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Lot 149
FIVE VARIOUS GOLD DRESS RINGS comprising an 18 carat gold and platinum twist ring set with three white stones, ring size J-K; a 9 carat gold emerald and white stone cluster ring, size O; a 9 carat gold five stone ring, size M; a 9 carat gold nine-stone sapphire ring, size O, and a 9 carat gold sapphire and white stone flower head ring, size M-N, 15g. (total)
Lot 888
ENGLISH SCHOOL (Early 19th Century), Portrait of Lady Georgina Buckley, wearing a pink and white satin dress and pearls in her hair, head and shoulders, unsigned oval pastel, 23 1/4" x 17 1/4", inscribed label verso, and another inscribed "R L C Foottil, Bank House, Cheltenham", gilt frame (2)
Lot 960
ENGLISH SCHOOL (Early 19th Century), Portrait of Miss Martha Sarah Lack of Plaistow, Essex, depicted seated in a white dress and bonnet and holding a basket of flowers, unsigned oil on canvas, inscribed label verso, 35 1/4" x 27 1/2", gilt frame, together with a copy of a family letter and house sale details (Illustrated)
Lot 967
CLARA HODGSON(?) (exh.1886), Portrait of a Young Woman wearing a white dress with frilled collar, signed oval and dated 1889, oil on canvas, inscribed Royal Institute of Painters and Watercolours label verso, "Study of Heads after E Bernard, Florence No.1", with artist`s address, 12" x 9", gilt frame
Lot 981
ARTHUR HACKER R.A. (1858-1919), Portrait of a Lady wearing a White Dress and Turban, head and shoulders, oil on canvas, signed, with monogramed and inscribed "To Friend Dowse" top left, also signed on slip frame, label for G B Bain, Marylebone Lane, London verso, 19 3/4" x 15 3/4", gilt frame
Lot 64
A fine striped ivory damask gown and matching pelerine circa 1825, piped in cream satin, high V-shaped waist, full, puff sleeves, padded hem with rouleaux trimming and diamond applique satin bands, the pelerine and puff sleeves trimmed with blonde lace; together with an ivory satin bodice with large double-puff sleeves, pleats to bodice, trimmed in blonde lace, bust 20in, waist 24in; together with an image of Lady Monson, (4). Provenance: It is probably the wedding dress of Eliza nee Larker, who married William (later 6th Lord) Monson in London on May 8th 1828. She was the youngest daughter of Edmund Larker of Bedford Square, a successful `Hong Merchant`-he traded with the Chinese. William Monson`s father, Colonel the Honourable William Monson was in the army in India where he met and married Anne, the daughter of John Debonnaire, an East Indies merchant, whose forebears were `Hugneut` refugees. A serious scholar and academic, William took his bride to the family estates in Lincolnshire for their honeymoon, where they visited local parish churches, recording everything in meticulous fashion. William and Eliza were well-suited and the marriage was exceptionally happy and fruitful. In a letter to his eldest son-another William-the father advised his son to marry for love. The 6th Baron died in December 1862. His wife died a few weeks later in January 1863.
Lot 96
A rare Agnes/Madame Havet orientalist brocaded silk cocktail dress, circa 1925, labelled `Agnes, Madame Havet, 7 Rue Auber, Made in France`, the ming-style brocade in blue, orange and green highlighted in gold, the black satin pagoda sleeves, hem and collar with blue and gold embroidery, bust 101cm, 40in
Lot 110
A Schiaparelli black wool evening jacket, Winter 1936-37, bearing printed white Schiaparelli, London label, of soft felted wool lavishly embroidered to the notched stand collar, pockets and front borders in metal strip and gold thread with palm trees and flowerheads, highlighted with sequins and seed beads, simple black silk covered buttons and loops to fasten, bust 86cm, 34in. cf `Shocking` by Dilys Blum p.163 for a full page illustration of an identical jacket which Marlene Dietrich purchased for 1000 francs. It was intended to be worn over a short black crepe dress and accessoried with a glycerined ostrich feather cone hat-"the perfect ensemble for an evening of dinner and the cinema or cocktails and caberet". Schiaparelli wore the same model to the premiere of the play Fric Frac starring the actress Arletty, who was also a client. The palm trees, a nod to Napoleaon`s native Corsica, were based on those embroidered on the white satin tunic of the emperor`s coronation costume.
Lot 125
A Paquin pleated ivory chiffon couture cocktail dress, Spring-Summer 1951, labelled, with buttons down the centre front over concealed zip, basque-like panels to the bodice, bust 86cm, 34in, waist 61cm, 24in; accompanied by a xerox fashion sketch of the chiffon gown taken from Femina p.54, March-April 1951. It also shows a horizontally ribbed silk coat similar to lot 127, (2)
Lot 130
A fine Christian Dior haute couture brown tulle evening gown "Esther" Profile Line, Autumn-Winter 1952, labelled and numbered 20764, and with client tag `Mrs Wanamaker`, and also with separate label `Tribout Shop, John Wanamaker`, the strapless boned bodice and full skirt applied with velvet roundels edged in sparkling gold bugle beads and tiny sequins, the roundels segment and enlarge as they descend the skirt interspesed with godets of vermicalar bugle beads, two tulle petticoats give fullness to the skirt which is mid-calf length for dancing, bust 86cm, 34in, waist 66cm, 26in. Dior`s Profile line in the Autumn of 1952 was as the name suggested a collection of quite sharp and distinct silhouettes that hugged the body and emphasised the hips. It was sober but sexy as Dior edited out what he called "fashion fripperies" and black and brown were repeated throughout the collection. Many of the day and evening gowns used bare skin for maximum impact with strapless bodices or daring decolletage. The velvet adornments and beading on this "Esther" gown are cleverly graduated to emphasise the curve of the breasts to the narrow waist above the full skirt which served to empasise the hips. Vogue reported that Dior`s preferred hem-length was about 11 1/2in from the ground-and they helpfully suggested that the height of the magazine could be used as a measure. The fact that the gown shows both a retail and a couture label suggests that the couture dress was probably sold by Dior under licence to the US so that it could be copied. The original couture gowns were often re-exported across the Canadian border so that the duties paid upon import to the US could be reclaimed and then sold onto a department store or deluxe dress establishment. The Mrs Wanamaker written on the muslin tag was presumably the wife of the retailer.
Lot 141
A Balenciaga couture black moss crepe dinner dress with hood, circa 1956-8, labelled and numbered 56439, the bodice falling in gentle draped folds, fichu-like hood to the rear, worn over waist slip with moss crepe hem to form a double layer, bust 86cm, 34in, (2). Provenance: Lucy Ferry collection
Lot 142
An Yves Saint Laurent couture lime and gold brocatelle cocktail ensemble, Autumn-Winter 1962, labelled and numbered 01634, comprising: simple shift cocktail dress fastening over one shoulder, adorned with Lesage embroidery and pendant droplet rhinestones and bugle beads to bodice and hem, the matching coat with jewelled buttons, bust 86cm, 34in, (2)
Lot 144
A Bohan for Dior couture black organza cocktail gown and matching coat, `Nightclub`, Spring-Summer 1962, labelled and numbered 114125, the boned inner bodice with sweet-heart neckline, the over-dress with flounced tiers and bow to front, with diaphanous organza coat, bust 86cm, 34in, waist 66cm, 26in. (2). Provenance: the late SAR Princess Lilian of Belgium
Lot 180
Yves Saint Laurent couture, 1970s, comprising: red silk jersey cocktail dress with pleated skirt, no 34819; a grey gaberdine day dress with leather belt no 35989; navy wool tunic and trousers, no 34815; navy and white printed silk tunic and trousers no 38730, average size bust 86cm, 34in (6). Provenance: the late SAR Princess Lilian of Belgium
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227115 item(s)/page