We found 6142 price guide item(s) matching your search

Etro patterned dress with pleated hem, size 44 and a Paul Smith patterned blouse printed with roses, dahlias, etc (2) 

Caroline Charles full-length bias-cut sequinned evening dress, a winter Kate black silk dress with cowl neck and dropped hem and a Nougat chiffon embroidered blouse (3)  

A PAIR OF SIZE 10 HOBNAIL GUARDS BOOTS, together with a 'Royal Artillery' battle dress blouse 1949, size 7, with lanyard and trousers

An Early XX Century Bronze, cast as the head and shoulders of a Chinese lady, her hair tied up and wearing a traditional high necked blouse, signed indistinctly, on a hardwood base, 26cm high.

A Late XIX Century Woolwork and Beadwork Picture, of a lady wearing a dark red cap with long hair and a white and brown blouse against a blue background,46 x 42cm, framed.

Textiles - lady's accessories, a Canoa of Argentina green leather bowling bag vanity case, fitted, c.1940; a 1950s printed cotton tea dress and bolero jacket; an Edwardian silk blouse; other early 20th century lace edged undergarments; a 1960s Mynette viscose dress; a 1950s bathing suit; a Japurco London tweed waistcoat; a Cashmere camel coloured coat; etc

Collection of late 19th, early 20th century and later costume including a plum satin tailcoat with lace cuffs and velvet collar, retailed by Cranston & Elliot of Edinburgh; a pair of peach satin breeches; metallic gold brocade waistcoat; Edwardian lady's cotton blouse; a brown silk lady's blouse with label for Paul Caret, Paris; silver lamé Pierrette jumpsuit; gold lamé cloak; blue lamé short flared dress with blue feather trim; an Arab headband; various children's costumes including waistcoats and trousers; an Indian waistcoat and cap. Two cartons.

Early 20th century Chinese coat or dressing gown in purple silk brocade decorated with birds amongst flowers (some fading) and various items of 20th century and later costume including a child's black velvet smoking jacket; Edwardian lace trimmed silk blouse (a.f.); a child's green satin and white cotton dress; another in orange and printed cottons; a child's Indian waistcoat and a velvet jacket. Two cartons.

VISHNU AND HIS CONSORT ENTHRONED Pahari, KANGRA VALLEY, perhaps Garwhal, CIRCA 1800gouache and gold on paper, the divine couple enthroned within a roundel edged with lotus leaves, within a yantra, all on a light blue ground, pink flecked outer border 210 x 207 mm.Footnotes:ProvenancePurchased from Hearst & Hearst, Boston, USA, in the early 1980s.Private Collection, Boston USA.Chaturbhuja (four-armed) Vishnu is depicted carrying his identifying objects: a mace, a lotus, a discus and a conch shell in each of his four hands. The artist has chosen to represent Vishnu in his avatar as Krishna, denoted by his blue body. He is also clad in a bright yellow dhoti and a marching scarf around his neck — a colour used for Krishna's garments - and a crown and jewels, in line with the iconographic convention designating Vishnu as a king. His consort, probably Lakshmi, is dressed in a green blouse, a bright orange skirt and a golden odhni that covers her head. The particularly notable feature of this painting is the situating of the enthroned couple within a yantra, a mystical diagram derived mostly from the Tantric tradition, used in temples and in homes to aid meditation and also for the benefits that their occult powers are supposed to yield. The circular border around the enthroned divine couple is surrounded by lotus petals. The lotus is a symbol of purity, creation and transcendence, but more importantly it has associations with the idea of fertility, a symbol of the female reproductive organ. Eight-petalled lotuses, such as this one, point in the cardinal and intermediate directions. While yantras can be of several types, those which assist in the worship of deities are called pujayantras, with the lotus around the central portion, surrounded by a square with four gates.The reverse of the painting carries a couplet in nagari, which means that it is said that whoever chants the name of Raghubir (i.e. Lord Ram, who is also an incarnation of Vishnu) will be absolved of his/her sins, have no fear of death, and will remain happy. The second line states that Lakshmi Narayana (i.e. Lord Vishnu and the Goddess Lakshmi) reside in the heart.For further information on this lot please visit Bonhams.com

Sudhir Patwardhan (Indian, b. 1949)Woman in black blouse signed and dated 1988 with title on the reverseoil on canvas61 x 50.7cm (24 x 19 15/16in).gallery label on reverse of canvasFootnotes:ProvenancePrivate Indian Collection: acquired by the owner from Saakshi Art Gallery in 2018.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An RAF Officers battle blouse, dress items etc.

Ladies vintage fashion - a 1970's silk blouse and maxi skirt, yellow ground with green and blue flowers; a 1970's maxi dress, white with red and black flowers; a 1970's Ross-Bergo wool skirt and waistcoat, pink, purple, green, blue; a 1960's monochromatic wool dress; an early 1980's silk pink paisley dress and matching pill box hat; a Nettie Vogues 1980's maxi dress, white with blue and green flowers; a Nettie Vogues 1980's dress, pussy bow, pleated skirt, brown and black tones, retailed by Henry Burger; a Nettie Vogues quilted burgundy velvet dress (8)

Ladies vintage fashion - two 1970s sleeveless tops by Rodier Paris; and another by Laflac Spain; an Elsie Whiteley high-neck blouse, white lace effect, pearl type buttons, size 36; a silk blouse with beaded collar and cuffs (5)

WW2 British Army Major Generals Battle Dress Blouse CBE DSO & Bar and Military Cross Winner, an interesting officer tailored battle dress blouse with open collar, red gorget collar patches, small type rank pip above bronzed generals shoulder rank insignia. To each arm is tartan formation sign and one arm has a post war made padded Parachute qualification jump wing. To the breast are medal ribbons for the CBE, DSO with rosette, MC, GSM, 1939-45 star, Africa star with 8th army emblem, Italy star, France & Germany star, Defence medal and 1939-45 War medal with MID oakleaf. Interior of the battle dress with William Anderson & Son Edinburgh tailors label with typed name “Magnus v, Major General 6/44”. Battle dress remains in very good overall condition.

WW2 British Army Major Generals Battle Dress Blouse, fine example of an officer tailored open collar battle dress blouse with red gorget collar patches, embroidered rank insignia to the shoulders and medal ribbons above the breast pocket to include the DSO and bar. Interior with the original 1942 dated size label. No indication as to who this battle dress belonged too.

WW2 British War Economy Denim Battle Dress Blouse, a well used example of the denim pattern battle dress blouse with removable general service buttons to the front and shoulder straps. Interior has had the label removed.

Mixed 1970's and later clothing to include a Frank Usher aqua-green cocktail dress, UK size 12, a Peggy French Couture. formal aqua-green 2 piece outfit, 40" chest x 42; hips, a California aqua-green pleated full length evening dress with belt, UK size 10, a Hungarian sheer and embroidered tunic blouse, an Australian Boom Shankar multicoloured 2 piece Summer outfit and a brightly coloured Kimono robe.

A 1960's Christian Dior 'Diorling' 2 piece ladies outfit comprising a skirt 24" waist x 28" long and a blouse 32/34" chest, in a red and black geometric designLocation: Rail 1

EVITA (1996) - EVA PERON'S NAVY THREE PIECE SUIT - PLAYED BY MADONNAMade by 20th Century props, comprising a fitted jacket with 5 button detail and side tie featuring embroidery panel, straight pencil skirt, 29 inch length and 27.5 inch waist, and cotton cream ladies long length blouse. The film also stars Antonio BanderasNote: This lot was purchased by the vendor from the Bonhams 'Angels Star Collection of Film & TV Costumes' sale on 6th March 2007Sold with a pull up screen from the 'Designer Divas' Exhibition which took place at the Falkirk Wheel

BECAUSE I SAID SO (2007) - MILLY WILDER'S SUIT JACKET AND TOP - PLAYED BY MANDY MOOREDKNY Ladies 93% wool, 5% cashmere and 2% spandex fitted one buttoned suit jacket size 6, red ladies short sleeved blouse, with pearl buttons to front and a mesh yoke, together with costume jewellery and a black satin clutch bag, Accompanied by a Premiere Props Certificate of Authenticity and Costume department tag. The film also stars Diane Keaton

Early 19th Century oval miniature of a lady with white ruff collared blouse and coral necklace in a gilt metal mount, 3ins x 2.5ins, inscribed verso

A LANVIN FLORAL SILK BLOUSE Cream and floral long sleeved button up blouse with a Chinese collar, with a dual sided neck tie Lanvin FR 38 Condition: PRISTINE - Items have been worn once or twice but are still in excellent condition

A CHLOE BEIGE FLORAL EMBELLISHED SILK BLOUSE Short sleeved V neck silk blouse with multicoloured intricate surface embellishment, featuring sequinned and beaded flowers, chain stitch embroidery and beading, leaf appliqué, with a peep hole to the neckline Chloe IT 40 Condition: GOOD - Items have been worn but still look great. Check catalogue notes Additional Information: Some fraying to the embroidery otherwise in good condition, please refer to images

A PRADA BLACK SLEEVELESS BLOUSE Cotton blouse with front lace and ruffle panel, with round adjustable drawstring neckline and bow tie to the left shoulder Prada XL Condition: PRISTINE - Items have been worn once or twice but are still in excellent condition

AN EMILIA WICKSTEAD 'BRUNHILDA' GREEN CREPE BLOUSE Bright green mock neck light crepe blouse, with a singular pleat to the front, with pussybow self-tie detail to the back, and three buttons to the bishop sleeve cuff Emilia Wickstead UK 8 Condition: PRISTINE - Items have been worn once or twice but are still in excellent condition

A BALENCIAGA YELLOW & WHITE BLOUSE Two-tone A-line sleeveless blouse, with yellow scribbles printed to the fabric, with zipper enclosure to the back Balenciaga EU 38 Condition: PRISTINE - Items have been worn once or twice but are still in excellent condition

A PRADA LIP PRINT BLOUSE & SKIRT Two piece, white pink and purple lip print long sleeved blouse with self tie bow to the back and knee-length pleated skirt with zipper enclosure to the side Prada Blouse Size 38, Skirt Size 40 Condition: PRISTINE - Items have been worn once or twice but are still in excellent condition Additional Information: Prada Size 38: UK 6 Prada Size 40: UK 8

AN ISABEL MARANT WHITE SILK BLOUSE Étoile white sheer silk blouse embroidered with floral and snowflake motifs, with a straight neckline and tie tassels to the shoulders Isabel Marant FR 38 Condition: PRISTINE - Items have been worn once or twice but are still in excellent condition

A c.1960's Vintage Black Jersey Dress by 'Miss Rubette', a shirtwaist style dress, cotton day dress, beaded satin column dress together with a later black velvet Gharani Strock jacket with sequin detail to flap pocket and an Elsie Whiteley black chiffon frilled blouse.

Samuel John Peploe RSA (British, 1871-1935)The red scarf, portrait of Jeannie Blyth signed 'Peploe' (lower right)oil on canvas41.5 x 34 cm. (16 5/16 x 13 3/8 in.)Painted in c.1902Footnotes:ProvenanceSale; Christie's, Glasgow, 8 December 1988, Lot 318Jeannie Blyth was a teenage Romany flower seller who sold blooms at the top of the Waverley Steps and caught the eye of one of Scotland's most celebrated artists.According to Stanley Cursiter, 'Jeannie Blyth was a wonderful model, her dark hair and rich colour and complete lack of self-consciousness allowed Peploe to paint many pictures, and these smiling or laughing heads are among the finest of his early works.' (S. Cursiter, Peploe: An intimate memoir of an artist and his work, Thomas Nelson, London, 1947, p.8).There are several known depictions of Jeannie by Peploe, such as The Green Blouse (National Galleries of Scotland) and Jeannie Blyth (Aberdeen Art Gallery & Museums), but the present painting arguably portrays her at her most beautiful. Peploe uses the red scarf to enhance the rosy tones in her cheeks and parted scarlet lips. But she is not just a pretty face. With her wistful gaze and ever so slightly raised chin, Peploe captures a strength of character and makes sure that we the viewer are aware that she is a confident woman.For further information on this lot please visit Bonhams.com

A 1940's taffeta pastel check blouse with a peplum waist, two cream lace and embroidery anglaise examples and a early 1950's black and sherbet coloured stripe skirt (4)

* Lace. A pair of buratto lace bedcovers, late 19th/early 20th century, 2 hand-stitched matching coverlets, each with 7 rows of 4 pictorial squares of buratto lace, each square depicting an animal or bird, e.g. a unicorn, stork, peacock, a griffin and other heraldic creatures, a dog, pelican, dragon, rabbit, etc., between smaller squares of buratto depicting animals, and panels of cutwork and embroidery, buratto lace edge also featuring animals and birds, including elephants, swans, dogs, lovebirds, etc., 266.5 x 167.50cm (105 x 66ins) and slightly larger, occasional small holes and marks, but overall in very good condition, together with: A Carrickmacross wedding veil, Ireland, circa 1865/66, cream lace veil, hand-worked over machine net, with floral and foliate sprays and ears of wheat, some scattered small holes and marks, 157.5 x 157.5cm (62 x 62ins), with remains of paper wrapping annotated in ink 'Real Lace Bridal Veil, grand mother Rachel Simmon, circa 1865/1866', and a large quantity of other lace items, 19th and early 20th century, many pieces handmade, including lengths of lace trim, 6 lace over pale pink silk cushions, pillowcases, bonnets, collars, cuffs, handkerchiefs, a blouse, stoles, dolly bags, tablecloths and runners with lace edges or insertions (some matching sets), some items starched and interleaved with tissue, various sizes and conditionQty: (3 cartons)

Michael Hutchings (British, 1918-2020), 'Blue Blouse'. Acrylic on board. Unsigned. 92 x 61cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Royal Air Force (RAF) White Mess Dress Tunic, complete with brass kings crown RAF tunic buttons; RAF post war made battle dress blouse with zip front and evidence of a brevet wing once being present; copy of a WW2 ATA pilots four pocket service dress tunic and a white Moss Bros shirt.

Two vintage dresses and a blouse to include a Cover Girl of Miami 1950's floral pink and green dress size 14 on label but approx size 10, 38cms waist lying flat, 1970's hand made thin cotton print dress size 10, 36cms waist lying flat and a Personal butterfly patterned blouse size 10.Condition ReportGood condition, light signs of use and pilling to the pint dress.

Blouses and tops from the 1970s includes lime green retro floral print top with ruffled hem and a Lisa Jane embroidered yoke blouse,

A ladies Austrian national dress costume including dress, blouse and apron size 40

A Victorian lilac silk skirt, length 92cm, a Victorian black cotton and silk stitch cape, a ladies Victorian black silk and lace scarf, a ladies black silk and lace blouse, together with other Victorian clothing.

Second World War metal ammunition crate, dated 1942,containing, a selection of 1937 Pattern Webbing, universal pouches x 3, belt, holster, small pack, rifles slings, a British 1955 Pattern Denim Battledress Blouse, size 6, maker Cookson & Clegg, together with a pair of green denim trousers with braces, officers service dress jacket, Continental (Belgian?) officers service dress uniform, (qty)

各色服飾（一組十二件） comprising: a blue long robe decorated with eternal knot and eight auspicious emblems in roundels; one white silk short robe; one linen blouse, one vest and one pair of trousers in white; one pair of blue linen trousers; two pairs of shoes; one pair of white socks; one prunus-decorated sachet; one waist-pouch; and one black clothlargest: 161cm across shoulders; 135cm long

Grey military flying jumpsuit with label 'Size No.8, 22C/1144, Height 6ft - 6ft 3, breast 39"-42", numbered 28627', a navy blue jacket with label inscribed 'Blouse Rescue Party? 59, size no.11, date indistinct, possibly May 1951' and matching trousers (3)

A 1960s girl guides blouse with a collection of badges, book and spare badge.

Costumes Parisiens, Journal des Dames et des Modes:Acht pochoirkolorierte Kupfertafeln (gleichmäßig gebräunt), je 17,5x 11 cm. Je in PP. und R. 31,5x 25,5 cm. Im Einzelnen: 1) Bernard Boutet de Monvel "Mise d'un jeune homme", Tafel 33, 1912 (etwas fleckig); 2) Armand Valée "Robe de mousseline...", Fafel 41, 1912; 3) Marie Madeleine Franc-Nohain "Robe de jardin en toile bleu", Tafel 76, 1913; 4) George Barbier "Costume de bain", Tafel 101, 1913; 5) Armand Valée "Toilette d'après midi", Tafel 143, 1914; 6) "Manteau du soir...", Tafel 139, 1914.;7) "Blouse de ratine à ceintre brodée", Tafel 145, 1914 und 8) George Barbier "Robe de taffetas et mousseline de soie peinte", Tafel 184, 1914.

Alex Katz (American, b. 1927). Lithograph on paper titled "Susan" depicting a profile portrait of a woman with brown hair wearing pearls and a pink and white striped blouse. Signed and numbered 133/175 along the lower left. Signed and titled along the verso.Literature: Maravell 90.Provenance: Private collection, Minnesota.Height: 19 1/2 in x width: 26 in.Slight crease along the edges.Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.Height: 19 1/2 in x width: 26 in.

Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)The Flower Girl oil on canvas81.3 x 66cm (32 x 26in).Footnotes:Painted in 1900. ProvenanceThe artist.Nora Ward (England).By descent through the family.Anon. sale, Christie's London, The Irish Sale 12 May 2005, lot 7.The Diane and Sam Stewart Collection, Salt Lake City, Utah, acquired from the above.Although he was born in Auburn, New York, James Jebusa Shannon studied art and built a thriving career as a society portrait specialist in London, where he lived from the age of sixteen. After debuting at the Royal Academy in 1881, Shannon's portraits became admired fixtures there as well as at the Grosvenor Gallery, the New Gallery, and other important national and international exhibition venues.By the early 1890s, Shannon was firmly established as one of the most popular and critically respected portraitists in England. Yet commentators expressed their regret that a work by Shannon had not been purchased for the nation. As one writer put it in 1892, 'Thus, of all the delightful work of Mr. J. J. Shannon the Chantrey bequest trustees have really no chance of acquiring an example, Mr. Shannon's work being all commissions and the terms of the bequest excluding any purchases in advance.'1.Perhaps encouraged by such press, Shannon occasionally exhibited a variety of genre subjects throughout the 1890s, a decade that culminated with The Flower Girl (1900, Tate Britain), a work that was extraordinarily well received and purchased from the 1901 Royal Academy exhibition with Chantrey Bequest funds.The present work is one of two versions of the Tate picture, both of which vary from it slightly -mainly in the considerably looser brushwork throughout the composition and, here, especially, in the areas of the child's leg and foot and the mother's hands. Although it is unsigned, the provenance of this version securely establishes Shannon's authorship since it was a gift from the artist to Nora Ward (1887-1970), the daughter of his friend and colleague Edwin Arthur Ward (1859-1933). From childhood Nora Ward and Shannon's daughter Kitty (1887-1974) enjoyed a close friendship, with Nora often staying in the Shannon household and travelling with them. Both Kitty and Nora became artists, with the latter attending Westminster School of Art and the Royal College of Art, as well as studying with Shannon. She was known professionally by her married name, Nora England. Shannon's gift of The Flower Girl to Nora England passed to her daughter, at whose home it was seen by the author in 1984.The source of the image is documented in Kitty Shannon's For My Children. The family had rented a house in Eastbourne one summer, where, she recalled: 'On the sea front at Eastbourne there were flower girls. They were an institution, almost as much so as the flower girls at Piccadilly Circus who sit around Eros. One girl was very paintable and had the most divine baby.' She continued, saying that her father instructed the young woman to 'Come exactly as you are, baby, basket of flowers, the white blouse with the big black spots and old battered straw hat.'2. According to a letter in the Tate Britain files, Shannon's models were Theodora Brown and her infant daughter Naomi Pretoria Brown3Flower girls were popular subjects for Victorian painters and writers. Yet Shannon's imagery departs from the customary depictions of impoverished flower girls selling their wares on urban streets and, instead, envelopes the mother and child in sun-dappled foliage4. Such connections between motherhood, nature, and purity were noticed in the contemporaneous press and allowed viewers to erase stereotypical notions of urban working women from their thoughts. In this respect – and stylistically as well – Shannon's versions of The Flower Girl are more closely aligned with mother-and-child imagery and colourful palette that characterize the art of George Hitchcock (1850-1913) and Gari Melchers (1860-1932), American colleagues with whom he spent summers at the Egmond Colony, Holland, in the years surrounding the turn of the century. 1 'Art and Artists', Sunday Times, London, May 8, 1892, p. 6. 2 Kitty Shannon, For My Children, London, 1933 p. 104.3 Letter to 'The Secretary, Tate Gallery', from Mrs. M. H. Howell (the granddaughter of Theodora Brown), 21 July, 1968. 4 See Kristina Huneault, Flower-Girls and Fictions: Selling on the Streets Canadian Art Review, vol. 23, no.1/2 (1996), p. 52-70, where Shannon's imagery is discussed on page 64 and the Tate painting is reproduced on page 65. We are grateful to Barbara Dayer Gallati, Ph.D., for compiling this catalogue entry.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

WW2 Free French Air Force Battle Dress Blouse, interesting private purchase battle dress blouse tailored in a horizon blue / grey cloth with gilt metal winged propeller un-marked tunic buttons. Evidence of a pilots / aircrew wing once present. Tailored in a officers style open collar with padded shoulders. No markings visible, tunic shows wear.

Royal Air Force (RAF) Battle Dress Blouse, privately tailored RAF battle dress blouse in blue grey cloth. Single rank lace strip to the shoulder straps. Concealed buttons to the front and pockets. Black cloth lining to the interior with padded shoulders. No labels or markings.

A WILLIAM IV INFANT'S BLOUSE DATED '1836' of small proportions, possibly a child's Christening gown, embroidered with a name and date 'Jane Millson 1836', mounted in a glazed bird's eye maple frame 19.5 x 15.5cm Provenance 'A Lifetime of Collecting' - The Property of a Gentleman.

Frank Wiles (1881-1963)/Portrait of a Chinese Girl/half-length, wearing a floral blouse/oil on board, 39.5cm x 49.5cm CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Officers battle dress blouse, RAOC

§ Lionel Ellis.(1903-1988) Portrait of a Woman in Yellow Blouse. Oil on canvas, unsigned. 64 x 73cm. Lionel Ellis ARCA (1903-1988) was an important twentieth-century painter, illustrator, engraver and teacher who specialised in portraits, as well as equestrian and floral subjects. He taught at Wimbledon School of Art between 1937 and 1968 and lived in Headley, Surrey. The pictures offered here were formerly in the collection of his partner, fellow artist Barbara Shaw. His work is held at the V&A Museum, the British Museum and provincial museums.Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more informationPROVENANCE from the estate of the artist to the late Barbara Shaw thence to this auction. She was also an artist and the works in this sale are mostly by Lionel Ellis some signed and some not. Where unsigned the auctioneers have attributed them where appropriate but cannot guaranteed those attributions although they believe them to be correct. The proceeds of the sale will go to Ms Shaw's chosen charity

POP MUSIC, signed promotional photo by Wanda Jackson, half-length in striped blouse, 8 x 10, EX

British Army Staffordshire Regiment 1949 Pattern Captains Battledress Blouse. Complete with all original insignia including a gold wire bullion glider tradition badge. 19th Infantry Brigade formation signs. Named to "Captain Gregory, J". Size 4. Maker marked and dated "Milford Clothing Co Ltd 1954".

1944 Dated RAF War Service Dress Blouseblue grey, woollen, single breasted, closed collar, short blouse.  Pleated chest pockets with buttoned flaps.  Lower extended belt (buckle absent).  Printed shoulder eagles.  Internal issue label "War Service Dress Blouse" Size 8 dated "1944".  Minor wear.

1941 Dated WAAF Blouseblue grey, woollen, single breasted, closed collar, short blouse.  Pleated chest pockets with buttoned flaps.  Lower extended belt.  Internal issue label "WAAF Blouse", size 5, dated "1941".  Clean condition.  

A mid-20th century military number two dress uniform, comprising size 15 blouse with Royal Engineers buttons, applied Parachute Regiment badge and chevrons, and size 18 trousers with label dated 1966 bearing military issue mark.

Six items of ladies vintage clothing to include; a 1980's black top with glitter floral detail, Giovannozzi Italian 80's floral print batwing sleeve dress, a palm leaf print dress by Schneberger, a 60's/70's print dress by Lerose, a cardigan with sequin detail by Marks & Spencers and a 1980's floral print pleated skirt and matching short sleeve blouse by Rio. (6)(B.P. 21% + VAT)

English School, c.1805Portrait of a General officer in uniformminiature on ivory7.1 x 5.7cm, oval, in a gold frame with blue enamel, plaited hair and vacant collets verso, tested as approximately 9ct goldThis is a portrait of a General officer of the period c.1805. His exact rank is determined by the arrangement of the buttons on his tunic and the chain pattern lace on the facings. The sitter’s buttons and lace are grouped in threes, as worn by a Lieutenant General. The curious black line across his brow looks to be an eye patch, albeit that the patch itself appears to be over the sitter's right ear. This unusual arrangement may have been for reasons of both vanity and accuracy.We are grateful to Christopher Joll for his assistance with this catalogue entry.Condition report: Colours a little faded. Some yellowing, especially in the sky and on the white blouse. Some flecks of dirt lower left. There appears to be a little damage in the form of tiny scratches to the left of the buttons although these may be intentional, also in the armpit. The paint on the shoulder looks a little faint, possibly rubbed. Dirt on the glass. Some deep scratches to the glass near the centre. A couple of light dents to the cases, and stickers and remnants of stickers verso. There are spaces where once there were pearls verso.

An Ayrshire christening gown, an Irish crochet lady's blouse etc

Walter Rowlands Ingram (act. late C19th) - Bust portrait of a lady in white marble, modelled with her hair in a chignon, wearing a buttoned blouse fastened at the lace collar with an angel brooch and with pendant necklace below, inscribed verso W.R. INGRAM SG(?) 1888, on a circular socle base, gross h.35.5cm Condition report: Damage to socle.