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Click here to subscribeA 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.
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
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.
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.
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.
A Dresden porcelain wall mirror, in the form of a stylized harp with central mirror flanked by flower encrusted border with flying cherub upon scrolled base, height 20 cm, together with a Dresden porcelain wall mirror, with colourful floral encrusted surround and two cherubs, height 35 cm, a pair of Continental figures, modelled as a male and female in 18th century dress standing upon circular vitruvian decoration bases, height 15 cm, a Dresden `Yardley` porcelain figural group, a porcelain spill vase, modelled as a tree trunk with playful children entwining the trunk, height 12 cm, impressed mark EBS 60, a musician figurine, modelled beside a floral jardiniere and stand, height 14 cm, a figurine of a man opening a beer bottle in blue and white, height 21 cm and a further figurine, (9).
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)
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.
* A sapphire and diamond ring, stamped `14K`, the oval cut with a pair of channel set diamonds to each shoulder, totalling approximately 0.12 carats, finger size N; and nine 9 carat gold dress rings, some stone set, 22g gross To be sold on behalf of the Police (3C24099) and is subject to VAT on the hammer price Visit www.dnfa.com for condition reports
A 22 carat gold wedding ring, 5g gross; a 9 carat gold wedding ring; a 9 carat gold onyx ring; a stone set ring, stamped `9ct`; another similar; a 9 carat gold dress ring; a 9 carat opal and emerald cluster ring; a 9 carat gold garnet ring; a 9 carat gold wishbone style ring, 18g gross; and a single stone illusion set diamond ring, stamped `18ct` Visit www.dnfa.com for condition reports
19th Century oval miniature half-length portrait of a lady, with ringed hair, wearing a necklace and lace-edged dress, on ivory,oval format, indistinctly signed, 5cms x 4cms, (2" x 1½"), in engraved tortoiseshell frame and another of a Victorian lady holding a basket of flowers, oval format 9cms x 8cms, (3½" x 3"), (2).
20th Century School after John Hoppner (1758-1810) - Miniature shoulder length portrait of a young woman wearing an ornate ribbon trimmed bonnet, oval 3.5ins x 2.75ins, in gilt metal oval frame and glazed, and one other French miniature shoulder length portrait of a young woman wearing a green dress, 3.75ins x 3ins, in engraved bone frame and glazed
Sydney Seymour Lucas (19th/20th Century) - Oil painting - "Cellist" - Interior scene with a gentleman`s in 18th Century dress playing a cello, canvas 12ins x 14ins, signed in full and dated 1877, in modern gilt moulded and swept frame, and 19th Century School - Oil painting - River landscape with boat and windmill, board 8ins x 11ins, apparently unsigned, in modern gilt moulded and swept frame
A group of seven George V, George VI and Elizabeth II medals "To 93976 Gunner John William Cook, R.F.A., later 2809972 Warrant Officer (Class 2) Seaforth Highlanders", comprising - Elizabeth II British Empire Medal inscribed "To John Willie Cook", 1914-1915 Star, George V First World War medals, Victory Medal, George V Indian General Service Medal with one bar "North West Frontier 1930-31", George VI Defence Medal and George V Long Service and Good Conduct Medal with bar "Regular Army", complete with Regular Army Certificate of Service Book, and Soldier`s Service and Pay book, and with framed Certificate "To Chief Inspector John W. Cook" relating to the award of the British Empire Medal, together with a copy of a photograph of the recipient in dress uniform of the Seaforth Highlanders
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