Kerry Taylor Auctions

Passion for Fashion and textiles 20th november 2017

Kerry Taylor

Kate Osborn

Lucy Bishop

Contact

Payments

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

Purchasers will be charged a premium rate of 25% up to ÂŁ50,000 on the hammer price and 20% above. The premium is subject to VAT at the prevailing rate.

See page 87 for details.

Sale number: KT027

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

Front cover: Lot 233 Frontispiece: Lot 121 Back cover: Lot 147

Storage, Collection and Shipping Logistics See inside back cover for details and a map.

For multiple images of every lot please see www.kerrytaylorauctions.com

Online Bidding

www.the-saleroom.com

www.invaluable.com

This auction is conducted by Kerry Taylor Auctions Ltd in accordance with our Conditions of Business printed in this catalogue.

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Passion for Fashion & Fine Textiles including fashion from the Jean-Louis Scherrer archive Auction Monday 20th November 2017 10.30am: Session 1, Lots 1 to 222 2pm: Session 2, Lots 223 to end of sale

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

Exhibition Friday 17th November - 9am to 5pm Sunday 19th November - 11am to 4pm

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LUXURY ACCESSORIES & FUR Please note lots bearing ∆ or ○ symbol have export restrictions, see page 87 for more information

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1 A Chanel quilted white leather shopper, 1990s, stamped to interior, authentication card no 10011094, with CC black leather logo, bright pink lining, base 29cm, 11½in £400 - 600 2 A Chanel black quilted leather 2.55 bag, 1990s, stamped to interior, authentication card no 10149085, in original box, 23cm, 9in long £800 - 1200 3 A Gianni Versace pale-blue faux crocodile handbag, early 1990s, label to interior, with signature gilt chain strap and studded with Medusa heads, 24cm long; together with matching enamelled chain belt, signed to clasp, 88cm long; Versace studded t-shirt, couture labelled; with dustbag and original box (4) £300 - 500

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4○ A Chanel brown alligator bag, 1980s, alligator mississippiensis, with gilt clasp and chain, CC clasp, angular sides and closure flap, 19cm, 7½in £1200 - 1800 5 A JOS Fourrures arctic fox fur cape, 1970s, labelled, mid-calf length, with arm slits and wide lapels, lined in silver/blue silk £400 - 600 6 An Hermès tan togo leather Birkin, 2002, blind stamp F, with white top-stitching, silver hardware, padlock and keys; with storage bag, and original box, 35cm, 13¾in long £4000 - 6000

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7 An Hermès black calf leather miniature Kelly bag, 2004, blind stamp H, with gilt hardware, padlock and keys, detachable shoulder strap, dustbag and raincover, 25cm, 10in long, in original box (2) £2000 - 3000 8∆ A Brahams of Norwich ocelot coat, 1950s, labelled, knee-length, with two front pockets, front hook fastening and lined in brown satin, chest approx 102cm, 40in £400 - 600

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9 An Hermès cyclamen-pink togo leather Birkin, 2007, blind stamp K, with silver palladium hardware, complete with keys, fob and padlock, matching tassel keychain, in original storage box, with weatherproof cover and dustbag, 35cm long (qty) £6000 - 10000 10 An Oscar de la Renta bright purple mink jacket, modern, labelled, formed from strips intersected with burgundy grosgrain ribbon, two front pockets and front hook fastening, chest 102cm, 40in; together with a Dolce & Gabbana rhinestone studded beret (2) £600 - 900 11 A Birger Christensen chinchilla fur wrap, labelled, with black satin lining £400 - 600 9

12 A sable coat, probably 1980s, un-labelled, mid-calf length, double-breasted with carved wooden buttons and two front pockets, lined in brown taffeta, chest approx 96cm, 38in £1800 - 2000 13 An Hermès black togo leather Birkin, 2005, blind stamp K,with silver palladium hardware, padlock fob with key and weatherproof cover and dust bag, 40cm, 102cm long (5) £4000 - 6000

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17 A Chanel quilted navy leather bag, 1990s, stamped to interior, with authentication card no 2724973, with gilt clasp and chain, 18cm, 7in long £400 - 600

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14 A fine Royal Crown light brown sable coat with adjustable hem, probably 1970s, labelled and monogrammed ‘Rena G’ to interior pocket, full-length and with concealed zipper which can be undone to create a short jacket; together with a matching sable hat, chest approx 102cm, 40in (2) £1800 - 2500 15 A fine GLMA dark brown mink coat with adjustable hem, probably 1960s, labelled and monogrammed ‘Rina G’ to interior, fulllength and with concealed zipper so that it can be worn mid-length, bracelet length sleeves, chest approx 102cm, 40in £400 - 600 16 A Noble Furs blonde mink coat, 1960s, un-labelled, mid-length with curved hem, two front pockets, front hook fastening and matching belt with circular buckle, lined in champagne-toned damask, chest approx 96cm, 38in £300 - 500 4

18 A Lanvin champagne-coloured mink evening jacket, Autumn-Winter 2005, labelled, with elegantly ruched braceletlength sleeves, side pockets and lined in silk, chest approx 102cm, 40in £500 - 800 19 A fine Mendle reversible black mink coat, 1990s, un-labelled, with shawl collar and two side pockets, button neck-fastening and tie-belt, the reverse of cotton gabardine with drawstrings to collar with pom-poms, chest approx 112cm, 44in (2) £400 - 600 20 A fine Fendi brown mink coat, labelled, floor-length with singular button fastening, the button engraved ‘Fendi Pellicce Moda Pronta’, side pockets to exterior and interior, lined in silk, chest approx 117cm, 46in £600 - 1000 21 A Fendi light brown mink coat, probably 1990s, labelled, knee-length and with oversized front pockets, the mother of pearl buttons etched with ‘Fendi Pellicce Moda Pronta’, lined in bronze silk, chest approx 112cm, 44in £400 - 600

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22 A fine Dicker & Dicker arctic fox coat, with adjustable hem, probably 1970s, labelled and monogrammed ‘Rena G’ to interior, floor-length and with two concealed zippers allowing it to be worn as a short jacket or mid-length; together with two matching arctic fox fur hats, chest approx 102cm, 40in (3) £700 - 1000 23 A Chanel quilted beige leather bag, 1990s, stamped to interior, with authentication card no 3549163, with gilt clasp and chain, original box, 18cm, 7in long £400 - 600 24 A Chanel quilted brown leather bag, 1990s, stamped to interior, with authentication card no 4355356, gilt clasp and chain, original box, 18cm, 7in long £400 - 600

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25 An Hermès black togo leather Birkin, 2010, blind stamp N, with leather fob and two keys, palladium hardware, padlock, storage bag, and original box, 35cm, 13¾in long £4000 - 6000 26 An Hermès tan togo leather Birkin, 2003, blind stamp G, with white top-stitch detailing, leather fob with two keys, gilded hardware, padlock; with flannel storage bag, and original box, 35cm, 13¾in long £4000 - 6000

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27 ∆ An Hermès chocolate brown crocodile handbag, 1960s, crocodylus porosus, stamped ‘Hermès Paris’, with gilt rope twist closure loop, lined in soft lamb leather, 26cm, 10¼in £1000 - 1500 28 An Hermès black clemence leather Birkin, 2003, blind stamp G, with leather fob and two keys, gilt hardware, padlock, storage bag, and original box, 35cm, 13¾in long £4000 - 6000

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29 ○ A Chanel emerald green quilted lizard-skin bag, probably 1990s, Varanus Salvator, stamped to interior and numbered 1144029, with double ‘C’ stitched to front flap, chain shoulder-strap woven with leather; together with authentication card and dustbag, 20cm long (3) £800 - 1200

32 ○ A Chanel octagonal black alligator bag, 1980s-90s, alligator mississippiensis, stamped and signed to interior, numbered 1144910, with gilt clasp and chain shoulder strap; with dustbag, 19cm long (2) £1000 - 1500

33 A Chanel shagreen box-clutch, modern, with double ‘C’ engraved to clasp and thin chain shoulder strap woven with leather; with dustbag, 12x12x3.5cm (2) £600 - 1000 34 A Chanel quilted brown leather shoulder bag, 1990s, the front closure applied with Chanel insignia plaques including perfume bottle, clover leaf and CC logo, with two main compartments and zippered side pocket to interior and rear pouch, 28cm, 11in wide £600 - 1000

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30 ∆ A Cartier black crocodile handbag with 9ct rolled gold chain, early 1960s, crocodylus porosus, stamped to interior, hallmarked ‘9ct’ to interior clasp and ‘375’ to chain clasp, with adjustable chain and three interior compartments, 25cm long

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Jackie Kennedy and Audrey Hepburn were photographed carrying similar Cartier bags during the 1960s. £1000 - 1500 31 A Louis Vuitton trunk, late 19th century, labelled Paris, Rue Scribe, 149 New Bond St., no 169937, the wooden frame with dark brown canvas exterior, wooden struts the metalwork later painted turquoise blue, with remains of assorted luggage labels, 30 by 64 by 50cm, 12 by 25 by 20; together with a note of provenance (2)

Provenance: Originally owned by Gustave Coucke, who was a salesman for the silk merchants John Ferry, late of Bond St/ Clifford St in the 1880s. He used the trunk to transport his silk samples throughout Europe. £1500 - 2500 6

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Lots 35 to 43 The property of the late Louise Wilson, OBE, influential Professor of Fashion Design at C.S.M.

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38 Louise Wilson’s Louis Vuitton personalised tartan wool picnic blanket, modern, embroidered with her name, the leather carrying handle embossed ‘L.W. OBE’, 36cm, 14in long in Hermes box (2) £150 - 250

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41 Louise Wilson’s pair of Hermès grey and black wool ‘Avalon’ blankets/throws, modern, woven in wool and cashmere, with contrasting blanket-stitched edges, 135 by 170cm, original boxes (2) £400 - 600 42 Louise Wilson’s Lanvin parure, modern, comprising: black silk ribbon chokernecklace applied with large smoke-toned and blue crystals, with matching brooch, ring, and bracelet; together with a Lanvin giant pearl bead necklace, each bead encased in black tulle (5) £350 - 500

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35 A portrait of Louise Wilson, oil on canvas with pencil, signed to the reverse Carey Kwok, 29 by 23cm £200 - 300

43 Louise Wilson’s Louis Vuitton grey felt and leather shoulder/overnight bag, modern, with massive leather ring handles, strap, internal zippered pouch, 38cm, 15in wide £350 - 500

36 Louise Wilson’s Louis Vuitton ‘Monogram Idylle’ dark grey wheelie bag, modern, complete with foul-weather cover, 52 by 40cm £200 - 300

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37 Louise Wilson’s Hermès Herbag, modern, of black canvas and dark brown leather, complete with silvered padlock, attached internal wallet with fob and keys, 39cm, 15¼in long £400 - 600

39 Louise Wilson’s ‘Twigg in Bill Gibb’ photograph by Justin de Villeneuve, no 2 of 30, signed and numbered on the mount in pencil, the image 35 by 36cm in mount and frame £400 - 600 40 Louise Wilson’s Lanvin quilted black leather shoulder bag, modern, with layered antler effect toggle clasp, chain and ribbon shoulder strap, 36cm, 13in long; together with a Pucci psychedelic print towelling beach bag, 40cm, 16in wide (2) £200 - 300

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44 An Iradj Moini choker necklace, 1990s, signed, formed from strands of baguettecut faux rubies and diamonds, approx 37cm long; together with two pairs of matching earrings in different styles (5) £400 - 600

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46 An Iradj Moini pearl and faux amethyst and aquamarine choker necklace, 1990s, signed, with ten strands of pearls to the front, the rear half with contrasting pink and blue sections of ‘gems’, approx 43cm long £400 - 600

51 An Iradj Moini oversized ‘raspberry’ brooch, 1990s, signed, the pink moulded glass berries, with facetted green glass stone leaves, tied with a diamanté ribbon, approx 11x8cm £300 - 500

47 A Chanel clear glass sautoir, 1981, signed and dated, the lozenge and circular shaped facetted stones in gilt mounts, 83cm long £600 - 800 48 A fine Coppola e Toppo for Valentino floral collar necklace, 1960s, formed from red crystal and long bugle beads, with moulded red floret’s and leaves, studded and outlined with rhinestones, 20cm, 8in diam £400 - 600 49 A Chanel sautoir, probably Gripoix, 1993, signed to clasp, with red and green cabochon stones, the large star-like pendant with blister pearl droplet and rhinestone accents, 44cm long; together with a pair of Chanel clip-on earrings of similar tones, un-signed; and a Chanel box (4) £500 - 800 45

45 A fine Iradj Moini exotic bird brooch, 1990s, signed, the body formed from large facetted golden topaz coloured stone, wings of cabochon amethysts, diamanté face, tail feathers and with jade/hardstone beak, approx 12x4cm £200 - 300 8

50 A Coppola e Toppo yellow beaded choker necklace and ear-rings, 1960s, signed to the gilt metal clasp, falling in fringe of graduated yellow crystal beads, the earrings with long frond-like droplets (3) £300 - 500

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52 An Iradj Moini Maasai-inspired tourmaline choker necklace, probably 1990s, signed, formed from thin strands of facetted beads in shades of purple, green and black, approx 35cm long £400 - 600

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53 An Yves Saint Laurent Rive Gauche chunky ‘gem’ set necklace, 1990, signed to clasp tag, the large irregular stones in gilt metal clawed mounts, 36cm 14in circumference when fastened £800 - 1200

59 Two large Iradj Moini flower brooches, 1990s, signed, the first a rose with pale pink, green and orange facetted ‘gems’, 7cm diam; the second similar in shades of blue and orange, approx 9cm diam (2) £400 - 600

54 An Iradj Moini floral bouquet brooch, 1990s, signed, gilt brass wire frame set with purple polished glass bead petals, inset with diamanté, carved emerald leaves and rhinestone bow, approx 11cm long £200 - 300

60 A fine Iradj Moini necklace of facetted raw ruby beads and pair of matching earrings, 1990s, signed, the eight-strand necklace with ornate flower-shaped clasp inset with cabochon rubies and peridots; the earrings bound with gilt wire and inset with rhinestones approx 45cm long at shortest strand; earrings 4x2cm (3) £1000 - 1500

55 A good multi-strand quartz and amethyst bead necklace with chrysoprase flowershaped medallion, probably Iradj Moini, 1990s, un-signed, with large Blue John droplet encased in gilt metal scrolls, approx 40cm long £300 - 400

61 A Coppola e Toppo beaded triple-strand choker necklace and matching pair of earrings, 1960s, signed, the choker formed from chain-linked faux-pearl and copper beads, 37cm long; together with another pair of Coppola e Toppo clip-earrings, signed (5) £250 - 400

56 A citrine and treated garnet necklace by Jaded, probably 1990s, signed, formed from two strands of facetted stones, approx 41cm long £400 - 600

62 Seven pairs of Iradj Moini earrings, probably 1990s, signed, including one chandelier-style example with facetted raw ruby fringes, 7cm long; two identical pairs in different colour-ways formed from clusters of cabochon stones and diamantés; and others (14) £300 - 400

57 A multi-strand agate necklace with 18kt gold clasp, 750 stamped, formed from carved flower-heads and linked by small gold-toned beads, approx 50cm long £400 - 600 58 A Christian Dior Boutique ‘Maasai’ necklace, 1997, with Dior tag, the faux blister-pearl choker with droplet pendant and single long strand of pearls, 72cm, 28in long £600 - 1000

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63 An Iradj Moini bow-shaped brooch, 1990s, signed, of round and oval cut pink and clear stones, 9cm wide; together with a matching pair of earrings with large topaz coloured droplets, signed, 7cm long (3) £200 - 300 9

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HISTORIC DRESS & TEXTILES Lots 64 to 96, taken from Sizergh Castle, home of the Strickland family since 1239.

64 An un-picked blue damask satin open robe or mantua, the fabric circa 1735, comprising two long front and back panels with slash for neck formed from two joined loom widths, 326cm long, two triangular skirt panels, a pair of sleeve panels, five loom widths, one with pocket slit, 84cm long, a loom width 112cm long (qty) £700 - 1000 65 A pair of pink leather ladies mules, circa 1775-85, with rounded toes, pointed throat with remains of ivory wool braid edging, the insoles overhang the low white leather heels, 25cm, 10in long (2) £600 - 1000

Sizergh Castle,Cumbria

68 A Spitalfields brocaded silk robe à l'Anglaise, the silk probably Anna Maria Garthwaite, the fabric late 1730s, construction altered circa 1750, woven with large-scale sprays of hops, blossom in shades of blue, brown mauve with bright green and chartreuse silk foliage, the double engageants with scalloped edges, pleated front robings, part lined in ivory silk; together with a front petticoat panel (2) £2000 - 3000

66 A pair of stylish black satin high heeled shoes, circa 1780, inscribed to the kid lining ‘Lady Catherine Haye’ with curved oval toes, pointed tabs adorned with silk ribbon ruffles and ties, 23cm, 9in long (2) £1500 - 2000 67 Two ivory silk stomachers, 1760, one of satin, adorned with braid edged ruffled ribbons, with floss silk tufted central rosettes, 38cm, 15in long; the other of gauze, probably pina cloth, adorned with stripes of pinked ribbons and silk wrapped card florets, 30cm, 12in long; together with a silk gauze shawl, probably Spitalfields, woven with acanthus scrolls edged in pink fly braid, 170 by 103cm, 67 by 40½in; and a quantity of white cotton knotted and tousled braid (qty) £800 - 1000

© National Trust Images/Andrew Butler

68 (back)

69 A Spitalfields brocaded silk robe à l'Anglaise, the silk late 1730s, probably Anna Maria Garthwaite, the construction 1750, woven with large-scale sprays of hops, blossom in shades of blue, brown mauve with bright green and chartreuse silk foliage, the double engageants with scalloped pinked edges, pleated front robings, the front skirt opening with later sewn-in petticoat panel, lined in ivory silk £2000 - 3000 70 A fine pair of matching Spitalfields brocaded silk shoes, the silk probably Anna Maria Garthwaite, late 1741-2, with pointed exaggerated toes that overhang the white rand, curved heels, edged in green silk ribbon, 24cm, 9½in long (2) £2500 - 3500

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71 (back)

71 A fine and rare pale turquoise silk damask pet-en-lair robe, circa 1770, the fabric late 1730s, early 1740s, the lightly boned short jacket with closed-front, angular elbow cuffs trimmed with matching ruffles, ‘sack’ back, with matching petticoat and narrow ruffled choker band, the fabric woven with large-scale flowerheads c.1730-40 (3) £4000 - 6000

73 The remains of a false-quilted and embroidered undress robe, English, circa 1710, embroidered in bright silks in fine chain stitch with flowering plants and floral slips, the linen ground covered with a trellis of fine yellow running stitches, backed in ivory wool, embroidered as a continuous panel - with curved, trained panel, the two front panels with plants embroidered to run vertically from the hem and the opposite direction down the back, rear neck to hem 180cm, 71in £1000 - 1500

72 An un-finished embroidered apron, circa 1730-40, of ivory taffeta worked with large stylised sunflower and tulip motifs, with couched gilt threads following the original pencil design with scalloped edges, 49 by 94cm, 19¼ by 37in £700 - 1000

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74 (detail)

74 A crimson damask silk robe à l’Anglaise, circa 1770, the fabric late 1720s, early 1730s, the closed front bodice, front skirt edging and angular cuffs edged in pinked, scalloped furbelows, lined in ivory silk; with a matching loom width of damask giving the impression of a petticoat (2)

76 A Spitalfields forest-green damask silk robe à l’Anglaise, circa 1770, the fabric circa 1743, woven with large scale flowerheads, berries and leaves, with ribbon-tied close front bodice, the angular cuffs edged in self-fringing

See V&A Museum for a similar Anna Maria Garthwaite design, no T.391-1971. £700 - 1000

See V&A Museum for a similar Anna Maria Garthwaite design no 5971:2. £4000 - 6000

77 A brown damask satin sleeved waistcoat, circa 1740, the fabric circa 1732, the long and wide-skirted with double row of silk wrapped buttons grouped in threes to the front closure and three to each pocket, the buttonholes above the waist are functional, with original plain silk curved sleeves overlaid in the late 19th century for fancy dress with beige glazed wool sleeves and wide cuffs, chest 86cm, 34in

75 A plaited ribbon and straw quill-work turbanlike hat, 1800-1810, asymmetric with ivory silk cord rosette and fringes to one side and narrow up-turned brim, 33cm, 13in long; together with a blonde lace early 19th century hem panel, two embroidered reticules; the remains of a printed silk purse; an ivory net stole and a bolt of fringing (7) £150 - 250

See V&A museum for a similar Anna Maria Garthwaite design no 5971:2. £600 - 1000 76

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78 A fine and rare ivory cannelé silk bèrgere hat, circa 1760-80, figured with chequered spots, the low crown edged with a ruffled ribbon, 40cm, 15¾in diam £5000 - 7000

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79 (detail)

79 A fine pair of silver lace and ivory satin ladies shoes, circa 1720-30, with pointed toes which over-hang the white leather rand, low, wide heels, adorned overall with silver bobbin lace and silver strip passementerie, curved tongues, 26cm, 10in long (2) £4000 - 6000

79

80 A pair of yellow and black striped leather shoes, 1790s, with pointed toes, low yellow Italian heels, trimmed with yellow rosettes and ribbons, 28cm, 11in long (2) £800 - 1000 81 A young man’s striped velvet tailcoat, circa 1780, of cinnamon and black stripes with yellow lozenge spots, with low stand collar, faux button-holes, chest 81cm, 32in; together with a padded black silk wig-bag (2) £200 - 300 82 A plaited straw bergère bonnet, circa 175080, with low domed crown, simple ivory satin ribbon edging, 37cm, 14½in diam. £400 - 600

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87 An historically inspired evening dress or fancy-dress, 1820s, the bodice piped with tabbed waist, piped in green satin and edged in silver braid, layered ruffled silk gauze sleeves edged in pink silk; with silk gauze overskirt with matching satin and passementerie rosette; and a padded dress hem - presumably taken from an underskirt, bust approx 76-81cm, 30-32in (3) £400 - 600 88 A gentleman’s embroidered buff silk waistcoat, circa 1755, with thirteen functioning buttonholes and corresponding silver wrapped buttons, the broad pocket flaps and edges with raised-work silver scrolls and spangled clover leaves, backed in wool, lined in ivory drabbet and challis, chest approx 92cm, 36in £600 - 800 89 A pair of men’s striped silk stockings, circa 1775-90, in cream silk striped with beige, knitted white cotton feet sections, 83cm, 32½in long; together with a joined pair of pink satin garters, with silver thread borders woven ‘Tan Ermosa Eres’ and ‘Como La Diosa Ceres’ (You are as beautiful as the Goddess Ceres) (3) £400 - 600 87

83 A finely beaded riding crop, early 19th century, cord and gilt-thread wrapped, with overall green and white diaper patterns, with gold braid mistletoe like tips, 77cm, 30in long £300 - 500 84 Spitalfields brocaded silk dress panels, circa 1750, the figured ivory silk woven with meanders of tulips and roses, comprising 5 loom widths from the skirt, each approx 120 x 49cm; a longer panel probably from the sack back with irregular cutouts, a quantity of fragments and a pair of curved sleeve cuffs (qty) £600 - 1000 85 A quilted blue satin petticoat, mid 18th century, of simple lattice design lined in white glazed wool, 83cm, 32½in long £400 - 600 86 A pair of embroidered satin ladies shoes, circa 1780, with domed pointed toes embroidered with borage and dog roses with sequined S-scrolls, curved tongues, 23cm, 9in long (2) £400 - 600

90 A pair of embroidered but un-cut waistcoat panels, Indian for the European market circa 1800, worked in coloured corded silks with palmettes and floral sprigs, approx 77 by 69cm (2) £400 - 600 91 A finely beaded riding crop, early 19th century, cord and gilt-thread wrapped, with overall green and white diaper patterns, with gold braid mistletoe like tips, 77cm, 30in long £300 - 500 92 An embroidered silk gauze fichu, 1770s, the borders worked in metal thread and silks with carnations, dog roses, borage, with silver tendrils and foliage, 107cm, 42in wide £400 - 600 93 Two waistcoats, one of quilted peach satin c.1760; the other of dark green silk c.176070 with twelve silvered livery buttons possibly for the Royal House of Hanover, with H below an imperial crown (2) £400 - 600

94

94 An unusual cotton filet mesh open robe, 1790-1800, possibly for fancy-dress, with empire-line inner bodice panels, cross-over bodice, sleeves and trained skirt edged in yellow ribbon £300 - 500 95 Embroidered linen dress fragments, probably Beauvais, late 18th century, worked with delicately scrolling carnations, roses and other blooms with patterned petals and raised-work detailing, the two larger panels approx 130 by 85cm, 107 by 85cm, and five shaped fragments; together with three fragments of yellow false-quilted linen c.1710, the two larger panels 78 by 59cm, 77 by 59cm (10) £400 - 600 96 A large sequined gilt mesh bag, early 19th century, with crimson silk lining, gold fringed tassels and edging, 43cm, 17in long overall £300 - 500

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VARIOUS OWNERS 97 A fine and rare painted and plaited paper bèrgere hat, probably English, circa 1750-70, the low disc-like crown edged with band of plaited straw, the outer brim edged with tulle and blue chenille, the underside lined in ivory silk, 42cm, 16½in diam

Provenance: The Castle Howard collection, Sotheby’s 7th October, 2003, lot 57. £6000 - 10000 98 A fine and important pair of embroidered velvet lady’s shoes, English, circa 1650, the blue velvet uppers embroidered in high relief with silver and gold thread flowerheads and leaves, edged in blue ribbon, straights with tapering square over-hanging toes, white rands and brown/black morocco covered heels, lined in white kid, 25cm, 10in long (2)

These shoes are believed are to have been worn by Mary Radcliffe, daughter of Sir John Radcliffe, of Ordsall, Lancashire, widow of Sir John Stanhope of Elvaston, Derbyshire, (d.1638) and second wife of Sir John Gell of Hopton (1593-1671). Mary died in 1653. She had one son by her first marriage (John Stanhope) who died in 1662.

Purchased at Christie’s, July 16th 1985, lot 12 for £8000.

97

For a similarly embroidered mule slipper which belonged to Queen Henrietta Maria (d.1669) see ‘Shoes’ by June Swan, published by Batsford, p19, fig 16. £6000 - 8000

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99 A fine pair of men's embroidered white kid gloves, 1600-20, the separately worked and applied deep gauntlet cuffs faced in white satin embroidered in silver thread and sequins with raised work arabesques and scrolling foliage, edged with silver lace, trimmed with spangles, the fingers and edges outlined in silver thread with French knots roundels over the knuckles, 36cm, 14in long (2)

Provenance: Purchased at Christie's, 16th July 1985, lot 13 for £2,600. The fact that the silver threads have not tarnished is indicative of a very high silver content in the embroidery threads. £5000 - 9000

99 (detail) 99

100 A pair of men’s embroidered leather gauntlet gloves, 1630-1640, embroidered in coloured silks with green finches, honeysuckle and silver pears, coloured purl wire florets, with silver lace edgings spangled with sequins, approx 32cm, 12½in long in mount and frame

The Metropolitan Museum collection includes an almost identical pair: 28.220.3, 4. £4000 - 6000 100 (detail)

100

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101 ‡ A rare crimson velvet jerkin, circa 1610-25, short-waisted with slight graduation to front, the shoulder wings and hem with tabbed edges adorned with wine silk and gold thread plaited braid, the graduated stand collar interlined with heavy buckram, the main jerkin interlined with natural unbleached linen, curved back seams and two lines of braid to the back, silver-gilt wrapped acorn shaped buttons, the hem tabs and collar lined in crimson silk, chest 102cm, 42in; together with purpose-made mount (2)

Provenance: The Helen Larson Private Collection Published: The Journal of the Costume Society, no 5, 1971, ‘A Study of Three Jerkins’ by Janet Arnold - the renowned scholar of early dress.

Few specimens of late 16th or early 17th century costume survive. The jerkin as a garment was worn to protect the rich doublet worn below, and to provide extra warmth or protection. Utilitarian or military examples were made in leather - but this example in the finest Italian velvet must have belonged to a man of great wealth and importance. The shortness of the waist and slightly curved silhouette served to emphasise the well-rounded belly of its owner - a desirable fashionable attribute in the early 17th century.

Records suggest that the piece was acquired by Helen Larson from a dealer in Connecticut in 1968 but no earlier provenance has been found. £40000 - 60000

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102 A peppermint-green silk ‘Circassienne’ robe, French, circa 1780, the over-dress with closed-front bodice, fastening with hooks and eyes, with with box pleated and fly-braid edged robings, fitted back and polonaised skirts with fixed green silk cords, worn over an above-ankle petticoat with deep pleated band to the hem (2)

For a reproduction of a contemporary engraving of a ‘Circassienne’ see ‘Le Costume’ by Flammarion pp24-25 pl V, showing polonaise panels of equal length and a short skirt with deep bands of adornment to the petticoat hem. £3000 - 5000

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103 A pair of teal silk stockings, early 18th century, the top band on one knitted ‘C4’, the clocks with knitted and partially embroidered pattern of stylised thistles and foliage, worked in silver thread and raised purl wire, 71cm, 28in (2) £1000 - 1500

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104 An unusual feather-trimmed bonnet, 18th century, probably for a girl, of woven ivory silk gauze with silver thread lattice, with low crown, the internal brim of finely woven straw with wired edge, lined in bright pink satin, adorned with tinted feathers to simulate blossom and foliage, 13cm, 33in £1200 - 1400 105 An embroidered pin cushion, French, late 18th century, with loop for waist suspension, worked in silks, chenille and sequins, 25cm, 10in long; together with a striped silk apron with shaped sides to go over panniers (2) £400 - 600

106 A fine pair of knitted blue silk stockings, early 18th century, the clocks embroidered in silver thread with palmettes and vines, 69cm long (2) £2000 - 3000 107 A group of engageants, 18th and 19th centuries, comprising: two pairs of whiteworked muslin; two pairs of engageants made from 18th century whitework edgings; two pairs of engageants made from 19th century whitework (6 pairs) £400 - 600 108 A fine embroidered decorative apron panel, English, circa 1730, the ivory silk ground couched and embroidered lavishly with gilt threads in varying patterns, exotic red, purple and blue flowers, trimmed and edged in gold bobbin lace, 99cm, 49in long £1500 - 2500 109 A gentleman’s Chinese embroidered crimson silk sleeved waistcoat, 1750-60, with densely embroidered front panels, pocket flaps and cuffs, upper lining of ivory linen, chest 92cm, 36in £500 - 800

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110 A rare pale blue silk ‘bèrgere’ hat, Engish, circa 1750-60, the straw disc covered in silk on both sides, edged and trimmed in ivory silk bobbin lace, with partially detached ribbon chin ties, 42cm, 16.5in diam £3000 - 5000

113 A fine embroidered stomacher, circa 1700, the linen ground couched overall with silver threads, with large silk embroidered lily and roses, green silk bindings and lining, the rear applied with Norwich Castle exhibition loan card, ‘Property of Lady Gurney, Walsingham Abbey, Norfolk, insurance value £1’, 28cm, 11in long £1500 - 2000

111 A young man’s lavender/pink changeant silk banyan, 1770s-80s, with two hooks to fasten at the upper chest, short rounded fold-over collar, curved slim sleeves, deep pockets to the ivory silk front closure lining, adorned with frogging, chest approx 81cm, 32in; together with a pair of ivory silk breeches, with self-stripe and small fall (2) £1500 - 2000

114 A rare richly embroidered gentleman’s sleeved waistcoat, circa 1730, of figured zig-zag weave silk damask, the skirts cut low and wide at the front and shorter at the back, the ivory silk sleeves and back panels figured with feather motifs, with two functioning buttonholes at the neck and four from the waist down, but with metal wrapped buttons from neck to hem, buttons below each pocket flap also, embroidered in shades of pink, green and blue silk cord and metal thread with peaches and exotic blooms, zig-zag silver thread bands to front closure £600 - 1000

112 A printed and embroidered black velvet court coat, circa 1780, with medium stand collar, the ground printed with a white spotted lattice, richly coloured embroidered blooms to the borders, pockets, chest 92cm, 36in £700 - 1000

115 A gentleman’s changeable-silk coat, French, circa 1780, of blue and yellow diapered silk, the deep collar with point to back, two functional buttonholes on upper chest, selfcovered buttons, linen and silk lining £600 - 1000

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116 A striped and floral brocaded pink silk robe à la Française, 1770s, with trained sackback, wide pannier skirt shapings, graduated front robings with ruched zig-zag patterns which widen towards the hem edged in silk fly braid, double engageants; with a quilted pink silk petticoat (2) £3000 - 5000 117 A pale primrose damask satin robe à la Française, French, circa 1770, the closedfront bodice with hooks and eyes, sack-back, double engageants, the ruched robings gradually increase in width towards the hem, the fabric woven with berries, carnations and leaves; the skirt edges lined in pink silk; together with a British quilted ivory satin petticoat worked with thistles and roses (2) £2500 - 3500

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118 A fine robe à la Française, the silk 1730s, the construction French, 1750-60, woven with large-scale naturalistic flower-heads, the open robe with broad box pleats to the back, graduated robing panels which run from bodice to hem, single engageants, all edged with coloured silk fly braid; with near matching petticoat of ivory damask silk with deep floral border and stomacher made from matching silk (3) £4000 - 6000

121 A rare painted silk robe à la polonaise, English, 1770s, the ivory silk painted to shape in imitation of Chinese silk, with closed front bodice, the edges and front openings painted with foliate swags with delicate meandering buds and wild flowers over the ground, with cord polonaise ties and loops within the overskirt the petticoat painted to match and lined in wool (2) £2500 - 3500

119 A woman’s linen night shirt and a pair of plain linen pockets, late 18th century, with goffered striped muslin collar, initialled AC to the rear yoke; the pockets initialled TR (3) £300 - 400

122 A woven-to-shape brocaded satin waistcoat, circa 1760, the beige satin ground woven in silver, chenille, puce and gold silks, the buttons wrapped in woven metal strip; together with an embroidered muslin fichu c.1780 (2) £400 - 600

120 A rare cotton powdering robe, probably 1760s-70s, with stand collar, wide wing-like sleeves, of voluminous cut £1200 - 1800

123 A pair of Alençon needlepoint engageants, 1760s-70s, worked with delicate foliate trails (2) £400 - 600 118 (back) 23

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125

124 A blue watered silk maternity robe à la polonaise, 1770s, the closed front bodice with tabbed hem and adjustable lace inner linen closure, boned back panels, curved narrow sleeves; with a petticoat of blue and white striped silk embroidered with chenille berries (2) £2000 - 3000

125 A brilliant yellow bourette silk robe à la Française, circa 1760-70, with ruched graduated robings and cuffs, together with a quilted satin petticoat and a triangular stomacher formed from 18th century brocade (3) £1500 - 2500 126 Two robes à la polonaise, American, 1770s, both with closed-front bodices, one of yellow silk damask with diaper pattern, the other of burgundy satin brocaded with ivory trailing blooms, together with a white cotton fichu woven with sprigs and a muslin petticoat (4)

124 (detail)

Provenance: purchased from the renowned US dealer Cora Ginsburg in the 1980s who confirmed the origins as American. £1500 - 2500

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127 An embroidered silk grosgrain stomacher, circa 1710, worked with central flowering plant emanating from a green satin-stitched hummock, with couched silver thread stem and branches, with central stylised rose, carnations and fruits, with tabbed lower edges, the reverse applied with Norwich Castle exhibition label, ‘Property of Lady Gurney, Walsingham Abbey, Norfolk, insurance value £1’ £800 - 1200 128 An embroidered linen stomacher, circa 1710, worked in pink and green silks with coiling roses, the ground with yellow chainstitched tendrils, with arrow-shaped tip, the reverse applied with Norwich Castle exhibition label, ‘Property of Lady Gurney, Walsingham Abbey, Norfolk, insurance value £1’, 32cm, 12½in long £800 - 1200

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129 A pair of shoes of 1730s green brocaded silk, circa 1730-40, with rounded toes, low curved heels, white rands, edged in green silk ribbon, 27cm, 10½in long (2) £1500 - 2500 130 A pair of turquoise damask silk high-heeled shoes, 1770s, edged in yellow ribbon, with shaped white kid covered heels and welts, 23cm, 9in; together with a turquoise silk garter with chenille embroidered message of affection ‘M’attache’ (3) £1500 - 2500

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131 An embroidered silk apron, English, circa 1730, worked in brightly coloured corded silks and gold thread with meandering exotic blooms and acanthus leaves, edged in gold bobbin lace, 113cm, 44in long £600 - 1000 130

132 A rare pair of girl’s wooden pattens, second half 18th century, each mounted onto iron ring, with leather straps and later ribbon ties, 15cm, 6in long (2) £400 - 600

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141

133 A rare brown silk padded and hooded cape, late 18th-early 19th century, with slits for arms, quilted collar and deep hood to cover a calèche with ribbon ties, lined in ivory silk £1500 - 2000

137 A rare purple wool pelisse robe, 1810-20, with puffed mancherons over long sleeves, raised waistline and curved collar, adorned with couched black braid, tassels to rear waist, part-lined in silk, with inner ribbon waist ties, hooks and eyes to front closure £600 - 1000

141 A fine and rare Liberty Aesthetic Movement copper satin tea gown, circa 1897, the waist stay stamped in gold ‘Liberty & Co Ltd Artistic and Historic Costume Studio’, in pseudo medieval style, the satin over-robe with pleated Watteau back and trained skirt, richly embroidered shaped collar, front robings, V-shaped waist belt, detached over-sleeves and closure buttons, worked in copper toned silk cord, studded with facetted amber coloured beads, with tightly gathered ivory chiffon front insert and flounced, gathered sleeves with fitted, beaded chemical lace lower sleeves, yoke and separate detachable choker collar; the inner dress of coral silk with boning at the back bodice only and gathered elasticated tapes over the breasts for comfort, bust approx 81cm, 32in

134 Three pairs of garters, comprising: embroidered ivory silk pair with blue elastic embroidered with Napoleon and Josephine crowns and initials, c.1800-1810; painted velvet pair with lovebirds c.1830; and embroidered blue satin pair with gilt metal garter ribbons c.1880 (6) £600 - 800 135 A pair of Holland-cotton men’s trousers, circa 1815, with small fall-front, bone and self-covered buttons, straight legs with small side slits at the ankles £500 - 700 136 A bi-colour silk faille gown, late 1870s, the long jacket-like bodice with ecru wool piping and pleated trims, with fob pocket to the waist and decorative pockets to the hips; the skirt caught in a pleated train to the rear, adorned with buttons, bow and pleated wool bands, bust 84cm, 36in, waist 61cm, 24in (2) £400 - 600

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138 A fine beige beaver plush stove pipe hat, circa 1840, with trade label ‘T.H. Satchell, Hatter of London, 48 Lord Street, Liverpool,

by Special Appointment to HRH Prince Albert, Best Quality’, with grosgrain silk band and buckle, 20.5cm, 8in tall

The partnership between London based hatter Thomas Henry Satchell and his Liverpool associate Richard Frederick Bickerton was dissolved July 1846, so this hat must pre-date the end of the collaboration. £600 - 900 139 A beaded brown velvet ‘visite’, 1880s, the butterfly-like ‘sleeves’ formed entirely from braided and woven silk cord and gold bugle beads creating a ‘cut-work’ effect, beaded fringes to front and back, lined in tan satin £600 - 800 140 A Maison Worth purple velvet capelet, circa 1900, with gold on black woven signature label, bolduc number partially removed, adorned with swags of jet-beaded braid, lined in purple satin £600 - 800

In 1884 Liberty’s opened a dress department under the guidance of the designer E. W. Godwin. He was a member of the Aesthetic Movement, which favoured ‘artistic’ dress for women based on classical, medieval, Pre-Raphaelite and Renaissance clothing. £800 - 1200 142 A taupe taffeta gown with day and evening bodices, circa 1875, edged with fringing, with overskirt and optional day and evening bodices, bust 97cm, 38in, waist 66cm, 26in (4) £500 - 800

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IMPORTANT TEXTILES

143 A fine stumpworked, embroidered pillow worked with the story of Bathsheba and King David, English, mid seventeenth century, the design taken from engravings published by Gerard de Jode, with central vignette of raisedwork satin Bathsheba bathing in a pool below an arbour of stumpworked fruits and honeysuckle, as King David in his palace (top left corner) spies her from the rooftop, the lower left corner with David in seed-pearl crown ordering her husband Uriah to go and fight in the front-line of battle, the upper right corner with Uriah’s death in mounted combat, the lower right corner with the King cowering, half concealed within his tent being chastised by the prophet Nathan for his adultery, the ground scattered with floral slips, a kingfisher, ladybird, parrot, snail, edged with silver and gold lace, 36 by 48cm, 15in by 19in, in fitted case

Provenance: Sir Frederick Richmond Bt Collection, Christie’s auction, 23rd June 1987, lot 121 sold for £15,000. Formerly on loan to the Victoria and Albert Museum. In this celebrated collection this embroidery was one of the most highly prized and most expensive lots in the sale.

Sir Frederick began his celebrated collection in 1907 when many great family dispersals of needlework took place in England. He was able to purchase many fine objects in the inter-war years and also collaborated to help secure pieces for the Victoria & Albert Museum to whom he also bequeathed several pieces. £10000 - 15000

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144 Crewel-worked bed hangings dated 1670, and initialled IG.JG, chain-stitched in bright scarlet and yellow wools on a white fustian ground with foliate hearts, pairs of birds, tudor roses, comprising: two pelmets with scalloped lower border, 40 by 267cm, 270cm; a wide curtain formed from three joined fustian panels, each initialled and dated to the hem edge, worked with laurel wreaths enclosing tudor roses, approx 168 by 286cm; a curtain panel cut into four pieces worked with one full repeat of the pattern, dated and initialled to the hem, when put together 165 by 95cm; two curtain panels each with half of the design which match, each with initials to the hem, each 172 by 71cm (9) £3000 - 5000

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145 A fine embroidered satin cover, English, 1720-30, possibly a cradle cover or bearing cloth, the glossy ivory satin ground brilliantly worked in a central medallion and deep edging borders with briar roses, pansies, honeysuckle, carnations, borage and other wild blooms in brilliantly coloured twisted silks, lined in ivory silk, 120 by 114cm, 40 by 44¾in £3000 - 5000

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146 (detail)

146 A good wool patchworked coverlet, English, 1825-35, worked in shades of mainly pink, green and teal, the central cornucopia with layered and embroidered blooms within border containing single floral slips or fruit, the deep magenta outer borders appliquéd with golden fruiting vines, the green wool borders appliquéd and embroidered with fruiting trees, baskets and cornucopias filled with layered flowers, acorn trees with blackbirds and embroidered golden pheasants, backed in damask effect brown printed cotton, 239cm, 94in long, 272cm, 107in wide overall excluding fringes £1000 - 1500

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147 The Sudeley coverlet, Italian, circa 1720-30, the ivory satin ground richly embroidered in satin stitch with coloured silks, silver and gold threads, with a central vignette of Christopher Columbus landing on the island of Hispaniola in 1492 after a 1594 engraving

by Theadore de Bry from his ‘America’ series, the centurion-like soldiers plant a cross in the ground surrounded by scantily clad natives with feather headresses and skirts - with native huts in the distance and just the prow of the galleon showing, within a strapwork cartouche worked in diapered gold threads interspersed with peonies and pomegranates in shades of pink silk, worked to the borders with large rose arbours enclosing embroidered scenes of a lion or wolf attacking a hound, a garlanded bull (Europa), a boar hunt and a stag hunt interspersed with vine clad ruined classical buildings, distant palaces, the corners with large single allegorical figures depicting exotic lands/continent, comprising: a warrior with breastplate and shield holding a falcon, taking shade under a parasol (Asia), a moustachioed figure under a palm tree with chained monkey (Africa), a female in draped robes with shepherd’s crook and peacock headress and displaying peacock to one side (India/Asia) and a turbaned figure with a camel (Asia), lined in crimson silk and with ivory silk fringed edges, 273 by 254cm,107½in by 100in excluding fringes

The De Bry collection of around 600 copper engravings was to prove highly influential in this ‘Age of Discovery’ which was to inform how many Europeans viewed the world, especially in relation to America for which there had been no previous iconographic traditions. These prints were widely copied and in 1732 the Amsterdam-based Huguenot writer Bernard Picart, for his book entitled ‘Ceremonies et Costumes Religieuses de Tous les Peuples du Monde’, created a very similar illustration of the Columbus’ landfall, which ncluded a mother nursing her child as indeed this coverlet does.

Property of Sudeley Castle. This coverlet was recently rediscovered when undertaking an inventory of the entire castle contents. £12000 - 18000

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BALLET

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148 A Boyar cape, possibly for the character Igor-Svyatoslavich-the-Brave, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’ stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Prince Igor, Boyars, Sketch 4, Russell’, numbered 268, of ochre linen painted with linked patterned roundels, adorned with pearl beads, and domed beaten metal discs, brass clasp, edged in brown stencilled velvet and lined in pink cotton stencilled with black undulating bands, roundels and stripes

Serge Diaghilev’s Prince Igor was premiered in Paris in 1909, with Feador Chaliapin in the role of Galitsky and costumes designed

by Nicholas Roerich. The impresario Gabriel Astruc who had backed this production over-stretched himself by building the new Theatre de Champs Elysees and went bankrupt. In 1910 Sir Joseph Beecham (the pharmaceutical giant and father of renowned conductor - Thomas) came to Diaghilev’s aid by sponsoring a season in London’s Drury Lane theatre, but as he was more interested in opera than ballet it was agreed that in addition to the ballets that Diaghilev would produce four operas - one of which was ‘Prince Igor’.

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With this new funding Diaghilev was able to transport from Russia the small army of orchestra, chorus and soloists required for his lavish opera productions. He staged highly successful annual opera seasons at London’s Drury Lane Theatre and the Victoria & Albert Museum holds posters for productions of ‘Prince Igor’s’ Polovtsian dances on March 1st and June 22nd 1913 with principal dancers Mme. Sophie Fedorova and M. Adolf Bolm. In 1914 Diaghilev reprised the full Paris opera production in four acts with prologue with conductor Thomas Beecham, starring Chaliapin who was paid £400 a night (a fortune at the time) in the role of Vladimir/Khan Konchak and Bolm and Tchernicheva as principle dancers. It premiered on 8th June, 1914 at the Theatre Royal, Drury Lane.

Roerich was again invited to provide the full set and costumes beginning work in late 1913 and finishing in early 1914. They corresponded with stage director Alexander Sanin’s vision: ‘Christian feelings, beliefs intermingling with elements of paganism’.

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The costumes reflected Roerich’s interest in Russian folk art and nomadic tribal history.

He used patterns inspired by Central Asian folk dress and textiles and incorporated braids and trimmings purchased from southern Russian nomadic tribal traders at markets in St Petersburg. The vibrantly patterned costumes perfectly combined with Borodin’s savage rhythms. Designer and friend Orest Allegri wrote to Roerich (who was unable to attend the first night): ‘Prince Igor was mounted last night to a full house. It was a staggering success. The British were screaming with delight’.

Beecham’s opera company struggled through the war years and Roerich was never fully paid for his work. In 1920 the company went bankrupt which resulted in a ‘fire sale’ of all the company’s scenery and costumes.

Jacques Rouche, the director of the Paris Opera at the time went to the sale and acquired scenic material from BeechamDiaghilev productions, notably costumes designed by the artist Leon Bakst for Boris Godunov, which are now in the Moulins archives. There is a ‘Prince Igor’ costume with identical stamp in the collection of the Victoria & Albert Museum S.77-1998 £3000 - 5000 150

152 149 (detail)

149 A Boyar cape, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’, stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Keen, Boyars, Sketch 4’, no 273, of pink linen painted with linked patterned roundels, adorned with small shells and beaten metal discs, beaten discs clasp, edged in brown stencilled velvet and lined in pink cotton stencilled with black undulating bands £4000 - 6000 150 A Tartar tunic, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’ stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Prince Igor, Tartar, Sk 1, chgents, the Russian name ‘Churilkin’ and ‘Howie’, no 215, of buff satinised cotton, curved hem, with hand-painted bands, elasticated cuffs, lined in green cotton, rear buttons to fasten £1500 - 2000

151 A pair of Tartar trousers, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’, stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Prince Igor Tartar, Sk 1’, no 211, of ivory linen painted in scarlet, black and brown with bold spots, stripes and waves, drawstring to waist £500 - 900 152 A Boyar coat, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’, stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Prince Igor, Boyares, and an indistinct name’, no 235, of grey-pink painted linen with painted striped bands to sleeves and brown band to hem, adorned with domed discs of brass, pewter and seashells, lined in lime cotton £800 - 1200

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153 A pair of Tartar trousers, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’, stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Prince Igor Soldiers, sketch 2’, no 236, of pale pink linen, cut wide and loose, with painted grey spots and lines, draw-string to waist £400 - 600 154 A Tartar coat, designed by Nicholas Roerich for Diaghilev's 1914 production of 'Prince Igor', stamped to the interior, 'Property of Sir Joseph Beecham' and also handwritten 'Prince Igor, Tartar' and two indistinct words, no 212, of plum satinised cotton painted in mainly yellow and blue with roundels, runic and Buddhist symbols, elasticated sleeves, lined in brown cotton £1000 - 1500 32

155 & 156

155 A Tartar coat, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’, stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Prince Igor, Tartar, Sk 1, ch gents, no 224, of chartreuse-yellow painted satinised cotton, with orange and black painted edging bands and integral shaped collar in contrasting magenta, orange and blue, lined in ochre cotton £2000 - 3000 156 A Tartar hat, designed by Nicholas Roerich for Diaghilev’s 1914 production of ‘Prince Igor’, stamped to the interior, ‘Property of Sir Joseph Beecham’ and also handwritten ‘Prince Igor, Tartars, Shackanoff, Sk 1, ch. gents, no 269 of shaped terracotta satinised cotton stencilled with black roundel repeats, lined in grey cotton £400 - 600

157 ‘The Royal Italian Opera Company’ costumes, late 19th century, many bearing rectangular purple stamps ‘Property of the R.I.O’, including a black and red skirted tunic appliquéd with gold dragon, bats and other creatures; another probably from the same production of red worsted with batwing shaped sleeves, green foil roundel appliqués; four Melton wool Elizabethan style jerkins and a pair of green worsted breeches from a different production, some bearing the inked names ‘Urquhart, Quinn’ (7) £500 - 900

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158 Diaghilev’s Ballets Russes costume for a Lezghin from ‘Thamar’, designed by Leon Bakst, first performed, 1912, comprising: shocking pink satin frock coat edged with silver braid, stencilled with triangles, painted wooden cartridges to the breast; yellow cotton Turkish trousers and tall cossack-style faux astrakhan hat, chest approx 102cm, 40in (3)

The trousers are stamped with the Ballets Russes circular stamp: ‘Direktion des Russischen Balletts Sergiei von Diaghilev’ (German for: Management of the Russian Ballet Serge de Diaghilev).

They toured in Germany in 1910, 1912, 1913 and 1914. The trousers also bear a handwritten label which begins ‘Tamara’ (in cyrillic) and then ‘XI Thamar’ (in latin), and ‘the musicians second trousers’ (in Russian) and the handwritten name ‘Burns’. The jacket bears the same stamp, and handwritten names of ‘Jacob’, ‘Casarini’ or ‘Basparini’ and a third which is illegible.

Provenance: Sotheby & Co, ‘Costumes and Curtains from The Diaghilev and de Basil Ballets’, 3rd March 1973, Lot 119. £4000 - 6000 159 Margot Fonteyn’s bodice from ‘Firebird’, for the Sadler’s Wells 1954 production, designed by Natalia Goncharova for Diaghilev’s Ballets Russes in 1926, with handwritten muslin label ‘Fonteyn, Firebird’, of orange-red rayon grosgrain, painted and couched with gold thread feather patterns, with centre-piece of painted gold braid with horsehair/crin lobes to each side, the upper edge with remains of ostrich plumes, the back with black crin braid; together with an associated ‘corn-dolly’ firebird headdress adorned with pearlised sequins (2)

For the complete tutu please see The Royal Opera House archive, ROH/PRO/COS/0000494. £1500 - 2500 160 The helmet and sword worn by Nadia Nerina in Tancredi and Clorinda, in the opening season of Snape Maltings, Aldeburgh, June 23rd, 1967, the shaped felt helmet painted to resemble metal, with integral visor and detachable gold lurex inner headress/collar, with moulded rubber finial, on head shaped mount bearing a typed label giving details of the production, 41cm, 16in high; with simple painted lightweight wooden sword, 74cm, 29in (4)

Benjamin Britain’s Great Maltings Concert Hall, was opened by The Queen on 2nd June, 1967. Many new works were specially commissioned for the opening season including new choreography by Janet Sinclair for ‘Il Combattimento di Tancredi e Clorinda’, starring South African born prima ballerina Nadia Nerina as Clorinda, accompanied

by Leo Kersley, Harlow Ballet Club, and with Peter Pears as the narrator. The performance took place after a dinner in honour of Claudio Monteverdi, on the 23rd June at 9pm. £400 - 600

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1910S ONWARDS 163 A Mariano Fortuny stencilled green velvet jacket, circa 1920, with circular label ‘Mariano Fortuny Venise’, stencilled in gold Persian inspired palmette repeats and borders of meandering vines and ogivals, lined in peach silk, chest approx 117cm, 46in

The Metropolitan Museum of Art holds an example of the same design in a different colour, accession no. 2009.300.468. £2500 - 3500

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161 (detail) 161

161 A fine Mariano Fortuny stencilled green velvet mantle, circa 1920, bearing circular label to lining, printed in gold with lotus, palmette and tree-of-life motifs, side slits forming armholes

For a mantle and coat with identical stencilling, see ‘Fortuny’ by Anne-Marie Deschodt & Doretta Davnzo Poli. pp.73-75. £3500 - 5000 162 A Mariano Fortuny stencilled green silk tunic, circa 1920, un-labelled, printed with circular Coptic motif and with similar repeats to border, edged in black silk cord with Murano bead weights

For an example of a textile in this particular print, see ‘Fortuny’ by Anne-Marie Deschodt & Doretta Davanzo Poli, p.156. £700 - 1000

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164 A Mariano Fortuny black pleated silk Delphos gown, 1920-30, signed to left shoulder selvedge, the short curving sleeves laced with silk thread and Murano black and white glass beads, bust approx 96cm, 38in £300 - 400 165 A Maria Gallenga chinoiserie tabard, mid 1920s, un-signed, in ombré velvet graduating from purple at the shoulders to orange at the hem, stencilled in gold with traditional Chinese sea waves and earth mountains, ombré chiffon lining to match, gold beads to the shoulders, open sides £1200 - 1800

166 A Vitaldi Babani embroidered velvet evening ensemble, circa 1925, bearing printed 98 Bd Haussman label to the black velvet tunic dress dress, with matching dark brown velvet coat, both couched and embroidered with repeat scrolling botehs in shades of pink, gold and silver, bust 102cm, 40in (2) £700 - 1000 167 A Vitaldi Babani rose-pink velvet tunic, early 1920s, labelled, the neckline, sleeves and bodice front with gilt thread embroidery, lacing to cuffs, of loose cut, chest approx 107cm, 42in £600 - 1000 168 A fine Mariano Fortuny stencilled velvet wall hanging, 1900-1920, bearing circular label richly printed in shades of pink and silver on a gold ground, with renaissance-inspired pattern of four vertical bands each with vase and fruiting pomegranate within strapwork roundels, the outer border with acanthus and ribbon scrolls, lined in brown silk, 213 by 300cm; together with a copy of ‘Velluto’, Idea Books, 1993, which illustrates an identical panel on p63 (2) £3000 - 5000

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169

Courtsey of Musée de la Mode de la Ville de Paris.

169 A rare and important Boué Soeurs Robe de Style 'Romance', Autumn-Winter 1926-27, unlabelled, of black Chantilly lace, adorned with swags of ribbon-work roses in shades of pink, silver lamé florets, yellow and green ribbon laburnum-like fronds, cut low to front, back and sides with crin-stiffened gathers to skirt sides; worn over a replacement slip with original curved silver lame panel below the breast, bust approx 92cm, 36in

The Robe de Style gown was a fashion phenomenon occurring from the teens through to the 1920s - Boue Soeurs and Jeanne Lanvin being the main proponents, although most fashion houses included them in their repertoire.

The romantic, frivolous and highly impractical 18th century-inspired gown with hooped pannier hips, worn as evening wear, captured the imaginations of women emerging from the gloom and privations of the Great War. Examples are rare, especially in good condition such as this one, where the brightness of the silk flowers are as fresh as the day they were made.

Waleria Dorogova, scholar and leading authority on Boué Soeurs has researched this piece and writes: 36

Boué Sœurs, active from 1899 to 1957, were known for a francophile historicist style and the Robe de Style 'Romance' attests to their favoured aesthetic. Nearly identical versions of this design can be found at the MET, Palais Galliera and Holbæk Museum (Denmark). The fact that the same style was also executed in powder pink lace (Design Museum Copenhagen) suggests that it was very popular. A photograph in Les Modes documents that 'Romance' was worn by Isabel Rodriguez, a celebrated Spanish dancer of Madrid's Royal Theatre, who appeared in the now lost Rudolph Valentino motion picture 'L'Hacienda Rouge' (A Sainted Devil, 1925), dressed by Boué Sœurs. Indeed, the black lace of 'Romance' has a Spanish feel to it, as it is reminiscent of Francisco de Goya's portraits of Spanish aristocrats.

Black Chantilly lace over various coloured silks, a recurring combination at Maison Boué over many decades, can also be seen as a nod to the Second Empire, an epoch frequently remembered by the house. The rose festoons with their fine colour gradations and the band of lamé underneath the bust are the result of Sylvie Boué's artistic nature: Her appreciation of the Rococo style, which featured bands of

roses in painting and applied arts, such as Sèvres porcelain, as well as her interest in the effects of artificial light on metallised cloth, which she meticulously studied by using fabrics from Paris' theatre suppliers.

In an article instalment written by Jeanne Boué for Arts and Decoration in 1922-23 she commented on the characteristic silk roses: 'When a creation is successful, realizes our ideals, we finish it with ribbon or lace adornments, giving the completed dress the same care and taste that an artist gives in the final strokes to his pastel painting.

The finishing touch is usually made with our inimitable artificial flowers - the exceptional cachet of Boué Sœurs'. £5000 - 8000

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BOUÉ SOEURS

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170 A rare Jeanne Lanvin couture ribbonembroidered tulle dress, ‘Rose Tremière’, Spring-Summer, 1926, unlabelled, the black tulle appliquéd with hollyhock motifs in gold chain stitch and degradé twisted ribbons in shades of pink, with stripes of ribbon forming a necklace like floating panel to the front and edging the hem; together with an associated black silk petticoat, bust 86cm, 34in (2)

This model was sold from both the Paris and Cannes Salons. £1500 - 2500 171 A rare Nicole Groult evening gown, 1923, woven label ‘29 Rue d’Anjou’, of black crêpe with Russian peasant-style couched silk thread embroidery in brilliant colours, the front skirt opening lined in fuchsia silk revealing replacement integral pink silk petticoat, bust 81cm, 32in Courtesy of Lanvin Archives.

175 A rare Paul Poiret couture blue velvet ‘Crusader’ dress, circa 1922, large woven label and handwritten bolduc ‘36.932. Mme E. Bannier Robe Croisade en vl bleu’, of simple tunic shape with square neckline and richly embroidered couched silver and gold thread and pink silk roundel enclosing a crucifix, the sleeves similarly worked with narrow foliate bands and crown-like motifs, cuffs and neck edge lined in purple satin, hook and eye closures at both shoulders and left side, the sleeves attached to ivory silk camisole with hook and eye fastenings, bust approx 92cm, 36in

The richly embroidered motif on this dress was inspired by the fabric badges worn by Christian pilgrims and Crusaders in the Middle Ages who wore a cross of cloth sewn onto their clothes. £3000 - 5000

Nicole Groult (1887-1967, sister of couturier Paul Poiret) established her own successful fashion house, specialising in the ‘garcon’ look during the 1920s. The house struggled after the economic crash of 1929 eventually closing in 1935. The dress was photographed for a 1923 advertisement ‘Les plus jolis mannequins de Paris: Lucy de chez Nicole Groult’, photograph by Rama. £800 - 1200 172 A good beaded flapper dress, circa 1928, the black muslin ground densely covered with patterned bands of pearlised, clear bugle beads and silver bobble beads, bust 97cm, 38in £300 - 500 173 A finely beaded muslin jacket, mid 1920s, un-labelled, edged with satin, with scrolling floral motif in shades of red, gold and green, bust approx 107cm, 42in £300 - 500 174 A rare Paul Poiret child’s dress, circa 1922, un-labelled, of heavy sail-cloth like cotton, the hem woven with red and blue stripes, the bodice edged in blue, with later scarlet ribbon lacing to front, pres-stud fastening to rear, chest 66cm, 26in, length 51cm, 20in

Provenance: Piasa Paris ‘La Création en Liberté; Univers de Paul et Denise Paul Poiret 1905-1928’ auction, 10-11th May 2005, lot 371. £400 - 600

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176

175 (detail)

176 A Paul Poiret ombré-effect beaded opera coat, 1924-8, unlabelled, with black velvet facings, bat-wing sleeves, fastening at the hip with foliate moulded bakelite button the bugle beads gradually changing from silver to black from neck to hem, bloused draping to rear waist, lined in black silk

For an identical coat see Sotheby’s Monaco Auction Catalogue of the Mary Vaudoyer collection, 10th October, 1987, lot 37; and also ‘Poiret’ by Yvonne Deslandres, for a full page detail p.195; ‘A Fashion for Extravagance, Art Deco Fabrics & Fashions’

by Sara Bowman, p.24. £1500 - 2500

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177 180

177 (label)

178

177 A rare and early Gabrielle Chanel tartan faille cape, 1920s, with narrow yellow on black woven Paris label and numbered 17501, with elegantly curved shoulders, three front pockets and finished to the interior with satin bound seams

179 A rare Agnès/Madame Havet couture chocolate brown velvet evening dress, 1918-20, labelled ‘Agnes, Mme. Havet, 7 Rue Auber, Paris, Made in France’ with handwritten name ‘Buckland’, the crossover front bodice edged with rhinestone studded braid, falling in straps to the rear, each hip with a complementing tassel, bust approx 92cm, 36in

A black and white photograph dated 1929 shows Gabrielle Chanel standing next to her friend Misia Sert, who is wearing beach pyjamas of a seemingly identical fabric; see ‘Chanel and Her World’ by Edmonde Charles-Roux, p.172. £600 - 800 178 A rare Chanel black organza fan, 1920s-30s, with black celluloid sticks and guards, stamped ‘Chanel’, the leaf formed from silk petals printed with veins, 43cm, 17in long

Provenance: the estate of Mary, Duchess of Roxburghe. £1500 - 2500 40

Madame Agnès and Madame Havet founded separate couture house in Paris c.1898. but by 1909 they joined forces and Mme Havet become the Directrice of Maison Agnès. Subsequently both names appeared on the label. £400 - 600

180 A Jeanne Lanvin couture ivory chiffon bridal gown, Summer, 1925, large dated label to the taffeta slip, no 91202, the loose dress with wide neckline edged in chain-stitched metal band, full sleeves, dropped waistline, inset with panels of silk tulle embroidered in gilt threads with Greek Key bands, bust approx 102cm, 40in; with matching embroidered forehead band (3) £1200 - 1800 181 A fine sequinned flapper dress, 1920s, labelled ‘Made in France’, with gold sequinned roundels graduating in size from left hip, trained hem from left hip, bust 86cm, 34in £300 - 500 182 A Paquin black satin coat, 1919, large woven label with date and numbered 45.640, with large collar and false hood with tassel, embroidered with silk threads in French knot and lined in gold satin with decorative stitching, bust approx 102cm, 40in £400 - 600

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186 A Jeanne Lanvin couture WWII period black crushed velvet dinner dress, Winter, 193940, with large date stamped woven label, with heavily padded shoulders, buttonfront closure, bust 86cm, 34in £400 - 600 187 A Lucien Lelong couture pleated green wool evening cape, early 1930s, large brown on white woven label, with ivory Greek Key pattern to the yoke, arm slits

Exhibited in the Metropolitan Museum ‘Goddess’ exhibition, May 1st - August 3rd 2003. £600 - 800

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188 An ornately sequinned black evening gown, 1930s, formed from a 1905 ballgown, un-labelled, with godets embellished with teardrop-shaped sequins to hem, bust approx 92cm, 36in £400 - 600

189 A Maison Angès-Drécoll couture chinoiserie-embroidered wool bolero, circa 1938, un-labelled and with ‘Tortaz’ woven to interior selvedge, the ground couched and embroidered in gold and silk threads with cloud scrolls and phoenixes, bust approx 92cm, 36in

183 (label)

183 A Schiaparelli couture black wool doublebreasted jacket, circa 1937, labelled ‘Schiaparelli London’ no 2493, with moulded liquorice-lozenge effect celluloid buttons, faux curved pocket flaps to the hips, chest 92cm, 36in

An advertisement in L’Officiel, No. 198, 1938, p.43, for ‘Tortaz’ fabrics shows wools produced in this colour-way. The Metropolitan Museum of Art has a similar Maison Agnès-Drécoll ensemble in orange, the jacket with identical embroidery.

Accession number 1990.104.11a-c and dated 1930. £500 - 600

Provenance: Mrs Carol Dugdale (neé Timmis), a stylish British socialite. £600 - 800

190 A Paquin couture richly embroidered evening coat, 1937-8, small black on white satin label, 3 Rue de la Paix Paris, no 60447, the front bodice applied with Indian inspired embroidered and velvet appliqué panels worked with peacocks and blooms, on a silver sequin spangled ground, cartridge pleats to the waist, bust 86cm, 34in £500 - 800

184 A pair of Schiaparelli couture shorts, possibly for tennis, circa 1937, labelled ‘Schiaparelli London’, no 1238, slubbed silk-linen mix, with slanted patch pockets, metal lighting zip, waist 71cm, 28in; together with a leaf-printed crêpe blouse, probably Schiaparelli, with tie to neck, bust 102cm, 40in (2)

Provenance: Mrs Carol Dugdale (neé Timmis), a stylish British socialite. £400 - 600 185 A Madame Grès couture black velvet and chiffon evening gown, 1947, black on white ivory label, with boned, strapless bodice, plunging V front waist, the front skirt of gathered black chiffon over scarlet organdie, with circular chiffon stole, bust 86cm, 34in (2) £2000 - 3000

189

191 A black bugle beaded chiffon evening dress, circa 1930, vertically beaded in leopard-spot effect, bias-cut, gored flared skirt, bust approx 81cm, 32in £400 - 600

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192 An Yves Saint Laurent for Christian Dior couture embroidered cocktail dress, Autumn-Winter, 1958, labelled and indistinctly numbered, with integral boned corset, cap sleeves, the pale pink tulle ground embroidered by Rébé in high relief with pink metallic silver thread coiling roses and foliage and spangled with rhinestones, with matching embroidered belt, layered organza, tulle and silk petticoats, bust 76cm, 30in, waist 51cm, 20in (2) £3000 - 5000 193 A Christian Dior couture red slubbed silk coat, Spring-Summer 1958, labelled and indistinctly numbered 92899, with bow to neckline, elbow-length sleeves, fastened with large self-covered buttons, chest approx 102cm, 40in £400 - 600

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194 A Balenciaga couture lace cocktail ensemble, 1955, Eisa labelled, the cocktail dress with matching over-tunic of grey and beige floral lace, bust 107cm, 42in, waist 81cm, 32in (2)

Provenance: Previously on loan to the Balenciaga Foundation, Getaria. £300 - 500 195 A fine Balenciaga couture violet velvet tent coat, 1951, Paris labelled and numbered 40.157, of soft Lyon velvet, with deep shawl collar which forms a capelet at the rear, lined in black faille, voluminous proportions

This coat was famously photographed by Henry Clarke in 1951, worn over a black taffeta dinner dress with long black gloves, see ‘Balenciaga, L’Oeuvre au Noir’, Palais Galliera, Musee Bourdelle catalogue p.178 and also ‘Balenciaga’, Thames & Hudson, for a full page photograph of an identical coat photographed by Louise Dahl Wolfe (from the F.I.T. Archive). £3500 - 5500

196 A rare Hermès white linen summer suit, late 1940-early 1950s, with horse and carriage label, the short-sleeved jacket with chunky buttons, pointed pocket flaps with kneelength skirt, bust 97cm, 38in, waist 66cm, 26in (2) £400 - 600 197 A Givenchy couture black silk dinner dress and over bodice, late 1950s, dress labelled, the dress with scoop back and bow to rear, the over-bodice with single button, bust 96cm, 38in (2) £400 - 600 198 A Madame Grès couture dark green jersey dress, 1950s, labelled, with pleated lengths draped over the shoulders, falling to the front and back, drawstring waist and fully lined, bust approx 92cm, 36in £500 - 700

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202 A Madame Grès couture dove-grey silk jersey dinner dress, late 1940s, black on white label, with draped pleats to neck, sleeves and curving over the hips, rear hook and eye fastening, bust approx 81cm, 32in, waist 51cm, 20in £700 - 1000 203 A Norman Hartnell couture draped black jersey dinner gown, 1950s, green on white woven label, with criss cross panels to bodice and draped swags to skirt front, bust 97-102cm, 38-40in, waist 81cm, 32in £350 - 500 204 A Molyneux couture lilac satin ballgown, early 1950s, labelled and numbered 16548, and with handwritten label bearing the name ‘Hon. Mrs. Waite’, embellished with opalescent sequins, pearls and rhinestones to bodice and hips, sweetheart neckline, bust approx 96cm, 38in £400 - 600

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205

199 A couture/defilé cocktail dress, 1955-56, possibly Fath, with handwritten tape ‘Colette, no 455’, with velvet boned, strapless bodice and centre panel lavishly embroidered in gilt threads and jet beads with tiered, bouffant taffeta skirt panels, bust approx 86cm, 34in £600 - 800

205 A Christian Dior by Yves Saint Laurent couture pink faille cocktail dress, 1960, white on black woven label, no 13105, with fitted bodice with centre-front rose, puffball skirt over hobble hem, integral silk petticoat, bust 86cm, 34in £700 - 1000 206 A Christian Dior evening dress, late 1950s, Boutique labelled and numbered 12367, with boned cream silk lining, princess-line with horizontal bands of ribbon applied to tulle overall, multiple layered petticoats, bust 81cm, 32in, waist 56cm, 22in £500 - 900

200 An Owen Hyde Clark for Maison Worth couture black satin cocktail dress, late 1950s, bias-cut with cross-over draped panels to skirt front and fringed tab to bodice, bust 86cm, 34in, waist 66cm, 26in

See Victoria & Albert Museum collection for a similar model in blue T.18:1, 2-2006. £400 - 600 201 A Balenciaga black silk crêpe doublebreasted dinner dress, 1942, white on black Eisa label, with apron-like overskirt which falls in drapes at the sides which form a peplum at the back, fastened by hooks and eyes, bust 92cm, 36in, waist 71cm, 28in £400 - 600

207 A Madame Grès couture chartreuse satin evening gown, probably 1950s, labelled, with bateau neckline, broad pleat to rear skirt and two darts to front front skirt below waist, tie belt, with zip closure below left arm, bust 92cm, 36in, waist 66cm, 26in £400 - 600 204 43

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212 A fine couture black satin evening gown, circa 1954, un-labelled, with dramatic puffball fishtail hem, lightly boned interior corset, bust approx 92cm, 36in £300 - 500 213 A Pierre Balmain couture floral printed organdie cocktail dress, late 1950s, white on black woven satin label, with integral tulle corset, criss-cross front bodice panels meet in a skirt gather at rear waist, bust 86cm, 34in £500 - 900

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208 Two Maggy Rouff watercolour sketches, the first ‘Infante’, 1955, a black velvet ball gown with black lace over white satin panel in the skirt, the second ‘Nebuleuse’, 1957, a white silk chiffon ball gown with draped skirt, 21 by 30cm, 8 by 12in, (2) £800 - 1200

214 A Jean Dessès couture peach lace cocktail dress, mid 1950s, labelled and numbered 8283, with strapless sweet-heart neckline, the voluminous skirt open at the front revealing tightly fitted underskirt, matching bolero, bust approx 92cm, 36in (2) £500 - 700 215 A Jean Dessès couture black faille cocktail dress, late 1950s, labelled and numbered 6079, the corsetted bodice with pleats forming points to the bodice, the full skirt held in a bow at the rear hem, bust 81cm, 32in, waist 60cm, 23½in £600 - 1000

209 Three Maggy Rouff watercolour sketches, circa 1950-55, on calque paper, two day dresses and one evening, including ‘Rendez-vous’, a black wool wrap-over dress with shawl collar, 21 by 27cm, 8 by 10½in (3) £400 - 600

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216 An Hubert de Givenchy couture black satin cocktail dress, 1954, early white on black woven label, with pleats to bodice and skirt adorned with graduated rows of satin buttons with faux buttonholes, bust 92cm, 36in, waist 61cm, 24in

210 Two Maggy Rouff watercolour sketches, the first ‘Volage’, circa 1950, green organza dress with full skirt, with grey velvet bolero jacket with gold embroidery, the second ‘Cassandre’, late 1950s, sequinned sheath dress with tulle skirt from the knee, 21 by 30cm, 8 by 12in, (2) £500 - 700

See 1954 advertisement showing an identical black gown, modelled by Bettina, stating the fabric was made by Robert Perrier. £600 - 1000 217 A Christian Dior couture black ottoman silk coat, Autumn-Winter, 1954, labelled and numbered 49475, bolduc 71007, with gathered round collar, facetted black glass buttons, quilted lining, chest 117cm, 46in £700 - 900

211 A Maggy Rouff couture primrose chiffon cocktail dress, late 1950s, labelled, the boned bodice overlaid with draped cowls of fabric, the skirt with swirling pleats and balloon hem, bust 81cm, 32in, waist 61cm, 24in £250 - 400

218 A Christian Dior London black silk faille dress, 1954-1955, labelled and numbered 02838, the double-breasted bodice with interior corset and shawl collar which wraps around at buttons at front, separate pleated full skirt with interior petticoat, waist approx 61cm, 24in, bust approx 96cm, 38in (2) £500 - 700 215

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219 A Balenciaga reversible emerald green satin evening coat, early 1950s, un-labelled, of voluminous cut with large cape-like collar and oversized half circle pockets

221 A Balenciaga couture black faille coat, 1953, unlabelled, probably Eisa, the front and back panels cut in one with the sleeves, low mandarin collar, double-rows of orientally inspired buttons, patch pockets, of voluminous cut

Although this piece is unlabelled it was authenticated by Madame Jouve of the Balenciaga archive. £1500 - 2500

Provenance: Previously on loan to the Balenciaga Foundation, Getaria. £1200 - 1800

220 A Balenciaga couture grey moss crêpe dinner dress, 1953, Eisa labelled, of complex construction, the cross-over rear bodice and skirt fastened by buttons to the front left hip, culminating in front waist ties with fringed taffeta sash-ends, bust approx 92cm, 36in

Provenance: Previously on loan to the Balenciaga Foundation, Getaria. £1500 - 2000

222 A Balenciaga couture grey and white chunky tweed suit, Autumn-Winter, 1954, Paris labelled and numbered 50389, comprising short jacket with fitted waist, grey disc buttons and long pencil skirt, bust 9297cm, 36-38in, waist 71cm, 28in (2) £400 - 600 220

END OF MORNING SESSION

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223 An Yves Saint Laurent couture guipure minidress, circa 1966, labelled and numbered 018597, formed from bright orange, yellow and white embroidered floral lace, over an orange chiffon integral petticoat with stiffened hem, bust 86cm, 34in £2000 - 3000

227 A fine Balenciaga couture checked wool coat, Spring-Summer, 1966, Paris labelled and numbered 95470, the broad navy window-pane checks on a tan ground, the sleeves cut in one with the back panel with loose rear buttoned belt, chest 112cm, 44in

See ‘Balenciaga’ by Jacqueline Demornex, Thames & Hudson, for a full page photograph of an identical coat, from the Balenciaga Archive. £2000 - 3000 225

223 (label)

224 A Pierre Cardin couture copper sequined evening gown, late 1960s, labelled, of brown silk jersey entirely covered with beaded fringes and sequins, bust 86cm, 34in £450 - 600

225 A pair of André Courrèges white leather ‘GoGo’ boots, 1966, with low heels, square toes, top-stitched cuffs with bows, velcro fastened down the back, in original cardboard box, the soles stamped size 7 (3) £500 - 800 226 A Lanvin-Castillo couture ivory satin cocktail dress, circa 1960, labelled, the bodice heavily embellished with facetted beaded droplets and black feathers encased between two layers of tulle, bust approx 92cm, 36in £400 - 600

228 A Courrèges black and white cotton minidress, late 1960s, Paris labelled and numbered 40372, with white yoke, false pockets and hem, and chunky zip to front bodice, bust 96cm, 38in £400 - 600 229 A Pierre Balmain couture gold sequined coat or dress, circa 1968, red on ivory satin label, numbered 148618, zip fastened with front slit, bust 92cm, 36in £400 - 600

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230 A Balenciaga couture navy wool crêpe shift, Autumn-Winter, 1966-67, Paris labelled and numbered 99248, with raised front waist seam, twist to front neck, later added clip, bust 92cm, 36in £400 - 600

236 A Pierre Balmain white soutache lace dress, 1969, un-labelled, with lattice-work to collar, hem and cropped bell-sleeves, front ties, bust approx 86cm, 34in

This dress, with more exaggerated bellsleeves, is seen modelled in an advertisement for lace by ‘Darquer of Calais’, L’Officiel, 1969, no.563-564, p.34. £600 - 800

231 A Balenciaga couture printed grey silk cocktail ensemble, 1960s, unlabelled, but probably Eisa, the dress with bow to neck, drawstring bow-tie to front waist and matching jacket with weighted hem and bow to back, with Japanese inspired print of branches and blossom, dress bust 97cm, 39in (2)

237 A rare Germana Marucelli sequined evening gown ‘Totem’ collection, Autumn-Winter, 1967-68, the design based on a Futurist painting by Maestro Marinetti, bust 8692cm, 34-36in

Provenance: Previously on loan to the Balenciaga Foundation, Getaria. £400 - 600

Exhibitied: ‘Bellisima, Italy and High Fashion, 1945-68’, NSU Museum Fort Lauderdale, Florida and in Palazzo Reale Monza. This dress is illustrated on p23 of the catalogue.

232 A Chanel couture gold lurex-weave jacket, 1969, white on black silk label, numbered 37795, of textured gold chevron-patterned fabric with zig-zag sequined bands, black and gilt buttons, lined in gold satin, chainweighted hem, chest 92cm, 36in

Germana Marucelli (1905-1983) was one of the pioneers of Italian fashion. In 1938 she opened her own fashion house and in 1958 she became one of the founders of the Camera Dindacale della Modal Italiana. £1200 - 1800

Marisa Berenson was photographed wearing a cardigan of similar fabric in Vogue teamed with black trousers, see ‘Chanel in Vogue’ by Bronwyn Cosgrave p148. £600 - 1000 233

233 A Balenciaga couture pink slubbed satin evening gown, Spring-Summer, 1961, Eisa labelled, the bias-cut front bodice panels forming a point, the rear sack-back draped and held in a bow above the trained hem, bust approx 92cm, 36in £3000 - 5000 234 A group of Yves Saint Laurent Patron Original paper patterns, 1967-1982, approximately 15 and in original paper envelopes, comprising two for S/S 1967, two for 1968, one for S/S 1969, one for S/S 1970, one for S/S 1977, five for 1978, two for A/W 1982 and one for A/W 1983 (15) £400 - 600 235 A Lanvin couture pleated red silk chiffon evening gown ‘Barbarella’, late 1970s, bearing woven label with angular JL script, hand-written defilé label ‘520256, At. Colette’, with spaghetti straps, falling in three tiers, bust 81cm, 32in £400 - 600 232 48

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238 A Lanvin-Castillo couture salmon-pink silk evening gown, circa 1960, bearing both labels, the front skirt heavily embroidered

by Lesage with ivory silk and silver thread leaves, raised-work flowers and crystal beads, with press-stud fastened overskirt, bust 92cm, 36in £600 - 800

244 A Chanel couture summer dress with navy running-stitch stripes, Spring-Summer, 1970, labelled and numbered, 43974, the buttons with cast CC logos, matching belt, bust 92cm, 36in (2) £400 - 600 245 A Chanel couture printed wool ensemble, Spring-Summer, 1978, labelled and numbered 56641, the short-sleeved dress and jacket with top-stitched detailing and gilt CC buttons, chain to hem, bust 97cm, 38in (2)

239 An Emilio Pucci turquoise fringed ‘shimmy’ suit, late 1960s, labelled, the jersey bodice and attached trousers covered with bands of fringes, bust 81cm, 32in £600 - 1000

Former French minister Simone Veil was photographed wearing an identical ensemble. £500 - 700

240 A Valentino couture bugle beaded 20s inspired cocktail dress, late 1970s, labelled, with pink-beige floral beading against an ivory bugle beaded ground, bust 97cm, 38in £400 - 600

246 An Yves Saint Laurent couture orientalist evening ensemble, 1970, un-labelled, woven in blue and gold 1920s inspired brocade, edged and piped in gold braid, the jacket with gilt scallop-shaped buttons and closure loops, with matching harem pants, bust 86cm, 34in, waist 66cm, 26in (2)

241 An Yves Saint Laurent couture ivory jersey ensemble, early 1970s, labelled and numbered 23912, comprising sleeveless jump-suit with wide trouser legs; the matching jacket with white cord frogging closure, bust 97cm, 38in (2) £600 - 800

See ‘Yves Saint Laurent’ Thames & Hudson, 1983 Metropolitan Museum catalogue p.141 for a full page photograph of this ensemble taken from Harpers Bazaar, September 1970. £2000 - 3000

242

242 (label)

242 A Christian Dior by Yves Saint Laurent colour-block bouclé wool shift dress, Autumn-Winter, 1959, labelled and numbered 102530, with slightly raised waistline, lined in corresponding red and black silk, bust 92cm, 36in £1000 - 1500 243 A pair of Christian Dior by Roger Vivier ‘Soraya’ black satin evening shoes, 196263, with triple flounced cockades and black beads, flat-lobed and curved heels, 29cm, 11½in long, approx UK size 6 (2) £400 - 600 241

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251

247 A Thea Porter floral printed voile ‘gypsy’ dress, 1969, woven black on white label, the bodice with plunging neckline and trimmed with gold velvet, bust 86cm, 34in, waist 71cm, 28in

251 A good Thea Porter ‘gypsy’ dress, 1969-71, woven lily label and size 10, of floral printed black and red voile, trimmed with gold braid and key-hole neckline, bust 76cm, 30in, waist 61cm, 24in

A black and white photograph of an identical dress in 1969 can be seen in ‘Thea Porter: Bohemian Chic’, by Laura McLaws Helms and Venetia Porter, p.68. £800 - 1200

An identical dress was exhibited in ‘Thea Porter: Bohemian Chic’, a retrospective of her work at the Fashion and Textile Museum, London, 6th February-3rd May 2015. £1500 - 2000

248 A Loris Azzaro silver and bronze crochet and chain-mail ensemble, 1970s, labelled, comprising top with chain-linked, swagged sleeves, silk jersey maxi skirt and matching shoulder bag, bust approx 81cm, 32in, waist 66cm, 22in (3) £400 - 600

252 A Gordon Hodgson for Thea Porter gold brushed aluminium belt, circa 1969, stamped to interior, with diamond-shaped centre and hook closure, waist approx 7176cm, 28-30in

A belt of similar style being worn with a Gipsy dress in 1969 can be seen in ‘Thea Porter: Bohemian Chic’, by Laura McLaws Helms and Venetia Porter, p.68. £150 - 250

249 A Thea Porter abaya/kaftan dress, late 1970s, couture labelled, of black chiffon stencilled with gold chinioserie motifs, matching tie-belt and tassels to sleeves £700 - 1000 250 A Thea Porter black chiffon dress, early 1970s, Couture labelled, with silver glitter bands overall, the shoulders and waist with silver sequined and embroidered scallop shells, the hem with glitter rose motifs, bust 86cm, 34in £600 - 1000 50

253 A Thea Porter abaya/kaftan dress, mid 1970s, couture labelled, of ikat silk, the hem inset with a patchwork of pink velvet, lamé and black cotton embellished with gold sequins, trimmed with gold braid £600 - 800

249

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257 A Thea Porter devoré velvet evening coat, 1970s, labelled ‘Thea Porter Couture’, edged in red braid with beaded and embroidered panels to neckline; together with a velvet belt, devoré velvet stole in similar colours, and a kaftan of brightlycoloured Oriental brocade (4) £400 - 600 258 A Thea Porter Iraqi Samawa-carpet coat, 1970, un-labelled, lined in rabbit fur and heavily embroidered with abstract and floral patterns in shades of pink and orange, chest approx 92cm, 36in

An identical coat was featured in British Vogue, November 1970, modelled by Maudie James and photographed by Barry Lategan. This image, and a similar example, can be seen in ‘Thea Porter: Bohemian Chic’ by Laura McLaws Helms & Venetia Porter, pp.60-61. £600 - 800

254

254 A Chanel couture evening ensemble, 1972, labelled and numbered 45170, the shift dress of cream organza over ivory silk entirely covered in embroidered and beaded roundels, with floret centres formed from heart-shaped sequins, the matching jacket with chain weighted hem, dress bust 81-86cm, 32-34in (2) £1200 - 1800 255 A Chanel haute couture ivory silk crêpe dress, 1975, un-labelled, with box-pleat and top-stitch detailing, tie to neck, bust approx 92cm, 36in

An identical dress can be seen pictured in ‘L’Officiel de la Mode’, no. 618 1975. £300 - 500 256 A Chanel couture red printed wool/silk blend ensemble, 1975, label and blank bolduc to jacket, comprising knife-pleated skirt; matching jacket with scored resin and gilt encased buttons, bust 86cm, 34in (2) £300 - 500

262 (label)

259 A Thea Porter brocaded chiffon cocktail dress, late 1970s, couture label and size 8, with capelet collar and tiered panels to skirt edged in gold beaded tassels, bust approx 81cm, 32in, waist 61cm, 24in £400 - 600 260 A Courrèges black knitted jersey dress, early 1970s, Hyperbole labelled and numbered 108293, size B, the apron-like front panel with two pockets and decorative poppers, vinyl Courrèges logo to bodice centre, bust 92cm, 36in £400 - 600 261 An Ossie Clark/Celia Birtwell for Radley floral printed chiffon dress, mid 1970s, labelled and size 14, the skirt falling in two tiers, bust approx 96cm, 38in

This dress is being sold in aid of the Sue Ryder Charity. £400 - 600

262

262 A fine Mr Fish man’s gold lamé kaftan, late 1960s, burgundy on ivory label ‘Peculiar to Mr Fish, 17 Clifford St, London W1’, with overall lattice weave, slits for the hands, zip to the neck opening, edged in abstract bands of gold sequins and black seed beads

Provenance: the vendor was told it had belonged to the British publisher and philanthropist Lord Weidenfeld. £600 - 1000 263 A man’s Courrèges navy needlecord jumpsuit, early 1970s, Homme labelled and size B, the multiple pockets with chunky zippers and metal logo tag to front, drawstring waist and trouser hems, chest approx 112cm, 44in £500 - 800 264 A Courrèges orange wool coat, circa 1970, Hyperbole label, with matching belt, chest 92cm, 36in £500 - 700 51

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267 An Ossie Clark/Celia Birtwell for Quorum printed navy crêpe ensemble, circa 1973, labelled and size 8, the jacket with plunging neckline and buttons to waist, matching midi-skirt, bust 86cm, 34in, waist 56cm, 22in (2) £400 - 600 268 An Ossie Clark/Celia Birtwell ‘Acapulco Gold’ chiffon dress, 1970, labelled and size 12, in ‘Golden Slumbers’ print, wrap-around style with plunging neckline and fluted sleeves printed with tiny flowers/stars, bust approx 86cm, 34in

For an identical example see Kerry Taylor Auctions, 9th December 2014 sale, lot 141. £1200 - 1800 269 An early Thierry Mugler lamé evening gown, 1979, labelled and size 44, the lightly padded shoulders and long narrow sleeves with fin-like details the figure-skimming skirt with long train, bust approx 97cm, 38in, waist 76cm, 30in

The jump-suit version of this design is photographed in ‘L’Officiel de la Mode’, n°649, 1979, p.186. £500 - 900

265

265 An Ossie Clark ‘Marisa’ orange suede ensemble, circa 1969, black on white printed label and size 14, the shirt with laced sleeves and neck opening, pointed collar and deep fringed hem, the matching trousers with double tiers of fringes, chest 96cm, 38in, waist 76cm, 30in (2)

270 A Bill Gibb fox fur coat, circa 1972, labelled ‘Bill Gibb, Philip Hockley, London’, with bee-embroidered brown suede lapels, suede side panels and decorative thongs and fur tassels, chest approx 92cm, 36in £500 - 700 271 A Christopher Nemeth printed cotton coatdress, 1980s, labelled, with yellow and white tailor’s chalk-effect detailing, the skirt with pleats to side and rear in loose 18th century style, bust 86cm, 34in £600 - 800

For an identical ensemble, see Kerry Taylor Auctions 23.06.15 sale, lot 219, which was purchased by the vendor’s father as a gift from a Quorum fashion show in 1969. £800 - 1200

272 A Westwood/McLaren ‘Savages’ collection cotton tubular dress, Spring-Summer 1982, World’s End label, with Aztec print in green, red and yellow, bust approx 92cm, 36in £400 - 600

266 An Yves Saint Laurent gilt chain belt, 1972, signed, the clasp with large circular pendant inset with pearls and rhinestones, the chain adorned with green glass gems and blister pearls, 66cm long

273 A Westwood/McLaren squiggle printed brown lace-knit top and stockings, ‘Nostalgia of Mud/Buffalo’ collection, Autumn-Winter 1982-83, un-labelled, printed in gold and black; together with a brown cotton skirt, World’s End labelled, with woven ribbed repeats, (3) £600 - 900

An identical belt can be seen worn by a model posing next to Yves Saint Laurent, photographed by Helmut Newton for French Vogue, September 1972, and also in L’Officiel de la Mode, 1972, no. 594, p. 330. £400 - 600

269 52

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274

275

274 A Vivienne Westwood ‘Harris Tweed’ collection ensemble, Autumn-Winter, 198788, red label and size 12, the jacket with broad silver velvet frill-edged lapels forming a heart, mini-skirt with kick pleats to the front, together with a yellow Harris Tweed crown and modern pair of rocking horse shoes with leg ties, size 6, chest approx 8692cm, 34-36in, skirt waist 66cm, 26in (5) £1200 - 2000

275 A rare Westwood/McLaren ‘Nostalgia of Mud, Buffalo’ collection printed knitted dress, Autumn-Winter, 1982-83, World’s End labelled, with cable-knit yoke and sleeves, the skirt with trained rear hem printed with repeats of dancing ‘Buffalo’ girls and tribal figures in masks, with cable knit edges, bust approx 112cm, 44in

275

This was worn by a man (the vendor) as the clothes were intended to be uni-sex. See ‘Vivienne Westwood’ V&A publications p61 for an advertisement photograph taken at the time showing a similar dress. £800 - 1200

53

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281

276

276 A rare Westwood/McLaren white cotton ‘Mauvaise’ empire-style dress, ‘Pirate’ collection, Autumn-Winter, 1981-82, World’s End but un-labelled, with button fastenings to the high bodice sides, ties to rear waist, long trained skirt, bust approx 81cm, 32in

Provenance: this was bought by the vendor at a Westwood sample sale in the early 1980s for £5 and never worn as it did not fit her.

From a construction standpoint this dress is a fairly accurate copy of a dress c.1800 with its high narrow bodice and long trained skirt. Westwood researched antique dress in the Victoria & Albert museum and this dress reflects that. The very early ‘Mauvaise’ dresses were un-labelled as is this one. In the catwalk show it was accessorised with a golden helmet and a green stole. £1500 - 2500 277 A Westood/McLaren ‘Pirate’ collection top, Autumn-Winter 1981-82, un-labelled, with vibrant Navaho print, the front striped cotton underarms, the front with spearpoint repeats, chest 127cm, 50in £400 - 600 54

278

278 A Westwood/McLaren ‘Punkature (Hobo)’ collection ensemble, Spring-Summer, 1983, World’s End labelled, comprising: Blade Runner shirt in blue and tan with striped satin bib front; together with a pair of chequered loose-weave wool trousers with leather fly panel, braces; and a pair of tube socks (5) £600 - 1000 279 A Westwood/McLaren ‘Smiley face’ knitted cotton top, ‘Witches’ collection, AutumnWinter 1983-84, World’s End label, with angular short sleeves and fluorescent pink Keith Haring designed repeats, bust approx 81cm, 32in £500 - 700 280 A Vivienne Westwood ‘Sun-Wheel’ gown, ‘Dressing Up’ collection, Autumn-Winter, 1991-92, labelled and one size only, of voluminous cut, the white muslin stencilled and printed in red and silver with cherubs, with ruffle to neck edge, full sleeves, tie belt (2) £400 - 600

281 (detail)

281 A rare Westwood/McLaren knitted cotton cardigan with outsized tin buttons, SpringSummer, 1983, World’s End labelled, with crudely stitched patchwork pockets, cotton rope closure loops, tassles to the back, chest approx 107cm, 42in

See ‘Vivienne Westwood’ V&A publications pp63, 65 for photographs of similar cardigans. £600 - 1000

279

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288 282

282 A Katharine Hamnett ‘Save the World’ silk Tshirt, slogan panel appliquéd to front and back, label to bottom left corner printed with ‘choose life’ in several languages; together with another example with large black rectangle, busts approx 107cm, 42in (2) £400 - 600 283 A John Galliano navy wool gabardine coatdress, ‘Blanche DuBois’, Spring-Summer 1988, Galliano London label and UK12, with double-breasted front and full, swagged ‘blown away ‘skirt hem, hem cut shorter at the front with button-holed inner band to form polonaise drapes, bust approx 96cm, 38in £700 - 1000

288 The Shirley Hex/Philip Treacy for John Galliano black taffeta ‘turban’ hat, AutumnWinter, 1989-90, un-labelled, with coiled and wired looped panels of taffeta, 56cm, 22in long

284

The idea for this hat came from elaborate padded 1870s hair pieces as shown by a xerox in one of the studio sketch pads. £600 - 800

284 An original fashion illustration for John Galliano’s ‘Incroyable’ collection, 1984, pencil and watercolour, titled ‘Stepping Out c.1765’, worked in pencil and gouache and appliquéd with nylon lace and striped swatch, braid sample and an old penny which were used in the waistcoats, 27 by 20cm, within mount £800 - 1200

289 A John Galliano parachute silk shirt with 'circle' cut sleeves, Spring-Summer, 1986, John Galliano London label and size EU 36, of complex construction with sailor collar, front cowl, the hem dipping down at each side, bust approx 96cm, 38in £400 - 600

285 A John Galliano knitted cotton 'farmer's smock' jumper, Spring-Summer 1986, John Galliano London label, of voluminous proportions and with rolled collar, chest approx 122cm, 48in £400 - 600 286 A John Galliano chestnut-brown ensemble, Spring-Summer 1989, Galliano London label, comprising gabardine bolero-jacket with thread linked buttons, UK 8, bust approx 86cm, 34in, and maxi-length pleated viscose culottes, UK 10, waist approx 66cm, 26in (2) £400 - 600 287 A rare and early John Galliano blanket-wool dress, ‘Forgotten Innocents’ collection, Autumn-Winter, 1986-87, un-labelled, with ‘Circle’-cut bodice and long sleeves, optional short sleeves (functional as well as decorative) sailor collar, the hem rolled back and held in a tape with rear pouched drape, bust approx 76cm, 30in £4000 - 6000

283

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290

293

290 (back)

290 A rare John Galliano ‘Incroyable’ style coat, ‘Lolita’ collection, Spring-Summer, 1992, unlabelled, of ivory calico lined in striped Dupion, the lapels faced in sprigged satin, with florin coin and metal buttons; with pair of graphite stretch satin ‘Cavalry’ trousers from the same collection, with concealed coin pockets to waist, bust approx 86cm, 34in, waist 71cm, 28in (2)

293 A John Galliano forest green viscose crêpe bias cut evening gown, ‘Hairclips’ collection, Autumn-Winter 1988-89, unlabelled, the low cowl back with horizontal strap, the skirt with zig-zag points to the sides and full skirt with flared godets to hem, bust approx 81-86cm, 32-34in

295 A John Galliano bias cut brown velvet/chiffon skirt, ‘Lolita’ collection, Spring-Summer, 1992, unlabelled

Galliano’s backer - Peder Bertelsen of Aguecheek, closed the company before any of this collection could be produced and so in consequence examples are rare. The contents of the studio was thrown into skips. These pieces were worn in the show and acquired by a member of the studio. £3500 - 5000 291 A John Galliano ‘Pretty Baby’ cutwork cotton body, ‘Lolita’ collection, Spring-Summer, 1992, unlabelled, the roundel design created using devore paste, with white tissue paper fringed ‘tails’ to the shoulders, bust approx 81cm, 32in £200 - 300 292 A Shirley Hex/Philip Treacy for John Galliano Palm-Sunday crown, ‘Honcho Woman’ collection, Spring-Summer, 1991, the circlet formed from rosettes and strips of palm fronds, approx 28cm diam £200 - 300 56

The A/W 88-89 collection was the first time Galliano included full-blown bias-cut 30s inspired evening gowns - something that was to become a leitmotif for the rest of his career £800 - 1200 294 A John Galliano bias-cut beige viscose dress, Spring-Summer 1987, Galliano London label and UK 8, with diagonal panels and pleated harem-style hem, bust approx 86cm, 34in

In S/S 1987 Galliano first began to experiment with the bias cut as illustrated by this dress. £400 - 600

This skirt matches the low-cut body, KTA, lot 183, 27.02.2017. £400 - 600 296 An Azzedine Alaïa black leather `zipper’ dress, Spring-Summer 1986, labelled and size 40, with wide biker-style lapels, curving diagonal front opening, wide shoulders, bust approx 102cm, 40in, waist 76cm, 30in

Frida Khelfa is pictured modelling the denim version of this dress next to Azzedine Alaïa in 1986. See ‘Alaïa’

by Palais Galliera p.171. £800 - 1200 297 An Yves Saint Laurent Rive Gauche purple wool cape, late 1980s, labelled, the voluminous 18th century inspired flounce and lined in mauve satin, the collar trimmed with grosgrain ribbon and bow, singular front hook fastening £400 - 600

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300

298 An Azzedine Alaïa brown jersey dress, Spring-Summer 1984, labelled and size 44, the bodice formed from a single length of fabric which drapes over the head creating a hood, press-stud fastenings to rear of skirt, waist 76cm, 30in

301 An Yves Saint Laurent couture black gauze and fuchsia point d’esprit evening gown, Spring-Summer, 1986, bearing defilé label, model no 88, Atelier Jacqueline and handwritten with model name ‘Mounia’, the bodice with black satin bow and belt, over a slubbed black gauze skirt, bust 81cm, 32in, waist 56cm, 22in £1500 - 2500

For a photograph of a longer version of this dress, see ‘Alaïa’, Palais Galliera, p.121. £600 - 1000

302 A Givenchy couture watermelon-pink organza ball gown with petal skirt, late 1980s-early 1990s, labelled and numbered 80007, with V-shaped plunging neckline above tiered petal skirt, cut longer at the back, with matching cummerbund, bust 92cm, 36in, waist 66cm, 26in (2) £400 - 600

299 An Azzedine Alaïa burgundy jersey dress, Spring-Summer 1984, labelled and size 42, the bodice formed from a single length of fabric which drapes over the head creating a hood, press-stud fastenings to rear of skirt, waist 76cm, 30in

For a photograph of a longer version of this dress, see ‘Alaïa’, Palais Galliera, p.121. £600 - 1000 300 A Chanel couture ‘Chess’ dress, AutumnWinter, 1986-87, bearing defilé label ‘Atelier Colette, H 86, Robe 90’, of black satin, the strapless bodice embroidered by Lesage with a chess-board and pieces in sequins, ivory and scarlet bugle beads, the bodice and skirt trimmed with sable, the skirt trimmed with bows, bust approx 86cm, 34in £1000 - 1500

301

303 An Yves Saint Laurent sequined satin cocktail ensemble, Spring-Summer, 1988, Rive Gauche labelled and size 36, the coloured satin panels adorned with contrasting sequined curleques, the velvet breeches with ribbon ties, chest 92cm, 36in, waist 66cm, 26in (2) £500 - 700 302 57

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306 A Capucci couture black silk cocktail dress, 1980s, Alta Moda labelled, with boxy side seams and curved, wing-like panels to sleeves with black and white striped edging, bust 86cm, 34in £400 - 600 307 A Nina Ricci couture black satin ballgown, early 1990s, labelled, with voluminous puffball skirt draped short at the front, the strapless velvet bodice densely embellished with jet-black beads and feathers, bust approx 87cm, 34in £500 - 900 308 A Christian Lacroix couture cocktail suit, Spring-Summer 1992, yellow label and numbered 90186, comprising grey and white woven giant checked silk jacket, the irregular buttons cast with little seashells; grey silk bodice; and a short slubbed silk Aline skirt applied with silver leather and sequined motifs, chest 92cm, 36in, waist 71cm, 28in (3)

This was look 11 on the catwalk. £700 - 1000

304

304 An Yves Saint Laurent sari-style gold lamé gown, Autumn-Winter 1991-2, Rive Gauche labelled and size 40, tthe cropped asymmetric bodice and low-slung skirt exposing the midriff, with hood formed from a panel which drapes around the neck, bust approx 96cm, 38in

This design is well documented and was modelled by Carmen Kass on the catwalk show for this collection. Identical examples have been exhibited in retrospectives at the Petit Palais/Musée des Beaux-Arts de la Ville, Paris, March 11th-August 29th 2010 (see exhibition catalogue p.358) and the Denver Art Museum, March 25th-July 8th 2012. For a sketch of the gown, see 'Yves Saint Laurent Style', Fondation Pierre BergéYves Saint Laurent, p.137. £1000 - 1500 305 An Yves Saint Laurent couture printed trouser suit, 1990s, labelled and numbered 31223, with brightly coloured floral print, the jacket with purple plastic buttons, wide leg trousers, chest 92cm, 36in, waist 76cm, 30in (2) £300 - 500 58

309 A Christian Lacroix couture chartreuse silk coat, Spring-Summer 1992, labelled, with large diamanté faux buttons, full sleeves, bust 92cm, 36in, waist 66cm, 26in, with a matching belt and another similar in yellow; together with a Lacroix embroidered silk stole (4)

This was look 36 in the catwalk show and can be seen in this video at 17min 13secs: www.youtube.com/watch?v=fIm5nBhrz5M £400 - 600 310 A Vivienne Westwood ‘Long Blossom’ corset gown, Autumn-Winter 2005-6, gold label and size 14, of striped silk and black tulle, with pointed asymmetric neckline, bust approx 86cm, 34in

Helena Bonham Carter wore an identical dress to the premiere of her film ‘Dark Shadows’ on May 9th 2012. £300 - 500 311 Two David Downton watercolour fashion illustrations, both showing looks from Yves Saint Laurent’s Autumn-Winter 1999 collection, mounted and framed (2) £600 - 800

312

312 An Yves Saint Laurent ‘gem’ adorned leather jacket, Spring-Summer 1990, Rive Gauche labelled and size 38, with colourful and large irregular dangling stones; together with a matching silk sash belt with colourful stones and a pair of gold leather trousers, Rive Gauche labelled and size 38 (3)

Christy Turlington is photographed wearing an identical jacket over her bare chest, accessorized with large ‘matador’ style hat, in the advertising campaign for this collection. £400 - 600 313 An Yves Saint Laurent Rive Gauche ‘Mondrian’ knitted cotton mini-dress, circa 1990, labelled and size 40, a reinterpretation of the 1965 original with colour blocks divided by black lines, bust 86cm, 34in £400 - 600

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317 A Chanel novelty-print silk and bouclé wool ensemble, 1993, the jacket with sky-blue lining printed with repeats of pearls, shoes, handbags, camelias and ‘Chanel’, chain tie to waist with double ‘C’ spheres; matching bustier-like bodice and skirt, bust 92cm, 36in (3) £400 - 600 318 A Chanel black wool suit, 1990s, boutique labelled, the short jacket with four pockets and CC buttons, the slim skirt with buttoned rear split, chest 86cm, 34in, waist 66cm, 26in (2) £350 - 500 319 A Vivienne Westwood ‘Cocotte’ bodice and ‘Envoy’ skirt, 2008, couture labelled, of red Radzimir silk, bust approx 92cm, 36in, waist 71cm, 28in (2) £300 - 500 320 A Gianni Versace black patent mock-croc leather suit, Autumn-Winter, 1994-95, large woven black on white label, the biker style jacket with with Medusa-head zip pull, Greek key borders to belt loops, with matching micro-mini skirt, chest 92cm, 36in, waist 63cm, 25in (2) £700 - 1000 314

321

314 A Jean Paul Gaultier ‘Cowboy’ lace corset dress, `La Concierge est dans l’Escalier’ collection, Spring-Summer, 1998, unlabelled, of nude lycra overlaid with figurative lace, concentrically top stitched underwired breast cups, striped satin bands to the skirt and sides, with black stretch satin back-laced panel, bust approx 81cm, 32in £1000 - 1200

321 A Jean Paul Gaultier quilted dress ‘Cyberspace/MadMax’ collection, Autumn-Winter, 1995-96, Maille labelled, of printed tulle over knit, bust 92cm, 36in £600 - 1000 322 A Dolce & Gabbana jute ‘feedsack’ minidress, Spring-Summer 1992, labelled and size 42, the front painted with slogans and with rhinestone embellished ‘Love Me Baby’, intentionally frayed hem and shoulder straps, bust 102cm, 40in, waist 71cm, 28in

315 A Jean Paul Gaultier quilted black dress and lime jacket, 'Cyber-space/MadMax' collection, Autumn-Winter, 1995-96, Femme labelled, , quilted overall with machine-like forms and the nos '393C', the short jacket with dyed fur trim, bust 86cm, 34in (2) £400 - 600 316 A Jean Paul Gaultier black stockinette dress with padded rings, 1990s, Femme labelled, with integral padded neckband, with 11 additional padded rings to wear on the arms and neck, bust approx 86cm, 34in (12) £400 - 600

An identical dress was modelled by Cindy Crawford on the runway for this collection, and also by Monica Bellucci for the advertising campaign shot by Steven Meisel. £500 - 800

320

323 Two Jean-Charles de Castelbajac tunics, 2012, of synthetic jersey, one printed with a face inside a mouth, large eye motifs and ‘Home Sweet Home’, the other printed overall with eyes and countries of the world signed in the print, chest 137cm, 54in (2)

These were produced for the Lille ‘3000 Fantastic’ festival in 2012. £400 - 600 59

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325 An Alexander McQueen leather long-line waistcoat, Spring-Summer 2006, precollection, labelled and size 40, printed with antiquarian maps and cut in an 18th century style, edged with braid, front hook fastenings, bust approx 92cm, 36in £2000 - 3000 326 An Alexander McQueen laser-cut cow hide coat, 'Pantheon as Lecum' collection, Autumn-Winter 2004-5, labelled and size 40, of simple construction with magnetic front closure, lined in beige cotton, chest approx 92cm, 36in

For this collection McQueen sought inspiration from Madeline Vionnet and the 'extrat errestrial' Nazca lines in Peru for complex yet aesthetically pure designs. This coat was look no.26 on the catwalk. £400 - 600

327 An Alexander McQueen man’s coat, 199798, grey on black narrow label, of black wool and cashmere, no collar, the front left hem embroidered with oriental pheasants, concealed button closure, lined in black silk, chest 107cm, 40in

The embroidery is redolent of McQueen for Givenchy’s SS 1998 collection. £650 - 900 328 An Alexander McQueen silk jacquard cape, pre-collection Spring-Summer 2010, with metal tag, elaborately woven in shades of blue, white and purple resembling sedimentary rock formations, button front and arm slits, 114cm, 45in long £600 - 800

324

324 A rare Hussein Chalayan man’s black zippered jacket ‘Place/No Place’ collection, Autumn-Winter, 2003-4, labelled, with hand written annotation to label ‘created by Maria, 06, 2003’ also with extensive printed text explaining the concept of the collection, of double-layered black polyester joined by zips at the front edges, zip closure also centrefront, chest 117cm, 46in

‘Place/No Place was an interactive event inspired by French anthropologist Marc Augé’s description of airports being ‘nonplaces’. Chalayan attached labels inside the garments (inspired by travel-wear) inviting the purchasers to congregate at Heathrow airport ten months later on 4th May. However, only one person turned up - the owner of this jacket. He was interviewed, his photograph taken and his memories and reasons for buying the piece recorded for posterity. In ‘Hussein Chalayan’ published by Rizzoli, pp 214-5, the event is recorded together with a photograph of the vendor and his completed questionnaire. £600 - 1000

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325 (back)

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331

329 A Martin Margiela shocking pink draped chiffon dress, ‘20th Anniversary’ collection, Spring-Summer, 2009, with blank label, size M, with outsized, boned sweet-heart shaped bodice, slits to the size for the arms and outsize shoulder straps, with internal circle of tan stocking which attaches to the chest, the cotton under-dress covered with two optional circles for the legs, covered in Jean Dessès style drapes £600 - 1000

331 A Romeo Gigli dark-purple pleated cocoon coat, Autumn-Winter, 1991-92, labelled, of goffered polyester, with vertically pleated scarf panels, the main body of the coat with complex irregular star patterns £800 - 1200

330 An Alexander McQueen slash-backed coat, probably ‘Untitled’ or ‘Golden Showers’ collection, Spring-Summer, 1998, grey on black label, with McQueen copyright damask lining, of red pin-striped dark grey nylon and spandex suiting, chest 102cm, 40in £600 - 1000

332 An Alexander McQueen black cashmere man’s coat, ‘Joan’ collection, AutumnWinter, 1998-99, grey on black narrow label, the front left hem embroidered with garnet bugle beaded oriental lilies, single button to fasten, lined in McQ damask, chest 127cm, 50in £1000 - 1200

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336 An Issey Miyake ‘Cocoon’ coat, AutumnWinter 1985, shades of grey label, trapeze shaped, of grey wool edged and banded with chunky fringes £400 - 600

JAPANESE FASHION

337 An early Issey Miyake black and blue woollen ‘Samurai’ ensemble, 1983, brown on white woven label and size S, woven with zig-zags, stripes and trimmed with blue fringes, the blouson-style top with cowl collar; matching knee length skirt, waist 61cm, 24in (2) £700 - 1000 338 A Comme de Garçons Noir layered dress, Spring-Summer, 1988, labelled and size M, the dark grey silk dress with long tiered flounced pointed rear skirt only, worn with goffered pleated polyester skirt and overskirt of lurex flecked stretch polyester with organza flounces to one side (3)

An identical dress was included in ‘ESSENCE OF QUALITY, TOKYO’ exhibition in 1993, organized by Kyoto Costume Institute. £500 - 700 339 A Comme des Garçons ensemble, ‘Cacophony’ collection, Spring-Summer, 2008, labelled and sizes S & SS, comprising: double-layered grey wool and Prince of Wales checked jacket with floating handkerchief shaped pocket pouches of contrasting fabric to the sides; shocking pink nylon petticoat-style skirt; and overskirt in ikat, African hairstyle prints and striped suiting wool (3) £500 - 700

333

333 A fine and rare Issey Miyake black pleated polyester bodysuit, circa 2006, Fête labelled and size 2, with integral headshaped hood, curved skirt with white appliquéd shoe sections to the lower corners, the sleeves with integral hands and red appliquéd finger nails, chest approx 102cm, 40in £2000 - 3000

340 A Comme des Garçons show-piece ‘Roses & Blood’ collection, Spring-Summer 2015, comprising: satin Peter-Pan collar with buckled closure; shaped neoprene and polyester satin crinoline skirt falling in three bulbous tiers with webbing shoulder straps and side ties; and an over-dress formed from ruched and gathered lattices in shades of matt-red cotton and lustrous satin (3)

334 An Issey Miyake tufted and pleated polyester jumpsuit, 1980s, black on white woven label and size S, with curved sleeves, harem-style trousers and button back, chest approx 92cm, 36in £500 - 700 335 An unusual Issey Miyake textured leather ensemble, mid 1980s, with shades of grey label and size 8, the leather treated to give the effect of sharkskin in mottled shades of brown, the bodice with rolled piped bands, loop and curved toggle closure, matching skirt, waist 64cm, 25in, chest 92cm, 36in (2) £500 - 800 333 62

Rei Kawakubo’s collection had a ‘bloodsoaked’ theme. The collection was red throughout - from the flowing ribbons and rosettes through to the neoprene and plastic except for one ominous black pointed hood that appeared towards the end. She took the colour of blood and transformed it into satin roses or gathered bands of fabric that gave the impression of them. This was look 14 on the catwalk - and one of the most spectacular and extreme creations of the entire collection. £6000 - 10000

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340 63

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341 (detail)

341

341 An Issey Miyake Rhythm Pleats ‘Circle’ dress, Spring-Summer, 1990, labelled, in yellow and brick-red polyester, with neck slit, broad sleeves, curved hem opening

343 A pair of Issey Miyake faux fur and padded nylon salopette trousers, Autumn-Winter 1982-83, un-labelled, with braces and concealed front zippers to faux fur 'chaps', waist 86cm, 34in; together with an Issey Miyake tan cotton top, white on navy woven label, chest approx 112cm, 44in (2)

Similar dresses are reproduced in ‘Japonism in Fashion’ exhibition catalogue, Akiko Fukai, The Kyoto Costume Institute, pp158-61; and ‘Issey Miyake’ by Taschen, pp90-91. An identical dress was included in ‘MIYAKE ISSEY EXHIBITION, The work of Miyake Issey’ at the National Art Centre, Tokyo, in 2016, exhibit number 16, and is reproduced in the exhibition catalogue. £3000 - 5000

These trousers are photographed in ‘Issey Miyake: photographs by Irving Penn’, edited by Nicholas Calloway, p.20, and also featured in ‘Issey: The Media’, Japan Interior Magazine, modelled by Takeshi Beat. In the article he states: ‘Thank you very much for having me as a model. I really enjoyed it. I was thinking, if there was a fire during the photography session, I’d be the only one who didn’t get away in time. And if I did escape in this outfit, I’d be shot once I a ran outside’. £600 - 1000

342 A Comme des Garçons ruffled ensemble, ‘Coercion’ collection, Spring-Summer 2000, labelled and size M, comprising red cotton jerkin with attached transparent stretch silk bodice; pink nylon jersey skirt with scarlet side ruffles; and a pink polyester bolero entirely covered in textured pink blossomlike ruffles (3) £400 - 600

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346

346 A Yohji Yamamoto black wool tunic, ‘Homage to Pierre Cardin’ collection, Autumn-Winter, 1989-90, labelled and size S, of black felted wool with curved cutaways to the sides and concealed hip pockets, rear zip fastener £800 - 1200

347 344

347 A rare Issey Miyake ‘paint splatter’ printed cotton canvas jumpsuit, late 1970s-early 80s, burgundy on white woven label, oversized, with harem-style trousers and two side pockets £500 - 900

344 An Issey Miyake A-POC ‘Square’ dress, circa 2005, labelled, of silver-grey polyester twill woven in large squares, applied overall with square floating panels with buttons and loops to shoulders to form the neckline, ties to waist, and folded back to form a square for storage £400 - 600

348 A Yohji Yamamoto black wool jersey play suit and blue lace tunic, Spring Summer 1991, labelled and size S, the lace over-skirt ties at the front, with rows of buttons down each side and attached by ribbons to a caplet-like shoulder panels with buttons to the front (2) £400 - 600

345 A Yohji Yamamoto purse/pinafore dress, Spring-Summer, 2001, labelled and size 3, of lightweight black wool, front skirt with integral purse with metal mounts and clasp, the strap forming a halter-neck, waist 76cm, 30in

349 A Yohji Yamamoto cape, ‘Homage to Pierre Cardin’ collection, Autumn-Winter, 1989-90, labelled and size M, the double layered collar in orange and black with large feature buttons £500 - 900

An identical model was exhibited in the MOMU ‘Dream Shop’ exhibition devoted to Yamamoto, 2006 (Antwerp Fashion Museum) and reproduced in the Rizzoli catalogue ‘Yamamoto & Yohji’ p340. £1000 - 1500 345

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350

352

353

350 A Yohji Yamamoto tailored coat, AutumnWinter, 1993-94, labelled and size M, the lapels of brown wool interfacing adorned with basting stitches, the chest panels embroidered with fine white dots and zigzag lines making use of internal tailoring construction techniques as external decoration, chest 97cm, 38in

352 A Comme des Garçons 'Hands' ensemble, 'Curiosity' collection, Autumn-Winter, 20078, woven label and size S, , the pinstriped charcoal-grey wool jacket with padded hands to chest and front waist; the white polyester dhoti-style pants with gloves to each hip (2) £800 - 1200

353 A Comme des Garçons abstract skirt and top, ‘Abstract Excellence’ collection, SpringSummer 2004, labelled and sizes S & M, comprising bright pink stockinette top with two cream velvet appliqué petals; the skirt formed from sandwiched cottons layers with raw edges, bordered with a broad undulating black band that circles the skirt (2)

The jacket version is illustrated in ‘Breaking the Mode’, Contemporary Fashion from the Permanent Collection of the Los Angeles Museum, p65. £600 - 900

This collection’s key focus was the skirt with transparent barely-there tops. Black lines swept across the skirts like a line of calligraphy. Kawakubo said the show was about ‘designing from shapeless, abstract, intangible forms, not taking into account the body.’ This collection was heavily featured in the Metropolitan Museum retrospective exhibition ‘Rei Kawakubo -The Art of the In Between’ and an identical skirt is photographed on pages 61-69 in the accompanying Met catalogue by Andrew Bolton. £400 - 600

351 A Comme des Garçons ivory and black muslin dress, Spring-Summer, 2014, labelled, angular shaped hips, the body of the dress with graphic intertwining curved panels, bust approx 96cm 38in

This dress was look no. 10 on the runway. £600 - 1000

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351

354 A Junya Watanabe for Comme des Garçons ensemble, ‘Waterproof’ collection, SpringSummer, 2000, the bias-cut polka dot dress of water-proof fabric with single sleeve and undulating wired shoulder panel that can be worn in a variety of ways, lined in pink goretex mesh; with separate grey and lime ruff collar, bust 86cm, 34in (2) £400 - 600

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355 A Comme des Garçons embroidered polyester organdie dress, ‘Adult Punk’ collection, Autumn-Winter, 1997-98, ribbon labelled and size M, the cream organdie bonded to front and back with irregular wool mesh panels embroidered with leaves in metallic threads; with purple tulle over-dress (2)

359 A Comme des Garçons shirred wool jersey dress, ‘Refresh the Spirits’ collection, Spring-Summer 1990, labelled and size M, with criss-cross back-straps, shirred panels in differing directions, similar to that of 1950s swimsuit This piece was photographed by Steven Meisel for the Comme catalogue and advertising campaign, modelled by Naomi Campbell. £400 - 600

This was look 3 on the catwalk.

US Vogue was so impressed with this collection that they commissioned Annie Leibovitz to photograph the key pieces (including this one) for a double-page spread for their September 1997 edition.

Vogue describes the clothes as looking as though they had come from ‘Miss Havisham’s couture atelier’ and that ‘Kawakubo’s take on pattern-making [was] a send up of the way clothes are made.’ The Leibovitz photograph is also reproduced in ‘Future Beauty’ pp94-95. £400 - 600

360 An early Comme des Garçons knitted black cotton sweater, Autumn-Winter, 1982, ribbon labelled, with boat neckline, the back formed from criss-cross panels with open sides, low-set sleeves; together with an early 80s black cotton skirt, labelled, adorned and inset with pairs of eyelets (2) £700 - 1000

356 An early Comme des Garçons dress, SpringSummer, 1983, ribbon label, of brick-red viscose, the front panel twisted and crisscrossed with openings at the front waist £700 - 900 357 A rare and early Comme des Garçons black cotton-jersey jacket, circa 1983, Tricot labelled, with intentional cutwork slashes forming cross-shaped patterns to the hem, simple machine-locked edges, chest approx 112cm, 44in (2) £1000 - 1500

358

358 A Comme des Garçons ‘Ballerina Motorbike’ collection ensemble, Spring-Summer, 2005, labelled and sizes S & M, the foam padded calico jacket with patchwork of curved interlocking shapes to the waist sides and back; worn over a skirt of bright pink mesh inset with undulating plastic crinoline banding, large bow to the front; and an underskirt of raw-edged cream calico (3)

The jacket is illustrated in ‘Breaking the Mode’, Contemporary Fashion from the Permanent Collection of the Los Angeles Museum, pp 60-61.

In this collection Kawakubo contrasted the the soft layers of a ballerina’s tutu, with the rounded contours of a motorbike, the openwork detailing mimicking the engine vents and the padding - the curved foamrubber seat covers.

Kawakubo described her inspiration: ‘I thought about the power of the motorbike the machine itself - and the strength of a ballet dancer’s arms’. £800 - 1200 360 357

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361

361 A Comme des Garçons flocked velvet ensemble, 'Flowering Clothes' collection, Autumn-Winter, 1996-97, printed ribbon label, size M, , the dove-grey cut-velvet dress with empire-line drawstring, calico linings with padded neckline and cuffs; the matching under-dress with padded eiderdown like hem, divided into two sections so it can be worn as culottes or a dress (2) £700 - 1000

362

364 A Junya Watanabe Comme des Garçons ‘Zipper’ dress, Spring-Summer, 2005, labelled and size M, of black cotton with raw-edge finishes, gaping apertures, forming a pointed hem, adorned and edged with brass zips which form a collar and descend down the front and sides

362 A Comme des Garçons 'Flat' or '2D' collection rose-patterned woven coat, Autumn-Winter, 2012-13, labelled and size S, of fine jacquard weave polyester, the shape defined by top stitched edging seams, ties to neck, Peter-Pan collar

This was look 13 on the catwalk. £1200 - 1800 365 A Junya Watanabe for Comme des Garçons trench coat-inspired cotton ensemble, Spring-Summer, 2006, labelled and size S, , the de-constructed skirt with pockets to front hem; jacket lined in checked rayon, bust approx 86cm, 34in (2) £800 - 1200

This was look 35 in the catwalk show. £3000 - 5000 363 A Comme des Garçons Noir black silk organza dress, ‘Movement’ collection, label dated 1988 and size M, stretch black jersey under-dress with long sleeves, under tiered ruffled organza over-dress, with plain anklelength section that can worn down or pulled up and tied at the waist, with separate purple and blue satin ribbon bow which ties across the chest (2)

An identical dress was included in ‘ESSENCE OF QUALITY, TOKYO’ exhibition in 1993, organized by Kyoto Costume Institute. £500 - 900 68

364

365

366 A Comme des Garçons tartan ensemble, 'Transformed Glamour' collection, AutumnWinter, 1999-2000, ribbon label, the dress formed in two parts - a panel with shaped front bodice seams with long left sleeve; the other with short sleeve and long plaidlike panels to tie over, complete with kilt pin, the otherwise traditional tartan wool woven with gold lurex bands (3) £600 - 1000

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367 A Comme des Garรงons conical coat, 'Blue Witch' collection, Spring-Summer, 2016, labelled, formed from faux blue astrakhan and broadtail rubber-backed panels in bright and dark blue, the rigid angular sleeves with cuffs edged in shaved black feathers, the front and back criss-crossed with black satin ribbons

Rei Kawakubo explained the name and inspiration behind this collection: 'I started wanting to think about witches, about strong women who have special powers - who are often misunderstood. Then I found some beautiful blue fabric, so I made 'Blue Witches'...The witch symbolizes a strong woman - people were afraid of witches and tried to exterminate them because their ideas and behaviour were different from those around them. Our world needs beings like (witches) so we have to accept their existence. That sense of value is still relevant today, so I attempted to express it through (this collection).'

Rei Kawakubo/Comme des Garรงons 'The Art of the In Between', Metropolitan Museum catalogue pp189-194. ยฃ6000 - 10000 69

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ROYALTY & CELEBRITY

368

370

373

368 Victor Edelstein sketch of Princess Diana’s black velvet evening gown, dated Autumn, 1988, signed and annotated in pencil with fabric details, back and front views in black and red gouache, 33 by 23cm, 13 by 9in in mount

370 Victor Edelstein sketch of Princess Diana’s emerald green satin ball gown, dated 1986, signed and annotated in pencil, ‘Double Duchess Satin, Designed for HRH Princess of Wales’, green gouache, 33 by 23cm, 13 by 9in in mount

373 Victor Edelstein sketch of Princess Diana’s midnight blue ball gown, dated Autumn 1985, signed in pencil, black and blue gouache with front and back details to show construction, 33 by 23cm, 13 by 9in in mount

The matching dress was sold as lot 75 in the Christies auction of the Princess’ dresses, 25th June 1997. She had worn it to the premiere of ‘Dangerous Liasons’. £400 - 600

The Princess wore the matching gown for an official portrait by Terence Donovan. £400 - 600

Probably one of the most famous of Princess Diana’s dresses. She wore the velvet gown when she memorably danced with John Travolta at the White House. The dress was sold as lot 79 in the Christies auction of the Princess’ dresses, 25th June 1997.and again

by KTA as lot 10, 17th March 2013. £400 - 600

369 Victor Edelstein sketch of Princess Diana’s bottle green velvet evening gown, dated Autumn 1985, signed and annotated in pencil with fabric details, back and front views in green gouache, 33 by 23cm, 13 by 9in in mount

KTA sold the matching velvet evening gown as lot 1, 17th March 2013. The dress had little finger prints on the skirt, possibly left by a young Prince. £400 - 600

70

371 Two Victor Edelstein fashion sketches for Princess Diana, both signed, dated and annotated in pencil, front and back views, comprising: pretty pink organza ball gown, Spring 1982; black silk faille and velvet cocktail ensemble, Autumn 1987, 33 by 23cm, 13 by 9in in mounts (2) £300 - 500 372 Two Victor Edelstein fashion sketches for Princess Diana, both signed, dated and annotated in pencil, with front and back views, comprising: black and blue silk polka-dot ensemble worn to Prince Andrew's wedding, Spring 1986; and a pink and black suit. Autumn, 1984, 33 by 23cm, 13 by 9in in mounts (2) £400 - 600

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374 Princess Diana's Arabella Pollen silk ensemble, worn for an Official Royal visit to Adelaide, 5th April, 1983, labelled, ‘Pollen London’, in caramel, white and primrose stripes, comprising: loose jacket with self-covered buttons, horizontally striped patch pockets, pleated silk skirt and cummerbund tie sash, chest approx 97cm, 38in, waist 74cm, 29in; together with a letter of provenance (4)

Provenance: The dress was given to the vendor who worked as a nanny for a well-connected family from Northamptonshire who were good friends of 'Fergie' as she was affectionately known - Sarah, Duchess of York. She was a regular visitor and on one occasion also brought with her to dinner HRH the Prince and Princess of Wales.

Princess Diana and the Duchess of York each donated two dresses to the vendor's employer to sell for charity. But on Christmas morning 1987, to the vendor's delight she was given this striped silk ensemble as a surprise present as she was such a huge fan of the Princess. It has remained in her possession ever since.

© AP/Shutterstock

Princess Diana wore this ensemble on the first day the Royal tour of South Australia, worn with a straw boater and a blouse with ruff collar which had become synonymous with the 'Lady Di' style.

The Royal couple were taken to the Adelaide Town Hall where they were treated to a State Reception followed by a trip to the Community Centre to watch a keep fit class amongst other pursuits, which were recorded on newsreels of the day.

Princess Diana seemed smiling and self-assured, but later admitted that she found the first few days of the Australian tour traumatic. Although she disguised it well, the Princess was feeling unwell, believed she looked 'too thin' and found it difficult to cope with the sweltering temperatures. She also keenly felt the separation from young Prince William to whom Australian Prime Minister, Malcolm Fraser, had thoughtfully extended the invitation. However massive crowds and 95 degree temperatures made it unsuitable. Still at the crawling stage, Prince William was safely ensconced with his nanny at Woomargama, a 4000 acre sheep station in New South Wales which Prince Charles and Princess Diana visited as often as they could amid their hectic schedule but at least Diana knew he was under the same sky.

With a population of 17 million, over a 1 million Australians turned up in person to greet the couple on their four-week tour. But everywhere they went, the crowds clamoured for the Princess and complained when Prince Charles went over to their side of the street on a walkabout, much to his obvious displeasure.

However, the success of this gruelling tour marked a turning point in Diana's Royal life. Andrew Morton, in 'Diana Her True Story - In Her Own Words', p142., wrote: 'She went out a girl, she returned home a woman... (the Australian trip) signalled the slow resurrection of her inner spirit' The international press complained that Diana was often dressed more like a dowager than a young Princess. US fashion critic Mr Blackwell, put the Princess at the top of his Worst Dressed List, stating she had gone from 'a very young, independent, fresh look' to a 'tacky, dowdy' style. However, the loose flowing lines of this ensemble made it cool to wear, practical and drew attention away from her slender form. £5000 - 8000 374 71

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378 Princess Diana handwritten note to Victor Edelstein, 23rd January 1988, card bearing blue Prince of Wales badge, in which she thanks the designer for ‘making the most lovely clothes for me for our visit to Australia & Thailand’, in original envelope (2) £250 - 400 379 Princess Diana handwritten note to Victor Edelstein, 20th July 1992, red edged Kensington Palace card bearing her cypher, in which she thanks the designer for sending her the video of the show, ‘I did enjoy looking at it enormously and have returned it as quickly as possible!’, in original envelope (2) £300 - 500

375, 378 & 379

375 Princess Diana handwritten note to Victor Edelstein, 10th February 1987, Kensington Palace notepaper with blue CD cypher, in which she apologises for not being able to attend a fashion show and writes, ‘Think of me waving and shaking hands in Portugal (!)’, and closes with a smiley face, in original envelope (2) £400 - 600

376

376 Winston Churchill’s cream silk night-shirt, 1932, embroidered in red cross stitch ‘WLSC 32’, of soft, heavy twill silk, with simple button fastening to neck and cuffs, chest 142cm, 56in

Provenance: This was a gift from Winston’s wife Clementine to Mary Williams, whose husband and five sons were of a similar build to Winston. The two women were lifelong friends. Mary’s husband was the Reverend Cuthbert Melville Williams, Churchill’s vicar, who died in 1939. The shirt has passed by descent through the family. £600 - 1000

380

377 The Duchess of Windsor’s beach parasol, 1945-50s, the towelling canopy printed with blue flowers; the bamboo handle spiked to anchor into sand, 104cm, 41in long; together with another example with yellow canopy, 89cm, 35in long, both with original Sotheby’s lot tags (2)

380 The Duchess of Windsor's pink seersucker parasol, 1950s, with gold-plated mounts to the wooden handle, original Sotheby's lot tag attached, 88cm, 34½in long

Provenance: From the estate of the Duke and Duchess of Windsor, Sotheby's, 11th19th September 1997, lot 2197. £350 - 500

Provenance: From the estate of the Duke and Duchess of Windsor, Sotheby’s 11th19th September 1997, lot 2197/6. £400 - 600 376 72

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381 Dame Shirley Bassey’s magnificent show ensemble by Douglas Darnell, late 1960s, comprising brown chiffon catsuit encrusted with pearlescent sequined flowers, shell-shaped sequins, pearl beads, lace, turquoise droplets and Swarovski aquamarine, topaz and aurora borealis crystals; together with a matching trained evening coat covered in shimmering iridescent sequins, lined in gold lamé and edged in ostrich plumes; and a matching over-dress with lavishly beaded bodice over layered eau de nil voile skirts edged in braid, bust approx 86cm, 34in (3)

Provenance: ex lot 42, Christies Auction ‘Dame Shirley Bassey - 50 Years of Glittering Gowns’, 18th September, 2003, sold for £6000.

This ensemble was much loved and worn on stage from the late 1960s until the 1990s. It was photographed for the inside gatefold of the ‘Something Else’ (1971) album; the cover of ‘Diamonds Are Forever’ (1971); ‘Star des Bal Pare’; ‘Love Story Por Su’ and the Shirley Bassey Collection. The legs were originally flared and the hems trimmed with feathers, which were later removed by Darnell and the trouser legs straightened.

The catsuit was worn for performances including ‘The Talk of the Town’ shows in April 1970 and both the catsuit and dress for her 60th Birthday concert at Althorp Park, July 1997. £1000 - 1500 381

382 Dame Shirley Bassey’s white sequined ‘Harem’ stage dress, designed by Douglas Darnell, late 1960s, of ivory devoré chiffon with graduated spots overall, the scanty diamond shaped bodice panels linked to the bias-cut skirt by bugle beaded straps, covered overall in Swarovski aurora borealis crystal and large mirror sequins to the skirt, bust approx 86cm, 34in

The harem or ‘belly-dancer’ dress was delivered by Darnell to the Prince of Wales Theatre, but he arrived late, running through the streets with the dress over his arm. However, the star couldn’t fit inside the dress so Darnell recalled he ‘clawed her bottom down into it - by which time she looked as though she’d been got at by a tiger’.

Provenance: ex lot 49, Christies Auction ‘Dame Shirley Bassey - 50 Years of Glittering Gowns’, 18th September, 2003, sold for £4500. Dame Shirley was photographed wearing this gown on stage in Viareggio Italy in 1968.

See Getty images link http://bit.ly/2hSFKiH £600 - 1000

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FASHION FROM THE JEAN-LOUIS SCHERRER ARCHIVE Jean-Louis Scherrer (19 February 1935 – 20 June 2013) founded his Paris fashion house in 1962, having first served an apprenticeship alongside Yves Saint-Laurent at Christian Dior then working for Louis Feraud. His collections were renowned for his use of fabulous beadwork, embroidery and opulent fabrics. During the 60s and 70s, his main markets outside Europe were America and Japan but in the 80s these were augmented by oil-rich Middle-Eastern buyers. He counted among his clients Jacqueline Kennedy Onassis, Madame Giscard d’Estaing and the actress Raquel Welch who wore an animal print dress in the 1977 Film ‘l’Animal’. However, by 1990 with the Gulf War, global economic recession and plummeting sales, the designer was sacked from his own label by his financial backers and replaced first by Erik Mortensen and then by Stephane Rolland, from 1997 – 2007. Scherrer’s tradition of ultra-Luxe looks and craftsmansip continued until the couture house permanently closed its doors in 2008. The clothes in this auction have been selected ostensibly for their glamour, quality and ’wow’ factor and are perfect for Red Carpets the world over.

383 A Jean-Louis Scherrer by Stephane Rolland peach chiffon ‘harem’ suit and cape, Spring-Summer, 2003, defilé label, look 37, the strapless suit with ties to ankles, the trained floor length cape of black silk gauze smothered in ostrich and cockerel feathers, bust approx 81cm, 32in (2) £700 - 1000

Courtesy of Jean-Louis Scherrer

384 A Jean-Louis Scherrer by Stephane Rolland layered organza sheath, Spring-Summer, 2001, defilé label look 21, formed from zigzag panels of silk in black, ivory gold and tan, bust 81-86cm, 32-34in, waist 66cm, 26in £400 - 600

74

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385

385 A Jean-Louis Scherrer by Stephane Rolland degradé dyed fox-fur evening cape and velvet dress, Autumn-Winter, 2005-06, the dress with defilé label, look no 10, the unlined cape banded in purple suede, with graduated pink-green fur bands, the cut velvet and satin dress, bust 86cm, 34in (2) £800 - 1200 386 A Jean-Louis Scherrer by Stephane Rolland sequined polka dot ensemble, SpringSummer 2004, defilé label look 24, comprising bias cut midriff revealing satin gown with criss-cross panels to bust and large bow to collar, the matching ‘Le Smoking’ jacket with flared sleeves edged in buttons, bust approx 81cm, 32in, waist 66cm, 26in (2) £400 - 600

389

387 A Jean-Louis Scherrer by Stephane Rolland black satin sheath and feathered jacket, probably Autumn-Winter 1996-7, the jacket labelled ‘Atelier Richard, no 24’, the strapless bias-cut dress, with rouleaux piped breast cups; the fitted silk jacket covered in dyed guinea-fowl plumes with cock feather band to the the hem, bust 81cm, 32in (2) £400 - 600 388 A Jean-Louis Scherrer by Stephane Rolland beaded organza play suit, Spring-Summer, 2004, defilé label, look 25, strapless, with integral corset within satin lining, covered with a lattice of silver embroidery, black and pearl beads, gilt and silver sequins, the leg openings edged in faux coins, bust 8186cm, 32-34in £400 - 600

389 A Jean-Louis Scherrer by Stephane Rolland black mongolian lamb evening coat, Autumn-Winter 2001-02, defilé label, look 24, of voluminous cut with long trained hem, lined in black satin, with slim leather trousers and gold beaded bodice edged in faux gold nuggets, bust 81-86cm, 32in-34in, waist 71cm, 28in (3) £700 - 1000 390 A Jean-Louis Scherrer by Stephane Rolland evening ensemble, 2000, 2002, comprising: leopard-effect jacket in black and red vinyl, blue and red sequins, defilé label SS 2000, no 13; with pair of white leather trousers with fringed legs and chiffon hems, SS 2002, look 32, bust 81cm, 32in, waist 81cm, 32in (2) £400 - 600

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391 A Jean-Louis Scherrer by Stephane Rolland feathered chiffon dance dress, AutumnWinter 2002-3, defilé label, look 34, of shot wine/green chiffon, layered in criss-cross bands over the bodice, and in fronds over the skirt applied with white-ivory ostrich plumes, bust 81-86cm, 32-34in £400 - 600

395 A Jean-Louis Scherrer by Stephane Rolland jewelled satin track-suit, Spring-Summer, 2003, defilé label, look 30, the jacket with tulle panels to back, sleeves and matching pants, lavish rhinestone embellishments to shoulders and down one leg, with pair of extra shirred satin ‘sweat’ bands, bust approx 92cm, 36in, waist 66cm, 26in (4) £350 - 500

392 A Jean-Louis Scherrer by Stephane Rolland burgundy velvet dress with painted train, Autumn-Winter 1988-89, defilé label, look 36, the fitted 19th century inspired gown of shot wine-black velvet with concealed front zip closure faux ruby rhinestone buttons, the cuffs edged in mink, the skirt painted with angels; the matching train painted with ‘the Rape of Persephone’, also edged in mink, bust 86cm, 34in, waist 61cm, 24in (2) £600 - 800 393 A magnificent Jean-Louis Scherrer by Stephane Rolland sequined and embroidered ball gown, Autumn-Winter 2002-3, unlabelled, look 43, strapless, of black satin, with raisedwork wine and ivory silk embroidery, portrait vignettes to the hem of Asian and European beauties and mirror panelled hem, bust approx 81cm.

32in £700 - 1000

393 76

396 A Jean-Louis Scherrer by Stephane Rolland black and white silk crêpe evening gown with feathered trained skirt, Autumn-Winter 2001-02, defilé label, look 32, with sequined band to front which forms a single strap, hem cut short at the front, long and trained to the back line in red and white ostrich plumes, bust 81cm, 32in £400 - 600

394

394 A Jean-Louis Scherrer by Stephane Rolland Surrealist inspired painted velvet coat, Autumn-Winter 2001-2, defilé label, look 1, the front stencilled with gold stars, the back with Magritte-like woman’s portrait and sky, trained hem edged in white Mongolian lamb, chest approx 81-86cm, 32-34in; with pair of black wool trousers, waist 76cm, 30in (2) £600 - 900

393 (detail)

397 A Jean-Louis Scherrer by Stephane Rolland silver lace evening gown with Directoire style painted velvet coat, Autumn-Winter, 1998-99, the dress with defilé label, look 34, back-less spaghetti straps, the lace covered in golden sequins and rosebuds formed from silver braid, peach and silver beads; the coat with sack-back handpainted with neo-classical male figure, bust approx 81cm, 32in (2) £1000 - 1500

397

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399 A Jean-Louis Scherrer by Stephane Rolland evening ensemble, Autumn-Winter, 19992000, with defilé label, look 3, comprising: beige cashmere full-length coat with pleated front panels, with brown lizard top and trousers, bust 81-86cm, 32-34in, waist 61cm, 24in (3) £450 - 600 400 A Jean-Louis Scherrer by Stephane Rolland gold knitted silk evening ensemble with feather coat, Spring-Summer 2005, defilé label, look 16, the top with low V neckline edged in turquoise stones, white paillettes and rhinestones, matching trousers; the coat of white snowflake patterned mesh adorned with pearl and turquoise beads and large rhinestone plaques, bust approx 92cm, 36in, waist 71cm, 28in; and a photo of the model being worn on the catwalk (4) £450 - 600 401 A Jean-Louis Scherrer by Stephane Rolland evening ensemble, Autumn-Winter 200001, defilé label, look 13, comprising painted black and gold cockerel feather jacket worn over sheer chiffon top and skirt formed from leather and lacquer effect fish-scales, bodice bust 81cm, 32in, waist 76cm, 30in (3) £600 - 1000 398

402

398 A Jean-Louis Scherrer by Stephane Rolland ‘Lips’ dress, Autumn-Winter, 2003-4, bearing defilé label, look no 36, the backless military-style bodice with three rows of crested buttons, stand collar completely covered in raised-work gold embroidery with large rhinestone lips to the waist above slim black velvet trained skirt, bust approx 81-86cm, 32-34in, waist 66cm, 26in £600 - 800

402 A Jean-Louis Scherrer by Stephane Rolland cloth of gold evening ensemble, AutumnWinter 2000-01, handwritten defilé label, look 39, the fitted jacket zip fastened, with long slim skirt, covered with a constellation of shimmering crystals and gold beads, bust 92cm, 36in, waist 63cm, 25in (2) £700 - 1000

402 (detail)

398 (detail)

401 77

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403

Courtesy of Jean-Louis Scherrer

408

403 A Jean-Louis Scherrer by Stephane Rolland 1920s-inspired cut velvet evening jacket, Autumn-Winter 2001-02, unlabelled, look 9, the kimono shaped sleeves with deep fox fur bands, the hem fringed with leather thongs £600 - 1000 404 A Jean-Louis Scherrer by Stephane Rolland embroidered tulle evening gown, AutumnWinter, 2005-6, bearing handwritten defilé tag, look no 39, Edwardian-inspired with high neck edged in rhinestones, embroidered cameo to the bodice, covered in black bugle beaded scrolls, the velvet waistband with large rhinestone buckle, bust 86-92cm, 34-36in, waist 71cm, 28in £450 - 600

Courtesy of Jean-Louis Scherrer

408 A Jean-Louis Scherrer by Stephane Rolland red gazar evening gown, Autumn-Winter 2001-02, defilé label, look 7, formed from over-lapping silk gauze panels, the skirt cut short at the front with long trained hem to the back lined in taffeta, bust 81cm, 32in £450 - 600 403

405 A Jean-Louis Scherrer by Stephane Rolland ivory mink tunic ensemble, Autumn-Winter 2000-01, defilé label, look 21, the loose mink top with shell and glass beaded front, faux organza blouse panels, long wool crêpe skirt, the tunic 102cm, 40in, waist 71cm, 28in (2) £500 - 700

409 A Jean-Louis Scherrer by Stephane Rolland black stretch-jersey evening gown, SpringSummer, 2001, defilé label, look 36, with high neck, plunging low back with gold leather jewelled cruciform waist strap, bust 81-86cm, 32-34in £200 - 300

406 A Jean-Louis Scherrer by Stephane Rolland sapphire blue chiffon sheath, SpringSummer, 2004, defilé label, look 35, the boned empire-line with diagonal pleats, the back with sack-back panels, bust approx 81cm, 32in; with ostrich feather capelet (2) £450 - 600 407 A Jean-Louis Scherrer by Stephane Rolland embroidered coral-pink silk jersey evening gown, Spring-Summer 2007, defilé label, look 27, the front plastron, sleeves and dropped waistband couched and embroidered in metal strip, shells, rhinestone and faux coral stones, bust approx 81cm, 32in £400 - 600 404 78

Courtesy of Jean-Louis Scherrer

409

Courtesy of Jean-Louis Scherrer

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410 A Jean-Louis Scherrer by Stephane Rolland elaborately beaded tunic, Autumn-Winter 2003-4, defilé label, look 44, of black velvet covered with silver, black and pearlised beads and plaques, bust 97cm, 39in £300 - 500

416 A Jean-Louis Scherrer by Stephane Rolland dark patent faux croc ensemble, SpringSummer 2000, defilé labels, looks 21, 25, comprising: evening coat with turquoise beaded cuffs, lined in red taffeta, with turquoise silk leggings; and a mock-croc halter neck gown similar, bust approx 8186cm, 32-34in (3) £400 - 600

411 A Jean-Louis Scherrer by Stephane Rolland black silk jersey evening gown, probably, Autumn-Winter 2000-01, un-labelled, with plunging V-neckline, broad band of silver, black and pearlised plaques and beads to the hips; with optional modesty panel with similarly beaded choker collar, bust approx 86cm, 34in (2) £400 - 600

417 A Jean-Louis Scherrer by Stephane Rolland beaded crêpe de chine evening ensemble, Spring-Summer, 1999, defilé label, look 36, comprising: kimono jacket, long skirt and organza bodice covered in wood, cork, rhinestone beads and pearlised sequins, bust 81cm, 32in (3) £400 - 600

412 A Jean-Louis Scherrer by Stephane Rolland black bias-cut satin ‘Ribbon’ dress, SpringSummer, 2003, defilé label, look 49, figure-hugging with criss-cross satin strip bands which tie at the rear hem, bust 8185cm, 32-34in; together with a spiky cockerel feather fichu, AW 2002-3 (2) £400 - 600

418 A Jean-Louis Scherrer by Stephane Rolland black satin sheath, Autumn-Winter 2003-4, defilé label, look 41, strapless and figurehugging with single sleeve formed from ribbon bands, and trained skirt with ribbon trails, bust 86cm, 34in £600 - 1000

413 A Jean-Louis Scherrer by Stephane Rolland sequined silver-mesh evening gown, Spring-Summer 2000, unlabelled, look 16, with asymmetric neckline trimmed with white horsehair fringes, bust approx 8186cm, 32-34in £400 - 600

419 A Jean-Louis Scherrer by Stephane Rolland black velvet bias cut gown with matching opera coat, Autumn-Winter 1998-99, defilé label, look 24, the coat with low-set foxtrimmed kimono sleeves, bust 86-92cm, 34-36in (2) £400 - 600

415

414 A Jean-Louis Scherrer by Stephane Rolland patchworked ethnic bridal gown, AutumnWinter, 2002-3, defilé label, look 45, composed from a patchwork of Indian brocades, spangled with rhinestones, with full sleeves, layered tulle petticoats, bust approx 86cm, 34in

420 A Jean-Louis Scherrer by Stephane Rolland gold bugle beaded flapper style cocktail dress, Autumn-Winter 2000-01, defilé label, look 18, the nude tulle mesh ground covered with flame-like patterns in gold bugle beads and sequins, bust 81cm, 32in £450 - 600 415 (detail)

This was the finale ‘bride’ look, and for the show the model was topless. £400 - 600 415 A Jean-Louis Scherrer by Stephane Rolland red crêpe ‘goddess’ gown with film-reel bolero, Spring-Summer 2004 and AutumnWinter, 2002, defilé labels for looks 43, 22, the dress with asymmetric neckline and trained cape falling from one shoulder, the black organza bolero covered in graduated streamers of film, lined in satin, bust approx 81cm, 32in (2) £700 - 1000 414

Courtesy of Jean-Louis Scherrer

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421 (detail)

421 (back)

421

421 A Jean-Louis Scherrer by Stephane Rolland intarsia fur coat, probably Autumn-Winter 2002-3, unlabelled, of pony-hide with fox collar and front closure, the hem inset with Mongolian lamb, dyed rabbit fur, painted suede and leather nude figures, chest approx 92cm, 36in £1000 - 1500 422 A Jean-Louis Scherrer by Stephane Rolland mirrored black velvet evening gown and fox fur coat, Autumn-Winter, 2003, defilé label, look 28, the dress with plunging V-neck, the hem with shatter-effect mirror paillettes and glass beads; the coat lined in red satin with satin tie belt and black suede waist, bust approx 86cm, 34in (3) £800 - 1200

422 80

423 A Jean-Louis Scherrer by Stephane Rolland black silk and arctic-fox evening coat, Autumn-Winter 2000-01, defilé label, look 18, with green satin belt, bust approx 92cm, 36in (2) £700 - 1000

423

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424 (back)

425

424

424 A Jean-Louis Scherrer by Stephane Rolland psychedelic sequined bias-cut evening gown, Autumn-Winter 2004-5, defilé label, look 31, with flared mermaid hem and large taffeta bow to one shoulder, bust approx 86cm, 34in £600 - 800 425 A Jean-Louis Scherrer by Stephane Rolland embroidered pink leather sheath, Autumn-Winter 2002-03, defilé label, look 29, lavishly embroidered down the front in gold thread and gilt strip with raised-work flowers, the back from swirling gores that follow the curve of the torso, the skirt with slashed festoons edged in selfcovered buttons, bust 81cm, 32in £700 - 1000

END OF SALE 425 (detail)

425 (back) 81

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LUXURY ACCESSORIES & DESIGNER HANDBAGS Online Auction with Invaluable, 1st-10th December 2017 Including Hermès scarves, unworn Chanel shoes and glamorous costume jewellery – perfect Christmas presents for your loved ones (or yourself!)

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Available on Amazon and in all good bookshops.

Signed copies can be purchased at the saleroom.

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2018 SALES CALENDAR We are now accepting entries for our 2018 Spring/Summer auctions 26th February 18th June *Dates to be confirmed, please check our website before arranging travel

Detail of lot 205

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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 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

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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 re-sale; (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 world-wide 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

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 rate of 25% up to £50,000 on the hammer price and 20% above.

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.

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 Mastercard 1.8%; AMEX 1.78%. 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.

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 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.

Property sold with a ○ symbol.

These items cannot be exported outside the EU.

Electronic & Wire Transfers Wire transfers can be made to

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.

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: BOFSGBS1BBL

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

If paying by bank transfer the amount received after either the deduction of bank fees or for the conversion to pounds sterling, must not be less than the sterling amount payable on the invoice.

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

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

Successful commission bidders will be notified by email immediately after the sale or you can phone us. Full payment must be sent to the Auctioneers.

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

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COMMISSION BIDDING FORM Please bid on my behalf for the following lot(s) up to the hammer price(s) written below, to be executed as cheaply as is permitted by other bids or reserves. I agree to be bound by the Conditions of Business application to this sale and agree to pay a buyer’s premium of 25% on the hammer price up to and including £50,000, or 20% on the hammer price in excess of £50,000 and any VAT or amounts in lieu of VAT which may be due on the buyer’s premium and hammer price(s). Please see Guide to Prospective Buyers in the catalogue.

SALE TITLE AND DATE: All bids must be submitted in sterling excluding buyer’s premium and VAT. Please submit your bids as early as possible. In the event of identical bids, the earliest will take precedence. Bids should be submitted at least 24 hours before the auction. Please write clearly and check your bids carefully. If this is the first time you have bid through Kerry Taylor Auctions, please provide proof of your identity. Failure to do this may result in your bids

Lot No.

Description

Bid in £

Lot No.

Description

Bid in £

Name (Block Letters)..........................................................................................................................................................

Address (Block Letters) ...................................................................................................................................................... .........................................................................................................................................................................................

Postcode......................................................................... Telephone No............................................................................

Fax No............................................................................. Email ........................................................................................

Signature ............................................................................................................................... Date ..................................

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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.

Godspeed Couriers are our appointed shippers. they can supply competitive worldwide quotations for the packing and shipping of purchases.

Buyers are reminded that it is their responsibility 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

Godspeed Couriers tel: 00 44 (0)1273 929 502 email: info@godspeedcouriers.co.uk

www.kerrytaylorauctions.com