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Lot 465
Royal Horse Guards and 1st Dragoons officers khaki uniform jacket, brass buttons with `RHG 1stD`, medal ribbons above left breast pocket, purple cord through left shoulder running down to pocket, khaki ca and dress ca with gold foliate braid both probsbly for the same regiment, by Herbert Johnson, and a khaki side hat by Clement H. Sunderland of Liverpool,
Lot 244
A Sampson and Hancock Derby Tithe Pig Group, modelled with parson and a couple, he wearing a broad brimmed hat and hands clasped, she with bonnet and cape holding a baby, he wearing a pink jacket and breeches holding a piglet, oval moulded base with piglet, basket of eggs and wheatsheaves, before bocage, 23cm high, S and H, crossed swords and D mark in blue, c.1866
Lot 99
An early Paquin black silk taffeta jacket, Summer 1919, large woven label no 44971, of interesting construction, cut high at the front with long fringes, single button to fasten, the back falling in three taffeta tiers, rose pink challis lining; with a photograph of the original Paquin design, (2). Iconography: Victoria & Albert Museum Paquin Archive, ref E3070-1957
Lot 106
An `Old England` herring-bone tweed lady`s hunting/sporting suit, French, circa 1920, labelled, comprising: tweed jacket with single large pocket (for small game), the matching breeches with leather reinforcements to the inside legs buttoned side flaps, chest 107cm, 42in, waist 72cm, 28in (2)
Lot 114
An extremely rare and early Balenciaga ivory satin damask evening jacket, circa 1938, with large brown on cream woven first label, the satin figured with a tracery of silver creatures and foliage, lightly padded shoulders, the pockets forming curved basques at the front, bust 97cm, 38in, waist 76cm, 30in
Lot 118
A rare and early Jacques Griffe tailored suit, `Talisman`, 1947, labelled, comprising black tweed jacket and skirt, purple moss crepe blouse, embroidered with beige and cream raffia blooms, the jacket buttons of facetted jet glass, chest 92cm, 36in, waist 71cm, 28in, (3). A sketch of this ensemble by Roger Rouffianges is in the Musee Galliera, Ref. 80.55.14
Lot 120
An H. Harris double-breasted ecru linen summer suit with Royal Yacht Squadron buttons, American, 1941, the jacket with tailor`s label bearing Duke of Windsor`s name and date `3.15.41`, with slightly shaped waist, wide pointed lapels fastened by four cream buttons with the Royal Yacht Squadron emblem etched in gold; the peg-topped trousers with front pleats, turn-ups; together with a grey and white finely checked shirt with royal cypher and a blue and white bow tie, both by Hawes & Curtis, jacket chest 97cm, 38in, trouser waist 71cm, 28in, (7). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2857. In 1948 the Duke was photographed wearing this suit in Havana, Cuba
Lot 121
The Duke of Windsor`s cream silk jacket by Metzel, American, 1944, with tailor`s label dated 7/18/44 and bearing the Duke`s name, double breasted with plain mother of pearl buttons, chest 96cm, 38in; together with Hawes & Curtis grey and red checked bow tie, finely checked grey and white shirt with royal cypher; cotton dress shirt with wing collar, embroidered `E` to the label, a thistle shaped pique bow tie and matching waistcoat, (6). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2857, 2852, 2090
Lot 126
Two Charles James ensembles, London, late 1930s, comprising: gold lame backed chine taffeta evening gown and matching stole, 1938-9, un-labelled, with double notched panels to the bodice, zip fastened, bust 101cm, 40in; and a couture violet cannele silk suit, late 1930s, un-labelled, the jacket with angular neckline, pointed lapels with openings at the top, presumably for threading a scarf through, the curving front seams piped in white, the bias-cut skirt with notched waistline, lined with ivory crepe silk, bust 101cm, 40in, waist 91cm, 36in, (4)
Lot 127
An early Marcel Rochas couture suit, Spring, 1935, the jacket with large woven silk label and no 9553, woven in grey and white chine silk with butterflies, the jacket with velvet collar, shamrock buttons; together with a reproduction knife-pleated black crepe skirt with matching buttons, bust 86cm, 34in; together with three xeroxes of the ensembles photographed in Vogue, and L`Officiel in 1935, (4)
Lot 130
A group of Mainbocher clothing, mainly 1950s, labelled, Mainbocher Inc. comprising: a pink crepe evening cape 1940s with flamboyant sequined shoulders, tiers of fringes; black point d`esprit cocktail gown, mid 1950s; black wool jacket, late 50s; black silk overcoat lined in pink silk, late 1950s, various sizes, (4)
Lot 151
A Chanel couture mohair tweed suit, early 1960s, labelled 19587, woven in Autumnal shades and lined in green silk, gilt chain weighted jacket, angular silk covered buttons, the skirt with side fringes, with detachable green silk inner cuffs and matching labelled beret, chest 97cm, 38in, waist 72cm, 28in, (5)
Lot 156
A Balenciaga couture shocking pink and gold brocade evening gown and bolero jacket, Spring-Summer, 1964, labelled and numbered 92586, the skirt and bodice emblazoned with gold and silver beaded starbursts outlined in rose chenille, the jacket with three domed silk covered buttons, bust 82cm, 32cm, waist 61cm, 24in, (2)
Lot 158
Two Marc Bohan for Christian Dior couture coats, comprising: blue overcoat, Spring-Summer 1962, with chunky buttons, striped lining; the other of camel wool, Autumn-Winter 1962, with large patch pockets, a detached collar of brown fur, chests 102cm, 112cm, 40-44in; and an Yves Saint Laurent couture pink tweed jacket, chest 97cm, 38in, (3)
Lot 199
A group of Bill Gibb/Kaffe Fassett knitwear, Autumn-Winter 1977-78, in lilac with pink, cream and jade green pine cones and sprigs, comprising: full-length kimono jacket with ties, a sleeveless cardigan with deep shawl collar; a long sleeved tunic sweater with side splits, long scarf, matching knitted skirt; together with a cream silk blouse with pleated collar, Autumn-Winter 76-77, pink pleated chiffon skirt and scarf, blouse bust 86cm, 34in; together with xerox designs of the skirt, jacket, blouse, scarf and long sleeved top, (10)
Lot 202
A group of Bill Gibb/Kaffe Fassett knitwear, Spring-Summer, 1977, in pale blue and pink, edged in lime, comprising: long kaftan like jacket edged in fringes with ties to the back; skimpy bodice, long sleeved sweater with ties and pockets; a fringed shawl, a tiered cardigan, a skirt with shirring to waist and a Robin Renwick printed silk skirt and scarf; together with xerox designs of the long sleeved sweater, tiered cardigan and the printed silk skirt, (11)
Lot 203
Bill Gibb/Kaffe Fassett knitwear, Autumn-Winter 1977-8, comprising: terracotta wool smock dress with deep rolled collar, overall pine-cone and window pane check pattern; together with matching pair of leggings, beret; a roll neck sweater, a tartan skirt; a short jacket with box pleat to the back and blouson sweater with deep ribbed V-neck, sweater bust 97cm, 38in; together with xerox designs of the smock dress, blouson sweater and polo-neck sweater, (11). cf `Bill Gibb: Fashion & Fantasy` by Iain R.Webb p.77 for a contemporary fashion photograph of the smock dress ensemble
Lot 212
A Bill Gibb whitework and sequined ensemble for Kate Franklin, mid season, 1973 and matching sketch, un-labelled, comprising cream cheesecloth halter-neck dress with cream embroidery; the matching jacket embroidered in pink with green and silver sequins, jacket bust 97cm, 38in; the ink sketch with attached fabric swatch annotated `To my dearest Kate who I hope never suffers from anorexia looking at this jacket. In joke!! Fondest love always Billy x`, 25 by 20cm within frame and mount, (3)
Lot 233
A group of Vivienne Westwood clothing, 1980s, the majority with World`s End labels, comprising: Nostalgia of Mud Collection, Autumn-Winter 1982: striped cotton shorts with leather braces, brown lace-knit stockings, splash effect cotton loose weave trousers, plain white top similar, splash-effect cotton long sleeved t-shirt; a pair of Pirate collection blue cotton stockings,1981; a Mini Crini green Harris tweed jacket, 1985, (9)
Lot 252
An Azzedine Alaia Prince of Wales checked jacket, late 1980s-early 1990s, the double-breasted jacket with trench-coat like panels; with almost identical skirt by David Chambers; and a pair of Joseph wide legged knitted silken trousers, chest 86cm, 34in; and a black scoop necked velvet dress with plunging back, size L, (4)
Lot 259
A Thierry Mugler voided velvet jacket and skirt, 1990s, labelled, the oyster satin jacket woven with bows, flowers and eyes, the black wool skirt with shaped hem, bust 86cm, 34in, waist 61cm, 24in; together with a Mugler black crepe cocktail gown with velvet detailing accentuating the neckline and waist, bust 89cm, 36in, waist 63cm, 26in, (3)
Lot 266
A group of mainly black evening wear, 1990s, comprising: unlabelled Lagerfeld for Chloe black crepe gown with stockinette side panels; Lagerfeld for Cadette printed floral crepe de chine gown with tiered skirt; Chloe black wool coat with faux fur cuffs; Jasper Conran black velvet halter-neck cocktail gown and an unlabelled black organza jacket, average bust size 86cm, 34in (5)
Lot 293
The Givenchy haute couture black chantilly lace cocktail dress, worn in ÒHow to Steal a MillionÓ, 1966, comprising: lace cocktail gown with wrap-over back, high neck with scalloped edge, side fastenings, the full skirt edged in a flounce stiffened with horsehair, narrow black patent belt, worn over a black silk petticoat, labelled and numbered 30.361, the matching jacket with narrow Givenchy label to the neck, bust 86cm, 34in, waist 61cm, 21in; together with a photograph of Audrey wearing the gown, (5). Audrey wears this ensemble in the Ritz bar scene of the film, where her character dons a matching lace face mask over glittery eye-makeup in order to disguise herself. Her attempt not to draw attention to herself in this stunning creation spectacularly failed! Hubert de Givenchy created a similar, though not identical, cocktail gown as part of the haute couture collection, Autumn-Winter 1966, model 432.
Lot 314
The Givenchy haute couture herring-bone tweed jacket, worn in ÒHow to Steal a MillionÓ, 1966, labelled and numbered 30271, of soft, cream and brown wool, domed plastic buttons, pocket flaps (with no pockets), lined in brown silk; together with a photograph of Audrey wearing the jacket in the film, (2)
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.
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96311 item(s)/page