We found 110041 price guide item(s) matching your search

Collection of dolls, porcelain, horse tack, magazines, tins, bust, prints, coffee grinder, etc.

Tray lot with snuff boxes, carved bust, etc.

ORNAMENTAL FIGURINES & A COMPOSITION BUST OF A GREEK PHILOSOPHER ? - to include a Capodimonte style huntsman with his dog, Rosenthal figure of a woman holding a bird of prey, Capodimonte style figure of Pinocchio with Fairy Godmother, 30, 20 and 25cm heights respectively along with others, 22.5cms H the bust

ZEUS, 20th century, a painted cast iron bust of Zeus, after an antique original, 30cm wide27cm deep57cm highCondition report: With loss of paint throughout. Rusting to the exposed areas. Staining and patination.

GOTHIC SKULL,early 20th century, a set of cast iron moulds, casting a relief image of a Gothic skeleton bust, possibly used in the manufacture of confectionery, each mould 19 x 16cm (2)Condition report: Rust and patination throughout. Padded feet attached to the bottom of each mould.

GEORGE WASHINGTON,late 20th century, a plaster bust of George Washington, decorated in polychrome, 49cm wide65cm high Condition report: With some minor chips and losses throughout.

PARISIAN BEAUTY, early 20th century, Italian, an Art Nouveau pottery bust of a girl with glass inset eyes, modelled with a low-cut top, decorated in polychrome, signed 'C. R. Faggioni', with a metal plaque inscribed 'Parisienne Par Passioni', 75cm high approximatelyCondition report: Some staining to the surface.

CHARLES DARWIN,a plaster cast bust of Charles Darwin, taken from the original in the Natural History Museum by Sir Joseph Boehm, unveiled in 1885, on a wooden plinth in a rectangular glass case,38cm highCondition report: With a crack to the top of the glass case.

CAESAR AND TOUCAN,a plaster bust of Gaius Julius Caesar, surmounted by a taxidermy toucan,89cm high

A Modern Resin Bust of Maiden on Onyx Socle After Giannelli, 25cm High

A Collection of Carved African Souvenir Treenwork to Include Bust, Bowl, Birds and Vase

A Resin Bust of David Set on Stepped Marble Plinth, 21cm High

Iohannes Haughton (probably John Houghton, Irish, fl. 1741-1775): A mid 18th century sculpted white marble bust of Jonathan Swiftthe sitter looking to dexter wearing a cap over his curling long hair, his shoulders clad in drapery over an open chemise, mounted on a moulded square plate and plain square tablet socle inscribed SWIFT, and a further plain square tablet signed Iohannes Haughton Sculpt:, the whole raised on a later black painted composition and wood column pedestal and moulded square base, the bust, socle and signed square tablet, 84cm high, the pedestal, 134cm high (2)Footnotes:Please note that Robert Swift was the great great grandson of Jonathan Swift's uncle (Godwin Swift,1627-1695) and it was Godwin Swift who raised Jonathan when his own father died prematurely.ProvenanceRobert Swift Esq. (d. 1842), great great grandson of Jonathan Swift's uncle Godwin Swift, 1627-1695 who raised the writer when his own father died prematurely. By repute displayed at the Swift ancestral home, Swiftsheath, Kilkenny, Ireland. Presented in 1847 to Godwin Swift Esq., cousin of Robert Swift.Thence by descent to Godwin Swift Esq., grandfather of the present owner and author of a handwritten family record (one of a several) compiled between 1928 and 1940, whereby the bust is mentioned, possibly (by family tradition) via a George Swifte Ewbank Briggs Esq., who apparently also resided at the family home, Swiftsheath, until 1971. Thence by descent to the present vendor. Mention of the history of this bust and its sculptor John Houghton is made in the hand written family records of Godwin Swift, grandfather of the present vendor, where it can be traced back to his ancestor Robert Swift, who graduated from Trinity College Dublin in 1776, was married in 1781 and died in 1842. In these records a suggestion is also made that Houghton's bust may have been derived from the plaster death mask taken from Swift at his passing. However, it is likely further archive research on the subject may bring something more conclusive to light. Copies of the relevant pages of the family records are available on request and can be viewed online at www.bonhams.com. The attribution to the Irish sculptor John Houghton relates to the name Iohannes, which is the Greek translation of Johannes, itself a translation of John and the Irish surname Haughton, which is derived from its English equivalent, Houghton.John Houghton is recorded in 'A Dictionary of Irish Artists' published in 1913 with the apparent following listing:'A clever artist working in Dublin in the middle of the eighteenth century, principally as a woodcarver. In 1741 the Dublin Society awarded him a premium of fifteen pounds for the best piece of sculpture submitted to them; and in 1742 twenty pounds for another piece, 'St Paul Preaching at Athens' after Raphael's cartoon. This, wood panel is now at Curraghmore, Co. Waterford.Houghton did the carved oak frame for Bindon's portrait of Swift in the Deanery house, St Patricks, and also collaborated with David Sheehan in the carving of some elaborate church monuments.In 1739, he and John Kelly were paid sixty pounds for work at Carton for the Earl of Kildare, 'the familile arms in ye Pediment in Ardbraccan stone with other decoration of boys, cornicopias, etc' (Account of book at Carton).He was living in Duke Street from about 1761 to 1775, in which latter year he probably died'As John Houghton apparently worked on the carving of a frame for Francis Bindon's portrait of Swift in 1735, which is now in the permanent collection of the National Portrait Gallery, it is possible that he may have decided to record Swift's likeness as a portrait bust around this time. However it is probably more likely that he may have carved the bust to commemorate the great writer and satirist after his death in 1745, possibly after seeing a likeness of the celebrated portrait bust of Swift by Louis Francois Roubiliac (Anglo-French, c. 1705-1762) in 1749 or sometime thereafter.For a similar bust, thought to be Swift and attributed to the Circle of Michael Rysbrack (Flemish, 1694-1770) see Christies, The Murnaghan Collection, 14th October 1991, lot 6.Jonathan Swift (Anglo-Irish, 1667-1745) was a satirist, essayist, political pamphleteer, poet and Anglican cleric who went on to become Dean of St Patrick's Cathedral, Dublin.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Of Scottish interest: A carved white marble portrait bust of a gentleman, by repute once believed to depict Sir John Turing, 1st Baronet of Foveran (c1595-1662)probably late 17th / early 18th centurycarved full face wearing a long wig, jabot and gown, raised on a turned socle, 68cm high Footnotes:By repute, this bust (traditionally identified as depicting Sir John Turing, 1st Bart of Foveran , c1595-1662) stood for many years by the village well which gave the Parish its name. Foveran translates as Fobharan in Scottish Gaelic and Fobhar is the anglicised version of the Irish name that signifies 'the town of the water-springs'. According to the vendors (Foveran Church of Scotland) it then stood in the hall of Foveran House and was subsequently bought by Sir John Leslie Turing, 11th Baronet (1895-1987) from the executors of the McKenzie family and gifted to the church in 1979.The church has been in recent contact with the current Baronet and from a portrait believed to depict the 1st Baronet still in the family the bust bears no resemblance to the portrait which shows the 1st Baronet sporting a beard. Therefore, the traditional attribution is likely to be spurious. However, if the Turing connection is to be believed it is likely to depict the 4th or 5th Baronet.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Of Napoleonic interest: A terracotta bust of Prince Eugène de Beauharnais (1781-1824), known as the 'Prince of Milan'Possibly workshop of Joseph Chinard (French, 1756-1813), early 19th centuryThe bust cast and hand modelled, the sitter looking slightly to dexter wearing an embroidered high-collared coat, sash and military decorations, on an integral waisted square socle, inscribed verso chinard De Lyon, and indistinctly inscribed S.A.S. Le prince Eugène/ le roi à Milan, 28cm high Footnotes:Eugène Rose de Beauharnais, Duke of Leuchtenberg (French, 1781-1824) was a French nobleman, statesman and military commander who served during the French Revolutionary Wars and the Napoleonic Wars.Through the second marriage of his mother, Joséphine de Beauharnais, he famously became the stepson of Napoleon Bonaparte. Under the French Empire he also became Napoleon's adopted son although not the heir apparent to the imperial throne. Considered to be one of the ablest of Napoleon's relatives he commanded the Army of Italy during the Napoleonic Wars, and was Viceroy of the Kingdom of Italy under his stepfather. For the original model see M. Germain Bapst, Catalogue des sculptures par Joseph Chinard de Lyon (1756-1813) formant la collection de M. le comte de Penha-Longa, Paris, 1911, no. 37.For an 1809 marble bust of the sitter by Giovanni Battista Comolli at Versailles, see Hubert 1964, no. 161.Literature:Gérard Hubert, La sculpture dans L'Italie Napoléonienne, Paris, 1964For further information on this lot please visit Bonhams.com

A late 19th / early 20th century carved alabaster bust of Napoleon Bonaparte as First Consulthe sitter modelled full face with high stock and double breasted jacket, 50cm highThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Attributed to Thomas Compigne (Franco-Italian, fl. late 18th century): A collection of six Louis XVI embossed gilt, silver and polychrome tinted and varnished, decorated foil pictures of topographical views together with a similar circular embossed gilt profile miniature bust portraitcirca 1775-1790the topographical panels comprising three rectangular pictures comprising a view of The Chateau De Saint Hubert, a view of The Palais Bourbon and a view of The Palais Royal, the latter two within decorative mounts, and three circular topographical views comprising two pictures depicting views of The Chateau Des Tuileries and a further unknown view of a river bank scene with buildings and a ruin, the bust portrait depicting a profile of a gentleman, possibly Voltaire, all mounted in later glazed frames, the view of The Chateau De Saint Hubert probably trimmed, the rear backboard of its frame with old titled ink inscription dated 1871 and with references to Madam Dubarry and the Baron de Pauville, largest two pictures, 28.cm x 35.5cm overall, the smallest circular profile portrait, 8.5cm diameter overall (7)Footnotes:Famed for his jewel-like pictures, Thomas Compigne depicted castles, town views, pastoral scenes and real and exotic imagined 'capriccio' harbour and landscape views executed in gold, silver and various coloured varnishes on pewter foil or tortoiseshell grounds. Originally from Italy, Compigné worked in the Rue Grenetta, Paris at the 'Roi David' and attracted a fashionable clientele with his precious works of art which include caskets and all manner of 'objets de vertu'. He was listed in various contemporary gazettes published between 1766 and 1773 which described his wares as 'très beau' complimenting on their precious metallic and polychrome decoration and his his success was further re-enforced in 1773 when Compigné presented Louis XV with views of his favourite hunting lodge, Saint-Hubert which he subsequently reproduced in an edition series for his patrons.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

A late 19th/early 20th century gilt bronze and verdi antico marble figural clock garniturein the Empire style, the dial signed J.G.Girod, Madridthe rectangular plinth case with applied ribbon tied laurel wreath and crossed spear mounts, surmounted by a herm bust of a philosopher, possibly depicting Socrates, flanked to one side by the figure of Athena, on rectangular plinth base and milled bun feet, with 3.5 i' Roman enamel dial, the brass twin train movement with Brocot type suspension striking on a bell, with pendulum, the garniture candelabra with four acanthus scrolling candle arms, issuing from tapering rectangular pilaster supports with laurel wreath and applied lyre mounts surmounted by herm busts of Mercury, on corresponding square footed bases, 46cm high overall (3)This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Ernest Rancoulet (French c.1840-1918): A gilt bronze bust of a 16th century French Princethe sitter looking to sinister, wearing a plumed hat, high collared cape, frilled ruff and elaborately jewelled tunic, signed Rancoulet 72cm high approximatelyThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A late 19th century black marble and gilt bronze model of Trajan's column together with two similar miniature patinated busts of Emperors raised on alabaster column pedestal basesthe column with typical gilt incised spiral decoration raised on gilt inscribed stepped pedestal, one bust wearing a laurel wreath on gilt wood socle, the other a crowned wreath on gilt bronze socle, the column pedestals on integral moulded circular and shallow square plinth bases, the column 54cm high, the busts 27cm high approximately (3)For further information on this lot please visit Bonhams.com

A 'Grand Tour' style carved white and variegated marble miniature bust of an Emperorthe bearded male with draped shoulders on turned socle base, together with a carved marble profile portrait relief depicting a classical male, perhaps 19th century, later mounted within a rosewood rectangular frame, and a moulded marble dust resin model of a classical male head, on circular marble plinth base, the bust, 24cm high (3)For further information on this lot please visit Bonhams.com

A Victorian Copeland Parianware bust of Milton, by N. Noble and dated 1865, on socle base, impressed marks to back, 35cm highProvenance: Removed from The Garden House, Hampstead

A Victorian Parianware bust of Richard Cobden by E.W. Wyon, dated 1865, impressed marks to reverse, 42.5cm highProvenance: Removed from The Garden House, Hampstead

Alimondo Ciampi (1876-1939), bronze bust of a Young Girl, signed and dated 1928, 32.5cmProvenance: Removed from The Garden House, HampsteadCondition report: Good original condition

Two 19th century lead tobacco boxes, one made from the 'lead from the old Houses of Parliament, burnt down in 1839', the other with bust of Shakespeare to knop. (2)

ROYAL DOULTON; five assorted figures comprising HN3365 'Patricia', HN1793 'The Little Pig', HN3221 'Country Rose', HN3214 'Elaine', HN3321 'Gail', together with further figures including three Coalport examples, etc (12).Additional InformationThe Capodimonte bust with her head broken off and glued.

Four Chinese Blanc de Chine porcelain figures including Guanyin, a dog of Fo, and a bust of Guanyin (4).Additional InformationEach piece is damaged with old repairs, losses, breaks, restoration, chipping.

A late 17th/early 18th century carved oak bust representing a bearded man with long flowing hair wearing a hat, height 19cm (af).Additional InformationLosses to the hat, splits, cracking, losses to the decoration as expected.

A early Gupta carved bust, 4th/6th centuries, length approx 10cm on modern wood block mount, a 14th/15th century Javanese terracotta bust, height 14cm and now mounted on a wooden plinth and a pre-Columbian type artefact, af (3). PROVENANCE: from the Brian Morley collection. Brian Morley was born in 1935 in the Peak District, Derbyshire. He had a grammar school education at Buxton College and went on to study at Goldsmiths School of Art (University of London) from 1954-58. He won prizes for drawing and was given the John Murray Award for landscape painting by the Royal Academy in 1956 and 1958. He then studied painting at the Royal College of Art from 1958-61 where he was awarded his A.R.C.A. After graduation, he taught part-time in various art schools before taking up an appointment as Senior Lecturer in Fine Art at Manchester Polytechnic in 1975. He remained in Manchester until he retired as Head of the School of Painting and Printmaking in the Faculty of Art & Design at Manchester University in 2000.

WILL TYLEN; a cast bronze bust of a maiden with wavy hair, raised on marble column plinth, with applied plaque inscribed ‘Cie Des Bronzes Bruxelles’, height 32cm, together with a bronze figure of Napoleon, raised on marble plinth base, height 23cm (2).

TIM PARKS; a limited edition porcelain bust 'Kaya-Zebra', signed and no.4/10, further signed no and dated 2009 to the oak plinth and presented on a contemporary white painted jardinière stand, height of bust 39cm. (D)Additional InformationThere are a few fine hairline firing cracks throughout the bust, but some of these are in the manufacture. Overall, good condition.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

G.TANDI (Zimbabwean); a large pair of carved polished stone figural busts of a male smoking a pipe and a female nude, height of the male bust 51.5cm.

Two decorative composite figures including the Three Graces, height 41cm, together with a similar bust, Dante and a panel relief moulded with a bearded gentleman, 18.5 x 17cm (part af) (4).

SAMUEL ALLCOCK & CO; a 19th century Parianware figure representing Wellington seated, height 27cm, together with a Parianware bust of a maiden, wearing a band of roses in her hair, height 37cm (af).Additional InformationThe Allcock figure of Wellington has a break across his leg and foot which has crudely been glued, the are numerous chips from the break, minor staining/discolouration in parts, minor chipping to the foot rim, the bust with a large area of loss to the flower on her shoulder, restoration to her hair/head, glaze faults to the body.

WEDGWOOD; a limited edition Black Basalt bust of Winston Churchill, 740/750, boxed, together with a further Wedgwood jasperware bust of Josiah Wedgwood, each boxed (2).Additional InformationEach item is boxed and complete with certificate, the boxes are stained, but overall good condition.

A Victorian terracotta bust modelled as a cherub, height 34cm (af).PROVENANCE: from the Brian Morley collection. Brian Morley was born in 1935 in the Peak District, Derbyshire. He had a grammar school education at Buxton College and went on to study at Goldsmiths School of Art (University of London) from 1954-58. He won prizes for drawing and was given the John Murray Award for landscape painting by the Royal Academy in 1956 and 1958. He then studied painting at the Royal College of Art from 1958-61 where he was awarded his A.R.C.A. After graduation, he taught part-time in various art schools before taking up an appointment as Senior Lecturer in Fine Art at Manchester Polytechnic in 1975. He remained in Manchester until he retired as Head of the School of Painting and Printmaking in the Faculty of Art & Design at Manchester University in 2000.Additional InformationIt appears to have had two wings to the back which are now missing, this has been kept outside and shows signs of wear from the elements. Some scuffs to raised parts and a few small chips to the raised parts.

SAM RABIN (1903-1991); four black and white photographs of the artist, one showing him sculpting a bust and signed, also a small group of prints.PROVENANCE: from the Brian Morley collection. Brian Morley was born in 1935 in the Peak District, Derbyshire. He had a grammar school education at Buxton College and went on to study at Goldsmiths School of Art (University of London) from 1954-58. He won prizes for drawing and was given the John Murray Award for landscape painting by the Royal Academy in 1956 and 1958. He then studied painting at the Royal College of Art from 1958-61 where he was awarded his A.R.C.A. After graduation, he taught part-time in various art schools before taking up an appointment as Senior Lecturer in Fine Art at Manchester Polytechnic in 1975. He remained in Manchester until he retired as Head of the School of Painting and Printmaking in the Faculty of Art & Design at Manchester University in 2000.

A 20th century alabaster female bust in the Pre-Raphaelite manner. H.18 W.24cm

A group of eight metal sculptures to include a near pair of Marley Horses, 22cm wide x 24cm high; a pair of bronzed iron figures depicting soldiers; a painted spelter bust of Napoleon, 17cm high and a bronze nude 'Stephanie' by R Cameron numbered 22/25, 29cm highCondition report: All in good condition, with some minor surface marks and scratches

Four late 19th century French gilt metal mantle clocks one mounted with an artist and having porcelain plaques, 42cm wide x 29cm highCondition report: In mixed condition, one with pendulum, the smallest mounted with a bust and having damage to two scrolling mounts, the artist clock dial with scratches and hairline cracks, the painted dial with hairline cracks

Lorna Bailey John Lennon bust 1/1

A reconstituted stone bust of 17th century lady, height 53cm

A bronzed resin bust of a lady 47cm

A composition stone portrait bust, Diana, 53cm.

A white marble bust of a girl with ribbon in her hair and pewter dish

Bust on base in stone H62

19th Century Purple Silk Bustle Back Dress, with black and brown striped insertion to the jacket, skirt and collar mount, edged with carved wooden beads, multi pleated hem, large silk bow to the reverse, some alterations on a wire work standCondition report: Approximately a 24 inch bust

20th Century Irish White Lace/Crochet Jacket with short sleeves and open front, zig zag hem to the reverse and draped waterfall front, including decorative leaves and flower headsCondition report: No apparent damage, although always difficult to tell with these pieces! Possibly slightly larger hole under one of the arms, colour appears good and clean, slight rubbing to the edges. Approximate sizes, 36" bust, 36" shoulder to hem

Circa 1920s and Later Day and Evening Dresses, comprising a plum and cream patterned silk dress with elbow-length sleeves, V-neckline with white grosgrain trim; grey and blue fine checked sleeveless dress with collar, V-neckline and drop waist; blue and white geometric printed dress with elbow-length sleeves and scooped neck with velvet trims; black sleeveless lace evening dress with cotton trim to the V -neckline and sleeve holes, shaped hem; black lace dress with elbow-length sleeves, V-neckline and black velvet bows; black satin long-sleeved dress with V-neck and smocked detailing to the top of the sleeves and front of dress (6)Condition report: Plum and white dress - staining and discolouration to the white grosgrain collar, some pink marks to the front, ubbing to the fabric under the arms and wear. Grey and navy checked silk dress - rubbing under the arms, some light stains, couple of tiny holes, 40" bust. Blue and white dress - some thread pulls, slight wear overall, 32" bust. Black lace dress - belt missing, couple of seams open down the side, some thread pulls and wear, small holes, 30" bust. Black lace dress with bows - 36" bust, slight wear and rubbing, some small holes/wear overall. Black satin dress with smocking - 32" bust, some wear under the arms, belt missing, and slight wear overall

Circa 1920s and Later Costume, comprising a black self striped dress with long sleeves, V-neck line and three-button detail to each shoulder; grey/silver silk floral woven dress with elbow-length sleeves with button detailed lower sleeves, gathered ruffle trim to the reverse, attached belt; pale mauve/grey lace dress with long sleeves, multi button fastening and collar with neck tie; purple geometric patterned short sleeve silk dress with V-neck, attached fabric belt; brown and white spot silk short sleeve dress with draped neckline; white short sleeve dress with floral print to the hem; Quelrayn black grosgrain evening coat with long sleeves, large single button fastening and green and black striped silk lining; similar navy grosgrain long sleeve coat (8)Condition report: Black striped dress - 36" bust, belt missing and slight wear. Grey/silver dress - 38" bust, staining under both arms, some fading to the silk and couple of areas of wear, couple of tiny brown spots, couple of thread pulls, belt missing. Pale mauve lace dress - alterations to the collar, some stitche repairs and pulls to the lace overall. Purple dress - fading under each arm, fading and discolouration to the bodice mainly but also in parts to the skirt, alterations to the side seams, small hole to the back of the neck, general wear.

Circa 1920s Costume, comprising a black net tabard embroidered with green and black beads and sequins; black net short sleeve dress with floral silver beaded decoration; similar short sleeve top and a navy silk and beaded waistcoat; black chiffon evening top with beaded decoration (5)Condition report: Black net and silver embroidered and sequin flowers dress - 26" bust, 40" long, elbow length sleeves, holes to waist, smaller holes to skirt, bead losses and thread pulls, open skirt to the front and bodice fastens at the back.Waistcoat - very fragile and very torn, bead losses, tears and cut down, 26" chest.Navy top with bird - both arms have splits and tears, also to collar and to the front of top, very faded to front especially, some bead loss.Black chiffon and silver bead jacket - elbow length sleeves, bead loss, 34" bust, 15" long, no apparent holes.Black net and green bead tabard style dress - bead and sequin loss, several small holes to the net and stitched repair near hem.

Circa 1920s Day Dresses, comprising a Fricoline orange and white striped short sleeve drop waist dress, with inverted pleats to the sides and scoop neckline; peach short sleeve dress with scooped neck edged with red and patch pockets; green, blue and brown striped sleeveless dress with scooped neck, fabric belt, inverted pleat to the front and back of the skirt; yellow floral sleeveless dress with V-neckline and yellow chiffon trim to the neck and hem (4)Condition report: Orange striped dress - 42" bust, looks as if unworn, couple of tiny spots to the left shoulder. Peach short sleeved dress - some discolouration to the sleeves and wear, tear to the side of one of the pockets and stain, and couple of brown spots towards the hem, 34" bust.

Circa 1920s Dresses, comprising a black floral and spotted cotton sleeveless drop waist dress with scoop neck and collar, patch pocket, black cotton insertions to the hem; black chiffon long sleeve dress with V-neckline, bead detail to the bodice and drawn thread detailing; black silk short sleeved drop waist dress with applique panel, embroidered with flower heads to the front and top of the skirt, red silk mount added near the hem; black sleeveless silk dress printed with flower heads, scoop neck, stitched detail to the waist (4)Condition report: Black cotton dress - some discolouration, 34" bust. Black chiffon dress - 40" bust, some small thread pulls and areas of wear. Black short sleeved dress with embroidery - 40" bust, red silk split to the bodice and waist, some white marks under each arm, and sleevehole seams both open at the back, side seam open on the left, and slight wear. Black floral dress - 34" bust, some tiny holes near the sleeveholes and slight wear.

Early 20th Century Costume, comprising Boyd Cooper Ltd black double breasted overcoat; circa 1930s mauve silk and crepe chevron striped long sleeve evening dress with V-neckline, multi covered buttons to the cuffs; another similar in pink and grey silk taffeta chevron stripes with short gathered sleeves and V-neckline; 1950s Rivkin Model black, grey and gold chevron striped sleeveless dress (4) Condition report: Boyd-Cooper Coat - general wear, loose threads to the button holes, lining has watermarks/staining and label torn, tiny hole/pull to the back near the shoulder.Rivkin dress - some staining under neath each arm, small thread pull to the bust, some wear to top of zip, straps repaired and slight wear overall. Grey and pink dress - wear under each arm, some repaired seams, smocking and zip re-stitched, small tear to the v at the reverse, silk very worn and areas to the reverse where it is very thin. Very faded and worn overall.Mauve silk and crepe dress - overall wear to the fabrics, some discolouration to the skirt and cuffs. Buttons missing and loops missing from cuffs. Slight staining under the arms and pulling to the threads, also pulling to the waist seam. Three holes of various sizes to the skirt - near the hem.

Early 20th Century Day Dresses, comprising a white cotton muslin example with three quarter sleeves, lace insertions, and floral embroidery with gathered skirt; cream silk drop waist long sleeve dress with embroidered collar and lace insert to the neck and hem, with attached belt; a cream silk short sleeved dress with collar and V-neckline, purple cotton trims, smocked detail to the waist; a white cotton sleeveless day dress with pink floral trim to the sleeves, boat shaped collar and piped drop waist band; cream silk open jacket; pink cotton short sleeve drop waist dress (6)Condition report: White cotton muslin dress - 35" bust, some discolouration overall and some brown rusting marks to the skirt, slight wear overall. Cream silk drop waist dress, slight wear overall, 36" chest. Cream short sleeve dress - several tiny holes to the skirt and slight wear, 34" chest. White cotton day dress - couple of tiny pin head sized marks, 36" bust.

Early 20th Century Ladies' Costume Separates, comprising an Elite Model pink crepe day dress with long sleeves, lace modesty panel, multi buttons to the back; green crepe type long sleeved dress with neck tie hung with two gold 'balls', pleated details and matching cape; long grey jersey tunic top with long sleeves, scoop neck, scalloped hem and bead appliques; brown long sleeve jersey top with V-neck, collar with fabric ties; a pink crepe long sleeve shirt with buttons to the reverse; grey silk long sleeve shirt with collar, button fastening and elasticated hem; green crepe jacket with elbow length sleeves; green, brown and blue checked wool jacket with long sleeves, three button fastening, and diagonal detailed pockets to the front; another in brown wool with pockets to the front; similar jacket in blue with four button fastening (10)Condition report: Grey jersey top - remains of stitched label to the back of neck, some fading and couple of tiny holes, belt missing. Brown jersey top - stitched repair to the v neck, couple of marks overall, rubbing to the pleated details and loose threads to sleeve seams, pulling to the sleeve seams. Pink top - replacement buttons, stitched repairs to back of neck and cuffs, some fading and discolouration, some thread pulls and wear. Grey silk shirt - some discolouration under the arms, some pinky marks towards the lower part of the shirt, slight wear. green crepe jacket - fading and wear. Checked wool jacket - 38" bust, some wear, light staining and stitched repairs to the lining, slight wear to the outside. Brown jacket - 35" bust, staining and wear to the lining, all buttons missing, couple of tiny holes to the lapels and couple of thread pulls and wear overall. Blue wool jacket - 36" bust, some staining and wear to the lining, small hole to the lapel, two others to the reverse, some discolouration and wear.

Early 20th Century Ladies' Costume, comprising a full length white cotton long sleeved dress with V-neckline, multi pleated bodice and broderie anglais insertions; a white cotton full length dressing robe with long sleeves, button fastenings, lace trims and insertions with wide collar; N & Co Ltd 'Daintette' long sleeved muslin blouse with lace insertions, boat neck neckline; AR Rose Brand Blouse in pale pink muslin printed with a very pale blue floral design, with long sleeves, multi faux buttons to the front with hook and eye fastening; white blouse with collar, three woven buttons to the front, floral embroidery and long sleeves; another similar with buttons to the reverse and floral embroidery; circa 1920s white cotton ribbed sleeveless sun/sport dress with collar; white cotton muslin day dress with three quarter length sleeves, drawn thread work and gathered waist (8) Condition report: White dress - slight wear and possibly some alterations, 34" bust. White robe, 32" chest, slight wear and a couple of tiny holes/wear overall. Daintette blouse - couple of splits near the lace insertions, slight discolouration, 34" bust. Rose Brand blouse - 36" bust, some slight rust marks, rubbing to some of the buttons and slight wear. White top with 3 buttons - slight wear and some staining to the waist ties, 38" bust. Another similar - slight wear, three buttons added to the front, 34" bust. Self striped shirt - ribbon inserts are split and shattered in places and a couple of small holes overall, 36" bust. White long sleeve top with lace insertion - couple of areas of wear, collar has been reattached with press stud fastenings, dark brown mark to the hem and shoulder, 36" bust. White sleeveless day dress - doesn't look as if ever worn but has a few marks and probably just needs a wash. White muslin dress - slight wear.

Early 20th Century Wedding Gowns, comprising a John Selby cream silk long sleeved full length dress, with jacket style bodice and modesty panel, peplum waist, decorative cream 'spot' decoration overall (size 16); cream silk long sleeve dress with lace inserts and diamond shaped detailing to the hem; Laura Phillips Model white brocade dress with long sleeves and sweet heart neckline; another similar with high scooped neck, bow details to the reverse; another woven with lily of the valley, elbow length sleeves, gathered skirt and bows to the front and back; another with long sleeves, shaped neckline, trim and bow to the bust; later Emenson white and silver lace mounted dress, with sheer long sleeves and full midi skirt; another in cream lace with ruched detail to the front, midi length; and a white rabbit capelet (9)

Edwardian Ladies' Costume, comprising a cream linen long sleeve dress with blue and white silk insertions to the sleeves, collar and piped seams, with covered button detailing; cream wool skirt with trellis pleating to the hem; cream silk wedding skirt and train with lace insertions, pleated detailing, cotton and lace hem; similar cream silk bodice with lace mount to the neck and lower sleeves, embroidered with spots, and pleated details (4)Condition report: Cream linen dress with blue trims - 42" chest, 32" waist - buttons and tabs re-attached, Edwardian style couple of small holes to the front and back, couple of dirty marks to the lower skirt and hem, collar rubbed and worn.Cream wool skirt - 23" waist, several small areas of wear to the front and back of the skirt and to the hem.Silk bodice - 35" bust, couple of tiny stitched repairs, some wear and rubbing to the lace inserts, some discolouration to the bottom fastening on the reverse, slight wear overall.Silk skirt - 25" waist, couple of holes and wear towards the hem, slightly discoloured, ribbon loose, had alterations/remains of old stitches near the hem, some wear to the silk overall.

Assorted 1930s and Later Ladies' Costume and Accessories, comprising a grey chiffon dress printed with tulips; orange chiffon and black velvet flocked wrap dress; green grosgrain two-piece, with lace mount to the bodice; Chinese style printed kaftan robe (a.f); Carnegie Model day dress with pleated skirt; pink silk Tipcalities sundress; black velour wrap skirt; accessories including black hat, cream silk shirt/top, fur collar, dents gloves, beads and a pair of modern shoes (rail and box) Condition report: Orange chiffon and cut velvet dress - 32" bust, small hole near the waist, alterations to the waist area and the sleeves, slight wear overall. Tipicalities dress - 36" bust, slight staining under both arms, stain and patched repairs to the back. Black velour skirt 26" waist - slight wear. Green grosgrain skirt - slight wear, 27" waist.Green grosgrain bodice - stitched repairs to the lace, 32" bust. Carnegie dress - 34" bust, three spot marks to the pleated bust and tear under one of the waist ties.Grey chiffon dress - 30" bust, patches under both arms, small hole to the shoulder and sleeve ends.Chinese tunic - many stitched and patched areas to the front and back of the sleeves, very faded and worn.