Kerry Taylor Auctions by Jamm Design Ltd

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Passion for Fashion 8th December 2015

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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 57 for details.

sale number: KT024

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

front cover: Lot 80 frontispiece: Lot 115 Back cover: Lot 81

storage, Collection and shipping Logistics

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

online Bidding www.liveauctioneers.com/kerry-taylor-auctions

see inside back cover for details and a map.

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

Kerry Taylor auctions Ltd incorporated in England

registered no oC7173571

VaT no 835506036

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Passion for Fashion Auction Tuesday 8th December 2015 at 2pm

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

Exhibition Sunday 6th December - 12 noon to 4pm Monday 7th December - 9am to 5pm Tuesday 8th December - 9am to 12 noon

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FASHION & ACCESSORIES 1600s-2000s Please note all lots bearing ∆ symbol require a CITES licence for export outside of the EU, which we are happy to assist with. See page 57 for more information.

1 A Chanel gilt metal pendant necklace, 1996, signed and dated, with large quatrefoil pendant with CC monogram above cabochon carnelian coloured stone, 48cm, 19in diam £400 - 600 2 A Chanel pearl beaded necklace, 1980s, signed to the clasp, with large blister pearl droplet in gilt mounts with cabochon pink enamel stones, 29cm, 11in diam excluding droplet £450 - 600

3 An Hermès tan leather Birkin, 1996, blind stamp Z, with gilded hardware, with storage bag, 35cm, 14in long (2) £1500 - 2500 4 A Chanel sautoir, 1980s, with Chanel plaque, the plaited gilt metal chain with blister pearl beads and rhinestones, 91cm, 36in diam £450 - 600 5 A Cartier black silk ottoman evening bag with 9 carat gold frame, 1957, stamped to the interior ‘Cartier Ltd. London,’ press-stud closure to front flap, 23cm, 9in long £400 - 600 6∆ An Hermès peacock blue crocodile malette, 1930s, signed to the lock interior ‘24 Faubourg St. Honoré’, front closure tab with gilt coronet below letter ‘S’, lined in white leather, the lower compartment opening to reveal six engine turned silver topped jars/boxes, three ivory-backed brushes; a mirror and a shoe horn, 26cm, 10 1/4in long £2500 - 3500

6 detail 2

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7 An Hermès ox-blood box leather Kelly bag, 2001, blind stamp E, with gold plated hardware, complete with fob, keys and padlock, and storage bags, 29cm, 11.5in long £1200 - 1800 8 An Hermès black leather ‘404’ handbag, 1960s, the interior lock and leather stamped Hermès, Paris, the frame with brass studs, lock and key with leather fob, pull-tab to open, 31cm, 12in long £400 - 600 9 A Chanel tweed double flap bag, 2003, stamped to interior, double chain strap, gilt hardware, white leather interior, 25cm, 10in £600 - 800

10 A large collection of Lina Fanouraki gold jewellery, Greek, 1990s, in 18 and 22 carat gold, mainly single ear-rings comprising: sea-shore series - shells and sea horses nos I-VIII with a duplicate of no V all in book-form boxes and three unboxed sea horse ear-rings; eight boxed insect series ear-rings including butterflies, spider, ant, an unboxed butterfly; and pig, poppy and lizard ear-rings (24 ear-rings in total) £800 - 1200 11 ∆ An Hermès brown crocodile ‘Drag’ bag and wallet, late 1960s, stamped to the interior, ‘Hermès Paris’, with gilt ‘H’ clasps, three interior compartments, 29cm, 11 1/2in long; the matching wallet similarly stamped (2) £800 - 1200

12 A single buff leather glove, traditionally believed to have belonged to King Charles I, circa 1630-40, worked with delicate stylised honeysuckle motifs in wine silk and gold thread, the remains of looped gold thread strapwork, edged and part lined in pale brown silk, golden fringes to the gauntlet edge, 35cm, 13 3/4in long excluding fringes and 10cm, 4in wide across the palm

Provenance: By descent via the Woodd and Hampden families, who were both Royalist supporters and were joined by marriage in 1774, and thence by descent. Please see extended footnote on our website £1500 - 2000 12

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13 detail

13 A collar of Milanese bobbin lace, believed to have belonged to King Charles I, mid 17th century, finely worked with meandering floral trails, attached to narrow linen neck band, the tasselled strings made with floret’s of lace, 71cm, 26in long

Provenance: George Somes Esq. Exhibited at the Exhibition of the ‘Royal House of Stewarts’ Op cit. Catalogue no. 374 described as ‘lace collar worn by Charles I on the Scaffold’ also illustrated along with other items in ‘The Sphere’ for the review of a book ‘The Stewarts’ published by Dickinsons of Bond St, circa 1905. Purchased from Christie’s, October 18th 1983, lot 52. £4000 - 6000 14 A gentleman’s embroidered morocco leather wallet, Moroccan, dated 1754, worked in silver thread, the back panel with ‘Tetuan’, the inside with ‘Afreca’, 16 1/2cm, 7in long

These wallets were popular keepsakes purchased by gentlemen doing the ‘Grand Tour’ in the 18th century. £500 - 700

15 A fine pair of embroidered leather lady’s shoes, circa 1720-30, the white kid embroidered in imitation of brocade with large carnations and other blooms, edged in pale blue silk ribbon, straights, with narrow white rand, sharply pointed overhang toe-tip, low curved, heel, lined in linen, 26cm, 10 1/4in long (2)

Provenance: Purchased at Christie’s, October 18th 1983, lot 146. Exhibited: Shute school, Nr. Axminster, Loan Exhibition of Fine Old Needlework, Dresses etc. May 11th 1939 no.86, loaned by Mrs E.M Mortimer. £5000 - 8000 4

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16 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 a similarly embroidered mule slipper which belonged to Queen Henrietta Maria (d.1669) see 'Shoes' by June Swan, published by Batsford, p19, fig 16. ÂŁ15000 - 25000

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18 A rare pair of knitted cotton men’s gloves, English, late 17th-early 18th century, with overall diaper patterns, short gauntlets at the wrist, 31cm, 12in long (2) 17

Provenance: Purchased at Christie’s, London in the 1980s. £800 - 1200

17 A pair of women’s gloves, circa 1680-90, of white kid, elbow length, the fingers with decoratively stitched edges, pink pompoms to the knuckles, with raised-work gilt thread heraldic motifs, 45cm, 18in long (2) £1500 - 2500

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19 A pair of embroidered stays, American, circa 1825, of brown satinised cotton embroidered in ivory silks with hearts and foliate trails, broad centre-gusset for the insertion of a busk, single bone to rear closure, bust approx 71cm, 28in £600 - 1000

20 A sprigged and embroidered tulle dress, circa 1820-25, embroidered overall with snowflake repeats, the flounced hem, neck and sleeves edged in ivory satin, bust approx 76cm, 30in £800 - 1000

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21 A man’s cannelé silk ensemble, circa 178090, the mustard silk jacket and waistcoat woven with pale blue spots, with self covered buttons, short stand collar, lined in linen and ivory taffeta; the cinnamon silk breeches with self stripes and blue spots, with small fall and fob pocket (3) £2000 - 3000

26 A man’s elaborately embroidered court coat, circa 1790, of black and blue striped cannelé silk, embroidered in floss silks with stylised blooms, appliquéd with lace and muslin lilies, spangled with large mica sequins, tall stand collar, lined in ivory silk; together with an ivory silk waistcoat embroidered with large aureoles with sequin and purl wire centres; and a pair of black silk breeches (3) £2000 - 3000

22 Two pairs of silk breeches, late 18th century, comprising: lilac pair with silver thread embroidered knee buttons and band; the others of shot pink/green silk with low fall and buttoned fly, both with fall fronts (2) £700 - 1000 23 A gentleman’s tailcoat, 1830-40, of navy facecloth, double-breasted with angular lapels edged in cord, slim, curving sleeves, quilted under-arm areas to the lining, pocket in the rear right tail only, chest 92cm, 36in £400 - 600 24 A gentleman’s navy facecloth tailcoat, American, circa 1855, with navy velvet collar, engraved gilt metal buttons by Benedict & Burnham of Waterbury, New York, the sharp lapels with buttonholes, the wide cuffs with smaller gilt buttons, with pockets to both tails and internal chest pocket, chest 86-92cm, 34-36in £700 - 1000

25 A gentleman’s navy facecloth tailcoat, American, circa 1835-40, with brownish black velvet collar, double-breasted with studded gilt metal buttons by R & W Robinson of Attleboro, Mass, the sleeves with floral printed cotton lining, with pocket to tail accessible from inside below the waist, chest 92cm, 36in

R & W Robinson operated between 1834 to c.1848. £1000 - 1500

26 detail 7

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30 A Costermonger’s Sunday-best checked tweed suit, circa 1890-1900, comprising: frock coat with velvet collar, waistcoat and trousers, all with moulded composition horse-hoof buttons, chest 102cm, 40in (3)

Costermongers (vegetable and fruit market traders) were a common sight across Britain in the 19th and early 20th centuries. Harry Champion, the Cockney music hall performer, sometimes appeared on stage wearing a suit similar to this one. £500 - 900

27 A fine lawn baby vest cap and undercap, believed to have been worn by George IV as a baby, 18th century, framed and mounted with a label declaring ‘1st shirt, cap and brain protector worn by George IV as an infant’, trimmed with simple bobbin lace, the cap back appliquéd with a gros point de Venise medallion with needlepoint fillings, 34 by 55cm (qty)

Provenance: the late Harry Matthews collection. A note on the back of the mount states ‘These were passed by direct decent (sic) from Mrs Draper who was the midwife to Queen Charlotte. Mrs Draper delivered the future King George IV at St James’ Palace on 12th August, 1762. This baby was created Prince of Wales at birth. Mrs Draper died on 8th December, 1772’. Together with a copy of the Royal Household Index which describes Mrs Draper as the Royal midwife and gives details of her service. £400 - 600 28 A Maze & Steer gentleman’s waistcoat, circa 1788-90, of ivory silk woven with small repeat motifs, matching ribbon edging bands, double breasted with stand collar, chest 122cm, 48in

31 A rare boy’s skeleton suit, circa 1785-95, of buff nankeen cotton, with self-covered buttons, the breeches buttoning onto the waist front and back, narrow sleeves, simple lapels, the trousers with small falls, and pockets to the sides, chest 59cm, 23in, waist 51cm, 20in (2)

In the early 18th century boys and girls alike wore dresses. Boys, when they reached the age of six, were then ‘breeched’ and given miniature versions of adult dress to wear. Reformers, including Rousseau in his 1762 treatise ‘Emile’, advocated that children should wear comfortable clothes that allowed ease of movement with no belts. Skeleton suits were commonly worn by little boys in England from the 1780s as reflected in paintings of the day, including Reynolds portrait of Viscount Althorp wearing a ‘skeleton’, 1786, another by Joseph Wright of Derby of the Arkwright children, dated 1790-91. Made of hard-wearing but comfortable and easy to launder cotton, they were worn with shirts with wide collars, sometimes accompanied by a pastel coloured silk sash. Trousers at the time were only worn by sailors and agricultural labourers. It was not until a century later that men generally were to adopt them as part of their everyday dress. The suit with its trousers buttoning onto the jacket was both comfortable and practical. Trousers gradually spread from younger boys to older boys and became general wear for men in the second quarter of the 19th century. Although skeleton suits were commonly worn, very few have survived. There is a similar example in the Victoria & Albert Museum of Childhood collection. £1200 - 1800 32 A chartreuse and ivory silk damask false quilted petticoat, 1770s-80s, woven with leopard-spotted ribbon trails, delicately coiling tendrils and blooms £400 - 600

Maze & Steer were well known silk weavers based in Spitalfields, London. A similar waistcoat is included in the Victoria & Albert Museum collection, as does the weaver’s pattern book of ‘Fancy Vestings and Handkerchief Goods’ (T.384-1972) which includes similar designs. £500 - 700 29 A pair of men’s doeskin breeches, circa 1790, with small-fall, braces buttons, lacing to rear waist, and ties to the knees £700 - 1000

31 back 8

33 label

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Portrait of the Marquesa de Castrillo who owned this Worth dress, painted by Raimundo de Madrazo in 1889.

33 A rare Charles Frederick Worth historically-inspired voided velvet ball gown, 1885-8, woven white on white ‘Worth Paris’ gros-grain label to the waist stay, the boned bodice with sharp points front and back waist, back-laced, edged in ecru guipure with amber-coloured beads and looped tangerine satin rosettes, the velvet woven with large scale Arum lily repeats overall, the front skirt panel of orange cannelé silk front adorned with lace, elaborate gold beaded braid and ribbons, the main velvet skirt with polonaise ribbon ties, with remains of one long organza sleeve with lace cuff; together with two pairs of knitted silk stockings, one embroidered and beaded with vine leaves, bust approx 79cm, 31in, waist approx 56cm, 22in (qty)

Provenance: Doña Emilia Crooke y Larios, Marquesa de Castrillo (1859-1923) who had her portrait painted by Raimundo de Madrazo. The painting was shown in the Paris Exposition Universelle in 1889. She married the Marquesa of Castrillo in Madrid in 1880. This dress combines all the elements one seeks to find in a Charles Frederick Worth dress - fabulous textiles combined with historicism and high fashion. Worth produced lavish 17th century inspired evening gowns throughout his illustrious career. For images of a Worth 17th century inspired reception dress of 1894 see ‘The Opulent Era’ by Elizabeth Ann Coleman p58 and another of 1890 on p63. £4000 - 6000

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37 A Maison Worth cut velvet evening coat, 1901 and altered in the 1920s, un-labelled, of deep crimson velvet woven with ribbon scrolls and blooms, edged in white fox and lined in ivory silk, chest 92cm, 36in

For a similar Worth mantle in green see ‘The Opulent Era’ by Elizabeth Ann Coleman colour plate 23, published by Thames & Hudson and the Brooklyn Museum. £500 - 700 38 A Maison Worth cyclamen pink wool evening coat, circa 1910, with woven signature label, numbered 25236, djellabah inspired with couched gold thread embroidery to the shoulders, wide dolman sleeves edged with elaborate silk cord and gold thread macramé fringes and tassels, two large matching pendants to the back below crochet tulips £600 - 1000

39 34

34 A good Irish crochet lace gown, circa 1910, with high collar, three-quarter sleeves, trained skirt, lavishly worked with three dimensional flower-heads, sun-flowers, pendant buds, bust 81-86cm, 32-34in, waist 66cm, 26in £1000 - 1500

39 label

39 A Liberty & Co Ltd ice blue silk empire-line gown, circa 1911, with large woven label to waist stay, with lattice of pearl beads forming short sleeves and adorning the bodice, waist band and tasselled cords, weighted train falling from the rear waist, bust approx 81cm, 32in £600 - 1000

35 A Redfern black plush coat in imitation of broadtail, circa 1910, large woven Redfern Paris label, with brown skunk collar and cuffs, large passementerie medallion to the front closure, graduated hem, of voluminous cut £600 - 800 36 A sprigged muslin dress, circa 1800, the empire line bodice inset with curved panels of Mechlin lace, rear inner cotton bodice panels with Dorset buttons, draw-string and ties to rear waist, bust 71cm, 28in £600 - 1000

38 label 10

40 A Liberty & Co Ltd embroidered and beaded turquoise silk bodice, circa 1900, with ‘Artistic & Historic Costume Studio, 222 Regent St., London’, the boned bodice of ribbed silk crêpe, adorned with panels embroidered with shamrocks in seed beads, pearls and turquoise stones, similarly edged floating chiffon sleeves; with matching beaded and tasselled girdle belt, bust 86cm, 34in (2) £450 - 600

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BALLET 41 Rudolf Nureyev’s doublet from ‘Romeo and Juliet’ Act I, for the London Festival Ballet production, London, Coliseum, 1977, designed by Ezio Frigerio, with inked inscription to the rayon lining ‘Rudi’, of cinnamon-red satin, with full, panelled sleeves, velcro fastened to the front, piped and edged in velvet rouleaux, top-stitched stand collar, chest 97cm, 38in

Provenance: Acquired by the vendor in 1991 directly from the English National Ballet Wardrobe Department (formerly the London Festival Ballet). This production not only starred Nureyev, he choreographed it also. The first night was the 2nd June 1977 at the London Coliseum with Patricia Ruanne dancing as Juliet. The show was also performed in January 1978 at the Palais des Sports in Paris with Patricia Ruanne, alternating with Eva Evdokimova, Elisabett Terabust, and Lynn Seymour in the role of Juliet. £800 - 1200

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42 stamp

42 Diaghilev’s Ballets Russes: ‘Thamar’ Act II, costume for a friend of Queen Thamar, designed by Leon Bakst, first performed 1912, all with handwritten dancer’s names including Eserska, Roussova, Doris, the coat with 1912 circular Ballets Russes stamp, comprising: a sleeveless dress with yellow silk faux waistcoat panels, purple cotton apron, metal bauble buttons, the cotton skirt with sea-green satin hem; with matching blue and green satin coat with elaborate silver braid; and a matching blue and crimson satin pill-box hat, bust 81cm, 32in (3)

Provenance: Sotheby & Co, 3rd March, 1973, lot 114 £3000 - 5000 42

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FASHION 1910s-2000s

43 A Reville Ltd of Paris couture court dress and train, circa 1928, labelled Reville Ltd, and with inscribed ribbon label ‘Lady Holcroft’, the extensively beaded flapperstyle dress in black and white seed beads with clear droplet beads, the bodice and waist defined by rhinestone studded bands, the matching train in dramatic black and white with foliate bands, edged in black velvet, bust 86-92cm, 34-36in; together with court presentation plumes and veils and an ostrich feather fan (qty)

46 label

46 A rare J. Suzanne Talbot couture chinoiserie cocktail ensemble, circa 1927, large woven label ‘10 Rue Royale, Paris, 14 Rue Royale’, the striped gold lamé sweater-like top edged in woven bands of gold thread, peach and black silk braid with tasselled tie to the front, the matching pleated coral pink satin skirt with gold band to hem; the braid belt with large lacquered buckle with painted prunus blossom, bust 86cm, 34in (3)

Suzanne Talbot was famous for her millinery which was regularly featured in Vogue in the 1920s and 30s, but she did also make couture clothing. However, for her own wedding in 1922 she chose Madeleine Vionnet to make her trousseau. £600 - 1000

Mary Frances Swire married Sir Reginald Culcheth Holcroft, 2nd Baronet, on 26th July 1928. £800 - 1200 44 A man’s striped knitted swimsuit, 1910-20, with buttons to the shoulders, long below the knee legs £350 - 500

47 A good ribbon-worked black taffeta robe de style, probably Lanvin, circa 1926, of black silk taffeta adorned with embroidered ribbons in shades of green and pink, with gold vermicular embroidery outlined in black cord, the skirt gently gathered over the hips, nude chiffon modesty panel to the front, large tulle bow to one hip, scalloped hem over tulle edging, bust 97cm, 38in £600 - 1000

45 A Maria Gallenga gothic-stencilled tabard dress, mid 1920s, un-labelled, of deep orange velvet, stencilled with mythical birds and beasts, the shoulders and sides outlined and weighted with glass beads, trained hem, bust approx 117cm, 46in £600 - 1000 47 12

43 back

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48 A Lanvin couture gold lamé evening ensemble, Summer, 1929, the dress labelled and numbered 21058 and dated to the reverse ‘Eté, 1929’, with lace pocket, the sleeves with deep curves above the cuffs, edged in gold braid; the pink wool gilet with narrow yellow and ivory label to the neck, with silver lamé pocket, top stitched borders and scarf panels, bust approx 97-107cm, 38-42in (2)

The Lanvin archive possesses a sketch of a very similar ensemble made for the French actress Jane Renouardt in 1929. £3000 - 5000

48. Sketch courtesy of the Lanvin Archive. 48 label

49 A fine embroidered and beaded chinoiserie jacket, attributed to Margaine Lacroix, circa 1925, of gold lamé adorned with pagodas and figures carrying parasols in mainly pink, blue and yellow beads and sequins with finely chain-stitched silk details, chest 102cm, 40in

For similar coats by Margaine Lacroix with Egyptian and chinoiserie motifs see the Musée Palais Galliera catalogue ‘Les Années Folles 1919-1929’. £2000 - 3000

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50 A couture beaded satin gown, possibly Patou, circa 1922-4, the above ankle pink satin column lavishly adorned with pearl beads, rhinestones, with chiffon inserts to bodice front, sides, and skirt giving glimpses of the knees, tulle floating panels to the sides, bust 81cm, 32in £600 - 1000 13

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51 label

53 A beaded opera coat, circa 1915-20, the tangerine damask lining woven with orientally inspired floral motifs, overlaid with black chiffon with dramatic bugle beaded and crimped gold sequin borders and broad waistband which dips to the back, batwing sleeves £800 - 1000

54 A rare leather aviatrix suit, late 1920s, unlabelled, the jacket with dropped waistline, button and buckle fastenings, angled breast pocket; the matching trousers with pockets above the knees, large zip fasteners; together with a R.H. Macy & Co. brown leather cloche style hat with large bow to the back, chest 97cm, 39in, waist 79cm, 30in (3)

51 A rare Jenny couture orientalist embroidered afternoon dress, circa 1922-4, woven blue on ivory satin label, numbered 9222, the cinnamon-brown chiffon ground embroidered in chain stitch in bands with chinoiserie figures, parasols in a landscape, with arm-bands forming faux sleeves, bust 102cm, 40in £600 - 1000

Vogue in the 1920s regularly advertised flying suits for women alongside equestrian-wear. £600 - 1000

52 A good Mariano Fortuny stencilled black velvet evening coat, 1920-30, with printed circular label to the satin lining, stencilled in gold with delicate foliate palmettes and bands, lined in beige/gold satin, with plaited silk tie cords to the neck, chest 120cm, 50in

52 label

55 A Mariano Fortuny stencilled black silk tunic, circa 1920, un-labelled, printed with stylised tree repeats, edged in black silk cord with Murano bead weights £400 - 600

Provenance: Originally belonged to Bertha Hall, an American socialite, the daughter of a millionaire cooper (barrel-making company) magnate. £2000 - 3000 52 14

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56 A Mariano Fortuny rose pink silk Peplos dress, 1920, the integral tunic and edges weighted with grey-blue iridescent Murano glass beads, multi-size; together with a copy of the original invoice shows that this gown cost £550 in 1920 (2)

Provenance for lots 55 to 58 These Fortuny garments originally belonged to Lady (Charlotte) Bonham Carter (18931989). Charlotte was the daughter of Colonel William Ogilvy and Lucy (nee Wickham). The ‘Mrs L Ogilvy’ listed as making the Fortuny purchases 14th June, 1920 from the Palazzo Orfei is Charlotte’s mother. Charlotte would have been 27 at the time. In 1926 Charlotte married Sir Edgar Bonham Carter, KCMG, CIE (1870 - 1956). She chose to wear this dress to have her portrait painted in 1978 by Peter Greenham. See Tate Gallery, http://bit.ly/1PkU6VF £600 - 1000 57 A Mariano Fortuny stencilled velvet jacket, circa 1920, circular label to lining, printed with a Renaissance pattern in purple on a silver-grey velvet ground, lined in grey satin, of oriental cuff with tapering dolman sleeves, padded hem, the cuffs caught by velvet bands with latticed metal plaques and silk thongs, matching waist belt, chest approx 112cm, 44in (2) £1500 - 2000

58 A Mariano Fortuny stencilled black velvet jacket, 1920, un-labelled, delicately stencilled with fern-like scrolls in gold and pink, re-lined in deep pink satin, cords to the neck to fasten, chest approx 142cm, 58in; together with the original handwritten Fortuny invoice dated 14.6.1920 (2)

The jacket is noted on the original invoice as selling for £700. £1000 - 1500 59 A Gabrielle Chanel beaded silk crêpe capelet, circa 1924, with narrow woven gold on black satin ‘Gabrielle Chanel Paris’ label and numbered 16525, the lower half embroidered in gold thread, highlighted with black seed beads, with ties to neck and to the wrap around hem

56 & 57

Provenance: Formerly in the collection of Anna Piaggi. £2000 - 3000

59 label

59 15

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60 An Elsa Schiaparelli ‘shocking pink’ crêpe evening gown, Summer, 1937, labelled to the matching waist slip ‘Schiaparelli London’ and numbered 5556, the shirred purple velvet bodice with ‘sweetheart’ neckline, red plastic zip fastening centreback, bust 92cm, 36in (2)

Provenance: Mrs Carol Dugdale (née Timmis), a stylish British socialite. The sketch of this dress is held at Musée des Arts Decoratifs. It was worn with a highly beaded jacket modelled with a matching turban. Lady Jane Clark was photographed wearing the ensemble in 1939 to the opening night party of for the Museum of Modern Art in New York. See ‘Shocking! Schiaparelli’ by Dilys Blum, p166, 167. See our website for details. £3000 - 5000

62 A rare and early Balenciaga couture black wool and satin dinner dress, probably Autumn-Winter 1937, white on black Paris label indistinctly numbered but probably ‘84’, the satin bodice with bow-tie neckband, curved bias-cut black wool band to the bodice and matching cuffs, large plastic zips to one shoulder and side fastening, long slim skirt with front kick pleat, bust approx 81m, 32in

Cristobal Balenciaga opened his Paris fashion house on Avenue George V in August 1937. This highly skilled little black dress is one of his earliest Paris creations to have survived. The two digit numbering on the bolduc also suggests that this was an early order. £2000 - 3000

63 An Elsa Schiaparelli couture shocking pink velvet evening jacket, circa 1937, black on white London label, no 7202, with deep ruched ruffles to left hip pocket, fastened by hooks and eyes, lightly padded shoulders, bust 86cm, 34in

Provenance: Nella Leone, daughter of Cavalliere Giuseppe Leone. She was known for her elegance and taste. £800 - 1200 64 An Elsa Schiaparelli couture black velvet ‘highwayman’ coat, circa 1935, remains of black on white grosgrain Paris label, with triple-tiered capelet to shoulders, single black elliptical celluloid button to fasten, lapels re-lined in black silk grosgrain, chest approx 92cm, 36in

Schiaparelli included a number of these ‘highwayman’ coats in her Spring and Autumn 1935 collections. £800 - 1000

60 label

61 A black and silver muslin flapper dress, circa 1928-29, covered in silver beads with scrolling motif to bodice and dipped hem, bust 91cm, 36in, £300 - 500 16

64 60 sketch

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65. Sketch courtesy of the Lanvin Archive.

65 detail

65 A Jeanne Lanvin couture black satin evening dress, ‘Prelude’, 1934-5, large woven label, with large hexagonal top-stitched panels to the upper bodice, simple criss-cross straps to the back, side zip, bust 81cm, 32in

67 A black and gold muslin flapper dress, circa 1929, elaborately embellished with silver beads, gold floral sequin motifs, asymmetric hem; together with chiffon cream slip, bust 86cm, 34in (2) £350 - 500

Provenance: Formerly part of the Castle Howard collection. £4000 - 6000

68 A fine black tulle tabard, circa 1925-26, with pretty textured pink beaded roses across hips, fringed skirt and covered entirely with sequins; together with black half-slip, bust 86cm, 34in (2) £400 - 600 65 label 66

66 A Jeanne Lanvin couture Persian-inspired brocaded silk evening coat, SpringSummer, 1938, with large woven date-stamped label, no 48.268, the fabric woven with gold thread ogivals enclosing stylised beasts, lined in burnt orange satin the flared sleeves with slashed cuffs, with godets inset at the elbows, top-stitched scalloped seams to yoke, bust 86cm, 34in £700 - 1000

66 label

69 A blue and pink muslin flapper dress, circa 1928, elaborately beaded with pink flowers and leaves, deep V-neckline; together with a cream silk slip, bust 91cm, 36in £350 - 500 70 A Paquin black velvet and white fur coat, Winter, 1933-34, with large woven dated label, deep shawl collar, lined with strips of velvet and fur, interesting sleeve details, chest 86cm, 34in £500 - 800 17

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72 detail

71 back

71 A bias-cut-chiffon tri-colour evening gown, attributed to Madeleine Vionnet, SpringSummer, 1933, un-labelled, the transparent ivory chiffon bodice with cowls front and back and flounces to the armholes, with coral chiffon V-shaped front panel and ‘Mobius’ bands which criss-cross the bodice and tie at the waist, the skirt of layered black over ivory chiffon, bust approx 81cm, 32in

72 A Madeleine Vionnet couture black lace bias-cut evening gown, August, 1936, unlabelled, model 4221, with black rouleau band to neck, open shoulders and large puff sleeves, gored, panelled skirt with crin hem, bust approx 81-86cm, 32-34in; together with a xerox copy of the dress being modelled at Vionnet in 1936 (2) £3000 - 5000

The photographic register of Vionnet models held by the Musée des Arts Decoratifs, Paris, shows a number of models for Spring 1933 using contrasting layered chiffons, often incorporating Vshaped panels to the front or back waist with elaborate criss-cross ties to the bodice, sometimes worn with capelets.

73 A Lucien Lelong couture black silk crêpe evening gown, late 1930s, labelled, with shirred gathers to bodice, sleeves and front skirt, the low back inset with vertical panels which loop through the neck fastening, the skirt adorned with rhinestone edged laces, bust approx 86cm, 34in £450 - 600

A similar Vionnet dress of identical colourway was included in ‘Vionnet’, an exhibition of Martin Kamer’s private collection at the Judith Clark Gallery, London, 15th March - 21st April 2001. This dress was also unlabelled. It was also illustrated in ‘Madeleine Vionnet’ by Betty Kirke p210 modelled by Madame Bernadelle and photographed by Hoyningen-Huene in 1933.

74 A salmon-pink muslin flapper dress, circa 1926-28, covered entirely with silver beads, with delicate beaded fringes to scalloped hem, bust 86cm, 34in £250 - 400 75 A raspberry-pink muslin flapper dress, circa 1928-30, spangled with silver and clear beads in a scrolling motif; together with a yellow slip, bust 86cm, 34in (2) £350 - 500

See Millon Robert Auction, 9th June 1993, lot 167, for a Vionnet dress in identical colour-way, also un-labelled from the Spring 1933 collection, model no 6528. £4500 - 6000 72 18

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76 An Elsa Schiaparelli couture daisyembroidered jacket, Autumn-Winter, 1937-38, ‘21 Place Vendôme, Paris’ labelled, of midnight blue grosgrain moiré silk, embroidered in ivory corded silk, the flowers with sequin and pearl bead centres, the blossoms near the hem hand painted in pink, lined in black silk, with stand collar, lightly padded shoulders, hook and eye fastenings, chest 81cm, 32in

Provenance: Sheila ‘Pitt’ Grant-Smith, a Scottish socialite. She wore it as part of her wedding trousseau when she married Robert John Wastel Arbuthnot-Brisco on 15th February 1940 at St Margaret’s Church, Montrose, Scotland. £5000 - 9000

76 detail

76 label

77 A Madeleine Vionnet couture pastel printed organdy summer dress, March, 1936, unlabelled, printed with semi-abstract floral patterns, the short sleeves ruched and gathered along slit openings, two floating panels at the neck criss-cross to form a gentle cowl-like scarf, bias cut skirt, bust approx 81cm, 32in, waist 76cm, 28in; together with copies of two Vionnet House photographs for February and March 1936, one showing a dress of identical fabric and another with identical sleeves (3) £2000 - 2500 77

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80 A rare and important Elsa Schiaparelli ‘Hall of Mirrors’ jacket, ‘Zodiac’ collection, Autumn-Winter, 1938-39, un-labelled, of black silk velvet with shirred gathered panels over the shoulders, the front applied with baroque gilt strip cartouches, the strapwork in-filled with sequins in varying sizes, the centres with mirror mosaics held in place with gilt star-shaped glass studs, with four figurative moulded composition buttons, the neo-classical style heads with flowing tresses, bust 92cm, 36in

This is arguably one of the most dazzling of all Schiaparelli’s creations. Her ‘Zodiac’ collection, presented in August 1938, drew on two main themes - astrology and the magnificence of the Palace of Versailles. The seventeen massive archways of the Galerie des Glaces, each filled with twenty one mirrors, must have been the inspiration for the jacket decoration. Schiaparelli was a frequent visitor to Versailles where her friend Lady Mendl (Elsie de Wolfe), the celebrated American interior designer, had made her home at the Villa Trianon in the grounds. 78

Figaro Magazine, ‘Lumière de la Nuit’ article, Autumn 1946, p.95. See lot 79.

This ensemble was worn originally with a towering ostrich feather hat.

78 An Elsa Schiaparelli peacock-blue silk jersey evening gown, circa 1939, Paris labelled, no 86972, with copper beaded strapwork to the bodice and curving from the waist downwards to gathered pleats at the rear, metal zip fastened, part lined in ivory damask, some with ‘ES’ motifs, bust 86cm, 34in, waist 66cm, 26in £1000 - 2000

79 A Balenciaga couture black crêpe georgette evening gown, August, 1946, Paris labelled and numbered 23421, with heavily beaded and sequined midriff, curved Infanta-style hips, bust 86cm, 34in, waist 66cm, 26in £2000 - 3000

Provenance: Gifted to the current vendor as an 18th birthday present in 1991 by a member of the family. Literature: ‘Shocking, Schiaparelli’ by Dilys Blum p190-191. £70000 - 80000

78 detail

78 label 20

80 detail

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83 A Jean Dessès couture draped chiffon cocktail dress, circa 1958, Paris labelled and numbered 5191, of robin’s-egg blue, the strapless sheath with integral corset, spiralling pleats down the narrow leadweighted skirt, a long swag cascades from rear waist to hem, with matching circular scarf panel, bust 86-92cm, 34-36in, waist 56cm, 22in (2) £1000 - 1500

83 label

84 An Edward Molyneux couture lavishly embellished evening gown, circa 1955-7, with large woven satin label, ‘Molyneux, made in France’, no 220094, adorned with flowerheads formed from shells and pastel sequins, with iridescent sequined foliate scrolls, large band of shells and pearl beads to the lower border, layered crin petticoats, bust 97cm, 38in, waist 76cm, 30in

81 A Pierre Balmain couture embroidered cocktail dress, 1955, labelled and numbered 79886, the black velvet by J Leonard, embroidered by Lesages with scarlet velvet berries, embroidered green leaves spangled with tiny gun metal sequins, bust 86cm, 34in, waist 61cm, 24in

Provenance: the late Meta Morris who worked as social secretary at a number of embassies in Washington DC. A copy of her obituary accompanies the lot. £800 - 1200

This dress was shown in L’Officiel no.405406, December 1955. £1500 - 2500

82 detail

82 Winston Churchill’s cream silk night-shirt, 1933, embroidered in red cross stitch ‘WLSC 33’, of soft, heavy twill silk, with simple button fastening to neck and cuffs, chest 158cm, 62in

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. £800 - 1200 84 22

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85 A Pierre Balmain couture ball gown, early 1950s, labelled, of ivory silk ottoman, the boned, fitted bodice adorned with white raffia, coral ribbon, green floss silk embroidery with coral coloured droplets to the flowerheads, and studded with crystals, angular vented hip pockets, bust approx 81-86cm, 32-34in, waist 61cm, 24in £1800 - 2500 86 An embroidered ivory satin couture evening gown, late 1950s, possibly Castillo, unlabelled, the boned bodice punctuated with bows, broad pleat to skirt centre back, the front skirt open from waist to hem, bust 86cm, 34in £300 - 500 87 ∆ A Ruth Lewin ocelot and mink coat, 1950s, chest 122cm, 48in £350 - 500

85 detail

88 A Chanel couture gold and ivory brocatelle jacket, 1957, labelled and indistinctly numbered 66358, woven in high relief in gold thread with delicately coiling tendrils, lined in raspberry pink jersey and edged in gold braid, two gilt filigree buttons to fasten, chest 102cm, 40in £500 - 700 89 A Hardy Amies grey wool day suit, circa 1950, with ‘14 Savile Row’ label, comprising: sleeveless dress with white piqué insert, pleats to hem and cuffs, fitted jacket with lightly padded hips, bust 92cm, 36in, waist 66cm, 26in (2) £400 - 500 90 An Anthony Muto for Joseph Speaker beaded ivory wool dress, late 1960s, with elaborate plastron and cuffs of gilt metal plaques and rhinestones, bust 92cm, 36in £400 - 600

91 A Madame Grès couture pleated silk jersey and velvet evening dress, 1951, bearing Bergdorf Goodman special order label for Mrs H Haskell 19th October, 1951, with concealed zip to front of bodice, wide velvet collar, bust 104cm, 42in, waist 89cm, 35in £400 - 600 92 A Fontana Sisters couture ivory shantung dress, early 1950s, labelled, with key-hole shaped neckline, button fronted bodice, pleated panel to skirt front, interesting button detail to sleeves, adorned with metal thread and pink cord birds, tie belt, bust 97cm, 38in, waist 61cm, 24in £400 - 500 93 A Christian Dior brilliant yellow gazar cocktail dress, circa 1960, with Dior London no 33864 and Harrods labels, with flounce to waist and belt with large bow, bust 92cm, 36in, waist 66cm, 26in (3) £500 - 700

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96 A Nina Ricci couture black soutache lace evening dress, circa 1960, labelled, with integral corset, the fitted bodice cut straight at the front and low at the back with spaghetti straps, narrow flounce outlines the waist, slubbed black silk under-dress, bust 86cm, 34in, waist 71cm, 28in £1000 - 1500

94 A Balenciaga shocking pink slubbed silk gauze evening gown and cape, 1961, Paris labelled and numbered 77178 to the cape, the sleeveless dress with flounced hem, tie belt, the voluminous cape with graduated hem, bust 102cm, 40in, waist 76cm, 30in (3) £1000 - 1200

97 A Pierre Cardin couture pale green silk crêpe and organza evening gown, circa 1967, labelled Pierre Cardin, Paris, the halter-neck bodice covered with layered embroidered organza blossom and leaves, bust approx 81-86cm, 32-34in £600 - 1000

95 A Marc Bohan for Christian Dior couture black tiered organza sheath, SpringSummer, 1966, labelled and numbered 130498, the nude crêpe de chine column with integral corset, overlaid with graduated black organza tiers, the upper bodice trimmed with rhinestones, bust 92cm, 36in £800 - 1200

98 A Maggy Rouff couture orange cloqué cocktail dress, circa 1960, large woven label, the integral over-bodice with large bow, ties to the rear waist, bust approx 81cm, 34in £450 - 600

95 24

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99 Audrey Hepburn’s Givenchy haute couture black silk evening coat, circa 1967, labelled and numbered 12317, with curving front and back seams, large moulded porcelain ‘liquorice’-like buttons, fold-over collar, chest 92cm, 36in; together with a letter of authenticity from the Audrey Hepburn Foundation (2)

This was previously sold at KTA, 8.12.2009, lot 299. £6000 - 10000

99 detail

100 A fine Christian Dior beaded slubbed yellow silk evening gown, circa 1960, London label, no 27832, with original shop tag, the bodice with beaded fringes, elliptical rhinestone and seed pearl beading, bust 86cm, 34in, waist 66cm, 26in £1000 - 1500

100

100 detail

100 label 25

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101 A Balenciaga couture cloth of gold cocktail suit, probably Spring-Summer 1962, Paris labelled and numbered 83293, the lustrous fabric woven with stylised honeysuckle repeats, the sleeveless dress with slightly raised waistline punctuated with a selfbow, matching short, loose jacket lined in ivory taffeta, dress bust 92cm, 36in, waist 71cm, 28in (2) £600 - 800 102 A Christian Dior little black dress, circa 1960, London label no 24946, size 10, of black slubbed silk comprising: over-bodice which blouses at the front and has bows down the back with integral corset, over a slim skirt, bust 86cm, 34in, waist 66cm, 26in (2) £500 - 800 103 A Guy Laroche couture pistachio-green silk crêpe evening gown, late 1960s, labelled and numbered 51597, with broad waistband, elaborate fringed and beaded hem and sleeves, bust 92cm, 36in £500 - 800

106 A fine and important Balenciaga couture ivory slubbed silk gazar bridal gown and veil, Spring-Summer collection, 1968, the dress un-labelled, the veil with Eisa label, of Abraham silk, the short sleeves cut in one piece with the yoke, the front panel formed from joined triangles of gazar - their points converging at the centre front neck opening, the back panel cut in one piece with curved hem; the matching short, curved veil adorned with satin orange blossom to the crown, bust approx 86cm, 34in (2)

This important dress is one of Balenciaga’s last creations at the end of his career. It was made for Almudena Elorza Losada for her marriage to Enrique Guzman Bergareche, June 3rd, 1968. It shows Balenciaga at the height of his creative powers, where he takes the traditional flowing white bridal gown and condenses its essence into this stark, minimal almost sculptural garment. Literature: A similar gown and veil is photographed in ‘Hommage a Balenciaga’, Musée Historique des Tissus de Lyon, p97. ‘Balenciaga & Spain’ by Hamish Bowles p124 for a photograph of an identical dress and veil.

101

‘Balenciaga’ by the Cristobal Balenciaga museum p327-8, for another variation of this model, 1968. ‘Balenciaga Paris’ edited by Pamela Golbin p147 for a 1967 archive image of a similar dress.

104 detail

104 A Christian Dior pale pink slubbed silk cocktail ensemble, circa 1960, with Dior London no 30980 and Harrods labels, size 10, comprising: simple shift dress with matching kimono style coat with open skirt sides; together with a fabulously jewelled and beaded matching belt and plain slubbed silk belt for day, bust 86cm, 34in, waist 66cm, 26in (4) £700 - 1000

Exhibited: Hubert de Givenchy exhibition of ‘Unforgettable Wedding Gowns’ at the Chateau de Haroue, May-August 2012 and the Palacio Cadaval, Evora, Portugal, JuneSeptember 2015. ‘Balenciaga and Spain’ at the Fine Arts Museum of San Francisco, May-July 2011. ‘Balenciaga. El diseño del límite’ at the Museo de Bellas Artes de Bilbao, MaySeptember 2010. £15000 - 20000

105 A Lanvin couture orange silk crêpe evening gown, circa 1968, large woven Paris label, the neckline and cuffs outlined in gold embroidery, sparkling rhinestones and assorted beads, with floating train-like panel to the rear skirt, bust 92cm, 36in £600 - 800 104 26

106 label

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Almudena Elorza Losada on her wedding day, June 1968

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107 A Pierre Balmain couture black beaded tulle cocktail dress, circa 1960, labelled and annotated ‘Suzanne 124.233’, with golden beige satin integral slip, adorned with black bugle and bauble beaded stripes, velvet waist-belt with bow, bust 92cm, 36in, waist 70cm, 27 1/2in £700 - 1000

114 A Ritva Ross knitted mini dress, late 1960s, labelled Ritva Ross, London, size 12, in machine knitted cotton, with red, white and blue tri-angular panels to skirt and flared sleeves, bust 81cm, 32in, waist 71cm, 28in

Finnish-born Ritva and her husband, American-born Mike Ross, were part of the vibrant art, fashion and music scene of ‘60s and ‘70s London and they produced some of the most innovative knitwear of the period. After leaving the USA, Mike attended a non-diploma course at the RCA in 1963-4, while Ritva studied at the London School of Printing. She later became a model, and worked at Jane & Jane, where Jean Muir was the designer. Ritva started her self-named company with Mike Ross in 1966, wholesaling to boutiques such as Annacat, Browns, and Countdown on the Kings Road. £400 - 600

108 A Castillo for Jeanne Lanvin couture silk dress and matching jacket, circa 1957, labelled, the floral print in pastel shades, with attached bow-belt trimmed with sparkling purple beads and pearls, bust 102cm, 40in, waist 76cm, 30in (2) £400 - 600 109 A Pierre Cardin blue wool coat, circa 1967, un-labelled, with padded rouleau collar, pocket openings, domed silvered buttons, chest 97cm, 38in £600 - 900 110 A Courrèges floral appliquéd organdy maxi dress, circa 1969, Paris Prototype label, with simple satin-band empire-line bodice, vertical pockets and deep hem, the organdy over-skirt covered with pale blue florets and embroidered graduated spots, bust 81cm, 32in £600 - 1000

115 A Courrèges couture cotton jersey and flowered organdy maxi dress, circa 1969, Paris labelled, with chunky zip to bodice, the organdy skirt with whitework embroidery, layered pastel flowers, bust 86cm, 34in £700 - 1000

111

111 A Chanel couture gold and black brocade cocktail suit, early 1960s, brown on tan woven label, woven with undulating textured foliage-like stripes, the shift dress with matching jacket with cord tie belt, chain to hem, both lined in red silk, jacket chest is 86cm, 34in, the dress bust 92cm, 36in, waist 71cm, 28in (2) £700 - 800 112 An Ungaro couture printed wool mini-skirt suit, 1966, labelled Emanuel Ungaro, Couture Paris, numbered 968-8-66, of double-faced wool woven with pink and tangerine irregular spots, chest 92cm, 36in, waist 76cm, 30in (2) £800 - 1200 113 A Courrèges couture coral wool suit, 1968, black on white Paris label, of lightly textured wool, the jacket with scalloped hem, with angled faux pocket flaps to the breast, gilt buttons, the skirt with scalloped band below the waist, gilt metal buttons, chest 86-92cm, 34-36in, waist 66cm, 26in (2) £600 - 1000 110 28

115

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116 A rare Pierre Cardin futuristic black straw cloche, 1967, labelled Pierre Cardin, Modes Paris, edged in grosgrain with matching bow to the back, 42cm, 16 1/2in wide

Cardin used these unusual sculpted hat shapes to complete his cutting edge minidress and tailored suit ensembles. However, very few seem to have survived. See L’Officiel March, 1967 for similar hats being worn with a futuristic pinafore, a mini-dress and chic minimalist suit p161, 240, 286. £3000 - 5000 117 A Pierre Cardin black leather pinafore, 1967, Paris and Bonwit Teller labels and size 10, with press-stud fastened rouleau collar, curved plastron front, hipster belt, low waist 91cm, 32in £800 - 1200

116 label

L’Officiel March, 1967.

116 & 117

118 A Pierre Cardin tri-angular pendant necklace, 1960s, un-signed, with polished cabochon metal domed disc, 7 1/2cm long on chain £250 - 400

122 detail

122 An Ungaro couture saffron yellow wool coat, 1969, Couture labelled and numbered 1746.10.69, with Y-shaped closure panel metal buttons, high-set chest pockets, interesting belt detail to the back, chest 92cm, 36in £1000 - 1500

119 A Butsch for Cardin steel bracelet, 1960s, signed ‘Butsch pour Cardin’, with polished dark steel domed medallion, 6cm, 2.5in diam £250 - 350 120 A Pierre Cardin polished chrome necklace, 1960s, un-signed, of pierced, shaped triangular form, 9cm, 3 1/2in long £400 - 600

123 A Marc Bohan for Christian Dior couture black lace cocktail dress, circa 1960, white on black Paris label, no 15877, of black Chantilly lace over silk, tulle and crin edged petticoats, ribbon belt with bow, deep ruffle to hem, bust 81-86cm, 32-34in, waist 66cm, 26in £600 - 800

121 A Pierrre Cardin navy and white wool suit, late 1960s, ‘Pierre Cardin, Paris’ label, the short sleeved jacket with navy facings, shaped bands to sleeves, zip fastened with ring-pull, matching short A-line skirt, bust 86cm, 34in, waist 66cm, 26in (2) £700 - 1000

123

124 A pair of Courrèges white plastic ‘eskimo’ sunglasses, 1964, signed along the arms, the solid lenses with horizontal slits, 15cm, 6in long £200 - 300 29

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125

126

128

125 An early Pierre Cardin houndstooth checked wool tent coat, Autumn-Winter 1960, Paris labelled, with large double collar with velvet ribbon between and ties to neck, loose cut with large buttons, chest approx 122cm, 48in

128 An Yves Saint Laurent couture black leather and mink trimmed coat, late 1960s, labelled and numbered 013768, with lined in black silk, chest 92cm, 36in £2000 - 3000

This design was photographed by Helmut Newton, modelled by Maggie Tabberer, for a Lucas/Cardin brochure. £500 - 800

129 A Bohan for Christian Dior brown moss crêpe halter-neck evening gown, circa 1970, white on black woven label, with plunging V-neckline, large bow to rear of neck, bust approx 86cm, 34in £600 - 800

126 An Emilio Pucci be-jewelled evening gown, 1970s, labelled and size 12, the orange silk gazar empire line halter-neck bodice covered in large chevron patterned crystal beads, with wide palazzo pants-style culotte skirt, bust 92cm, 36in £700 - 1000

130 A Chanel couture broderie anglaise black crêpe georgette evening gown, 1974, labelled and numbered 52346, trimmed with organza flounces, ribbon belt, bust 8692cm, 34-36in, waist 71cm, 28in (2) £800 - 1000

127 ∆ A fine Tigue Royale of Geneva monkey fur ensemble, 1974, Colobus satanas, certificate no 539790/01, unlabelled, comprising hip length jacket, a black suede bodice and calf-length skirt edged in monkey fur and a black suede belt with gilt lozenge to fastening, bodice bust 97cm, 38in, waist 76cm, 30in (4) £1200 - 2000

131 A Chanel couture tweed suit, late 1970s, labelled and numbered 60716, of looped mohair tweed in autumnal shades, lion mask green glass and gilt metal buttons, Aline skirt, lined in burgundy silk, bust 107cm, 42in, waist 74cm, 29in (2) £500 - 900 127

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132

133

133 A Paco Rabanne rhodoid and metal poncho, circa 1970, un-labelled, the dark ink-blue rhodoid discs with pierced silver metal edging and fringes £2000 - 3000 134 An early Thea Porter harem ensemble, 1968, labelled ‘Thea Porter, London’, the cropped bolero bodice edged in pearl and clear beads, the silver and red fabric with small paisley repeats, bust 81cm, 32in, waist 69cm, 27in (2) £400 - 600 135 A Courrèges brown wool jersey mini-dress, 1968, labelled ‘Courrèges, Paris’, with tulle sleeves and side panels, adorned with large white plastic discs, bust 86cm, 34in £1200 - 1500 132

132 A Courrèges yellow and white vinyl sou’wester and raincoat, 1970, ‘Hyperbole’ label, no 36563, size B, lined in terrytowelling, with popper fastenings, chest 86cm, 34in (2)

This model was reproduced in L’Officiel, October, 1970, no 580 p76. £900 - 1200

136 A Roberta di Camerino silvery beige mink fur coat, 1970s, labelled and also with ‘Tourmaline Brand, Emba Natural Pale Beige Mutation Mink’, three-quarter length with pale grey damask silk lining, chest 102cm, 40in £500 - 700 135 31

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140 worn by the vendor

137

137 A Thea Porter embroidered and brocaded kaftan/dress, late 1970s, couture labelled, the pink brocaded bodice and sleeve panels adorned with raised work gold embroidery, mother of pearl sequins, the skirt in shades of pink, grey and turquoise chiffon, bust approx 92cm, 36in £600 - 1000

140 An Ossie Clark/Celia Birtwell printed chiffon dress, circa 1974, labelled Quorum, size 12, with ‘Marie Antoinette’ print, lightly padded satin shoulders, satin waistband, plunging neckline, trimmed with flounces, bust approx 92cm, 36in; together with three negatives of the original owner wearing the dress (4)

Provenance: Owned by Anna Peacock, a backing singer to Cat Stevens in the 1970s. £800 - 1200

141 A good Zandra Rhodes ‘Lily of the Fields’ print dress, circa 1972, labelled and size 10, printed in ivory on white chiffon, with satin lacing to the décolleté and floral rosette, with matching satin belt, bust approx 86cm, 34in (2) £600 - 800 142 An Ossie Clark/Celia Birtwell ‘Lily Marlene’ printed rose-pink velvet coat, circa 1970, with Ossie Clark and Quorum labels, size 12, with shawl collar, 30s inspired sleeves with ruched and gathered cuffs, chest approx 86-92cm, 34-36in £450 - 600

138 An Ossie Clark/Celia Birtwell printed red and cream moss crêpe dress, mid 1970s, Radley labelled, with ‘Chinese Snakes’, ties at neck and waist, bust 92cm, 36in

This is one of Celia Birtwell’s earliest prints. £400 - 600

143 A Courrèges black wool crêpe and vinyl edged halter-neck dress, circa 1970, Courrèges Paris label, with bows to rear neck and waist, bust 86cm, 34in £700 - 1000

139 A Bill Gibb brown leather ensemble, Autumn-Winter, 1972, labelled and size 14, with Sally MacLachlan silver-printed chrysanthemum sprays, the jacket with double-breasted fastening, above lobed panels, matching maxi skirt, chest approx 92cm, 36in, waist 71cm, 28in (2)

See British Vogue, September 15th, 1972 for a picture of a similar skirt worn with a hooded jacket. £800 - 1000 139 32

141

144 A Bill Gibb scarlet chiffon evening gown, circa 1972, labelled, the satin collar and shoulder panels embroidered and beaded with stylised beads, with pleated chiffon bodice over printed foulard skirt, bust approx 81-86cm, 32-34in £350 - 500

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145 An Emilio Pucci printed velvet evening ensemble, circa 1970, labelled and size 14, the short jacket and maxi skirt printed in shades of purple with signatures within the design, bust 92cm, 36in, waist 74cm, 29in (2) £350 - 500

150 A Thea Porter printed muslin ‘gipsy’ dress, circa 1969, labelled Thea Porter, London, with bold black and white quatrefoil print to the bodice, khaki grosgrain rayon midriff and wire mesh print skirt, edged in velvet ribbon, bust 81cm, 32in, waist 61cm, 24in

This piece was included in the major Thea Porter retrospective, ‘Bohemian Chic’, at the London Fashion & Textile Museum, February-May 2015. £600 - 1000

146 A Thea Porter embroidered, sequined and tie-dyed red gauze gown, 1971, Couture labelled and size 10, elaborately worked in gilt threads, over a magenta chiffon integral slip, empire line with full sleeves, bust 81cm, 32in

151 An Yves Saint Laurent ‘Russian’ collection ensemble, Autumn-Winter, 1976, Rive Gauche labels and sizes 36-38, comprising: wine taffeta ‘peasant’ blouse; purple taffeta skirt with wine belt and ruffles; and a braid trimmed black velvet waistcoat (3) £400 - 600

This gown was made as a bridal gown by Thea Porter for her good friend Jutta Laing in 1971. It is illustrated in ‘Thea Porter, Bohemian Chic’, by Laura McLaws Helms and Venetia Porter p90. It was included in the major retrospective exhibition of her work at the London Fashion & Textile Museum, 2015. £1000 - 1500

152 A Thea Porter black chiffon abayah or kaftan, late 1970s, Couture labelled, inset with patches of Chinese embroidery, orange and lemon slubbed silk, Indian brocades, with matching petticoat, red and black plaited cord belt, slip bust 92cm, 36in (3) £1800 - 1200

147

147 A good Thea Porter ‘gipsy’ dress, 1969-71, green and yellow woven label and size 10, of floral printed black and red voile trimmed with gold braid, bust 86cm, 34in, waist 66cm, 26in £1000 - 1500 148 An Ossie Clark/Celia Birtwell pale pink satin evening ensemble, circa 1973, labelled and size 10, with ‘Maison Marigold’ print in tangerine and grey, the lightly quilted jacket with sharp pink satin lapels, matching wide legged trousers, bust 86cm, 34in, waist 61cm, 24in (2)

Provenance: Celia Birtwell £600 - 900 149 A good Ossie Clark/Celia Birtwell printed silk chiffon dress, 1975, labelled and size 10, smock-style with frills to yoke, contrasting chiffon to centre front skirt, ties at bust, bust 97cm, 38in

146

The dress was purchased by the vendor in 1975 to wear as a bridesmaid’s dress for £120 - the equivalent of two months’ salary at the time. £700 - 1000

152 33

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153

156

153 An Yves Saint Laurent couture voluminous saffron-yellow silk faille evening coat, Autumn-Winter, 1983-84, narrow Paris label, with balloon sleeves, tie to neck and trained hem, stiffened muslin to shoulders

156 A Pierre Cardin couture futuristic purple wool dress, 1980s, with black patent leather circlet to waist through which is threaded the patent leather belt, bust 102cm, 40in £600 - 900

A similar coat is illustrated in L’Officiel’s ‘Yves Saint Laurent 1962-2002’. £4000 - 5000

157 An Ossie Clark/Celia Birtwell printed marocain gown, mid 1970s, Radley label and size 14, with black white and red interlocking tulip and foliate, striped patterns, bust 92-97cm, 26-38in £600 - 1000

154 A Chloé black jersey evening dress, 1983, labelled, with dramatic mirrored bands and arrow motif, bust 81cm, 32in, waist 71cm, 28in

An identical dress was photographed in Vogue, November 1983. £600 - 900

158 An Ossie Clark ‘Heavenly Twins’ black and red wool jersey dress, circa 1970, printed black on white satin label and size 12, with red band spiralling up the arm, ties to neck, wrap-around, midi length, bust approx 86-92cm, 34-36in £400 - 600

155 An Ossie Clark/Celia Birtwell printed moss crêpe gown, circa 1970, Radley labelled, with integral black jacket like bodice with peplum, unusual palm tree print to skirt, bust 86cm, 34in £350 - 550

154 34

159 A Giorgio Sant’ Angelo psychedelic printed scarf dress, circa 1970, labelled, the striped lycra jersey body with shredded printed chiffon trailing panels to the sleeves and skirt, bust 92cm, 36in £400 - 600

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160 detail

160 A Gianni Versace fitted black cocktail halterneck dress with moulded breast cups, late 1980s, Gianni Versace label, of stretch polyester crêpe, the press-stud-fastened Boadicea style composition breast cups in imitation of cast gilt metal, bust approx 86cm, 34in £3000 - 5000

165 A rare and early Stephen Jones hat, ‘Hanging Gardens of Babylon’ collection, 1981, labelled, of concertina pleated linen, the intentionally slashed crown inset with tufted braid, with a cascade of organdy blossom and tendrils to one side; together with a xerox picture of Stephen Jones and Princess Julia modelling the hat in the PX boutique basement (2)

161 An Yves Saint Laurent red wool ‘hunt’ maxi coat, late 1970s-early 1980s, Rive Gauche label and size 40, double-breasted with cast gilt fox head buttons, chest 102cm, 40in £350 - 500

With the backing of Steve Strange, Stephen Jones opened his first shop in the basement of the cutting edge boutique ‘PX’ in Endell Street, Covent Garden, in 1979. £500 - 800

160

166 A Hubert de Givenchy couture blue silk organza cocktail dress, 1984, labelled and numbered 69 690, woven with polka dots, the back with vertical tiers and large bow, with matching stole and optional skirt to transform into a full length gown, bust 86cm, 34in, waist 66cm, 26in (3) £450 - 600

162 An Yves Saint Laurent black sequined and satin evening ensemble, circa 1980, Rive Gauche labelled and size 36, comprising: black sequined ‘le smoking’ jacket with satin lapels; with short and long satin skirts; and a short sequined skirt, chest 92cm, 36in, waist 66cm, 26in (4) £400 - 600

167 A Willie Brown black and red ‘Constructivist’ ensemble, circa 1980, un-labelled, comprising: black and red cotton drill trapezoid dress with popper fastening; an Ally Capellino patent cardboard coolie hat; together with a black and red pinafore with hand-drawn windowpane checks, busts approx 86cm, 34in (3) £400 - 600

163 An Yves Saint Laurent purple taffeta and brocaded sari-silk evening gown, 1980s, Rive Gauche labelled and size 34, the lightly boned bodice with attached tulle petticoats, and brocaded skirt, bust 8186cm, 32-34in, waist 61cm, 24in (2) £300 - 500 164 An Ossie Clark printed crêpe dress, mid 1970s, Quorum label, size 10, with Celia Birtwell ‘Busy Lizzie’ print, bias-cut and figure hugging with drawstring to neck and key-hole opening to bodice, bust approx 86-92cm, 34-36in £400 - 600 165

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169 A Willie Brown ‘Recent Romantics’ collection painted black rayon dress, 1982, labelled, the painted design inspired by pigeon droppings and railings at Trafalgar square, with matching cummerbund, bust 86cm, 34in; and a xerox of the Visage album cover (3)

A similar rayon dress was worn by Vivienne Lynn, Willie’s muse, when she was photographed dancing with Steve Strange on the cover of the first ‘Visage’ album. Link to album cover: http://bit.ly/1HChKFn £400 - 600 170 A Willie Brown painted cotton drill ‘Russian Battleship’ dress, circa 1980, un-labelled, the collar embroidered with runes, with wide shoulders, narrow hem, painted and printed with portholes, rivets, with red neckerchief and black ties, of voluminous cut

A number of Willie Brown’s creations were exhibited in the Victoria & Albert Museum’s ‘Club to Catwalk’ exhibition July 2013 to February 2014. £500 - 800 168

171

168 A rare Westwood/McLaren ‘Sex Original’ black mohair and vinyl sweater, circa 1975, woven pink label, with studded vinyl collar, diagonal zip, vinyl lower sleeves with thumb covers, intentional holes to the lacy knit, bust approx 81cm, 32in

171 A rare Westwood/McLaren ‘Sex Original’ black mohair sweater, circa 1975, woven pink label, with studded vinyl collar, diagonal knit, intentional holes in the lacy knit, bust 81cm, 32in

Provenance: the artist and sculptor Andrew Logan

Jordan was photographed wearing a similar mohair sweater to promote the SEX shop, see lot 168 for details. £600 - 1000

Jordan was photographed wearing a short sleeved version of this sweater and this skirt for the notorious ‘SEX’ photoshoot taken by David Dagley for ‘Forum’ magazine in 1976. One of the photographs also shows Chrissie Hynde, Jordan and Vivienne Westwood baring their bottoms, with ‘S E X’ spelled out on them in red lipstick. Link to image: http://bit.ly/1O16dnH £600 - 1000

172 A Westwood/McLaren ‘Apache’ print tunic, Pirate collection, Autumn-Winter, 1981-82, World’s End labelled, of cotton jersey with gingham cotton underarms, bold graphic print to the back and green sprigs to the front £400 - 600 173 A Westwood/McLaren white cotton shirt and culottes, Pirate collection, AutumnWinter, 1981-82, World’s End labelled, the shirt with ties to neck, culottes with draw-string to waist; together with a pair of Apache-style print culottes (3) £500 - 800

168 label 36

170

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174

175

173 & 174

174 A rare Westwood/McLaren ivory felt hat, Pirate collection, Autumn-Winter, 1981-82, World’s End labelled, with red leather cockade, gilt thong and tassel, 33cm, 13in wide £1000 - 1500

176 A Martin Margiela ‘Semi Couture’ mannequin-shaped tunic, Autumn-Winter, 1997-98, with blank label and interior size 44 label, the hessian-like linen front panels stencilled ‘42’ with Paris patent marks and no 35059, hook and eye fastenings, bust 92cm, 36in £1500 - 2000

175 A Westwood/McLaren green ‘fleece’ jacket with Keith Haring print, Witches collection, Autumn-Winter, 1983-4, World’s End label, with velcro fastenings, angular sleeves, white rubberised tumbling devils print to the back, chest approx 117cm, 46in £700 - 1000

177 A Romeo Gigli for Callaghan cocoon coat, circa 1989, labelled and size 42, of wine and gold satin damask, woven with Belle Époque revival baskets of blooms, birds and swags, lined in grey faux fur £600 - 800 176 37

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JAPANESE FASHION - LOTS 178-220

179

178

178 back

178 A Yohji Yamamoto shibori-dyed dress, Spring-Summer, 1995, labelled and size S, the double-layered black open-weave bodice which is open at the back to reveal a skirt of printed coral pink and green textured silk, with elasticated waistband, with matching shibori printed bag with tied handle (2)

179 A Yohji Yamamoto crinkled and knotted cotton jersey ensemble, Spring-Summer, 1983 collection, labelled and size M, in shades of cream, comprising: nude stockinette dress, a cotton jersey combination trouser/dress the sleeves adorned with knots, large pouch-like pockets front and back, and a matching jacket (3) £1000 - 1500

For the 1995 Spring-Summer and AutumnWinter collections, Yamamoto delved back into his cultural heritage to produce a collection that was spiritually and technically Japanese and a celebration of the traditional kimono. He collaborated with celebrated artisans skilled in the production of these specialist fabrics. Despite the collection being expensive and made in small numbers the collection was a great success. Although Yamamoto often used Japanese references in his designs, this collection was the only time when both the shape and the fabrics were derived from the traditional kimono. £1500 - 2500

180 A Yohji Yamamoto black wool bustle ensemble, Autumn-Winter, 1995, labelled and size ‘S’, the single-breasted coat-dress cut long at the front, with two tails to the back partly concealing the ruched and puckered ‘bustle’ edge; complete with separate synthetic ‘horse hair’ double layered bustle petticoat, chest 86cm, 34in (2)

The following link shows the dress on the catwalk at 2m.26s. Rei Kawakubo can be seen sitting in the front row: http://bit.ly/1kFpEIO £800 - 1200 180

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181 A Yohji Yamamoto paisley wool and faux fur ensemble, Autumn-Winter, 2000, labelled and with woven Islamic script labels also, the orange and green jacquard weave skirt with ‘fur’ front panel, the jacket showing the reverse weave of the predominantly turquoise and red shawl fabric, with fur lapels and grey lycra sleeves (2) £500 - 900 182 A Yohji Yamamoto black cotton jersey suit, Spring-Summer 1991, labelled and size S, the bodice connected to the wide legged 3/4 length trousers by cage-like strips, with short scarf-like panel to one shoulder, and elongated plaited panel to the other which forms a drape at the neck £400 - 600

183. Comme des Garçons, Catalogue No 82, 5th November, 1983.

183 A Comme des Garçons ecru linen tunic and indigo over-dress, Autumn-Winter, 1983, labelled, the tunic with elasticated neck band, armhole, side panel, the indigo rayon toga-like over-dress with similar elasticated armholes and hood (2)

The dress is hand dyed using the ‘Yuzen’ technique which is traditionally used for dying kimono. Literature: ‘Comme des Garçons, Catalogue No 82, 5th November, 1983’ p9, photographed by Peter Lindbergh. £1000 - 1500 184 A Comme des Garçons black knitted top, Autumn-Winter, 1983, Tricot label, white on black woven label, of rectangular form, the back panel of plain-weave wool, the front of double layered stocking stitch with two large intentional slashes, with slits for arms and neck; together with a pair of black wide legged fine-knit trousers with ribbon label (2)

This knitted top was included in the Comme des Garçons Tricot catalogue, 15th July 1983, p6, photographed by Peter Lindbergh. £2000 - 3000 183

185 An early Comme des Garçons woven cotton dress, 1984, labelled, woven with large crosses front and back, with slit armholes, ruched and gathered bands to the diagonal neck opening and slit to rear of neck £500 - 800

184

184. Comme des Garçons Tricot catalogue, 15th July 1983. 39

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186

189 A Comme des Garçons printed wool coat, ‘Flat’ or ‘2D’ collection, Autumn-Winter, 2012, black and gold woven label and size XS, with top-stitched seams, angular hips, printed with painterly star shapes and squares in red and black, chest 107cm, 42in £1000 - 1500 186

186 A Comme des Garçons ‘Flat’ or ‘2D’ collection coat, Autumn-Winter, 2012, labelled and size XS, the midnight blue felted wool ground appliquéd with large royal blue abstract forms, with calico patch pockets to the inside and ties to neck

Although two-dimensional in construction and intention - when worn on the body the garment is surprisingly voluminous in contrast. Identical coats were exhibited in the Kyoto Costume Institute’s touring exhibition ‘Future Beauty’, both flat and mounted onto a mannequin. The coat also appeared in the Japanese catalogue to accompany the exhibition. £2000 - 3000 187 A Comme des Garçons African-inspired ensemble, Spring-Summer, 1992, labelled, the loose dress of nylon jersey and acetate with elliptical godets to the skirt and slashed openings at the elbow, worn under a yellow skinny-knit sweater, (2)

This collection was the first time Kawakubo used ethnic motifs for a whole collection. £400 - 600 40

188

188 A Comme des Garçons geodesic ensemble, Spring-Summer, 2009, labelled and size S, comprising black lizard effect leatherette spherical bodice formed from hexagonal patches with velcro fastenings and matching short leatherette skirt with jagged hemline (2)

Sarah Mower writing for style.com likened elements of this collection to ‘deconstructed footballs’. For a catwalk image of this model see: http://bit.ly/1iNtpdU £1000 - 1500

189

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190 A fine Rei Kawakubo/Comme des Garçons ‘Body Meets Dress’ or ‘Bump’ collection ensemble, Spring-Summer, 1997, black and gold label, comprising: stretch nylon pink and white gingham checked jacket with tulle lining and integral pillows, button closure; the matching skirt in turquoise check with irregular, undulating seams creating contours, dipping rear hem (2)

An identical padded gingham jacket was worn by Jodie Kidd on the catwalk show. It was also featured in Visionaire no 20, 1997, edited by Rei KAWAKUBO, photographed by Inez van Lamsweerde & Vinoodh Matadin. It is rare to find garments from this collection with such extreme, exaggerated ‘bumps’ complete with integral original pillows. The outrageous Punchinello proportions of this ensemble are redolent of the main catwalk looks, rather than the more watered-down versions made for general retail. £10000 - 15000

190 41

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191

192

193

191 A Comme des Garçons ‘Rising Sun’ dress with velvet tailcoat, Spring-Summer, 2007, woven black and gold label, size S, the white cotton dress with large printed red disc to rear of skirt, intersected by a thin horizontal black line, wrap around but no fastenings; the black velvet tailcoat with unfinished on show seam edges, broad belt, bust 86cm, 34in (2) £1500 - 2500

193 A Comme des Garçons ‘Rising Sun’ dress and jacket, Spring-Summer, 2007, labelled and size S, comprising cotton dress printed with large red discs to front-side and centreback with tulle inserts; the black chenille and wool brocatelle waistcoat with broad belt, applied with an inside-out tulle waistcoat with red flocked disc, revealing garment label, bust 86cm, 34in (2) £1500 - 2500

192 A Comme des Garçons painted black silk skirt and lace top, ‘Punk Chic’ collection, Autumn-Winter, 1991, Noir label, size S, the taffeta skirt painted in gold and pink, reminiscent of Japanese lacquer-work, with layered tulle and silk petticoat; the bodice formed from a lattice of silk ribbons, waist 56cm, 22in (3)

194 A Junya Watanabe/Comme des Garçons 'Japonism' bustle-backed dress, SpringSummer, 1996, labelled, of purple moss crêpe with complex criss-cross gored panels to the skirt front, open at the back with ties, the padded floral kimono-print underskirt also with rear ties, bust approx 85cm, 34in (2) £800 - 1200

The skirt was painted by a celebrated artist from Yuzen in Kyoto. The skirt has appeared in numerous CDG advertising campaigns and a painted dress from the same collection is part of the Musée Palais Galliera Collection. Literature: ‘Japonism in Fashion’ Akiko Fukai, The Kyoto Costume Institute, p182-183. ‘COMME des GARCONS Six No 8’, p10-11, 42-43, photographed by Brian Griffin. http://bit.ly/1L63G77 £600 - 900 42

194

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195

198

200

195 A Comme des Garçons red nylon ‘lingerie’ dress, ‘Beyond Taboo’ collection, AutumnWinter, 2001, ribbon label and size S, the négligée style wrap-over dress with large black elasticated ‘bra’ strap with hooks to fasten, bust approx 86cm, 34in £600 - 1000

198 A Junya Watanabe/Comme des Garçons tweed mohair transformation capelet/bag, 1999, labelled and size S, cut short at the front and long at the back dolman-style, with zips running over the shoulders £500 - 900

200 A Junya Watanabe/Comme des Garçons printed toile de jouy-style cotton pinafore dress with integral back-pack, SpringSummer, 2003, labelled in green and pink with country scenes, ruched and gathered webbing bands cause the skirt to drape, bust approx 86cm, 34in

On the catwalk the dress was worn with a large matching parachute shaped head-dress.

196 A Comme des Garçons chiné ribbon strip and silk faille dress, Spring-Summer, 1989, labelled and size M, the rose and gingham ribbon panels intersect the bias-cut dress

See ‘Future Beauty’ published by Merrell p202-3 for a full page illustration of the fabric and a catwalk image of a similar dress with backpack and matching headgear. £500 - 700

This model was used in a Comme des Garçons advertising campaign, see our website for image. £400 - 600 197 A Comme des Garçons reversible Japonism dress, ‘Flowering Clothes’ collection, Autumn-Winter, 1996, labelled and size S, one side navy voile woven with roses, the other white cotton with brown rubberised floral print, large scooped cut out to one side and trailing skirt, complete with safety pin for folding and pinning the skirt in place (2) £500 - 700

198 as bag

199 An early Comme des Garçons indigo-dyed cotton smock, Autumn-Winter, 1981, labelled, with pleated, smocked panels to the front and back yoke £800 - 1000

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201

201 An Issey Miyake Rhythm Pleats ‘Circle’ dress, Spring-Summer, 1990, labelled, with neck slit, broad sleeves, curved hem opening

201 back

Similar dresses are reproduced in ‘Japonism in Fashion’ exhibition catalogue, Akiko Fukai, The Kyoto Costume Institute, p158-159 £600 - 1000

203 An Issey Miyake ‘Hello Pleats’ dress, 1991, narrow Issey Miyake black on white label, in neon-yellow and mid-grey polyester, cut with curving opposing sleeves and skirt £400 - 600

202

202 An Issey Miyake black pleated polyester ‘Moonlight’ combination dress and mantle, 1990, labelled and size M, the hem of the tunic-like dress folding back and pulling over to form a shroud-like hood with large point and converging seams to the back, narrow sleeves

204 An Issey Miyake Rhythm Pleats curved polyester ensemble, Spring-Summer 1990, black on grey label, the midnight-blue and blue-grey bodice with curved and angular sleeves, together with black pleated trousers, size XS, S (2) £800 - 1200

This robe in white was photographed by Irving Penn. See our website for details. £700 - 1000

204 44

202

204

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205

205 An early Issey Miyake ‘Samurai’ ensemble 1983, brown on white woven label, the wool woven with zig-zags, stripes, trimmed with blue fringes, the loose blouson style top with cowled ‘New Romantic’ style collar, the trousers caught into cuffs at the ankles, waist 66cm, 26in (2) £1000 - 1500

207

206 An Issey Miyake origami-pleated ensemble in shades of grey, Autumn-Winter 2011, black on silver label, the oversized bodice with singular button-front, pleats forming central point to back, together with matching skirt, size 2, 3 (2) £600 - 1000 206

207 An Issey Miyake pleated Madame-Grès style ‘goddess’ gown, 2003, labelled and size 3, the black cotton jersey under-dress overlaid with multi-coloured pleated polyester panels which cascade down the back skirt, hooks to the front bodice for criss-cross lacing, bust approx 86-92cm, 34-36in £4000 - 6000 45

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208 An Issey Miyake Guest Artists Series No 2 ‘Erotic Girl’ dress by Nobuyoshi Araki, 1997, labelled and size F, of fluorescent green polyester printed with a photograph of a pensive Japanese beauty, bust approx 86-92cm, 34-36in; together with a copy of ‘Pleats Please’ Issey Miyake, published by Taschen (2)

210 An Issey Miyake/Cai Guo-Qiang printed ‘gunpowder’ dress’ dress, Guest Artist, Series 4, 1998, labelled and size 3, of pleated polyester with abstract gunpowder trail print to front and back, asymmetric neckline with points to shoulder and hem, bust approx 86-92cm, 34-36in

This renowned Chinese artist produces these designs by detonating gun-powder charges onto the Issey Miyake dress, leaving a residue of scorch marks and ash, reminiscent of traditional Chinese calligraphic ink drawings. In 1998 at the Fondation Cartier pour l’art Contemporain, Cai arranged Pleats Please dresses in the shape of a coiling dragon on the floor, sprinkled them with gunpowder and then detonated the charge. The resulting charred, scorched patterns on the clothes were then photographed and later printed onto Pleats Please dresses for commercial sale. A similar dress from this series sold in these rooms June 2015, lot 311 for £20,000. £6000 - 8000

Literature: See ‘Pleats Please’ Issey Miyake published by Taschen p294 for a double page photograph ‘Erotic Girl’ by Araki, showing a Japanese girl wearing an identical dress, chained to a wall. Also pages 314 and 315 for an interior exhibition shot at the Fondation Cartier showing again the ‘Erotic Girl’ photograph. £3000 - 5000

208

For this gown Miyake collaborated with photographer and video artist Yasumasa Morimura. For the printed design he made a collage of images of himself encased in red mesh entwining the neo-classical nude by Jean-Auguste-Dominique Ingres. Fashion and art interact to create layered impressions; the textured fabric, the printed images and the body of the wearer inhabiting it, all add their different dimensions. To Miyake, the wearer is an essential participant in the design process: ‘When I make something, it’s only half finished. When people use it - for years and years - then it is finished.’ £6000 - 8000

209

209 An Issey Miyake pleated polyester body suit with `Eye Globe’ design by Tim Hawkinson, Guest Artists Series No 3, 1998, Pleats Please label, size 3, the beige ground printed with eyes of different hues, low-set crotch, bust approx 86cm, 34in

Illustrated in ‘Pleats Please’ by Taschen, p309. £2000 - 3000 46

211 An Issey Miyake pleated dress with image by Yasumasa Morimura, Guest Artists Series, No 1, Autumn-Winter, 1996-97, Pleats Please labelled and size 4, with scooped neckline, one side printed with a statuesque female figure (excluding the head) from Ingres’ 1856 painting ‘La Source’, the skirt section with an inverted photographic image of Morimura encased in red net seemingly entwining and dissecting the figure, the reverse with the same images upside-down but including the female head, in original cellophane wrapper and long envelope; with two Pleats Please promotional cards (qty)

209 detail

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211

210

211 detail

210 detail

211 detail 47

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215 An Issey Miyake neon-pink pleated polyester tunic over jade-green shift dress, the design by Nobuyoshi Araki, Guest Artists Series No 2, 1997, Pleats Please label, the tunic pleated then printed with photographic print of a nude woman, which he described as his ‘Disappear’ process, size F (2)

Nobuyoshi Araki is renowned for his female nudes and bondage portraits that challenge the boundaries that separate pornography and eroticism. He said, ‘I left the selection of the photographs to Issey Miyake. I assumed he’d choose flowers but he chose totally edgy images, shocking me.’ £600 - 1000 216 An Issey Miyake ‘Figure 8’ pleated polyester dress, circa 1999, silver on white label, size 3, Pleats Please, printed with mathematical diagrams, the curved and pleated fabric falling in circular waves, forming the figure ‘8’ when laid flat £600 - 1000 217 An Issey Miyake ‘Flying Saucer’ dress, 1994, un-labelled, formed from concentric concertina pleated panels of polyester voile with slits for the arms 212

212 An Issey Miyake Guest Artists Series No 3 pleated polyester dress, the design by Tim Hawkinson, 1998, Pleats Please label, size F, printed to the front with a black trellis enclosing a stylised nude male figure in shades of grey, the back of silver pleated fabric, elongated hem length sleeves, bust approx 86-92cm, 34-36in £2500 - 3500

See 'Issey Miyake' by Taschen, photographed by Irving Penn p21 for an image of a similar dress in black with the collar pulled over the face. £400 - 600

See the back cover of ‘Issey Miyake’ by Taschen, 1995 for a photograph of this garment being worn. £400 - 600

For this collection Miyake collaborated with photographer and video artist Yasumasa Morimura. For an expanded footnote on the artist and design see lot 211. £700 - 1000

218 An Issey Miyake pleated polyester body suit with design by Tim Hawkinson, Guest Artists Series No 3, 1998, Pleats Please label, size 3, with highly detailed human figures down each side forming abstract patterns to the centre, bust approx 86cm, 34in £2000 - 3000 219 An Issey Miyake ‘Tidal Wave’ dress of pleated shot cinnamon/yellow polyester, 1993, labelled and size M, the pleats heat and pressure set

213 An Issey Miyake/Yasumasa Morimura pleated tunic, Guest Artists Series No 1, 1996, black on white label and size 3, printed with Ingres’ voluptuous nude taken from his 1856 painting ‘La Source’, encircled by a naked human figure, size 3

214 An Issey Miyake ‘Noh Coat’, 1995, labelled and size M, of corrugated polyester in shades of yellow and peach, with inset front pockets, the skirt cut wide and curved £400 - 600

218

220 An Issey Miyake knitted wool wrap-around top, Autumn-Winter, 1981, labelled ‘Issey Miyake by All Style Co’, in stocking stitch, rib stitch, with vertical and horizontal pleats, the front panel with wide arm-hole wraps around and forms a scarf at the back, together with an early 1980s blue knitted skirt (2) £400 - 600 218 detail

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224 A Valentino black velvet cocktail dress, 1990s, with beaded drop-waist with fringing, matching decoration to the cuffs, with belt; together with a Valentino couture sequined skirt and a Curiel sequined and beaded jacket and bodice, average bust 92cm, 36in, skirt waist 81cm, 32in (5) £500 - 900 225 A Gianni Versace black wool moss crêpe ‘bondage’ suit, Autumn-Winter 1992-3, ‘Couture’ label, the Medusa buttons inset with amber coloured stones, the printed silk cuffs further embellished with coloured rhinestones, embroidery and beads, gilt buckles to the jacket sides, matching skirt, bust 86cm, 34in, waist 71cm, 28in (2) £500 - 900 226 An Oscar de la Renta fox fur coat, labelled, chest approx 96cm, 38in £600 - 1000 221

221 A rare Maison Martin Margiela medical bandage covered jacket, Autumn-Winter, 2005 collection, ‘O’ Artisanal label, size S, the brown tweed jacket entirely overlaid with intersecting patchworked bandages in shades of taupe and pink and decorated with elasticated closures, chest 92-97cm, 36-38in £2000 - 3000 222 A rare Maison Martin Margiela medical bandage dress, Autumn-Winter, 2005 collection, ‘O’ Artisanal label and size M, formed from a patchwork of elasticated bandages in white, beige and pink, bust approx 86-92cm, 34-36in £3000 - 5000 222

223 A Rodarte scorched fabric patchwork dress, Spring-Summer, 2010, labelled and size 4, the nude tulle ground applied with scorched, tie-dyed, plaited and twisted panels of fabric, with lace insertions adorned with sequins, bust approx 81cm, 32in £1500 - 2500

227 A Gianni Versace black wool moss crêpe top-stitched suit, Autumn-Winter 1992-3, ‘Couture’ label, with short jacket, ra-ra skirt, adorned with gilt metal Medusa head tabs, bust 86cm, 34in, waist 71cm, 28in; together with a black stretch gros-grain lycra cocktail dress with leather straps, ‘Couture’ labelled, bust 86cm, 34in (3) £400 - 600 223 49

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231 A Gianni Versace be-jewelled midnight-blue wool evening suit, Autumn-Winter 1991-2, ‘Couture’ label, the jacket with wide scooped neckline, the gold lace collar covered with sapphire colour beads and stones, with gold lace inserts to cuffs, adorned with blue and pink lacing and bows, narrow skirt, bust 97cm, 38in, waist 74cm, 29in (2) £500 - 900

228

228 A Valentino Garavani scarlet chiffon evening gown, Spring-Summer 2007, labelled and size 6, with knotted, criss-cross chiffon straps and trailing panels, bust 81cm, 32in

233

233 An Yves Saint Laurent couture brown tulle sheath, Spring-Summer 2001, labelled and numbered 073169, with spiralling pleats of tulle encircling the body, an explosion of light brown tulle to the hem, with large mauve silk rose, integral corset, olive green ribbon waist belt, bust 86-92cm, 34-36in, waist 71cm, 28in (2)

This model is shown in the Valentino Garavani Virtual Museum. £700 - 1000 229 Jerry Hall’s leopard print Thierry Mugler suit, 1990s, labelled, the long, hip hugging jacket with curved neckline, fastened by fabric rose, short skirt, chest 92cm, 36in, waist 81cm, 32in (2)

Provenance: Sold by KTA 10.6.2008, lot 125, the Jerry Hall collection. £400 - 600 230 A Gianni Versace pink moiré evening jacket, Autumn-Winter 1991-2, ‘Couture’ label, trimmed in gold braid and appliquéd with seashell print strapwork edged in gold sequins, bust 97cm, 38in; together with a white draped jersey ‘Goddess’ style cocktail dress, ‘Couture’ label, with Medusa head clasps, bust 86cm, 34in (2) £400 - 600

232

232 A Valentino Garavani beaded and tulle appliquéd cocktail dress, Spring-Summer 2008, labelled and size 6, the ivory tulle ground covered with a mosaic of seed beads, white sequins and small panels of raw-edged organza, the neck and hem outlined with organza wrapped crystal droplets, the shoulders with layered white organza discs, bust 86cm, 34in £700 - 1000

This dress was exhibited in ‘Yves Saint Laurent’ at the de Young Museum in San Francisco in 2009. A sketch of this design is reproduced in ‘Yves Saint Laurent Style’, which accompanied the exhibition, p206. It was look 84 on the catwalk and was modelled by Alek Wek. £2000 - 3000 234 Three Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 3, 2 and 10, gouache and ink, showing a white trouser ensemble with twist to midriff; a cocktail dress with shoulder drape and cap; and a long silver evening coat, 46 by 30cm (3) £1000 - 1500

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235

237

235 An Alexander McQueen oyster pink jersey ‘Goddess’ gown, ‘Pantheon as Lecum’ collection, Autumn-Winter 2004-5, look no 34, labelled and size 40, the broad feather collar adorned with cabochon topaz coloured stones and mother of pearl discs, with Vionnet inspired knotted drape to the front, bust approx 86-92cm, 34-36in £4000 - 6000

237 An Alexander McQueen midnight-blue organza sheath with jewelled collar, ‘Pantheon as Lecum’ collection, AutumnWinter 2004-5, look no 45, labelled and size 38, strap-less with floating ‘sack’ back, the silver-grey satin collar entirely covered in cabochon pink and clear stones, raisedwork silver beading, bust 86cm, 34in (2) £3000 - 5000

236 An Alexander McQueen fashion sketch for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, SpringSummer, 1997, un-signed, no 34, gouache and ink, showing a transparent cocoon shaped cape scattered with silk butterflies, 46 by 30cm £600 - 800

238 Three Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 20, 27 and 38, gouache and ink, showing two white cocktail dresses, one with balloon sleeves, the other of patchwork mosaic with tie; the third a figure hugging sheath, 46 by 30cm (3) £800 - 1200 236 51

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239

240

239 An Alexander McQueen sequined jacket and leather skirt, ‘Joan’ collection, AutumnWinter, 1998, black and gold woven label, size 42, the polyester organdy jacket covered in sequins with photographic print of the murdered Romanov princesses, zip fastened, bust 92cm, 36in; the soft black leather skirt buttoning from waist to hem and lined in scarlet McQueen damask, waist 71cm, 28in (2) £3500 - 5000

240 An Alexander McQueen printed ‘Blind Colony’ dress, ‘Dante’ collection, AutumnWinter, 1996-7, woven gold and black label, size S, of cotton jersey, cut Chinese cheongsam-style with diagonal bodice opening and side slits to the skirt, bust 81cm, 32in

For his ‘Dante’ collection McQueen selected various photographic references to reproduce on his clothes including this 19th century beggar colony as well as Vietnam war photographs by Don McCullin, which later had to be withdrawn because he had not sought permission. £4000 - 6000

239 detail 52

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241

244

241 An Alexander McQueen floral printed organza cocktail dress with matching leather corset, ‘Natural Distinction, Unnatural Selection’ collection, Spring-Summer, 2009, labelled and size 42, the strapless dress with integral boned bodice, the silk printed with grasses, butterflies and wild flowers, the skirt falling in polonaised drapes, the laser-cut corsetbelt with floral trails and top-stitched seams, shaped to emphasise the curve of the waist, bust approx 86-92cm, 34-36in; together with a look book for this collection (3) £3500 - 5000 242 Three Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 7, 17 and 19, gouache and ink, showing three white cocktail dresses, one of chainmail under a trained tailored coat; one with twisted asymmetric strap, the other with long shoulder sash, 46 by 30cm (3) £1000 - 1500

244 An Alexander McQueen ‘Plato’s Atlantis’ collection snakeskin printed organza dress, Spring-Summer, 2010, grey label and size 40, with python-like photo-collage print in brilliant colours, internal flesh coloured boned corset-like bodice, with original shop tag, bust approx 81cm, 32in

This was look no 4 on the catwalk for the S/S 2010 collection.

243

243 An Alexander McQueen fashion sketch for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, SpringSummer, 1997, un-signed, no 43, gouache and ink, showing a gold embroidered tailcoat with high Incroyable style collar worn over breeches, 46 by 30cm £600 - 1000

McQueen said of this collection that it predicted a future in which ‘the ice cap would melt...the waters would rise and ...life on Earth would have to evolve in order to live beneath the sea once more or perish... Humanity (would) go back to the place from whence it came’. ‘There is no way back for me now. I am going to take you on journeys you’ve never dreamed were possible’. Literature: Metropolitan Museum ‘Savage Beauty’, p184-195. This model was chosen for both the Metropolitan Museum and the Victoria & Albert Museum retrospective exhibitions. £6000 - 8000

END OF SALE 53

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Available on Amazon and in all good bookshops. Signed copies can be purchased at the saleroom.

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2016 SALES CALENDAR We are now accepting entries for our 2016 auctions 23rd February 21st June 11th October 13th December *Dates to be confirmed, please check our website before arranging travel

Detail of lot 26

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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

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. Property sold with a ∆ symbol. These items require a CITES licence to export outside of the EU. These cost £59 each and we are happy to assist our clients with applications. Payment Payment is due immediately after the sale in Pounds Sterling and may be made by Banker’s draft, Cashier’s cheque, Personal cheque, Wire transfer, Credit cards, Debit cards, Cash and Traveller’s cheques. Payments should be made to Kerry Taylor Auctions. Cash payments will not be accepted above £6,000 or $10,000. Payments in person can be made in the saleroom on the day of the sale, after this payments must be made by post, credit, debit card or wire transfer

Credit Cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and UK Mastercard 3.1%; AMEX 1.78%; EU Mastercard 3.1%; International Mastercard 3.6%. For payments over £20,000 the cardholder must be present. There is no charge for using Debit cards. Please note it may be advisable to notify your credit card provider of your intended purchase in advance, to reduce delays caused by us having to seek authority when you come to pay. Payment by Cheque If payment is to be made by cheque and the cheque exceeds the cheque card guarantee limit, then goods can only be collected on the day of the sale if the buyer is known to us, or if accompanied by a letter from your bank to guarantee your cheque. Cheques often take as long as eight days to clear. We reserve the right to hold goods until a cheque is cleared. Electronic & Wire Transfers Wire transfers can be made to Bank of Scotland 59 Bath Street, Glasgow, G2 2DH Sort code: 12-24-81 Account number: 10040762 Account name: Kerry Taylor Auctions Limited Iban: GB28BOFS12248110040762 SWIFT: BOFSGBS1BBL If paying by bank transfer the amount received after either the deduction of bank fees or for the conversion to pounds sterling, must not be less than the sterling amount payable on the invoice.

Bidding in Person To bid with us you must register to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity and you may be given a paddle number. All lots sold will be invoiced to the name and address in which the paddle has been registered and may not be transferred to other names and addresses. If you instruct an agent to bid on your behalf you will need to provide a letter of authority and they will also need to provide proof of identity. Kerry Taylor Auctions reserves the right to refuse. Please hand back the paddle after use. Commission bids Commission bids are confidential and will be executed at no extra charge. Kerry Taylor Auctions endeavours to purchase lots as cheaply as possible, allowing for other bids and the reserves. Absentee bidding forms can be found at the back of the catalogue and should be completed and faxed at the number shown at the front of the catalogue. Please do not post in commission bid slips. It is in your interests to return your form as soon as possible as if two or more bidders submit identical bids for a lot, the first bid received takes preference. All bids should be received at least 24 hours before the start of the sale. It is your responsibility to check with us that your bid has been received. If you have never bid with Kerry Taylor Auctions before (even though you may be a past Sotheby’s client) you must also provide proof of identity. Failure to do this may result in your bids not being processed. Successful commission bidders will be notified by email immediately after the sale or you can phone us. Full payment must be sent to the Auctioneers.

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

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VEnuE, sToraGE, CoLLECTion anD shiPPinG LoGisTiCs

on receipt of cleared funds, lots can be collected (see map above) during the auction or immediately after its completion. Lots will be available to collect between the hours of 9.30am - 5pm. after a period of 14 days following the auction, uncollected lots will additionally incur a storage charge of £3.50 per lot per week (or part thereof) and storage insurance at a rate of 1% of the purchase price per lot per week (or part thereof). Purchases can be collected in person from Kerry Taylor’s premises or by the buyer’s authorised agent or shipper. 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)7780 808173 email: info@godspeedcouriers.co.uk

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www.kerrytaylorauctions.com

Jamm Design Ltd

Published on Nov 12, 2015

Kerry Taylor Auctions

Passion for Fashion | Tuesday 8th December 2015

Kerry Taylor Auctions

Published on Nov 12, 2015

Passion for Fashion | Tuesday 8th December 2015

jammdesign

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