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Lot 297
A printed crepe de chine informal summer gown, circa 1960, un-labelled, the pale blue ground printed with large floral sprays in lime and turquoise, elasticated waist, bust 86cm, 34in. This gown was probably purchased in Los Angeles when Audrey was making Breakfast at Tiffany`s which was released in October 1961.
Lot 311
A Givenchy embroidered organza evening gown, circa 1967, boutique labelled but numbered 7788, loosely cut with Watteau style panels falling from the shoulders, a tie belt slots through at the waist, wide flounce to shoulder and hem, embroidered overall with blue floral sprays, integral crepe de chine slip, bust 92cm, 36in. Although the gown bears a boutique label the internal finish is haute couture.
Lot 312
Givenchy haute couture yellow and white printed chiffon summer ensemble, Spring-Summer 1966, un-labelled, comprising a printed silk with printed organza overlay, soft collar, worn over a slim matching skirt, bust 86cm, 34in, waist 56cm, 22in; together with xeroxes of the two Givenchy couture models it is similar to, (4). An identical fabric appears in model 296, Spring Summer 1966. The tunic and under-skirt line is repeated in model 630, Spring Summer 1967. It seems that Givenchy made this line for Audrey before introducing it into the collection the following season.
Lot 313
A Givenchy haute couture turquoise cloque silk cocktail gown, Autumn-Winter 1966, labelled and numbered 33517, edged in a tousled band of frayed floss silk, slit back opening with cord to neck, wide sash to waist, bust 86cm, 34in, waist 66cm, 26in; together with a portrait photograph of Audrey wearing the gown, (2). This gown was produced as part of Givenchy`s Winter 1966 collection, model no 461. Audrey wore this dress to promote the film `Two for the Road`, released in 1967.
Lot 318
A Givenchy haute couture black gazar cocktail gown, Autumn-Winter, 1966, un-labelled, the tunic over dress and underskirt edged with diamante, the silk underskirt with hem similarly trimmed, tie belt, bust 82cm, 32in, waist 71cm, 28in; together with a xerox of the Givenchy model book showing the model, (3). This gown formed part of Givenchy`s haute couture collection, model 426, Autumn-Winter, 1966.
Lot 319
A Givenchy haute couture silver and white brocatelle evening coat and bodice, probably Autumn-Winter 1966, labelled and numbered 23540, 28544, the bodice with diamond-shaped seaming to front, the matching double-breasted coat prestud fastened, bodice bust 86cm, 34in, waist 71cm, 28in, coat chest 102cm, 40in, (2)
Lot 324
A Givenchy haute couture black cloque silk dress worn to promote the film ÒParis When it SizzlesÓ, 1962, labelled and numbered 23093, the empire-line bodice cut high at the front and low at the back, rear bow ties, bust 86cm, 34in, waist 66cm, 26in; together with a publicity photograph by Bob Willoughby of Audrey wearing the gown accompanied by her dog `Famous`, (2). Although the film was made in 1962 the release was strategically delayed for two years until 1964
Lot 325
A Givenchy haute couture shocking pink silk crpe sheath, Autumn-Winter 1966-7, labelled and numbered 33665, the diagonal neckline rising from a bow on the left side, with integral corset, the skirt wrapping around with curved hem, bust 86cm, 34in, waist 58.5cm, 23in; together with a photograph of Audrey modelling a similar Givenchy gown, (2). Audrey modelled a variation of this gown and was photographed for US Vogue by William Klein for the October 15th, 1966 issue -. ÒPink on the bias, A loose langourous Givenchy spiral of pale pink crepe falling to an uneven hemline ÉÓ
Lot 327
An Yves Saint Laurent Rive Gauche empire-line gown with blue velvet sash, 1970, labelled, of white matelasse cotton woven with overall scalloped repeats, broderie anglaise edged petticoat; with a pale blue velvet ribbon sash, bust 82cm, 32in, (2). Audrey wore this gown for her son Luca`s christening in 1970.
Lot 328
A Valentino haute couture cream lace and silk mini dress, Spring-Summer 1968, model 206, unlabelled, with soft fold-over collar and ties to rear neck, the silk crepe de chine inset with scalloped bands of blonde lace, bust 82cm, 32in. This gown is identical to that worn by Jacqueline Kennedy for her wedding to Aristotle Onassis June 1968.
Lot 330
The Elizabeth Arden black goffered chiffon cocktail dresss, worn w hen Audrey met her first husband Mel Ferrer in 1953, labelled `Elizabeth Arden, Paris, New York`, with simple boat neckline, black satin binding to edges, full skirt, black silk integral slip, later added satin tie belt, bust 86cm, 34in, waist 61cm, 24in. Audrey returned to London in July 1953 for the British opening of Roman Holiday. Audrey and her mother co-hosted a party with the Star-Busmann family at the Star-Busmann`s family home-Hereford House, North Row, London. They invited guests including Gregory Peck her co-star on the film. He brought along his friend the actor and director Mel Ferrer. Cecil Beaton also met Audrey at this party for the first time and recorded in his diary Ò(She) has a huge mouth, flat Mongolian features, heavily painted eyes, a coconut coiffure, long nails without varnish, a wonderfully little figure and a long neck. She appears to take her wholesale adulation with a pinch of salt, and gratitude rather than puffed-up pride. Without any preliminaries, she cuts through to a basic understanding that makes people friendsÓ. He also met Mel Ferrer whom he says Audrey described to him as ÒThe biggest thing to come down the turnpikeÓ.
Lot 331
A Givenchy black point d`esprit ball gown, 1956, un-labelled, with boned, fitted bodice edged in black lace spangled with sequined, the tulle over-skirt caught into the sequined hem band, bust 76cm, 30in, waist 56cm, 22in; together with a photograph of Audrey holding the white version of the dress Givenchy ball gown which Audrey wore in `Love in the Afternoon`, (2). Audrey wore the identical dress in white for her role as Ariane in the film `Love in the Afternoon` during the Opera scene, released in 1957 (see lot 332). If Audrey liked a particular model she often ordered it in several colour-ways. Hubert de Givenchy also included this model in his haute couture collection 1956.
Lot 332
The Givenchy haute couture white point d`esprit ball gown worn by Audrey Hepburn in the opera scene of `Love in the Afternoon`, 1956, labelled but not numbered, with boned, fitted bodice over voluminous white skirt which is held in place by a band at the hem, remains of sequined and rhinestone studded lace band to bodice edge, bust 82-86cm, 32-34in; waist 61cm, 24in, together with a photograph of Audrey wearing the gown in the film and a letter of provenance from Tanja Star-Busmann (qty). Audrey gave this gown to Tanja as a present when Tanja gave birth to her daughter in 1958. It arrived in a large cardboard box with a note attached stating that Audrey thought it might remind Tanja what it was like to have a waistline again. In 1961 Tanja gave the gown to her then nanny who wore it and adapted it, removing most of the lace trim, removing the bow from the front and making three smaller bows on the back to help conceal the panel that had been inserted to make it larger
Lot 333
The ivory satin bridal gown designed for Audrey Hepburn by the Fontana Sisters for her marriage to James (later Lord) Hanson in 1952 which did not take place, un-labelled, of heavy ivory satin, with wide boat neckline, pleats of fabric to the bodice front converging on a bow at the waist, three quarter length sleeves, zip fastened to the back with trained skirt, bust 92cm, 36in, waist 66cm, 26in; together with a letter of provenance from Amabile Altobella; a quantity of press cuttings relating to the gown; and a photograph of Audrey at a Fontana fitting wearing the original gown, (qty). The Fontana sisters were renowned for their highly romantic ball gowns and bridal gowns. The sisters Zoe, Micol and Giovanna founded their business in Rome in 1944. They counted among their clientele many celebrities including Audrey Hepburn, Ava Gardner, Elizabeth Taylor, Princess Grace of Monaco and Jackie Kennedy. In 1952, whilst Audrey Hepburn was filming `Roman Holiday` with Gregory Peck in Rome, she approached the Fontana sisters to ask them to make her bridal gown. Signora Micol Fontana said that the 23 year old Hepburn was `young, fresh, on top of the world`. She used to slip away from the set to take refuge in the sewing rooms and discuss the dress. "Audrey wanted complete discretion and had lots of fittings". Some weeks later when Audrey called off the planned wedding to James Hanson she asked the eldest of the sisters-Zoe to give the dress away. "I want my dress to be worn by another girl for her wedding, perhaps someone who couldn`t ever afford a dress like mine, the most beautiful, poor Italian girl you can find." Zoe`s search centred on the town of Latina which had been founded by the fascists in 1932. The dress was given to a poverty stricken young Italian girl called Amabile Altobella, which coincidentally was the same Christian name as the Fontana sister`s mother. Amabile visited Rome just once to have the dress adapted by the Fontana sisters for her to wear at her own wedding to farm worker Adelino Solda with whom she remained happily married, producing three daughters and five grandchildren. Amabile said "I have had a happy marriage, so the dress brought me luck". The town council gave the young couple kitchen furniture and even organised a honeymoon for them in Paris. After the event she carefully wrapped the dress in tissue paper and stored it away without disturbing it for decades. It was not until 2002 when Micol Fontana, the last survivor of the three sisters traced the gown for a retrospective exhibition of their work, that it was re-discovered.
Lot 35
A Doulton Lambeth stoneware saltglazed `William Ewart Gladstone` jug, late 19th century, of typical cylindrical form with fluted bands and handle, the body with a pictorial image of Gladstone flanked by an inscription either side `Effort - Honest Manful, Humble Effort - Succeeds, By its reflective action upon character, better that Success`, impressed mark to base & 7910, height 19cm, together with a Staffordshire stoneware Toby jug entitled `Peace 1919 - 1914 Great War 1919`, impressed Ault England, height 24 cm, a Staffordshire bust of Shakespeare, height 22 cm and a Continental pottery figural character jug, impressed mark, height 24 cm, (4). Provenance: estate of Lady Willis widow of Lord Willis of Chislehurst (Ted Willis) 1918-1992, screenwriter and playwright, creator of Dixon of Dock Green and other popular television dramas.
Lot 857
Sir William Fettes Douglas PRSA, Scottish 1822-1891- Portrait of a young man, bust-length wearing and a scarlet and gold embroidered smoking cap and similar smoking jacket, traditionally held to be the artist`s son; oil on canvas, feigned oval, 54x34.5cm. Note: William Fettes Douglas a keen antiquarian and collector, and his interests in those fields influenced his choice of subject-matter which sometimes included alchemy, astrology and magic. he was appointed Director of the National Gallery of Scotland in 1877 and five years later, President of the Royal Scottish Academy.
Lot 882
Circle of William Hoare of Bath, RA 1706-1799- Portrait of a young gentleman, sitting as a scholar, bust-length, in academic dress wearing a black mortar board with gold tassel, tied white stock, black gown over a dark coat with large gold buttons, large black bow-tied cravat; oil on canvas, 59x46cm, (unframed)
Lot 889
Circle of John Hayles c.1600-1679- Portrait of a young woman, bust-length, with dark curled hair, wearing a brown dress with white lace and pearl sash; Portrait of a young gentleman, bust-length, long dark hair worn natural, wearing possibly elements of a military uniform with tied white lace stock, white satin doublet and short golden cape with leather and brass belts and buckles; oil on canvas, ovals, a pair, in matching carved and gilded oval frames, with beaded sight-edge, fluted hollow, egg-and-dart course schematic outer-edge, (2) Note: John Hayles, relative of the miniaturist Samuel Cooper, competitor of Sir peter Lely and respected by his contemporaries for his replicas of the portraits of van Dyke. These paintings show all the elements expected of a fashionable portrait painter of the day in particular Michael Dahl 1659-1743, Mary Beale 1632-1697,and Willem Wissing 1656-1687 all these working from the ideals laid down by such painters as van Dyke, and the larger studios of Kneeler 1646-1723 and lely 1618-1680. His famous work being the portrait of the diarist Samuel pepys; Extract from Pepys diary, 17 March 1666: ...at noon, home to dinner, and presently with my wife out to Hales`s, where I am still infinitely pleased with my wife`s picture. I paid him 14l for it, and 25s for the frame, and I think it is not a whit too dear for so good a picture. It is not yet quite finished and dry, so as to be fit to bring home yet. This day I begin to sit, and he will make me, I think, a very fine picture. He promises it shall be as good as my wife`s, and I sit to have it full of shadows, and do almost break my neck looking over my shoulder to make the posture for him to work by.
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110054 item(s)/page