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There are 338 lots in this sale  To Print the current sale list click the printer icon, please note this may take some time depending on your connection speed. This will open in a new windows.
Showing Records 221 to 240
LOT
221
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A Martin Margiela sequin printed silk jersey bodice and skirt, Spring/Summer 1996, blank label, with overall photographic print in shades of grey, bust 86cm, 34in, elasticated waist, (2) |
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Low Est
£ 600
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High Est
£ 1000 |
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LOT
222
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A Martin Margiela garment bag coat, Autumn/Winter 1997/98, of transparent clear plastic with white zipper fastening, top stitched seams, chest 117cm, 46in |
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Low Est
£ 800
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High Est
£ 1200 |
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LOT
223
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A Martin Margiela zipper bodice, circa 2000, labelled, composed of multiple zips in blues, browns and wine shades, bust 86cm, 34in |
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Low Est
£ 700
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High Est
£ 1000 |
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LOT
224
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A pair of Martin Margiela tan leather `Tabby' boots, circa 1990, zip fastened to the sides, cloven toes, size 38, (2) |
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Low Est
£ 400
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High Est
£ 600 |
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LOT
225
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THIS LOT IS WITHDRAWN |
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Low Est
£
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High Est
£ |
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LOT
226
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A Julian Macdonald for Givenchy mirrored platelet tunic dress, model 43, Spring-Summer, 2002, labelled `Givenchy Haute Couture', the mirrored plates laced through and knotted with chunky silver ropes with metal tips, chest approx 86cm, 34in |
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Low Est
£ 400
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High Est
£ 600 |
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LOT
227
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A Nicolas Ghesquière for Balenciaga evening coat, 2005, labelled `Balenciaga, Paris', with highly structured curved hips above narrow elastane covered waistband, the linen and wool ethnic weave bi-sected with leather bands, mink collar, the cuffs and hem adorned with gold sequins, chest 82cm, 32in, waist 56cm, 22in |
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Low Est
£ 1000
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High Est
£ 1500 |
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LOT
228
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A Julian Macdonald for Givenchy silver painted white cotton tailcoat and trousers, model 24, Spring-Summer, 2002, defile labelled Atelier Richard and also haute couture labelled, the jacket with Scottish-plaid like panel falling from one shoulder and forming assymetric tails, slim fitting trousers, both adorned with silver painted brush strokes, chest 82cm, 32in, waist 76cm, 30in, (2) |
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Low Est
£ 300
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High Est
£ 500 |
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LOT
229
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Lioubov Tchernicheva's printed velvet jacket and cap worn in Diaghilev's `Le Pas d'Acier', designed by Georges Yakoulov, first performance 7th June, 1927 at the Sarah Bernhardt theatre, Paris, of soft piebald-print velvet, the cap with large oilcloth peak and band, the simple jacket with two buttons to close, patch pockets, wired collar, chest 97cm, 38in; together with a letter from Doris Langley Moore to Mrs Willard Larson of California, for whom she purchased the ensemble. In her charming and rather rambling manner she describes the preview to the sale, the excitement of the auction itself and the fact that she would have to charge a shade more than her customary 10% for bidding in the sale. Doris Langley Moore was a renowned fashion historian - her personal collection forming the basis of the Costume Museum in Bath, (3) Provenance: lot 17, Sotheby's Diaghilev Ballet auction, 13th June, 1967, purchased for £40. Wardrobe of the Diaghilev Ballet Company, Colonel de Basil. Madame Morosova (de Basil's widow) Serge Grigoriev. Exhibited Edinburgh no 182 Forbes House no 597. See Arnold Haskell, `A Picture History of Ballet', Hulton, London, 1954, plate 399. The ballet was intended as a tribute to the constructivst art of the young USSR, showing scenes from daily Soviet life set against Yakoulov's set with brightly painted abstract cogs and wheels to suggest a factory back-drop. |
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Low Est
£ 2000
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High Est
£ 3000 |
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LOT
230
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The black velvet and tulle tutu worn by Margot Fonteyn for Swan Lake, designed by Leslie Hurry, in the role of Odile, Act III, the Royal Opera House printed label, inscribed in black ball point pen with details `Production: Swan Lake, Character: Odile, Name: Fonteyn', the bodice adorned wtih couched gold thread strapwork, facetted gilt rhinestones and sequins, layered tulle skirt; together with four corresponding photographs, two by Louis Peres and a third of Fonteyn dancing with Nureyev in New York, the other of Fonteyn taking a curtain call, (5) Provenance: ex Christies `Margot Fonteyn' auction, 12th December 2000. Fonteyn danced the role of Ondine in the following productions: Premiere - 18th December 1952, Royal Opera House Covent Garden; First danced with Nureyev - 12th December, 1963, Royal Opera House, Covent Garden; also the Royal Ballet Touring Company 1965 production - Fonteyn danced with Nureyev in this production 1966-68; The Royal Ballet revised production, 1971- Fonteyn danced with Nureyev in this production 1971-1973 and in various galas. |
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Low Est
£ 40000
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High Est
£ 60000 |
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LOT
231
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A signed copy of the Christies catalogue `Dresses from the Collection of Diana, Princess of Wales, June 25th 1997, hardback, blue leather binding, signed 'Diana' and 77/250, 44 x 30cm |
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Low Est
£ 2000
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High Est
£ 3000 |
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LOT
232
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A Christies catalogue `Dresses from the Collection of Diana, Princess of Wales, June 25th 1997, hardback, in original tissue and box, unopened, 44 x 30cm |
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Low Est
£ 300
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High Est
£ 500 |
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LOT
233
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A Christies catalogue for the Princess Diana auction, June 25th 1997, hardback, 44 x 30cm |
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Low Est
£ 250
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High Est
£ 350 |
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LOT
234
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A Christies catalogue `Dresses from the Collection of Diana, Princess of Wales, June 25th 1997, hardback, 44 x 30cm; together with a softback auction catalogue, and related ephemera including tickets to the private view and auction, sales results and others, (qty) |
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Low Est
£ 250
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High Est
£ 400 |
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LOT
235
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Three Elizabeth Emanuel sketches of famous Princess Diana evening gowns, 1990s, for the emerald green ball-gown she wore in Australia; blue sequined net gown and the Royal wedding gown, approx 30 by 20cm, 12 by 8in, (3) |
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Low Est
£ 600
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High Est
£ 1000 |
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LOT
236
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A group of fashion sketches mainly by Elizabeth Emanuel relating to gowns made for Princess Diana, 1981-88, including approx.16 original skeches plus photocopies of early designs, photographs of Princess Diana in the gowns, press clippings, related invoices and fabric swatches, (qty) |
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Low Est
£ 1000
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High Est
£ 1500 |
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LOT
237
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A leather bound album relating to the Royal Wedding, 1981, including: the Royal Wedding Order of Service, `Ceremonial'; invitations to Mr & Mrs D. Emanuel to both the wedding and reception, passes, seat reservations, press clippings, photographs and souvenirs relating to the wedding, folio |
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Low Est
£ 1000
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High Est
£ 1500 |
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LOT
238
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The chiffon blouse worn by Lady Diana Spencer for her engagement portrait taken by Lord Snowdon and also used in the February issue of Vogue, 1981, of oyster pink crepe silk chiffon, with soft ruff-like collar, pleats to the front, flounced cuffs, lined in ivory silk, bust 92cm, 36in; together with a pink satin ribbon bow for the neck; a photograph of Diana wearing the blouse which was reproduced in Vogue, and a letter of authenticity signed by Elizabeth Emanuel (4) Vogue was instrumental in introducing Lady Diana Spencer to young British designers.and fashion editors. Princess Diana stated `On the day we got engaged I literally had one long dress, one silk shirt, one smart pair of shoes and that was it....I asked Anna Harvey from Vogue, where both my sisters had worked, to come and help me out with the basic things', cf.`Diana Her True Story in Her Own Words' p.47. David and Elizabeth Emanuel in` A Dress for Diana', p.36 described how this blouse was used in the Vogue fashion shoot `this blouse was hanging up in our studio when we suddenly received the phone call from Vogue requesting something which had a high neck and was very romantic. It was only later that we discovered that the blouse had been worn by Lady Diana…The fashion team had assembled a large collection of clothes from several designers for her to try...When she saw our blouse on the rack she fell in love with it, asked who had made it and was directed to us. That was the beginning of our relationship with Diana. Fortuitously, the engagement between Prince Charles and Lady Diana was announced shortly after that shoot and the picture taken by Lord Snowdon was used as the engagement photograph. |
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Low Est
£ 10000
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High Est
£ 15000 |
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LOT
239
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A group of Emanuel sketches, swatches and ephemera related to the Duchess of Kent, 1980s, including original sketches, a large number of photo copies, fabric swatches for the outfit she wore to attend the Royal wedding; 21 original sketches for her Hong Kong tour and others, (qty) |
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Low Est
£ 600
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High Est
£ 800 |
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LOT
240
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Five Elizabeth Emanuel pencil sketches produced for the press embargo, 1981, all signed and dated, showing designs for the wedding gown, bridesmaid dresses and accessories, mainly 33 by 20cm, 13 by 8in; together with three incomplete sketches, (8) |
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Low Est
£ 1000
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High Est
£ 1500 |
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