Summer 2012 p.66 for this lot being modelled. Scarlett states ‘This was the first outfit that Leigh ever made me, way back in 1981 shortly after he pitched up at cha cha wearing a hideously surburban blue velvet cape. A friend of mine had sent him along and asked me to look after him as Leigh didn’t know many people in London at the time. I told Leigh he could come in so long as he promised to ditch the cape and never wear it again! We became great friends and he’d make

219 (label) 54

Scarlett wearing Body Map in Blitz Magazine 1985 219

outfits for me....Leigh made 1940s inspired pyjama suits for us - me, Trojan and himself, always from very inexpensive cotton usually found on a market stall, but always beautifully stitched with French seaming. They looked a million dollars and we wore them day and night. Leigh stitched handwritten labels inside, which makes it very special’. £700 - 1000

gave us ‘Barbie takes a trip round nature’s cosmic curves’. ‘The jacket was made by a couple of American boys ...they turned denim jeans into cropped jackets with fabulous knitted panels ...they were the original fashion upcyclers’. £300 - 500


221

Painting by Luciana Martinez of Scarlett wearing 221

222 A rare Leigh Bowery triple-layered red nylon tunic dress, 1982, with handwritten label, comprising short top, mini length and maxi length tunics worn in layers, bust 92cm, 36in £400 - 600

221 A rare Leigh Bowery scarlet cotton dress, 1982, un-labelled, of simple construction with wide slit arm-openings, a tri-angular insert of transparent shimmering nylon to the front, bust 102cm, 40in

Literature: I.D magazine, Summer 2012 p.66 for this lot being modelled. Scarlett states ‘Very often on a Tuesday afternoon Leigh would pitch up at my flat clutching an outfit that he’d made for me to wear that evening to cha cha, a club I ran from 1981-82 with Michael Hardy, aka Maria Malipasta... This dress is as simple as it looks - two pieces of cotton with an insert of nylon organza. Made in 1982 it is one of my most photographed outfits from that time.’ £600 - 1000

222

Scarlett wearing 221 in ‘Femme’ magazine, 1984

222 (label)

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223

223 (back)

225 A Thierry Mugler faux crocodile leather ensemble, november, 1987, labelled and size 38, the jacket cut wide at the padded shoulders, with narrow waist, reptilian panels to the front, sleeves, back shoulders narrowing to a point at the centre back, broad panel also to the pencil skirt, chest approx 92cm, 36in, waist 64cm, 25in (2)

223 A rare christopher nemeth/Judy Blame evening coat, circa 1985, of dark brown velvet adorned with hessian panels to shoulders, cuffs and rear skirt, plaited, coiled rope frogging to the front, the back with fringes and curved panel adorned with buttons in shades of browngold, lined in brown cotton printed with gold scrolls; together with a matching Judy Blame single earring with tassels, safety pins and buttons, chest 143cm, 56in (2) £600 - 1000 224

223 (earring)

56

225

224 A Vivienne Westwood/Malcolm McLaren navy cotton sweat top and pants, Witches collection, Autumn-Winter 1983-4, World’s End labelled, the top with grey buffalo-girl and Haring motifs, silk stockinette to the sides, the trousers with contrasting cotton and knit gussets, chest 127cm, 50in (2) £500 - 800

Literature: ‘Thierry Mugler, Fashion, Fetish, Fantasy’ p.30 for a model wearing a similar ensemble from the same collection. £600 - 900 226 A Thierry Mugler black tinsel faux fur jacket, 1980s, blue label, size 38, with spirals of silver/black fur encasing the sleeves £300 - 500


229 A Thierry Mugler soft brown leather dress, 1980s, blue label and size 40, prestud fastened with knitted sleeves, draped skirt and belt, bust approx 92cm, 36in £400 - 600

230 A Thierry Mugler white crêpe evening/bridal ensemble, early 1990s, blue label and size 38, the jacket with radiating pleats to front and back, three engraved silvered crescent shaped adornments, prestud fastened, with matching pleated skirt, bust approx 86cm, 34in, waist 66cm, 26in (2) £600 - 1000 227 227 A Thierry Mugler rainbow stripe suit, Spring-Summer, 1990, blue label and size 38, the jacket formed from undulating multicoloured bands, asymmetric hem, popper fastened, matching skirt, bust approx 92cm, 36in, waist 66cm, 26in (2) £600 - 800

231 231 A Thierry Mugler futuristic grey flannel trouser ensemble, mid 1980s, blue label, size 38, the jacket with exaggerated shoulders, with detachable triangular plastron, prestud fastened, lined in contrasting yellow, above emerald green and royal blue triangular front panels, the military-style trousers with elasticated ankles, black and red chevron grosgrain band to waist, chest 107cm, 42in (2) £500 - 800

228 A Thierry Mugler brown sheepskin jacket, 1980s, labelled and size 38, with padded shoulders, ridged, pneumatic panels to the upper arms, curved seams below the breast, zip fastened, chest approx 102cm, 40in, waist approx 77cm, 30in £350 - 500

232 A Thierry Mugler blue cotton and faux fur jacket, 1980s, blue label and size 38, the deep shawl collar forming a hood, zip fastened with graduated skirt, chest approx 107cm, 42in £400 - 600 230 57


233 A claude Montana black jersey evening gown, model 444, 1985, gold on white label, with one rounded curving shoulder and sleeve, the other with exposed shoulder and draped pleats, curving waist seam, long narrow skirt that slightly flares at the hem, bust 82cm,32in £400 - 600

237 A John Galliano navy gabardine tailcoat, probably late 1980s, labelled John Galliano, London, with one short front skirt adorned with rosettes, the other descending and looping round to form one of the tails at the back, large off-centre rosette to the back skirt, chest 97cm, 38in £400 - 600

234 A Thierry Mugler ‘Les Milteuses’ communist-style dress, AutumnWinter, 1986-7, labelled and size 38, of grey gabardine with royal blue stand collar, angular pockets, exaggerated shoulders, buckled belt to waist side, bust approx. 92cm, 36in

238 A commes des Garçons black gabardine ensemble, 1989, labelled and size S, comprising: high-waisted pleated skirt with two slotted-through belts, the long sleeved bolero jacket with detachable wool upper layer with chick weave to hem; the underjacket, plain with knitted waistband and diagonal pockets, chest approx 86cm, 34in, waist 71cm, 28in (3) £300 - 500

This gown is reproduced in ‘Icons of Fashion The 20th century’ by Prestel and also ‘Thierry Mugler Fashion Memoir’ by Francois Baudot. £400 - 600

235 A Thierry Mugler brown leather jacket, late 80s-early 90s, blue label size 38, with asymmetric zip fastening wide lapels, shirred waist with flared skirt and cuffs adorned with large metal studs, chest 97cm, 38in £400 - 600

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236 236 A Yohji Yamamoto black knittedpatchwork dress, probably mid 1990s, labelled, size M, formed from irregular panels of chunky aran, tufted floss, bias fine ribbed knit and broad-ribbed knit, with single sleeve, bust approx 86cm, 34in £500 - 700

239 A comme des Garçons black wool suit, 1991, labelled and size M, comprising tailcoat with interesting asymmetric tails and wrap-over skirt with diagonal front zip; together with a pair of black taffeta breeches with van-dyked hems, 1988; and a Yamamoto polka dot chiffon blouse with long side panel (4) £250 - 400

240 A Thierry Mugler black jersey and velvet evening gown, early 1990s, labelled and size 38, with shaped velvet waist panels, shoulders, collar and cuffs, bust 92cm, 36in £200 - 300


241 & 243 241 A Yohji Yamamoto black wool coat with open back, early 1990s, labelled and size M, with angular lapels, ties to front closure and rear panel; together with a Yamamoto black wool polonaised skirt with side strap and van-dyked hem; and a white rayon shirt with ruched panels to front (3) £300 - 500

242 An Hervé Leger beaded jersey sheath, probably late 1990s, couture labelled and size S, the strapless bodice covered in gunmetal and black striped beaded bands £350 - 500

244 & 245 243 A Yohji Yamamoto midnight-blue wool gabardine coat-dress, early 1990s, labelled, of shaped princess-line, with double row of tiny buttons and zip fastener to front, optional blue silk skirt panel buttoned onto internal braces, size M, bust 97cm, 38in £300 - 500

244 A Yohji Yamamoto black rayon ‘bustle’ dress, probably early 1990s, labelled and size M, buttonfronted with wide armholes, curved hips and hobble skirt with draped bustle to the back, bust approx 8692cm, 34-36in £400 - 600

245 A commes des Garçons black pinstriped wool dress, AutumnWinter 1986, labelled, of complex construction, the skirt section buttoning to one hip, with curved rear cut-away to the back revealing the legs, the tabard-like bodice section twists at the back and pull over the head, with offcentre neck-hole, wide arm slits, waist approx 76cm, 30in £450 - 600

246 A christian Lacroix printed cotton cocktail dress, early 1990s, pink label, size 38, with ties to neck that also form back-laces, massive gilt eyelets studded with rhinestones, bust approx 86cm, 34in £300 - 500 59


249 Two Madame Grès defilé dinner/day dresses, AutumnWinter, 1986, un-labelled but with copies of archive sketches, comprising camel wool gown, model no 147, with angular front skirt panel held in place by four buttons, wide rounded shoulders, fastened at the shoulder; the other of ivory jersey, model 139, with clever angular horizontal pleat to skirt front, bust approx. 86-92cm (2)

247 (detail)

247 A christian Lacroix for Jean Patou raspberry silk crêpe cocktail dress with hood, Autumn-Winter, 19856, labelled ‘Jean Patou Paris’, with swathed wrap-over bodice, single long sleeve, asymmetric neckline, large jewelled buckle to one hip, bust 86cm, 34in, waist 66cm, 26in £600 - 800

247

248 An Yves Saint Laurent foliate striped satin suit, Autumn-Winter, 1990-91, Rive Gauche labelled and size 38, with large domed pink rhinestone inset buttons, matching short skirt, chest 92cm, 36in, waist 61cm, 24in; together with a purple metallic cloqué evening jacket with large cabochon resin buttons, chest 92cm, 36in (3) £400 - 600

A green version of lot 247 being modelled

60

The accompanying xerox sketches are copies of sketches by M.Isola, house artist for Madame Grès. £600 - 800

250 A christian Lacroix shot taffeta evening gown, early 1990s, pink label ‘christian Lacroix Paris’, in blue-pink silk, appliquéd and embroidered from shoulder to hip pocket with sequined flowerheads, pearlised buttons, beads, silk flowers, metal thread strapwork and tulle, bust 86cm, 34in £300 - 500

251 A christian Lacroix rose-print cocktail dress, late 80s-early 90s, gold label, with square neckline, full skirt adorned with black and white ruffles and rosettes, jet-like facetted buttons, complete with stiffened ribbon-trimmed crinoline-petticoat, bust 82-86cm, 32-34in (2) £250 - 350


252 A Valentino couture salmon-pink silk crêpe evening ensemble, circa 1983, couture labelled, the separate bodice with rounded shoulders, cap sleeves, adorned with a deep band of sequined damask-effect flowerheads from raised waistline to hem, worn over matching pleated silk crêpe de chine skirt, bust 97cm, 38in, waist 69cm, 27in (2) £800 - 1200

253 A Valentino couture pink cloqué silk cocktail suit, early 1980s, couture labelled, doublebreasted with gilt and rhinestone buttons, with matching skirt and long sleeved satin blouse, bust 86cm, 34in, waist 66cm, 26in (3) £400 - 600

254 A Victor Edelstein shocking pink taffeta evening cape, early 1990s, labelled, with bouffant ruffles to the borders and collar £400 - 600

252 (detail)

252

255 An Yves Saint Laurent gold lamé and black jersey evening gown, circa 1980, Rive Gauche label, size 36, with plunging decolleté, matching sash belt with large bow, bust 81-86cm, 32-34in (2) £450 - 600

256 A Madame Grès plum velvet evening gown, circa 1980, ivory satin label, with plunging V neckline front and back, bodice with lattice-work of straps, side split to skirt, bust approx 8286cm, 34-36in £500 - 800

256 (detail)

256 61


259 An Alber Elbaz for Lanvin black lace evening gown, circa 2005, with woven satin Lanvin label and hand-written tag, empire line with black satin lacing and bow to bodice back, black lace cascading down the front and forming a long trained skirt, bust 86cm, 34in £400 - 600

260 A Zandra Rhodes turquoise chiffon cocktail dress, early 1980s, labelled, with deep flounced neckline edged in red metallic beads, batwing sleeves, dropped waist edged in russet ribbons, wine striped print, beaded hem, bust approx 86-92cm, 34-36in £300 - 500

261 A Stella Mccartney raspberry satin and chiffon cocktail dress, Autumn-Winter 2003, labelled and size 44, with stretch-satin boned bodice with central floating plastron, above skirt banded in satin, bust 86cm, 34in

Stella Mccartney named this model as her favourite dress in the book ‘My Favourite Dress’, 2009. £300 - 500 257 257 A Paco Rabanne black plexi glass tunic, ready to wear collection, Autumn-Winter, 2001-2, with small Paco Rabanne oval tag to rear closure, fastened by clips and rings, bust approx 81cm, 32in £800 - 1000

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258 A Valentino ball gown, early 1980s, labelled ‘Valentino night’ size 12, with black velvet bodice, shirred green jersey waist panels culminating in a large black beaded tassel, above striped gazar skirt, bust 92cm, 36in, waist 71cm, 28in £400 - 600

262 A Gianni Versace purple suede bolero jacket, 1980s, labelled, heavily embellished with gold beads, chest 86cm, 34in £350 - 500


263 A Valentino couture jade green satin and sequined cocktail dress, circa 1983, couture labelled, the zip-fronted bodice embroidered and sequined with interlocking leaf forms in shades of blue, green and silver, edged in black chenille, sheer black beaded and sequined organza back panel and sleeves, the satin skirt with layered tulle petticoats, bust 86cm, 34in, waist 66cm, 26in £800 - 1200

264 An Emanuel ungaro couture jadegreen silk faille sheath, circa 1980, un-labelled, with corsetted, strapless bodice with pleats of fabric to the bust and softly draped skirt, bust approx 86cm, 34in £400 - 600

265 A Madame Grès black point d’esprit evening gown and cape, Spring-Summer, 1988, model 34, with flounce of lace to bodice top, side and forming a peplum, front slit to skirt, matching tulle cape, bust 71cm, 28in, waist 56cm, 22in (2) £400 - 600

266 A fine Patricia Lester shocking pink ‘Delphos’ style dress and jacket, 1980s, labelled, the dress hem and jacket adorned with silver bugle beads, the jacket with wide wing-like sleeves, matching silk dorothy-bag (3) £400 - 600

263

267 A Moschino ‘cheap and chic’ playing-card suit, 1990s, labelled and GB size 8, comprising: black velvet bustier appliquéd with a large heart to the front, black crêpe mini-skirt and jacket with Elizabethan style puff sleeves, applied with velvet hearts, clubs, hearts and diamonds in black and red velvet, bust 77-81cm, 30-32in, waist 61cm, 24in (3) £250 - 350

263 (detail)

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268

269 269 A Valentino couture black velvet and damask ball gown, early 1980s, couture labelled, with asymmetric neckline, single long sleeves, the skirt with mid-19th century pattern damask silk above petticoats with an emerald green hem, bust 86cm 34in, waist 66cm 26in ÂŁ800 - 1200

268 A Valentino couture grey taffeta and pink beaded ball gown, circa 1983, couture labelled, bodice adorned with a shimmer of diamond and zig zag bands in pink and silver with looped strands of pearl beads, rhinestone edgings, with angular shoulders, long fitted sleeves, dropped waistline over full skirt with pink hem, matching pink and grey cummerbund belt, bust 86cm, 34in, (2) ÂŁ1000 - 1500

268 (detail) 64


270 270 A Valentino couture brown sequined ball gown, early 1980s, couture labelled, with ruched royal blue silk jersey boned inner bodice, sequined over-bodice with a design of sunflowers, cap sleeves, the skirt of brown velvet above cloqué silk, bust approx 86cm, 34in, waist 71cm, 28in £800 - 1200

271 271 A Valentino couture pale pink gazar ball gown with ‘jewelled’ bolero, circa 1983, couture labelled, the strapless boned bodice above a full skirt, the organza bolero with cutwork, richly embroidered and beaded with pink and gold flowerheads, sparkling rhinestones, bust 86-92cm, 3436in, waist 76cm, 30in (2) £1000 - 1500

271 (detail) 65


272 272 A Valentino couture black velvet cocktail dress, early 1980s, couture labelled, the figurehugging dress with high neck, angular shoulders, a deep band of rhinestone and jet beaded strapwork encases the lower back and forms points at the front to accentuate the narrow waist, with three dimensional beaded flowerheads and central beaded tassel, bust 86cm, 34in, waist 66cm, 26in £800 - 1200

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273 273 An Yves Saint Laurent fuchsia pink cocktail gown, defilé model for the Autumn-Winter 1993-94 couture collection, muslin tag annotated with collection date, ‘model 35, Loudmilla, Atelier catherine’, with flounced plunging neckline, peplum waist with bow, bust 86cm, 34in, waist 66cm, 26in

This ensemble is photographed being modelled by Loudmilla in ‘L’officiel de la Mode’ September 1993, p.278 £800 - 1000

274 An Alexander McQueen white matelassé cotton tailcoat, no 13 collection, Spring-Summer, 1999, labelled, with M-notched wide lapels, fastening at the chest by hook and eye, the back inset with nude mesh panel, with origamilike panels of fabric forming winged sleeves, the skirts falling in points to the sides, the cotton woven with a 19th century thistlerepeat pattern, chest 81cm, 32in

See ‘Alexander McQueen, Savage Beauty’ by Andrew Bolton, p.41 for a black satinised cotton version of this coat. £400 - 600


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275 (back)

275 An Alexander McQueen for Givenchy couture black sequined ‘flapper’ dress, Spring-Summer, 1999, Givenchy couture label, handwrittten with the collection date and stamped ‘Press Sample’, model no 32, the nude chiffon ground applied with herring-bone stripes of black sequins, with frond-like gold sequined and embroidered edges, points to graduated black tulle skirt, bust 76cm, 30in, waist 61cm, 24in; together with a photograph of the gown being modelled but with tulle sleeves (2)

McQueen took as his inspiration for this collection the ‘roaring twenties’ and F.Scott Fitzgerald’s ‘Great Gatsby’. £8000 - 12000

275 (label)

275 67


276 (detail)

276 (detail)

276 276 An Alexander McQueen for Givenchy couture wildflower embroidered gown, probably Autumn-Winter, 1999, un-labelled, the brown chiffon bodice with Lesage embroidery of blossom and foliage, tiny glass buttons from neck to waist front and back encasing dried flower sprigs, the skirt of fine brown and ivory hound’s tooth check with curved satin edges embroidered with ikat-like motifs, gigot sleeves of brown taffeta, bust 76cm, 30in, waist 61cm, 24in; together with a photograph of the gown being modelled at the defile presentation on a static mannequin (2) £5000 - 8000

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276 (back)


277

277

278

277 An early and rare Alexander McQueen ‘The Birds’ collection jacket, Spring-Summer, 1995, unlabelled, of orange gabardine, with sharp lapels, massive padded shoulders with painted rubberised finish, printed overall in black with swallows in flight, no fastenings but single button, fitted waist with angular front skirt panels, chest 81cm, 32in; together with the original purchase receipt from Pellicano, South Molton St, 11.2.1995 (2) £800 - 1200

278 An Alexander McQueen bottle green velvet and bugle beaded evening gown, ‘In memory of Elizabeth Howe, Salem 1692’ collection, Autumn-Winter, 2007, labelled and size 46, the ambergold beading applied in tress-like bands down the front and back of the gown, trained skirt, bust 92cm, 36in , waist 77cm, 30in; together with a catwalk image of the gown, (2) £4000 - 6000

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279

279 An Alexander McQueen for Givenchy couture sequined purple satin evening gown, SpringSummer, 1999, Givenchy couture label, handwrittten with the collection date and stamped ‘Press Sample’, model no 12, the sheer white organza bodice applied with deco-style lozenges in pearlised sequins in shades of purple-grey, fine seed beads in shades of mauve, long girdle like streamers to front of skirt, bust 76cm, 30in, waist 61cm, 24in; together with a photograph of the gown being modelled (2) £8000 - 12000

279 70

279 (label)


281 An Alexander McQueen purple satin evening gown, labelled and size 38, with cowl neck, draped dolman sleeves with narrow zippered cuffs, bias cut skirt with fish-tail hem, spaghetti strap to the low back opening which catches the draped swags which fall from the shoulders, bust approx 86cm, 38in £700 - 1000

280 (detail)

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280 An Alexander McQueen knitted evening dress, ‘The Horn of Plenty’ collection, Autumn-Winter, 2009, labelled and size L, figurehugging with intersecting Aran-bands, chunky-knit covered tyre ‘necklaces’ and hem, bust approx. 92cm, 36in

Lady Gaga was photographed wearing an identical dress in London, July 2009 after performing at the Brixton Academy. £1500 - 2500 281

281 (back) 71


and rises to form an over-bodice with attached dog-collar adorned with a massive rosette to one side and integral puff-sleeves, the back of the dress is low-cut and open to reveal the shoulders, bust 82cm, 32in, waist 61cm, 24in

In this gown McQueen again reveals his total mastery and understanding of construction. The regularity of the harlequinade pattern serves to confuse the eye as it folds, drapes and ruffles. The dress seems to be caught in a whirl-wind as the organza is ruffled and twisted around the inner column. In this powerful collection his models with their death-white faces and grotesque scarlet sexdoll lipsticked mouths picked their way along a shattered glass catwalk against a back-drop of debris. The main colours were black, white and blood red with the orange and black harlequin print acting as a foil. He played with scale and pattern using outsized Dior-like hound’s tooth checks, bird motifs and used an eclectic mixture of leather, metal, plastic, feathers and swirling organza to create the models. The silhouettes were fifties inspired with new-Look wide skirts or figure-hugging sheaths. The final piece was a sinister dress with winged shoulders and helmet made entirely of duck feathers.

282 282 An Alexander McQueen harlequin print organza cocktail gown, ‘The Horn of Plenty’ collection, Autumn-Winter, 2009, labelled and size 38, comprising an under-

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dress with corsetted strapless bodice, short, pencil skirt, overlaid with cyclonic drapes of organza, culminating in diagonal knife-pleats to the bodice, a floating panel on the skirt returns

Sara Mower reviewing the collection at the time wrote, ‘The clothes were, for the most part, high-drama satires of 20th century landmark fashion: parodies of christian Dior houndstooth new Look and chanel tweed suits, moving through harsh orange and black harlequinade looks to revisited showstoppers from McQueen’s own archive’. £3500 - 5000


283 (detail)

283 283 An Alexander McQueen ‘Broken Glass torso’ clear acrylic bodice made by Emily Ticehurst for the ‘The Hunger’ collection fashion show, Spring-Summer, 1996, formed from two sandwiched layers of acrylic, with blood-like red ink which trickles between the layers, edged in masking tape, 51cm, 40in high; together with two photographs taken of the breast plate being worn backstage, with McQueen kissing the model in one shot; and a McQueen ‘The Hunger’ contributors list (4)

For a fashion clip showing this bodice see http://www.youtube.com/watch? v=JLkgk2c9o3o, it appears at 3.00.

283 (detail)

Emily Ticehurst, the sculptor McQueen commissioned to make this piece also made another, but instead of ‘blood’ it contained live worms and was called ‘The Wormery’ which was lampooned in the press of the day. £1000 - 1500

283 (detail)

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284

284 (clutch)

284 (back) 284 An Alexander McQueen featherweave gown, probably pre-collection, Autumn-Winter 2009, labelled and size 44, the princess-line gown with seams radiating from the high neck which traverse the hips and meet at the centre back, culminating in a large swagged bustle, the skirt narrowing again before finishing with a fish-tail hem, bust approx 92cm, 36in; together with matching clutch bag (2) ÂŁ2000 - 3000

284 (detail) 74


This lot is being sold in aid of the Angelus Foundation

285 Andy Murray’s Adidas tennis shirt, worn for his Grand Slam final match for the uS open title, 2012, signed by Andy Murray in black marker pen to the front, of white damask-effect polyester with navy Adidas logos, orange flashes,’RBS’ sponsor badge to one sleeve, chest 107cm, 42in; together with a letter of authenticity signed by Andy Murray (2) This historic win by Andy Murray ended Britain’s 76 year wait for a male Grand Slam Singles champion. Fred Perry was the last to achieve this goal in 1936. Murray’s victory against novak Djokovic at Flushing Meadows on 10th September 2012, topped off an exceptional summer of British sporting success, coming on the heels of the London olympics where Andy Murray also won gold in the men’s singles against his old rival Roger Federer. This was a particularly sweet success for Murray having narrowly lost at Wimbledon a few months earlier.

285 Young people are regularly being harmed for life by legal highs and club drugs and in the most tragic cases, they even die. Legal highs are generally assumed safe, but in recent surveys two-thirds of young people and eighty-six per cent of parents admit that they didn’t know legal highs are often a combination of class B drugs and toxic chemicals like paint stripper, bath salts and plant food, and that they can cause suicidal thoughts, severe depression, psychosis, panic attacks, difficulty breathing, urinating blood, even the loss of the use of the bladder. The Angelus Foundation works to improve understanding and raise awareness of the dangers of these untested substances so that young people no longer unwittingly play Russian Roulette with their lives, but instead have fun safely. www.angelusfoundation.org

This shirt represents one of the greatest moments of British sporting history this century. £5000 - 8000

www.whynotfindout.org

285 (detail)

285 (signature)

‘not What it Says on the Tin’ – http://www.youtube.com/watch?v=Ifb59uvIs7k ‘Russian Roulette’ - http://www.youtube.com/watch?v=uJmX9knjbo8&list

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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

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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.

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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

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

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


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

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 www.jammdesign.com

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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 using FedEx and will also offer a cost effective registered post service for uK clients with shipment values of less than £1,000. They can also assist in the application for any export licence should they be required. Buyers are reminded that it is their resposibility to comply with uK export regulations and with any local import requirements.

Kerry Taylor 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

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Bullit courier company Tel: 00 44 (0)845 226 8556 email: info@bullitcouriers.com attention Mr Gary Martin


www.kerrytaylorauctions.com


Kerry Taylor