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Lot 57
ENTERTAINMENT: Small selection of signed photographs (8) and an autograph album, featuring various celebrities, including Will Smith (an 8 x 10 colour photograph of Smith in his depiction of Muhammad Ali), Coco the Clown, Fay Compton, Percy Kilbride ('Thanks for watching my first steps on the English stage - Golders Green April 12th', on an album page), Gracie Fields, Leslie Fuller, Buddy Badley, George Relph, Fred Emney, Robertson Hare, Barry Barnes, Robert Edison, Ralph Richardson, Bamber Gascoigne etc. G to VG, 5
Lot 194
A large, rare, German Albert Durer leather-bound folio, Ltd Edition 29/100, published in Berlin in 1919, celebrating the anniversary of Durer's death and titled 'Albrecht Durer, Der Rupferftecher Und Holzschnitt-Zeichner' with many prints made from the original copper plate and on handmade paper made in the manner of 15th century, the tan leather cover embossed with Durer's signature mark, inscription in pen to the first page dating to Christmas 1945, 47 x 36 cm.
Lot 275
Vintage Dentistry and Medical tool - collection of loose hand held tools - to include Forceps, syringes and a First Aid to the injured handbook, also to include various boxed tools Liebreich's Opthalmoscope (not complete) Boxed set containing various scalpels and picks, Student's Haemacytometer etc over two shelves
Lot 512
A Honiton bobbin appliqué stole and two bonnet veils, mid 19th century, the stole worked with bouquets of blooms and wheatears to each end, on a droschel ground, 50 x 227cm; the first stole with spotted machine net ground, flowerheads to scalloped border, handwritten note attached reading: 'Irene Countess of Effingham's collection', 36 x 105cm; the second with foliate border, 70 x 113cm (3) CONDITION REPORT: Good condition. Stole- faint light brown stains, mainly to ground at each end. Veils- a couple of faint light brown stains, minor.
Lot 139
An Hermès 'Mineraux' silk scarf designed by Hugo Grygkar, 1959, together two other examples, one printed with insects, 1980s; the other with birds, modern, each approx 89cm square (3) Hugo Grygkar (1907-1959) designed the very first 'carré' (art square) for Hermès and become their primary artist throughout the 1940s-50s. Described as bring a very modest and private individual, he never signed his work. CONDITION REPORT: Good condition.
Lot 220
Two black evening dresses, modern, labelled, the first of silk jersey by Roberto Cavalli with plunging neckline and embellished with rhinestones to hips; the second in chiffon by Oscar de la Renta, busts approx 92cm, 36in (2) CONDITION REPORT: Good condition. Chiffon dress has 8cm tear along rolled edge of rear right hem.
Lot 144
Three Hermès silk scarves designed by Jean-Louis Clerc, with signatures, comprising; 'Paddock', 1956, 84x89cm; 'Grand Prix Polo de Bagatelle', 1955, 84x84cm, and 'Boxes', 2006 re-issue, 88x89m (3)The artist, Jean-Louis Clerc (1908-1961), was one of the most prolific designers for Hermès. Inspired by the work of Raoul Dufy, he produced designs in a loosely drawn painterly style showing subjects such as ballet dancers, orchestras, or horse-racing scenes. The V&A hold a 'Paddock' scarf within their collection, accession number T.56-2016. CONDITION REPORT: 'Paddock'- has water stains across entire background. Not obvious upon first glance. 'Grand Prix'- has small cigarette holes to bottom horse. Signature only visible to reverse. 'Boxes'- good.
Lot 232
A Chanel black cashmere coat, modern, Boutique labelled, double-breasted, the buttons with gilt double-headed eagles, chest 97cm, 38in; together with two Chanel skirts, the first with gilt double 'C' buttons, Boutique labelled; the second in tweed, un-labelled; and an associated belt (4) CONDITION REPORT: Good condition, no problems
Lot 429
A group of traditional costume and accessories, Eastern European, late 19th-first half of the 20th century, including intricately embroidered muslin blouse with later added skirt; pleated satin skirt; headdress decorated with charms, probably Polish; and others, various sizes (7) CONDITION REPORT: ·Varying condition·Dress formed from embroidered peasant blouse - embroidery is good but faint brown stains generally and a few missing sequins·Yellow cutwork peasant blouse - good condition·Red satin skirt with ribbon hem - good condition but waist altered and elastic added·Belt - silk patterns on ribbons is worn ·Ornate headdress - overall good condition. Lacking 4 enamel disc decorations, blue card discs showing, floral pattern on ribbons worn in places·Shawl in good condition·Dark brown embroidered panel - colours are good but numerous moth holes. Fair condition.
Lot 127
Two pairs of Chanel high-heeled shoes, modern, the first with white organza camellias to toes, the heels spiked through gilt beads engraved with 'Chanel', size 37.5; the second of two-toned leather with gilt double 'C's to toes and in original box, size 38.5 (5) CONDITION REPORT: Good condition. Soles show signs of wear.
Lot 529
A large Binche edged handkerchief, 18th century and formed circa 1854, monogrammed 'Alma' and with coronet, 48 x 48cm; together with another of Valenciennes, 1730s, 21 x 33cm; another of Point d'Alencon, second half of the 18thc, 24 x 34cm, and a French bobbin example, early 19thc, 21 x 33cm (4) The Binche handkerchief is believed to have been made for the Marquis of Ailesbury, whose son Lord Cardigan led the charge of the Light Brigade at the battle of Alma, 20th September 1854, considered the first of the Crimean War. The Valenciennes has handwritten label attached which reads: 'used by Lady Bourne for her wedding handkerchief in the 2nd half of the 20thc'. CONDITION REPORT: All good condition. Valenciennes example - a few freckle stains on lawn ground (minor)
Lot 370
Two carved ivory and paper fans, 1760-70s, with hand-painted scenes, the first with two young boys seated under a tree, in original cardboard case; the second with ladies and gentlemen in shades of grey (3) Provenance: Caroline Littlewood CONDITION REPORT: Show signs commensurate with age, but overall good and intact.
Lot 109
A John Galliano bias-cut black viscose dress, Spring-Summer 1987, Galliano London label and UK 10, with diagonal panels and pleated harem-style hem, bust approx 86cm, 36inGalliano used the bias-cut, a technique which would become a signature, for the first time in this collection. CONDITION REPORT: Good condition.
Lot 226
Five Oscar de la Renta summer dresses, modern, labelled, including two with matching cardigans; the first of spotted silk with interior corset; the second in ikat silk; together with a chiffon maxi-skirt; and others, busts approx 92-102cm, 36-40in (8) CONDITION REPORT: Good condition. Chiffon pastel skirt - small scattering of brown stains to front of skirt
Lot 371
Two J. Duvelleroy fans in original boxes, 1910-20, the first with Brussels mixed lace and monogrammed 'MJS' in rhinestones to celluloid sticks and guards; the second with hand-painted semi-nude woman surrounded by cherubs and signed 'M. Cherry', tortoiseshell sticks and guards (4) Provenance: Caroline Littlewood CONDITION REPORT: Good condition. Mixed lace fan - leaf is good condition, 3 broken blonde horn sticks, 4 faint damp stains to right side of leaf. Painting is fine and good, overall good condition.
Lot 189
A woman's Antony Price for Sterling Cooper lurex brocatelle jacket, 1971, labelled, in shades of burgundy and gold, of slim-cut, with notched lapels and two pockets, chest 96cm, 38inProvenance: The Sheilagh Brown archive. Stirling Cooper was started by two London cab drivers Ronnie Stirling and Jeff Cooper in 1967, sometimes using a double-decker bus as a showroom. They were introduced to Royal College of Art graduate Jane Whiteside, who provide the initial fashion direction for the brand, with her first designs created in March 1968 and being featured in The Times. In October 1969 Stirling Cooper formally opened a boutique in Wigmore St, recruiting the then 24 year-old Antony Price to design their first menswear collection. The Times fashion journalist Anthony King-Deacon previewed the new men's range, describing Price as 'one of the brightest young men in menswear designing in London'. His designs attracted movers and shakers of the time, notably Mick Jagger. In 1970 Antony asked Sheilagh Brown to join himself and Jane Whiteside (both were her peers at the RCA) as a co-designer at Stirling Cooper. In 1972 the original partner's split, with Ronnie Sterling remaining at the helm. Jeff Cooper went on to create the 'Cooper's' brand, working with Sheilagh Brown and Sheridan Barnett, and then onto work with Radley/Quorum. The Sterling Cooper brand eventually ceased trading in the 1990s.British fashion designer Sheilagh Brown began her career as part of the 'Swinging London' scene during the 1960s. She attended the Royal College of Art, under the tutelage of Professor Janey Ironside, and Bill Gibb was in Sheilagh's peer group. Whilst still a student, she earned money drawing fashion illustrations for publications including The Times, The Observer, Petticoat and 19. She recalls that one of the perks of the job was that the clothes would arrive on a Friday night and herself and friends would wear them to a party, before she stayed up all night to sketch and then return them. Brown went on to design for Stirling Cooper, Cooper's and Quorum, before establishing the label Barnett & Brown in 1976 with Sheridan Barnett, which dissolved in 1980. She went onto be a principle lecturer at Central Saint Martins, her students at this time including John Galliano , Iain R Webb and John Flett. She also taught at the Royal College of Art (becoming a senior fellow in 2011) with former student Phillip Treacy noting her as one of his most influential teachers. During this period she continued to design as part of a collaboration with Jeffery Rogers. In 1990, Brown became the head of womenswear design at Marks & Spencer, where she would remain for more than a decade, retiring in 2001. The Victoria & Albert Museum holds a number of her designs in their collection. Brown continues to work both as a designer and fashion artist. CONDITION REPORT: Good condition. A few floating gold threads to front hem edge, minor.
Lot 235
Two Chanel silk summer dresses, circa 1990, Boutique labelled, the first in pale green with faux mother of pearl buttons with gilt double 'C's; the second woven with shamrocks in shades of ivory and yellow and gilt buttons, busts approx 92cm, 36in (2) CONDITION REPORT: Good condition, no problems.
Lot 483
A Brussels lappet, circa 1730, delicately worked with blooms and curling foliage, oeil de perdrix fillings and scalloped borders, 60 x 11cm; together with an Alencon lappet, c.1780, 164 x 8cm; and three other lengths (5) CONDITION REPORT: Brussels lappet- two small splits at scalloped edges, 2 breaks on outer edges, small hole in toile - fair condition; Alencon lappet: numerous breaks in reseau - fair-poor condition; Alencon length: dyed ecru, stains & holes over first 50 cm - fair condition; Brussels narrow length - poor condition, holes in reseau.
Lot 385
Two printed gowns, the first late 1820s-early 1830s of striped cotton/muslin with delicate grasses and blooms with ruched and pleated bodice and tiered flounced hem; the other of printed wool with mauve degrade stripes and green blossom, 1840s; together with a roller printed cotton coiffure smock or bed jacket 1860s (3)Provenance: Caroline Littlewood CONDITION REPORT: First dress - Colours are good, rubbing and wear to front waist band. 2.5cm hole in front right of skirt. Second dress - bodice has been let out and the lining has sections let in over the chest to enlarge - but these look like 19th century alterations. The dress does not have the highly fashionable V-shaped waist of the 1840s suggesting the woman preferred the 1830s waist shape or that it was altered in the 1860s. Slight wear and perspiration staining at underarms, gathers at front waist have come undone. Smock is good condition
Lot 65
Two Chloé dresses, late 1970s, labelled, the first of colourful printed silk depicting dancing couples amongst flowers, with matching scarf; the second of black jersey with wrap-around attached sash to bodice, busts approx 86-92cm, 34-36in (3) CONDITION REPORT: Good condition. Printed silk dress has faint perspiration stains at underarms.
Lot 136
Two Chanel knitted jersey ensembles, 2008, labelled, the first in army-green with double 'C' buttons to neck, the skirt with varying different weaves, with original price tag of $1580; the second of identical design in black, busts approx 92cm, 36in (4) CONDITION REPORT: Good- appear unworn. All size 40, except for green skirt, size 38.
Lot 363
Two Jean Patou bias-cut crêpe de chine negligees, 1930s, un-labelled, the first in peach with lace to bodice; the second in champagne with silk appliqué and lace to neckline, busts approx 97cm, 38in (2) Provenance: from the personal wardrobe of Madeline Barbas Patou, sister of Jean Patou. Lot 53 in 'Jean Patou: couturier, bibliophile et collectionneur', Pierre Bergé & Associés, 22nd May, 2015. CONDITION REPORT: Good condition. Some light fraying to lace of each, minor. Both: Edges of hem is lightly soiled and frayed in places where handrolled seam has come un-done, minor, and with a few pinhead sized holes here also.
Lot 48
A Bill Gibb knitted jersey ensemble, 10th Anniversary collection, 1977, labelled, in pastel shades, comprising oversized poncho-style cardigan, jumper, skirt and scarf; together with a Bill Gibb cardigan, Summer 1976, and skirt in a similar style, various sizes (6)Provenance: Greta Morrison CONDITION REPORT: First ensemble has bad brown stains to rear of skirt and cardigan. Others are good.
Lot 187
Six Gilbert Adrian costume designs, probably for 'Hassan', 1924, pencil and watercolour, including two brightly coloured examples, signed 'Adrian'; the first showing a woman with elaborate fan-like headdress and slashed leotard; the second inspired by traditional Chinese costume, the man with exaggerated moustache and plumed hat, each 22x28cm; together with four others with numerous handwritten annotations, un-signed, each 19.5x27.5cm (6) 'Hassan' (full title: Hassan:The Story of Hassan of Baghdad and How he Came to Make the Golden Journey to Samarkand) was written by British poet, novelist and playwright James Elroy Flecker (5 Nov 1884 - 3 Jan 1915), and published posthumously in 1922. The five-act play was brought to the stage in 1924, where it ran at the Knickerbocker Theatre, Broadway, New York, from Sept 22nd-Oct 1924, produced by A.L Erlanger and staged by Basil Dean.In 1920 the young Gilbert Adrian began studying at the New York School for Fine and Applied Arts (now Parsons School of Design). During a secondment to their Paris campus, he was hired by Irving Berlin to design costumes for 'The Music Box Review' in New York. In 1924 Adrian designed his first costumes for film, having been approached by Natacha Rambova, wife of Rudolph Valentino, to work on the silent film 'A Sainted Devil'. Whilst there are no external documented attributions to Adrian having designed the costumes for 'Hassan', it is evident he was working in New York during this time, designing for the Broadway stage. Two handwritten annotations on the back of these designs correspond directly with the characters and casting of this production: No. 73; character 'Rafi' (played by Douglas Burbidge) and No.5: name of actor 'Dennis Esmonde' (who played the part of 'Abu Nowas'). The play also featured a 'Chinese Philosopher', played by John A. Regan. Other notable castings in 'Hassan' included: Mary Nash, Dennis Hoey and Violet Kemble-Cooper. CONDITION REPORT: Good condition with imperfections commensurate with their purpose. The two brightly coloured examples are the 'cleanest', the others with various smudges/marks to paper ground.
Lot 221
Two Oscar de la Renta black evening/cocktail dresses, modern, labelled, the first of tiered and sequinned tulle; the second with oversized bow to rear, matching bolero; together with a Lancetti chiffon gown with stole; Oscar de la Renta skirt and pair of shoes, busts approx 92-107cm, 36-42in (8) CONDITION REPORT: Good condition. Shoes show signs of wear.
Lot 435
Two loom widths of brocaded silk, first half 18th century, the first woven in shades of gold on a navy ground with arches, pediments, wheatears and blossom, 54 x 113cm; the other with pale grey silk ground covered in large scale blooms in shades of peach, green and ivory, 49 x 87cm (2)Provenance: Caroline Littlewood
Lot 496
A good general collection of lace, mid-late 19th century, including 2 lengths of Brussels Point de Gaz, c.1860, the first with dense overall needlepoint flowers, 22 x 197cm; the other with finely worked scrolling plants including forget-me-nots with a spotted reseau, 19 x 220cm; a length of Youghal, 8 x 280cm; Honiton, Irish crochet and tapelace collars, assorted lengths (qty)Provenance: Caroline Littlewood CONDITION REPORT: numerous holes in reseau on first Brussels panel; 2nd one with occasional holes in reseau; Youghal, generally good, slightly 'grey' appearance, a few discolorations in places
Lot 107
Two John Galliano Prince of Wales checked wool dresses, 'Blanche DuBois', Spring-Summer 1988, Galliano London labels, the first with empire-line bodice with diagonal hem and pleated skirt; the second with button front and halter-neck panel, busts approx 86-96cm, 34-38in (2) CONDITION REPORT: Good condition. Faint perspiration stains to lining at interior underarms of empire line dress, not visible to exterior. Small soil mark to lower rear hem.
Lot 419
Two gentlemen's embroidered wool smoking hats, 1840-1850s, the first with colourful floral appliqué border and pom-pom tassel; the second worked with a variety of motifs including horseshoe, butterfly and various flowers (2) CONDITION REPORT: Exteriors are overall good condition. Lining of green example is frayed. Slight bead losses to pom-pom tassel
Lot 410
An E & J Hooper ivory satin gown, circa 1912, label to waistband, the empire-line bodice trimmed with bands of embroidered and sequinned tulle in scrolling and floral motifs, falling to the rear with beaded tassels, bust approx 86cm, 34in, waist 51cm, 20in CONDITION REPORT: First impression is fresh and good. Sections of the interior bodice silk lining have been repaired/replaced (well done). Silk to edge of interior bodice is splitting in places near hooks. Skirt is lacking lining. The under layers of sleeves have been removed. Several small splits to silk at sleeves. Faint light brown stain to lower left skirt, not immediately obvious.
Lot 234
Two Chanel cotton-blend jackets, 2000s, labelled, the first in pink, with decorative gilt button to each pocket; the second with multi-coloured knitted lining; together with a Chanel cloqué silk coat, chests 86-97cm, 34-38in (3) CONDITION REPORT: Good condition. The pockets of the pink jacket are functioning however the buttons have been stitched directly on closing them (no button holes, decorative).
Lot 70
British Vogue, 1976-1979, a complete run through Aug 77-Dec 79, together with two bound volumes containing various issues through Feb 1976-Jan 77 and Feb 77-Jul 77 (40)The issues included in the two bound volumes are as follows: the first: Feb, Sept x2, Oct x2, Nov, Dec 1976 and Jan 1977 (8 issues); the second: Feb, March x2, 'Men in Vogue', Apr x2, May, June and July 1977 (9 issues). CONDITION REPORT: Good. Name written in corner of first cover of bound volume Feb 1977.
Lot 366
Antoinette Sibley's black rayon satin costume for 'Jabez and the Devil', 1961, inked name to waist tape, with asymmetric shoulder strap, large appliqued faux gilt leather and sequin 'eye' motif with frilled and flounced and padded bustle to rear right hipDame Antoinette Sibley, DBE (born 27 February 1939) is a British prima ballerina. She joined the Royal Ballet from in 1956 and became a soloist in 1960. She was celebrated for her 30 year partnership with Anthony Dowell. After her retirement from dancing in 1989 she became President of the Royal Academy of Dance in 1991, and guest coach at the Royal Ballet (1991) and Governor, Royal Ballet Board (2000). In 2001 she danced Soupir's pas de deux with Dowell in a celebratory gala performance.'Jabez and the Devil' was choreographed by Alfred Rodrigues and was adapted from the story 'The Devil and Daniel Webster' by Stephen Vincent Benet. The first performance was September 15th 1961 by The Royal Ballet and Sibley danced the character of Mary, wife of Jabez who was danced by Donald MacLeary.
Lot 20
An Ossie Clark for Radley pale pink moss crêpe dress, mid 1970s, printed satin label, of loose cut, with blouson sleeves and tie-waist, bust approx 92cm, 36in, waist approx 76cm, 30in CONDITION REPORT: First impression is good and fresh. A few barely visible stains and watermarks to lower skirt, front and back. Large water ring to rear skirt at hem but only visible on close inspection. Extremely faint perspiration stains to underarms, hard to see. Overall good condition.
Lot 184
Two crêpe evening dresses, 1940s, un-labelled, the first of canary-yellow with beaded midriff; the second with floral printed bodice; together with an I.Magnin dress, 1940s, labelled and with handwritten client name; and another by Ladycourt of London, mid 1950s, labelled, busts approx 86-102cm, 34-40in (4) CONDITION REPORT: Good condition overall. Faint soil mark to rear skirt, seam at V-neck needs re-stitching (minor). Flora bodice gown - small hole in front of skirt, not very noticeable. Brown marks near rear hem, hem edge with small scattered little spot stains, not immediately noticeable. White crepe and black lace has been shortened. Black rayon - scuffing near rear bodice closure, minor
Lot 1
* KEN HOWARD OBE RA (BRITISH b 1932 - ),CONTINENTAL STREET SCENEoil on canvas board, signed24.5cm x 29cmFramed.Note: Ken Howard was born in 1932. He studied art at Hornsey School of Art from 1949 to 1953. Ken then did his National Service with the Royal Marines before returning to study at the Royal College of Art from 1955 to 1958. Howard then went on to win a British Council Art Scholarship to Florence from 1958 to 1959. The first Ken Howard one-man show was held at the Plymouth Art Centre in 1955. Subsequent art exhibitions were held in 1966 and 1968 at the John Whibley Gallery. From then on Ken Howard exhibited extensively, both nationally and internationally, particularly with the New Grafton Art Gallery from the early 1970s. Ken Howard was given a retrospective exhibition in 1972 at the Plymouth City Art Gallery. In 1979 Ken Howard was appointed by the Imperial War Museum as official British artist in Northern Ireland. He also worked with the British Army in Germany, Cyprus, Oman, Hong Kong, Nepal, Norway, Canada, Belize and Brunei from 1973 to 1982. Ken Howard is a master at capturing light in both oil and watercolour paintings. Today Howard is known as one of the leading British artists for his ability to fuse light and atmosphere in his contemporary paintings. The subjects for Ken Howard contemporary paintings range from studio nudes to Venetian scenes and Cornish beaches. Ken Howard was elected a member of: the New English Art Club in 1962; the Royal Institute of Oil Painters in 1966; the Royal Society of Painters in Watercolours in 1979; the Royal West of England Academy 1981; Honorary Member of the Royal Society of British Artists in 1988; Royal Academician in 1991; and President of the New English Art Club in 1998. His numerous art awards include: First Prize in the Lord Mayor's Art Award in 1966; a Prize Winner in the John Moores Art Exhibition, Liverpool in 1978; first prize in the Hunting Group Art Awards; and the Critics Prize at Sparkasse Karlsruhe in 1985. He now lives and works in London or at the Ken Howard artist studio in Venice. Ken Howard contemporary paintings are found in many British and International private, corporate and public art collections.
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