There are 110054 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Junya Watanabe/Comme des Garçons tweed wool ensemble, Autumn-Winter, 1995-96, labelled, comprising: skirt with draped bustle effect; a bodice with angular sleeves, Givenchy-style front waist vents, waistcoat with faux fur collar and zip fastening, both with slash-effect vents over the rear shoulders, bust approx 81-86cm, 32-34in, waist 71cm, 28in (3)
A Comme des Garçons navy and white checked wool ensemble, Autumn-Winter, 1986-87, labelled and size M, the double breasted jacket with asymmetric basque, padded shoulder, the matching skirt cut short at the back and long at the front with asymmetric polonaise panel which can be buttoned at the rear; together with a knitted black under-dress which peeps out at the back hem, bust 86-92cm, 34-36in (3)For a similar model in grey see KTA lot 299 14.6.2016 and also 'Breaking the Mode' by LACMA p57. CONDITION REPORT: Good condition, looks unworn
A Yohji Yamamoto logo-patterned 'Parody' ensemble, Autumn Winter 2007-8, labelled, comprising: black and tan knitted sweater dress with YY and Vuitton-esque style logo repeats; and black tailcoat with rear pockets, broad leather breast strap embossed with logos and patterns, bust 86-92cm, 34-36in (2)In this collection Yamamoto seemed to be gently mocking the obsession with trademark logos by Louis Vuitton and others.
An Alexander McQueen butterfly-wing print chiffon dress, 'Plato's Atlantis' pre-collection, Spring-Summer, 2010, grey label and size 42, the chiffon draped and gathered with raw edge to strapless bodice, interior corset, bust approx 92cm, 36in, waist 66cm, 26inA variation of this print is shown in runway looks 5-7. CONDITION REPORT: Good. Buttons along interior bodice edge indicate something is missing which would have been attached.
An Alexander McQueen vertebrae/crystal print cocktail dress, 'Natural Distinction, Un-Natural Selection' collection, Spring-Summer, 2009, labelled and size 42, with digital print in shades of grey, with nude transparent side panels, original shop tags, bust 92cm, 36inThis was look 28 on the catwalk. CONDITION REPORT: Good condition, unworn
An Alexander McQueen black crêpe georgette and leather banded cocktail dress, Spring pre-collection, 2004, labelled and size 40, with integral corset, leather criss-cross bands traversing the dress overall, bust 86-92cm, 32-34inThis dress bears similarities to the gold dress look no 3, in AW 2003.
An Alexander McQueen printed organza evening gown, 'Sarabande' collection, Spring-Summer, 2007, narrow grey woven label and size 42, also with shop tags, the princess-line strapless boned bodice above a tiered, trained skirt which cascades from the hips, the charcoal-grey ground printed in ivory with delicate floral fronds and peacocks perching on branches, bust approx 86cm, 34in This was runway look no 10. CONDITION REPORT: Good condition. Shop security tag is still attached to lower tier of skirt.
An unusual commemorative child's dress, 1863, of burgundy velvet with ivory satin piping, mother of pearl buttons, and taffeta waist sash, the tails printed with the Prince of Wales plumes, 'Ich Dien' and 'Albert and Alexandra', bust 61cm, 21inThe Prince of Wales, Albert Edward, married Danish Princess Alexandra on the 10th March 1863 at St George's Chapel, Windsor. He was 21, and she 18. Their marriage was popular and promoted in the British press as a love match. Presumably this dress was made to wear at a celebratory party. CONDITION REPORT: A few marks in the bodice velvet, ivory satin waist sash is damp stained and discoloured
An Alexander McQueen 'Hieronymus Bosch' weave dress, 'Angels & Demons' collection, Autumn-Winter, 2010-11, labelled and size 38, with inner black silk chemise corset, the exterior of jacquard woven silk, the design taken from elements of three paintings by Hieronymus Bosch, within panels of black silk with intricate gold sequined traceries, with cartridge pleated satin skirt, bust 86cm, 34in; with original shop tag and bag of extra sequins (2)This very strong design statement from McQueen's last collection reflects his interest in the macabre and his love of Old Master paintings.'I relate to that cold, austere asceticism of the Flemish masters, and I also love the macabre thing you see in Tudor and Jacobean portraiture' (Savage Beauty, Metropolitan Museum catalogue, and full page illustration, pp92,93)In an interview with his mother in 2004, McQueen declared, that his favourite artworks were those of 15th century Flemish and Dutch painters, 'because of the colours, because of the sympathetic way they approached life...I think they were very modern for their times'.Decorative print elements for this dress were carefully chosen from three of Hieronymus Bosch's paintings - all depicting monstrous scenes from hell. Great care was taken to select and merge motifs from different Bosch paintings on the main front bodice panel. The iconography taken from the paintings are as follows - 'The Garden of Heavenly Delights' (c.1500) with a large pink bagpipe (using music as a form of punishment) the motif humorously located on the lower back panel above the skirt, as well as a bird swallowing a man on the front bodice; 'The Temptation of St Anthony' (c.1501) - a fish dressed as a cardinal used on the front bodice; and a woman peeping from a tree (lower front panel above skirt); 'The Last Judgement' (c.1482 or later) - a speared egg on legs, a body slithering with snakes and a dragon peering into a barrel with a cowering figure barrel - all used on the main back panel.The black scale-effect sequined tracery is redolent of Renaissance embossed velvet patterns, the rich gold leaf of illuminated manuscripts or the gold threads used in finely worked orphrey panels.It is only upon close inspection that it is noticed that the dress whilst undeniably beautiful, incorporates individual design elements intended to caution and admonish potential sinners. This model is also illustrated full page in 'Alexander McQueen' V&A publications, p164.This was look no 2 in the show. CONDITION REPORT: Good condition, looks unworn, slight fraying to fabric to zip closure in one small place (minor)
Princess Margaret's Horrockses Fashions printed cotton summer dress, 1967, with 'By Royal Appointment' label, comprising: short strapless sundress with boned bodice and matching button-backed overbodice with bow to neck, bust 86cm, 34in, waist 61cm, 24in; together with a newspaper clipping and a Daily Mail supplement showing the Princess wearing the ensemble with Lord Snowdon on a visit to the Bahamas in 1967 (4)Provenance: Between 1990 and 2001 the vendor's father was head gardener at Alanbay Park when it was owned by The Hon Mrs Jean Wills (née Bowes-Lyon) and Major John Wills (of Wills tobacco fame). Mrs Wills was first cousin to HM the Queen and a Lady in Waiting to HRH Princess Margaret and they regularly played host to the royal family. This dress was included in a bundle of old clothes belonging to Princess Margaret that Mrs Wills had been asked to sort through and either to donate to charity or burn. The vendor's mother picked out this particular dress thinking her daughter (who would have been a teenager at the time) might like it. Suffice to say the young girl declared she 'wouldn't be seen dead in it' and it has remained in a drawer wrapped in tissue paper ever since. CONDITION REPORT: Good condition, no problems
Princess Diana's Catherine Walker slubbed turquoise silk ensemble worn for a Royal tour of New Zealand, April 1983, bearing woven label, comprising: dress with vertical pleats to front and back bodice, elbow length sleeves, gently gathered skirt; with matching long sleeved jacket, bust 92cm, 36in, waist 66cm, 26in (2) Princess Diana wore this ensemble on the 36th day of the Royal Tour of Australia and New Zealand, April 24, 1983. She visited the Te Poho-o-Rawiri Marae Meeting House, Gisborne, North Island, where she was given a traditional Hongi welcome by the local Maori dignitaries. Princess Diana was photographed wearing this ensemble rubbing noses (the traditional Maori greeting). Provenance: Purchased by the vendor from a dress agency in Hampshire in the 1980s. At the time she was told in confidence by the shop keeper that the clothes had been consigned by a relation of Sarah Ferguson, Duchess of York. See KTA lot 208, 14.6.2016, for Princess Diana's Emanuel tartan wool ensemble which came from the same shop. Mr Said Cyrus of Catherine Walker recalls making similar ensembles but only one exactly in this style - exclusively for the Princess. CONDITION REPORT: Dress: perspiration stains at the underarms. Brown droplet stains down the front of the skirt and approx. 6 brown stains scattered mainly over the front skirt. Hem has been raised by 5cm. Jacket: the sleeves have been taken in and frilled cuff removed by the vendor. Overview: fair-poor condition, it may be possible to reverse the sleeve alteration on the jacket.
Princess Diana's Caroline Charles printed tartan wool day dress, worn to the Braemar Highland Games, September 4th, 1982, labelled Caroline Charles, with black cord outlined yoke front and back, black buttons and cord loops to fasten, ivory grosgrain collar and cuffs, separate tie belt, bust 86cm, 34in, waist 66cm, 26in; together with a Telegraph magazine which includes a photograph of the Princess wearing this dress, accessorised by a dark green Argyll cap, accompanied by Prince Charles and HM The Queen, who seemed to be clearly enjoying the occasion (3)Provenance: Purchased by the vendor from a dress agency in Hampshire in the 1980s. She was told in confidence by the shop keeper that the clothes had been consigned by a relation of Sarah Ferguson, Duchess of York. See KTA lot 208, 14.6.2016, for Princess Diana's Emanuel tartan wool ensemble which came from the same shop.Caroline Charles, the designer of the dress, has confirmed that only one dress of this style was made - exclusively for the Princess. CONDITION REPORT: Collar and cuff have faint stains. Approx. 6 small moth holes on front of skirt, two 1cm moth holes to left front side of skirt near hem, a few pinhead moth holes to shoulder area, 1x2cm hole rear right of skirt. Hem has come down and needs re-stitching. Lining has perspiration stains at underarms and slightly at side waist. Discolouration at hem edge. Tie belt has a couple of small patches of peppered moth holes. Overview: generally good, some moth damage but not easily visible.
Princess Diana's Bruce Oldfield crushed purple velvet evening gown, worn for an official visit to Portugal, February 11th, 1987, Custom Made label, the wide, off the shoulder neckline outlined by a band of horizontal pleats, with slim inner skirt and trained over-skirt with draped side panels, with original coat hanger and Christie's lot ticket, bust 86cm, 34in, waist 71cm, 28in (3)Princess Diana wore this gown when she and Prince Charles attended a dinner given by Portuguese president Mario Soares at the Ajuda Palace, Lisbon. On this occasion she chose to wear it with the dazzling Spencer family tiara, which she had previously worn on her wedding day. The Princess sat for an official portrait wearing this gown by the photographer Terence Donovan.Provenance: 'Dresses from the Collection of Diana Princess of Wales' auction, original Christies, 25th June, 1997, lot 74. After purchase this dress was never worn or tried on and is in the same pristine state as when last worn by the Princess. CONDITION REPORT: Good condition, no problems. Princess Diana was the last person to wear this as vendor who purchased it at Christies auction handled it with great respect.
A green satin and whitework ensemble, circa 1820, the spencer bodice in two shades of green satin, with puffed mancherons, trimmed in blonde silk lace, with matching waist belt, reticule with cut steel button closure and chain; pumps labelled 'Rimmevaux, Rue de la Ferme des Mathurins, Paris'; assorted satin bows and a band (possibly for a cap); the muslin skirt with deep bands of whitework and ruffled bands to hem, bust 81cm, 32in, high waist 74cm, 29in (qty)A similar spencer and muslin skirt ensemble is illustrated in 'Costume Parisien', dated 1817. CONDITION REPORT: ·Bodice: satin is clean and fresh in appearance. 3 faint yellow discolourations in satin above left cuff area. Small yellow stain to bound edge of mancheron. Faint perspiration stains at underarms showing inside, barely visible outside due to mancherons and they are faint anyway. Sleeves may have been narrowed at some point but seams are all hand-sewn. Very faint discolourations on right sleeve above cuff area also but very hard to see and impossible to photograph from the outside, but visible on the inside. Blonde edging lace I feel is later added as more typical of 1850s. ·Belt: good condition, no problems·Fichu: initialled in fine cross-stitch 'AB'. Overall good condition. A couple of finely done, small darned repairs. 12cm panel of near matching embroidered edging has been introduced. Embroidered edge has 2 breaks, 2cm and 1cm, and the occasional hole.·Purse: good condition, very fresh, no problems. ·3 dark green miscellaneous bows: good condition·1 bright green bow attached to satin band: good condition·Muslin skirt: holes in a line at upper drawstring waist where waistband was altered (minor). Overall clean, white, nicely starched. 3 darned repairs in plain muslin to centre back of skirt. ·Shoes: both have signs of having been lightly used. Ribbons are frayed at edges. Left shoe - ribbon binding at upper inside edge near heel has separated from the satin approx. 1cm (minor).
A Charles Frederick Worth visiting dress, circa 1875, the jacket-like bodice with ivory waist stay printed in gold 'Worth, 7 Rue de la Paix, Paris', of puce silk faille trimmed with pale blue silk with gold satin stripes, the lapel bands and cuffs inset with ivory lace, the sleeves with slash-effects at the cuffs revealing striped silk, the rear basque tails with off-centre bow and ribbons; the skirt with draped striped ribbon bands, with rich tasselled gold passementerie to the puce side panel, the exposed inner skirt of tiered pleats of striped silk, bust 92cm, 36in, waist 69cm, 27in (2)Provenance: From the collection of Rosina Rossellini. CONDITION REPORT: The fabric is in remarkably fresh condition. Slight wear to silk lining on inside rear collar. The basque bodice is fastened by a replaced hook and eye - there would have been something more substantial originally in terms of a fastening. I suspect there was a corseted under-bodice perhaps with a lace infill that would have been shown at the front. I think the waiststay would have been attached to that originally? Skirt with wear to narrow satin waistband edge and at closure area. The waistband and corresponding rear pleats area have been let out to widen. Slight moth damage to inside hem dust ruffle. Passementerie, fringing and pleats are all good.
A rare Paul Poiret ensemble for his famous One Thousand and Second Night party, 10th January 1914, large woven Poiret label, the back annotated in ink '45.278 - Mme Barachin Germaine, Robe de la Reine de Perse', comprising: fuchsia velvet harem pants with attached nude organza bodice richly overlaid with bands of Russian silver bobbin lace, with pearl beaded ankle bands; worn under a cloth of silver tunic with long trained hem, raised fuchsia velvet botehs embroidered in silver thread and seed pearls to the chest closure, entirely edged in large pearl beads; the elaborate conical cloth of gold headdress adorned with emerald and sapphire 'jewelled' medallions, with wing-shaped wired silver lace side panels and earring-like pearl droplets to each side, topped by ostrich plumes, bust 86cm, 34in (3)In his memoir 'King of Fashion' 1931 pp98-99, Poiret wrote 'It was on returning from a Bal des Quat'Z'Arts, in the month of May 1911, I think, that I decide to give, in my salons and gardens in Paris, an unforgettable fête, that I called 'The Thousand and Second Night''. He was aided and abetted by his close friend Raoul Dufy.Poiret described how, on the night, his guests had their costumes vetted and if they had arrived in evening dress or fancy dress that bore no relation to his Persian theme they were requested to go upstairs and change into costumes that he had thoughtfully provided, but if they refused then they were asked to leave.Mademoiselle Barachin obviously wanted to look her best and commissioned Monsieur Poiret himself to make her costume. She was rewarded by being dressed by the couturier as 'the Queen of Persia', which was surely a great compliment. His own beautiful wife, Madame Denise Poiret, was dressed as the 'Queen of the Harem'. She was ensconced in a large gilded cage surrounded by her 'ladies of honour'. His guests were treated to a lavish party such as had never been seen before with orchestras, dancers, exotic food, the trees covered with' luminous fruit', exotic birds and monkeys, who all escaped in the dawn over the roof tops of Paris.Poiret himself, was dressed as the Sultan of course. He described how at the beginning of the evening, when all of his 300 guests (composed of artists and 'sensitive amateurs') were assembled, he opened the gate to the cage to restore his 'favourite's freedom'...'She flew out like a bird and I in pursuit of her, cracking my useless whip. She was lost in the crowd.. Did we know, on that evening that we were rehearsing the drama of our lives?'.Poiret sadly recalled, 'These fêtes, in which I gathered together all my friends, did me a great deal of harm among my enemies, and raised against me those who had not the good fortune to be admitted to them.'This opulent party was seen in retrospect as a last great 'hurrah' before World War I was declared later in June that year. Poiret's business post war, with his love of excess, orientalism and fantasy was never to fully recover in a world irrevocably changed by war.Provenance: Elisabeth Barrachin, the elegant daughter of a rich industrialist (Pierre Barrachin), who became the Marquise de Ségur upon her marriage in 1925 to Philippe, Count de Ségur-Lamoigon. CONDITION REPORT: Harem pants ensemble - the nude organza bodice has been repaired and in places re-backed. The lace and velvet areas are good. Jerkin - silver lame is lustrous, pearl beads along hem have been replaced with near identical examples, fabric is frayed and worn around the closure. Hat - good condition, slight wear to lining. Feathers have been replaced with identical plumes
A Molyneux couture silver lace and lamé cocktail dress, circa 1927, with large printed label 'Modèle Molyneux, 5 Rue Royale, made in France', numbered 9695, with broad gold bobbin lace band to waist, bust 86cm, 34in CONDITION REPORT: First impression is good. Some tarnishing to cloqué lamé on bodice but overall the lame and silver lace are still glossy. Perspiration stains at underarms of lace bodice and stitched repairs/conservation here also. Tapering panels of similar silver lace have been inserted on each side of the bodice although it looks to have been done at the time as the lace is near identical. Faint perspiration stains to interior of lame bodice which are not visible to the exterior and minor. Small hole to lame at rear right bodice near waist, tarnishing here also. Otherwise good condition.
A rare and early Gabrielle Chanel black satin coat, circa 1918-20, with narrow yellow on black woven Paris label, bolduc no 4281 stamped in turquoise ink, slightly barrel-shaped with deep fur collar to frame the face, broad fur hem band and cuff edgings, single hook to fasten at the collar, lined in tan silk, with internal patch pocket, of loose cut, chest 122cm, 42in Provenance: The coat was left in a sack outside a charity shop as a donation and is being sold in aid of the 'Break' charity. CONDITION REPORT: Exterior of the coat is generally good. Tiny burn hole in front closure panel. Fur is slightly matted but generally good, fur at cuff edges is rubbed. A seam needs restitching at rear neck. Exterior satin is generally good. Faint perspiration stains at underarms. Although the chest has a wide measurement to add volume, it fits a 34in bust mannequin really well. Lining is very soiled and generally poor, patched repairs and splits at underarms.
A Chanel couture beaded beige chiffon flapper dress, 1926-8, un-labelled, adorned with pewter-grey and gold bugle beaded zig-zag bands, the skirt falling in two tiers with irregular frond-like edgings, bust 81cm, 32in For an identical model see KTA 10.07.2007, lot 103 which sold for £25,000. For a black chiffon dress altered into a cape with similar beadwork pattern see KTA 26.06.2012, lot 76, which sold for £6,200, CONDITION REPORT: Poor condition, dress has been taken in at the sides and the slip has bust darts added to reduce the width also. Central and lower sections of slip have been added to lengthen. A presstud closure has been added to the right-hand side of the dress. Holes near armhole areas, small hole centre back below neck edging. Beadwork is fragile and needs re-backing but a good study document.
A Callot Soeurs couture orange silk and metallic lamé bias-cut evening gown, 1929, indistinctly dated on remains of ivory ribbon label, the skirt falling in handkerchief pleats, bust approx 97cm, 38in CONDITION REPORT: Dress is good condition, fabric is fresh and strongly coloured. Label is disintegrating and needs conservation. Two front skirt seams need re-stitching, the longest approx. 12cm (minor).
A black and white satin bias cut evening gown, mid 1930s, with Callot Soeurs turquoise on white narrow label, 'Made in France, Nouvelle Marque Deposé', the angular sleeves formed from pleats of satin, white satin insertions to the bodice which converge at the back skirt to form two floating panels, bust approx 86cm, 34in CONDITION REPORT: Bodice has been taken in at centre-front seam. Rear trained hem edge has been shortened. Label is machine-stitched in place and may not be original - seams are not hand locked but cut with pinking shears
An early Jeanne Lanvin couture grey-green satin afternoon dress, 1913, with narrow yellow on ivory label to the broad waist stay, with rouleaux band defining the raised waistline, the sleeves, neck edging and side panels of paisley printed and woven kashmir wool densely over-embroidered in coloured silks and metal threads and couched silk cords, silver thread covered bauble buttons, embroidered and lead weighted hem, bust 86cm, 34inFor a very similar embroidery technique see 'Lanvin' by Rizzoli pp80-81 for a blue velvet tunic 'Saxe' of 1913. However, that garment has been shortened, unlike this one. The same dress is again reproduced in 'Lanvin' by Palais Galliera p41.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Exterior is good condition, the inner silk camisole has bad perspiration staining but the sleeves and dress exterior are good. There is the faintest perspiration ring on the sleeves which is hard to detect. Some of the camisole seams have been unpicked to allow the waistline to be widened. The petersham waistband has been cut over the curve of the stomach/front waist, probably by Mme Bricard for more comfort! Slight fraying to ribbon enclosing the chain-weighted hem. The fabric and dress overall are remarkably fresh and good. This is a really fine example of an early Lanvin dress.
A fine and early Jeanne Lanvin couture medieval inspired mustard crêpe dinner gown, circa 1912-13, with narrow gold on ivory satin label to the broad petersham waist stays, ankle length, with slightly raised front waistline and high curved back waistline, with sand-coloured seed beads forming a plastron down the front bodice and skirt, beaded trim and bracelet loops to the cuffs, the rear belt with massive brass buckle, bust 86cm, 34inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Good condition, very fresh, looks little worn. There would have been a chemisette insertion fastened by press studs at the front decollete which is missing. The waist was let out at the back by the original owner. It's a contemporaneous alteration. Beading is good - beads missing at centre front skirt panel approx. 1cm and approx. 2cm long below waist left side - these are fairly invisible. There is a slight soil mark to rear bodice - it looks as though it has just been made. Another fine early example of Lanvin's work.
A Jeanne Lanvin couture pale green silk crêpe Romain evening gown, model 'Pasiphaé', Winter, 1934, unlabelled, the dress with complex undulating top-stitched basket-weave bands to the short sleeves which produce a bolero-like effect, broad criss-cross bands to the back with integral sash tie to the waist, matching slip, bust 86cm, 34in (2)An identical model in white crêpe is shown in 'L'Officiel de la Mode', December 1934, no 149, p27.A black crêpe dress of Summer 1935 'Prelude' also incorporates this basket-weave effect, see 'Lanvin' catalogue Palais Galliera pp235, 315, cat.130.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Dress has perspiration stains at underarms, which are concealed by flounces. Faint discoloration at rear lower back area, slight soiling generally, would benefit from dry cleaning. The odd small soiling mark on skirt. Approx. 1x4cm wide stain to left skirt side. Petticoat has small split at edge centre back point, otherwise good condition, no problems.
A silver lamé evening jacket, probably Lanvin, circa 1934, with back slit, no fastenings; together with a Nicole Groult black satin under-dress, mid 1920s with silver embroidered bands to skirt, labelled; and a Premet shortened black chiffon cocktail dress with full sleeves, and graduated chevron embroidered tulle panels, average bust size 86cm, 34in (3)See 'L'Officiel de la Mode', 1931, no 116, p26 for the Premet gown.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: ·Jacket has tarnished in places, mainly edges of lapels and cuffs. ·Groult is lacking the bodice, 4cm split in satin at rear V-neck point which is easily repaired, otherwise good·Embroidered tulle and chiffon - Shortened at the waist. A few small holes to skirt, the largest 4x2cm near waist, otherwise good. Tulle applique needs re-stitching in places.
A Jeanne Lanvin couture pink organza evening gown, 'Bocage', Summer, 1933, unlabelled, bias cut with raised waistline, flared skirt, the sleeves formed from a cage-like lattice made from organza strips, with a small point at each join to give texture, with broad waist sash, bust 86cm, 34in (2)For an identical model see 'Lanvin' Palais Galliera catalogue p229. The design for this dress is preserved within the Lanvin archive, 1933 Volume III. It was shown in pale green and originally cost 1800 francs.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Perspiration staining at the centre back area and underarms, lacking slip which would have carried the label. Small brown stain on front of skirt and another at hem edge below, otherwise good.
A rare Jeanne Lanvin couture girl's dress, 1920s, with narrow ivory woven ribbon label, no 4606, of pink silk trimmed with beaded posy, ruched silk bands and silver lame panel centre-front, bust 76cm, 30inAlthough Lanvin was famed for her mother-daughter ensembles, children's garments by her are very rare. A similar dress is illustrated in 'Art, Gout, Beauté', Christmas, 1923.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Poor condition. Bad perspiration stains at underarms and split along seam at right underarm. Side seams let out, horizontal darts inset at front waist area then unpicked. There are stitch lines along the back bodice that suggest the dress was folded over and stitched there to shorten and then unpicked? Soiled neckline, small pinhead holes, a few scattered spot stains. Front lame panel needs re-stitching right side approx. 17cm, easily fixed.
A Jeanne Lanvin couture day coat and hat, Autumn-Winter, 1934-35, square gold on black label, no 50896, the brown wool coat with astrakhan sleeves and collar which form a point at the rear shoulders, hexagonal buttons; the hat of woven velvet ribbons, labelled and numbered 38.321, bust approx 86cm, 34in (2)Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Coat - soiled from storage, needs cleaning. Small moth hole front left hem, both underarm seams need re-stitching. Small split and repair to buttonhole. Slight rubbing to astrakhan at collar edge, collar buttonhole and cuff edges. Lining - silk is quite soiled inside neck edge, slight wear to silk inside right armhole, generally the lining is good. Hat is good condition. Overall good condition.
A Jeanne Lanvin couture coral crêpe wrap-over bodice, Summer 1932, large dated woven label numbered 23912, with capelet like sleeves, ties to waist, bust approx 86-92cm, 34-36inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Soiled from storage, a few small spot stains to front panel. Small closure loop needs re-stitching (minor). Inner armholes have both perished and are in need of conservation - this damage is concealed by the capelet. In need of cleaning.
A Jeanne Lanvin couture floral printed silk day dress, Summer, 1935, large woven dated label, no 23385, bias cut with cowl neck, shaped 3/4 length sleeves, bust approx 86cm, 34inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Hem has been shortened, faint perspiration discoloration to rear bodice, brown stains to front right sleeve, front bodice and front right skirt near hem. Bad perspiration stains at underarms
A pink-gold shot taffeta cocktail gown, probably Lanvin, circa 1927-29, un-labelled, the skirt falling in complex curved and pointed godets, some with weights, low back with bow, bust 92cm, 36inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Bad perspiration stains at underarms with splits forming, seams very slightly taken in at underarms, approx. 4cm long (minor). Rear bow needs re-stitching.
A fine Jeanne Lanvin couture bridal gown, Summer 1935, labelled and numbered 22872 to the slip, the bias-cut gown with large pearlised floral corsage to the neck, long curved, full sleeves, with matching circlet and satin belt, the pointed train with diamond seaming, 350cm, 148in long, bust approx 86cm, 34in (3)Provenance: worn by Anne Marie Astraudo (1914-2004) for her marriage to Christian Bricard (1911-2000) who was director of the department store 'La Belle Jardinière', Paris. CONDITION REPORT: Dress has perspiration stains at underarms, light soiling to train. Clear celluloid film is lifting off the petals in places, a few creased petals but generally good. Original glue marks on inside of bodice from corsage. Headdress is generally good condition, a few of the petals are creased and the clear celluloid film covering the petals has begun to lift off in places. Belt edge has slight rust mark and pin hole to pointed tip. Slip is good condition, 2 white marks below right breast (minor).
A Jeanne Lanvin couture ivory satin bias-cut evening gown, Winter 1931-32, large woven dated silk label, no 41664, with zig-zag waist seam, low curved back, the neckline edged in ruffles of zig-zag chiffon panels with picot edgings, matching waist belt with ruffles to the front, four slits to the hem circumference forming petal like panels, bust 86cm, 34in (2)Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Construction is superb but faint perspiration stains/discolorations to the lower back area and perspiration stains at underarms and 6cm split within this area at right underarm. 2 light brown droplet stains to crepe reverse of skirt front but these don't really show through on the front side. Double row of stitch lines at waist level, perhaps there was a ribbon tape to the inside?
A black wool and astrakhan jacket, probably Lanvin, early 1930s, unlabelled, with interesting loop and tab closures, bust 81cm, 32inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: In need of dry cleaning, grimey from storage. Fur is generally good, slight rubbing in places. Lining is good and clean, right underarm seam needs re-stitching. Good condition.
A Jeanne Lanvin couture silver lamé evening bodice, Winter 1934-35, large woven dated label no 49990, bias-cut with angular dolman sleeves, bust approx 92cm, 36in A similar bodice, worn with a velvet skirt, was photographed by Boris Lipnitsky (Collection Roger-Viollet) and also appears in 'Femina' 1935, p4.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Slight tarnishing to threads mainly along neck edge and cuffs, floating threads to cuff edges, the silk lining is heavily soiled, in need of cleaning
A Premet couture black tulle and taffeta cocktail dress, circa 1927-29, narrow ivory satin label, numbered 45791, with layered tulle petticoats, five spaghetti straps traversing the bodice to attach to the dropped waist, bust 86cm, 34inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: good condition, no problems, small stain on label (minor)
An early Maggy Rouff couture black velvet and white ermine opera coat, 1929-1930, large early ivory on brown square label, with flared bias cut skirt, interesting sleeves with a pointed loop of fabric that returns and fastens on the upper sleeve forming a loop, bust 86cm, 34inMaggy Besançon de Wagner (1896-1971) opened her fashion house in 1928. This is an extremely early example of her work. A similar coat was advertised for sale in magazines in 1929.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Good condition, 1cm vertical split in fur at rear hem edge, 2cm horizontal split at right lapel, 0.5cm split in fur left lapel. Fur slightly rubbed on inside of neck. Front hook fastening is detached (minor). Velvet is good, lining is clean and good.
A Jeanne Lanvin couture eau de nil organza summer dress, probably Summer, 1931, un-labelled, the skirt insert with tulle circles, with matching capelet, bust 92cm, 36inThis gown is similar to the 'Arabebsque' model Summer 1931 which is believed to be a collaboration between Jeanne Lanvin and Sonia Delaunay, where they experimented with geometric shapes. See 'Lanvin' Palais Galliera p311 cat 96 for a fashion sketch. Also see 'Femina' August 1931, for a Lanvin gown with skirt inset with similar circles.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Perspiration stains at underarms, tulle areas in need of conservation, brown droplet stains down front right skirt area above hem. Small spot stains and discolouration over shoulder on matching capelet. Waist seam needs re-stitching approx. 3cm.
A Jenny couture floral printed chiffon dress and jacket, 1930, woven label and numbered 5496, printed in shades of pink and blue, with integral lead weighted underslip, bust approx 86-92cm, 34-36in (2)Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: ·Dress: faint perspiration stains at underarms and bodice but not immediately noticeable due to the pattern. One pinhead sized hole to black chiffon at front bodice. Small area of rubbing to chiffon at front of skirt below waistline. Printed chiffon has come un-stitched in 2 places at front of skirt (minor). Long stitched repair along hemline (front right to rear, 103cm long, very well done and not immediately obvious - needs re-doing in 2 small places). Tear along side seam above slit approx. 10cm, easily repaired. Split along seam line on each waist side approx 2.5cm long, the tips of the skirt godets have seam pull and some re-stitching·Jacket has vertical split at rear neck approx 6cm long. Scalloped, printed chiffon has separated from black chiffon (not immediately obvious), could be repaired. Faint perspiration stains at underarms, very hard to see, concealed within print. Tear in floral chiffon at left front closure edge below tie.·First impression is fresh and good. Very beautifully made, overall chiffon and colours are good
A Jeanne Lanvin couture bias-cut evening gown, Winter 1932-33, large woven label numbered 50220, of grey-blue taffeta with scalloped edgings, the bodice adorned with rosette and streamers in shades of blue, criss-cross rear straps, bust approx 86-92cm, 34-36inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Perspiration staining at underarms and rear back area and crossover straps, slight discoloration at neck edge, small holes where godet points meet at skirt front side waist. Perspiration stains under centre front rosette. Seam above side closure needs re-stitching approx. 2cm. Approx 4 light brown stains to rear left side of skirt, faint watermarks to skirt hem generally. Front of skirt approx. 3 brown stains. Small split in taffeta at left shoulder strap 2cm length.
A Jeanne Lanvin couture emerald silk crêpe de chine evening gown, Winter, 1935, large woven dated label numbered 50893, bias-cut, the short sleeves with elaborate origami-like tri-angular panels, with matching waist sash/stole, bust approx 86cm, 34in (2)For a dress with similar cuff decoration see 'Lanvin' Palais Galliera p248, model 'Tremolo'.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Very fresh, great colour, great construction and wonderful sleeves but hem has been cut and shortened. Seams at shoulder/neck edge have started to separate and need re-stitching (minor). Perspiration stains at underarms and 1cm split within stain at right underarm. Faint spot stain at rear waist. Faint discolouration at right waist which is hard to see. Sash has 3 soil marks to pointed tip.
A Jeanne Lanvin couture coral silk crêpe de chine day dress, Winter 1933-34, large woven dated label, no 50538, with rectangular detachable top stitched collar with neck ties, square top-stitched patch pockets, ties to the wrists, bust 92cm, 36in (2)Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Soiled from storage, in need of cleaning, mark on detachable collar from button of blue and white crepe day ensemble, lot 76. Grime marks on skirt front which would probably clean out, barely visible perspiration stain at left underarm. Good condition.
A complex eau de nil moiré bias-cut cocktail dress, probably Lanvin, circa 1928-29, with broad criss-cross bands to front and back bodice, skirt falling in handkerchief folds with weighted asymmetric hem cut longer at the back, bust 86-92cm, 34-36inSee 'Jardins des Modes', 1932, p129, 'Le Bleu Opale' for a slightly later Lanvin gown with very similar criss-cross banding.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Godet at rear right hip has pulled and needs re-stitching in place. Perspiration stains at underarm edges. Faint brown dicolouration on skirt front left side and faint rouge mark front right side of skirt. 2 centre front internal skirt seams need re-stitching (minor). Overall good condition.
A Jeanne Lanvin couture navy and white chequered print silk afternoon dress, 'Inquietude', Summer, 1934, large woven and dated label, no 50725, with detachable pleated 'pierrot' collar, bust 86cm, 34in'Femina' August 1923, p42 shows similar Pierrot collars.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Stains and tears at underarms, discolouration between rear shoulder blades, small splits along neck edge. 3 light brown stains centre front bodice, couple of soil marks on skirt. In need of conservation. Detachable collar is good condition.
A Paquin couture bias cut black satin evening gown, probably Winter 1937-8, small grey on ivory satin 'Paquin Paris' label, numbered 2524, with chevron satin bands encircling the waist and hips, with twist effects at the bust and waist, dramatic angular sleeves, bust approx 81-86cm, 32-34in CONDITION REPORT: Good condition, no problems. Lovely piece.
An early Nina Ricci black cutwork crêpe dinner gown, early 1930s, with large navy on pale blue '20 Rue de Capucines' label, the cross-over front closure with asymmetric floating panel to the bodice, the cutwork panels outlined in lurex threads, bust 107cm, 42inThe fashion house was founded by Maria 'Nina' Ricci and her son Robert in Paris in 1932. CONDITION REPORT: good condition
A Jeanne Lanvin couture brocaded satin evening coat, Autumn-Winter, 1943, large woven dated label, pencil numbered 49457, the ivory satin woven in silver, gold and black with winged Pegasus repeats, pierced gilt metal buttons, with shaped, braid edged hanging pockets, lined in rose satin, bust 92cm, 36in War-time pieces by Lanvin are scarce. CONDITION REPORT: Faint discoloration in satin to upper chest areas, small hole in left lapel. Right cuff is soiled on inside edge, lining is badly scuffed and worn in places, soiled hem edge.
A Maison Agnès-Drecoll black crêpe evening gown, early 1930s, large yellow on ivory woven label '24 Place Vendome, Paris', bias cut with double row of buttons to the yoke which is spangled with sequined florets, matching sequined bows to the front, the skirt cleverly cut with two floating side panels which drape back and return, bust 81cm, 32in CONDITION REPORT: good condition, dusty from soiling
EGYPTIAN REVIVAL MARBLE BUST, CIRCA 1890, H 30", W 17", CLEOPATRAA white Carrara marble bust of Cleopatra. Circa 1890. Depicting Cleopatra holding serpent to breast, with gilt "coin" headband and adornments. Measurements include base.Good antique condition. No major cracks or chips. Cabochon jewel at forehead is a replacement. Jw- For High Resolution Photos visit Dumouchelles website.
Loading...
