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Lot 3292
MEISSEN; an 18th century figure of a female with slapstick, painted marks to back of base, height 13.5cm.Additional InformationThe right arm and hand are extensively restored, her left hand also, also her foot, some small chips to the base and losses to the encrustation. Area of restoration to her dress
Lot 3294
MEISSEN; an 18th century figure representing Africa, indistinct impressed mark to base, height 15.75cm.Additional InformationHeaddress restored, also left hand and right hand, also the scrolling section at the back both the upper and lower portion and some of the feathered dress around the figures waist. Small area of restoration to the base as well.
Lot 3299
MEISSEN; an 18th century figure of a young girl holding her apron in both hands, painted mark to back of base, height 12.25cm.Additional InformationRestoration to tips of fingers on both hands, a couple of small losses to the encrusted detail around the base, a small repair to tip of one of the folds of her dress.
Lot 3303
MEISSEN; an early 19th century figure of a woman with flowers in her apron and holding a basket in her right hand, impressed mark B20 to back of base, height 13.5cm.Additional InformationRestoration to her head face and hat, also both lower portions of arms, the leaves, basket and also the floral spray in her apron. Both feet have been restored as well as lower portion of the dress.
Lot 3304
MEISSEN; an early 19th century figure of a gentleman in elaborate dress holding his hat in left hand and flowers in his right, impressed A19 to back of base, height 14.5cm.Additional InformationRestoration around a break in his right arm, also fingers and flowerhead in his right hand and part of the drape beneath it. The hat has been detached and restored, the ribbon ties have been restored, a section of the rim of the hat and his left hand and arm have also been restored, tips of his toes restored.
Lot 3305
MEISSEN; a mid 19th century figure of a woman holding mirror in her right hand, painted marks to base, also painted number 32 to base and incised 18, height 13.5cm.Additional InformationHat is restored, as is left hand and arm, also the mirror sleeve of right hand, the left boot and also a couple of folds to her dress.
Lot 3306
MEISSEN; a pair of figural table salts with puce heightened scalloped bowls each surmounted with a figure, painted marks to base, height 16.5cm.Additional InformationHis hat badly restored, further restorations to the upper section of the scrolling salt, his right hand, his coat has quite large sections of restoration, tip of his left foot and there is a firing flaw through the base. She has restoration to her right sleeve, right hand and also upper section of the scallop, also the tip of her left hand, and her left foot and lower section of the dress, small firing crack through the base.
Lot 3307
MEISSEN; a 19th century figure of a young lady holding a fan in her right hand, indistinct painted mark to base and impressed number 23 to base, height 13cm.Additional InformationThe crescent to her headress, the fan and her right hand are restorated and also some scuffs to the raised section of the dress, with some restoration to the edges of the dress.
Lot 3310
MEISSEN; a mid 19th century figure of a seated female playing the pipes, painted mark to base, also painted no.21 and incised no.2558, height 12.5cm.Additional InformationTip of bagpipe, the pipes in both hands are restored, some losses and restoration to the flower adornment to her hair, tip of left foot restored, also a small area of her dress.
Lot 3324
MEISSEN; a 20th century figure group of two young women wearing elaborate dress standing beside an urn capped column, painted mark to base along with painted no.58 in puce, incised E70 and impressed 143, height 26cm.Additional InformationSome small areas of restoration noticeably to the protruding handle of the urn, her right hand, a couple of small repairs and losses to the flower encrustation and tips of the birds wings. The tip of the tail feather of one of birds is chipped and missing, otherwise ok.
Lot 3334
MEISSEN; a 20th century figure of a young girl holding a wide brimmed hat in her right hand, painted marks to base, also painted number 32, impressed number 122 and incised W125, height 21.5cm.Additional InformationThe hat is restored to the rim on both sides, also restoration to the rear scroll of her dress.
Lot 3336
MEISSEN; a figure of Estrella from the Russian ballet series designed by Paul Scheurich, painted marks to base and impressed A1003 with further impressed number 10 to base, height 28.75cm.Additional InformationLeft hand is restored, there is a hairline crack running through her left foot where it joins the base and there is a small chip to the tip of one of the ribbon bows on her dress.
Lot 3369
A large early 19th century porcelain figure of a young woman wearing exaggerated dress, unmarked, height 20.5cm, length 27cm.Additional InformationRestoration to the adornment in her hair and the scrolling section behind is all restored. Her right arm is restored, her left hand is restored, tip of her dress front left is restored, small sections around the edges restored in other parts, noticeably to the protrusion on the right, large firing crack to the back of the dress, general losses to the gilt. Surface wear.
Lot 3374
VOLKSTEDT; a large 19th century porcelain figure of a young woman wearing elaborate floral decorated gold heightened dress seated playing a boudoir grand piano, blue painted mark to base, length 32cm.Additional InformationThere has been restoration to the piano, the piano legs and her arms, also small areas to the base and some looses to the flower encrustations and lacework on her sleeves.
Lot 77
Patek Philippe. An 18K rose gold manual wind wristwatchReference: 96Date: Manufactured 1942, Purchased 6th January 1942Movement: Jewelled manual wind, No.922829Dial: Brushed pink, applied gilt baton hour markers with Roman numeral quarters, subsidiary seconds at 6, polished pointed baton handsCase: Polished round, snap on back, No.298016Strap/Bracelet: Black Patek Philippe alligator leatherBuckle/Clasp: Signed 18K gold buckleSigned: Case, dial & movement Size: 30mm Accompaniments: Extract from the ArchivesFootnotes:Patek Philippe produced the reference 96 for four decades from 1932 to 1973. It was not only the first of the well loved Calatrava line of dress watches, but was also the first model to be marked by a numbered reference by Patek. The model was later replaced by the reference 3796.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 1064
MIXED, complete & part sets, Players & Wills, inc. Players, History of Naval Dress, Motor Cars, Fresh-water Fishes, Napoleon, Egyptian Kings & Queens and Classical Deities, Flags of the League of Nations; Wills, Old English Garden Flowers, British Birds, Physical Culture, Speed, Railway Locomotives etc., duplication of many cards (some heavy), FR to EX, Qty.
Lot 73
A pearl and diamond dress ring, the 6mm cultured pearl peg set with three brilliant cut diamonds claw set to top and bottom in an 18 carat all white gold mount, ring size H.Valuation for Insurance dated 2020 for one thousand three hundred and fifty pounds states total weight of the six brilliant cut diamonds 0.30 carat.
Lot 362
PAVEL TCHELITCHEW (RUSSIAN 1898-1957)BULL FIGHTERS A decorated fanSigned and dedicated To Edith on your birthday (lower right)Overall: 40 x 63.5cm (15½ x 25 in.)Painted in 1934.Provenance: Gifted by the artist to Dame Edith Sitwell DBE (1887-1964), at 2 Carlyle Square, LondonThence by descent at Weston Hall.Exhibited:London, National Portrait Gallery, The Sitwells, October 1994 - January 1995, no. D19/cat. 4.59Catalogue Note:A number of artworks in this sale by the Russian-born surrealist painter, set designer and costume designer, Pavel Tchelitchew (1898-1957), were in the personal collection of Edith Sitwell (1887-1964), poet and literary critic, known for her exotic dress and dramatic lifestyle. Tchelitchew, described as 'the love of her life', was for Edith 'an unhappy platonic romance that dragged on for a quarter of a century' (D. Seward, Renishaw Hall: The Story of the Sitwells, London, 2015, p. 193). Tchelitchew was openly homosexual but despite this, in 1932, Edith moved to the rue Saint-Dominique, Paris, to be close him, and remained there until 1939 when she was forced to return to Britain at the outbreak of war. Tchelitchew painted six major portraits of Edith during the course of a long and volatile friendship; including a gouache in the National Portrait Gallery, London (NPG 5875), and a gouache at MOMA (173.1978). Some of the drawings and lithographs in this sale were individual gifts by the painter to Edith, with hand-written notes - including lot XX, portrait of Dame Edith Sitwell, seated. However, undoubtedly, Tchelitchew's interest in Edith was purely intellectual, and possibly financial; he describing her as: 'a beautiful sheltered eroticism, the purely passive female sensibility that lives forever, a glass flower under glass, behind the opaque façade so remarkable in itself'. Edith's brother, Osbert (1892-1969), 5th Baronet, was also a great collector of 20th century art - including works by John Piper, Christopher Nevinson, Rex Whistler, and Tchelitchew.Pavel Tchelitchew(1898-1957)Born to an aristocratic family of landowners, who fled Russia after the Bolshevik Revolution in 1917, Tchelitchew studied under Aleksandra Ekster at the Kiev Academy; his early work was abstract in style described as Constructivist and Futurist, and influenced by Ekster. After graduation, he designed and built theatre sets in Odessa and later Berlin from 1920-1923. In 1923, he went to Paris where he became associated with the Neo-romanticism movement. There, he met the Sitwell family through the American novelist and art collector, Gertrude Stein. His interest in uniting painting, film and dance led to collaborations with the ballet impresario Sergei Diaghilev and choreographer George Balanchine. Tchelitchew is known for his experimentation with new styles, which led to combining multiple perspectives and elements of surrealism and fantasy into his painting. In 1930, he was in New York, exhibiting drawings at the Museum of Modern Art; his most significant work is the painting 'Hide and Seek', painted in 1940-42, and now at MOMA. In 1934, having made a permanent move to New York from Paris with his partner, the poet, Charles Henri Ford, he continued his association with Balanchine, and met his greatest patron, Lincoln Kerstein. In addition to his paintings, Tchelitchew designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939). Condition Report: Unexamined out of glazed frame. Executed on wooden and fabric fan. The upper centre edge of the fan is coming away from the backing mount. Otherwise, appears to be in good original condition. Condition Report Disclaimer
Lot 412
PHOTOGRAPHS: THE DOBLE FAMILY. a group of six framed photographs, 1907- 1930s. comprises: Georgie, Frances, and Georgia Doble, 1907. a sepia print, depicting Georgie Doble (nee Hyde), with her eldest daughter, 'Bunny', Frances Mary Hyde Doble (standing) and Georgia Louise Doble (sitting on her mother's knee), the image 21 x 16cm, on white paper, signed and dated lower right, framed and glazed; WALTER MACKENZIE AND FENWICK GUTTEN. Georgie Ethel Doble, c. 1910. a bromide print, mounted on card, depicting Georgie with her hair tied in a bun, photographer's studio blind-stamp 'Mackenzie and Fenwick Gutten' lower right margin, the image 20.5 x 16cm, on grey card, captioned in manuscript to verso of frame, 'Georgie Doble, About 1910, Mother of Frances Lindsay-Hogg + Georgia Sitwell', framed and glazed: Arthur Doble, c. 1930s. a black and white photograph, titled in blue ink to verso, the image 16 x 11.2cm, within mount, framed and glazed; Arthur Doble, Georgie Doble, Princess Helena Victoria, and others, c. 1930s. a black and white photograph depicting Princess Helena Victoria (seated second left), with a group of 14 guests, including Arthur Doble (standing centre back), and Georgie Doble (seated first left), 14 signatures beneath in the mount including 'Helena Victoria', (Georgie Doble signing as 'Georgia', the image 10.5 x 19.4cm, within mount, framed and glazed; Georgie Doble, c. 1930s. a pink tinted bromide print, depicting Georgie seated, wearing pearls and an evening dress, the image 33.3 x 25.3cm, framed and glazed; Georgia Sitwell (nee Doble), 1941. a photographic print from an original sketch by Augustus John, on cream card mount, the image 20 x 15cm, framed and glazed. (Qty. 6)Provenance: The Sitwell Family Collection. Condition Report: 1. Georgie, Frances, and Georgia Doble, 1907 - 43.5 x 32.3cm overall within an ornate gilt frame, the frame a little blackened in place, foxing to the mount affecting some areas of the photograph.2. Georgie Ethel Doble, c. 1910 - 36 x 30.4cm overall within decorative gilt frame, the frame's gilt colouring slightly dulled, a small crease (approx. 3cm) to r.h. centre of grey card, the image clean but slightly faded.3. Arthur Doble - 26.6 x 18.5cm overall within a black tape frame, some light marks to the mount, the image clean.4. Princess Helena Victoria, Arthur Doble, Georgie Doble and others - 26.5 x 31.2cm overall within a black, gilt frame, the frame clean with a few scuffs to corners, some light marks to the mount. the image clean.5. Georgie Doble, ca. 1930s - seated, wearing pearls and an evening dress - 35 x 27.2cm overall within a black tape frame, foxing to the image, glaze cracked lower r.h. corner.6. Georgia Sitwell (nee Doble), 1941 Augustus John, print of a sketch - 30.5 x 23.7cm overall within a wood frame, some foxing, mostly to edges of cream mount, o/w. the sketch clean.Condition Report Disclaimer
Lot 430
FOLLOWER OF GODFREY KNELLERPORTRAIT OF A LADY IN A SILK DRESS AND RED SHAWLOil on canvas, oval33 x 28cm (12 x 11 in.)Catalogue note:The sitter of this portrait is possibly Elizabeth Heber, the granddaughter of Susanna Jennens, the original owner of Weston Hall. Condition Report: The canvas has been relined. There is craquelure and surface dirt throughout. Oval stretcher marks visible recto. Inspection under UV light reveals a green masking with some scattered retouching to the right edge. Condition Report Disclaimer
Lot 452
TWO CONTINENTAL DOLLSVARIOUS DATES 19TH CENTURYOne wax example with remnants of silk dress, approximately 62cm high; the other painted wood example with cotton dress, approximately 51cm high; and an additional printed cotton dress; in an associated and later cardboard box and coverCondition Report: The associated box aged, creased and damaged.The wax doll with cracks, heat damage, discoloration overall, stains, discolouration to the linen cloth of the body, some rust. Lacking areas of hair.The clothes are aged and discoloured with some rust marks, the silk fragile and fragmenting, tears.The wooden doll - it is not possible to remove the clothes as the bodice is sewn closed. The body worn to the wood and paintwork including to the nose area, lacking areas of hair. Some wear to the body overall.The block printed cotton dress patched, darned and with holes and some rust spots . The glazed linen under skirt with some holes.Please see the additional photographs as a visual reference of condition.Condition Report Disclaimer
Lot 48
A GEORGE III INFANTRY OFFICER'S 1796 PATTERN SWORD AND SCABBARDEARLY 19TH CENTURYWith 32½in (82cm) steel blade, brass guard and foliate pommel, with leather scabbard inscribed 'Tatham to his Majesty' Provenance:Possibly gifted by George Prince of Wales, later George IV, to John Hely-Hutchinson, 2nd Earl of Donoughmore Catalogue Note:The inscription on the leather scabbard 'Tatham to his Majesty' refers to Henry Tatham, Sword Cutler and Belt Maker to the King, established at no. 37 Charing Cross near the Admiralty in the late 18th/early 19th centuries. Although the bill for the sword offered here cannot be identified, on the 17 July 1799, George, Prince of Wales (later George IV, 1762-1830), was invoiced for 'A Spanish Sword', 'An Old English Sword', 'A silver gilt Dress Sword from the late King of France's Cabinet' together with 'A very old German Rifle' and 'A very elegant silver mounted gun'; the total amounting to £72 17s 6d (GEO/MAIN/29091-29091a). The Prince evidently did not settle his account on time for the receipt of payment from Tatham was not issued until 25 April 1801 (ibid.). Although only five bills from Tatham are extant in the Royal Archives, they show that he was supplying swords to the Prince of Wales/George IV, both antique and new, from 1799, and possibly earlier, to at least 1826.Given the close friendship that existed between the Prince of Wales/George IV and John Hely-Hutchinson, 2nd Earl of Donoughmore (1757-1832) - see lot 50 - it is possible that this sword was a personal gift from George to his trusted confidant Lord Hely-Hutchinson.Condition Report: Gilt metal tip of scabbard missingSmall section of the quillan missingRusted solid within the scabbardCondition Report Disclaimer
Lot 552
Y BRITISH SCHOOL (19TH CENTURY) PORTRAIT MINIATURE OF LOUISE ANN BLENCOWE Wearing blue dress fringed with white detailing, red beaded necklace and drop earrings, her brown hair curled and upswept Watercolour on ivory, oval Height 7.3cm (2¾ in.) In a glazed gilt metal mount inset into a rectangular painted wood frame.Together with another British School (19th century) portrait miniature of a lady wearing a blue dress and pearl necklace, watercolour on ivory, square, height 7.3cm (2¾ in.) and reproduction print of a gentleman (3)
Lot 194
F. FITZGERALD (BRITISH EXH.1848-1858)SUMMER-TIMEOil on panel40.5 x 30cm (15¾ x 11¾ in.)Exhibited: London, Royal Academy, 1858, no. 1100London, J.S. Maas & Co. Ltd., Pre-Raphaelites and Contemporaries, 1961, no. 131Condition Report: There is some fine scattered patches of craquelure throughout. A small abrasion to the dress of the female figure at the centre of the composition, approx 1cm. Inspection under UV reveals a green varnish and evidence of retouching to previously noted abrasion.Condition Report Disclaimer
Lot 227
Y A GROUP OF JEWELLERY AND VARIOUS ITEMSComprising;An early George III diamond, blue enamel and hairwork marquise shaped panel mourning ring, the central panel with crossover pale blonde hair, within a blue enamelled border, and a surround of old mine cut diamonds, the reverse inscribed Thos Herbert Born Sept 6. 1758 Died Sept 28. 1764, panel 2.3cm long, finger size DA George III gold, seed pearl and hairwork mourning ring, the marquise shaped hair panel set with a seed pearl urn, inscribed verso, Dorothy Dunn, died 6 Dec 1786, agd 72, panel 3.2cm long, finger size M 1/2A Regency portrait miniature brooch, circa 1810, the ivory panel painted with a young lady in period dress, wearing a string of pearls, scratched initials NB, within a gold ropetwist setting, 2.7cm longA George III gilt metal chatelaine, circa 1760, the Rococo pierced panels with figures, flowers, birds, and C-scrolls, 14.2cm long, one of the attachments suspending an early Victorian gold locket in the shape of an oyster, with its own tiny shucking knife, shell 1.8cm wideAn early Victorian blue enamelled bow pendant, missing its drop, 2.4cm longA Regency moss agate and coral panel pendant, the polished circular moss agate panel within a surround of coral beads, suspended from four belcher link chains to a hooped suspensory loop, 6.8cm long, panel 4.2cm diameterA pair of gold coloured eyeglasses, circa 1840, with pull out lenses and twisted wire handle, 6.2cm longA 19th century heart shaped locket, containing a twist of hair, 2.5cm longTogether with a collection of various boxes, including an enamelled and textured egg shaped box, circa 1810, inscribed Friendship sincere tis a jewel dear; a Swiss enamelled panel brooch set with pastes; a small tortoiseshell comb; a compass in red case; and further itemsSaleroom Notice: The full cataloguing for this lot appears online, not as stated in the printed catalogue. Please be advised this lot contains coral and tortoiseshell and so a CITES licence will be required for export. The correct estimate is £1,000-1,500.Condition Report: Diamond mourning ring- Some light wear, a few small scratches, all diamonds present and correct, bright and lively. Very good condition considering age, the ring size is very smallSeed pearl mourning ring- The seed pearls are largely detached from the urn and hair work panel, but the design is still discernible. Miniature brooch, some flaking to the miniature, wear commensurate with age and use, but no major damageChatelaine the top of the hook has been pulled and bent, some splitting to one side, the panels are well detailed, gilding in good order. The oyster locket is in good condition, no noticeable damage or repairsBow- has signs of repairs to the vacant hook to the reverse, some chipping to the enamelRegency agate and coral drop pendant, missing brooch fitting verso, its been adapted and has some repairsHeart locket missing section to the reverseEye glasses, some light wearFurther items have wear, some have damage, as seenCondition Report Disclaimer
Lot 286
PHOTOGRAPHS: a group of fifteen items, including a small wedding photograph album, 1925. comprises: ALTON, PARIS: Sacheverell Sitwell and Georgia Doble's wedding photograph album, October 25, 1925. 8vo., (215 x 182mm), buff- coloured, decorative card covers, string ties, with the studio printed name and address lower right, Alton, 20 rue Gauthey, contains nine bromide prints (including oval inset image to front), mounted to single sides of eight brown card leaves, the images mostly 11 x 8cms, the album 21.5 x 18cm overall, with two small b/w. photographs of Reresby and Francis Sitwell loosely inserted, the images (Reresby), 15 x 19.3cm, (Francis), 19 x 6.5cm; A MODERN POET AND HIS BRIDE, The Sketch, 21 October, 1925. a reproduction b/w. photographic print, depicting Sacheverell Sitwell and his new bride Georgia Sitwell (nee Doble), in the doorway of St. George's Anglican Church, Paris, the image 23.5 x 18cm, printed label to verso,'The Illustrated London News Picture Library London, Ref. Sketch October 21st 1925'; FREDERICK. W. SCHMIDT. (German, active 1900s). Frederick Dawson, the Pianist, c.1930's. bromide print on photographer's grey card mount, manuscript title in pencil beneath, 'Frederick Dawson Esquire / the Pianist / (1868-1940)', further signed in pencil by the photographer lower right, 'F. W. Schmidt / Manchester', the image 23.8 x 18.8cm, within a paper folder with the studio printed stamp and address to front, F.W. Schmidt, 6 St. Ann's Square, Manchester, 43.5 x 27cm overall. Frederick Dawson, was a British pianist and teacher. Dawson was a child prodigy who by the age of ten could play the complete Bach 48 preludes and fugues. He studied with Anton Rubinstein, Halle and Dannreuther. Frederick Dawson pursued a successful career in his homeland and Europe, also touring with soprano Adelina Patti. He also taught at the Royal Manchester College of Music and at the Royal College of Music in London; EMIL OTTO HOPPE. (German, 1878 - 1972). Osbert Sitwell, 1918. bromide print part mounted on brown card, signed in black ink lower right, the image 19.3 x 14cm, numbered in pencil to verso of photograph 14697a / 2, photographer's printed label to verso of mount, titled and numbered in pencil '14697a Osbert Sitwell', with the studio address 7 Cromwell Place, South Kensington, 36 x 24.8cm overall. Emil Hoppé was the undisputed leader of pictorial portraiture in Europe, photographing many leading literary subjects and figures from the art world. In the early 1920s he was invited to photograph Queen Mary, King George, and members of the royal family. Emil Hoppe took on a lease in 1913 of 7 Cromwell Place, occupying all thirty-three rooms of the previous home of Sir John Everett Millais. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. 2.10; O.G. RYLANDER. Colonel Hon. Henry Hely Hutchinson, c. 1860s. two albumen prints mounted on card, one signed in pencil lower left, the images 19.5cm x 15cm, and 2.3 x 15cm, overall 48 x 355cm and 457 x 32.7cm. Colonel the Hon. Henry Hely Hutchinson (1790-1874) was the nephew of the celebrated General, Lord Hutchinson (later 2nd Earl of Donoughmore); ANON. Georgie Doble. ca. 1930s. two bromide prints, the first image - depicting the sitter in an evening dress wearing pearls, the image 30 x 24cm, (38.5 x 29.7cm overall within wood frame), the second image - pink-tinted, depicting Georgie wearing a scarf, the image 32.5 x 25cm., (45.5 x 37.8cm within a modern black frame) both framed and glazed; DR. GREGORY HARLIP. (Eastern European, active 1930s- 1950s). Lord Berners, c. 1940s. a black and white print, signed in the print lower right, 23.7 x 17.7cm, ink stamp to verso, 'Copyright by Harlip London'. Harlip was a photographic studio specialising in celebrity portraits, based at 161 New Bond Street, Mayfair, London, managed by Dr Gregory Harlip, and later his widow Madame Monte Harlip, both of Eastern European origin. Lord Berners (Sir Gerald Tyrwhitt Wilson, 14th Baron, 1883-1950), was a British composer, novelist, painter and aesthete. He established a close friendship with all three Sitwells. Lord Berners collaborated with Sacheverell in 1926, for the Diaghilev ballet, 'The Triumph of Neptune'. In 1931, Sacheverell dedicated his book 'Spanish Baroque Art' to Lord Berners; ANON. Pearl Argyle, c. 1935. a black and white photograph, depicting the young dancer with her arms behind her back, 21 x 15.9cm, framed and glazed. Pearl Argyle (1910-1947) was a dancer and actor. Her career included leading roles in productions for the Ballet Rambert and Vic-Wells Ballet (now the Royal Ballet). Frederick Ashton described her as 'the most beautiful woman of her generation'. Sacheverell Sitwell first met Pearl Argyle in 1933, and became infatuated by her beauty, and whilst aware he did not love her, Pearl relished in Sacheverell's sophistication and the influence he was able to wield in the ballet on her behalf. UNKNOWN. A Gentleman. bromide print, 'Clifford Coffin' in pencil to verso, 24.5 x 19.7cm; UNKNOWN: Jean Costa, c. 1940s. a black and white photograph, captioned in pencil to verso, 'M. Constantine Achillopoullo, Commonly known as A. Costa; or 'Soldat Jean Costa' of the Free French Army in Africa. Born (about) 1908. 22.2 x 19.5cm, within a clear protective sleeve, with NPG label; and a photographic print of a drawing of a lady by Augustus John, signed in the print, 24.5 x 17cm. (Qty. 15). Provenance: The Sitwell Family Collection, Weston Hall. Condition Report: Condition Report Disclaimer
Lot 297
A CREAM NET AND RAYON LINED GIRL'S DRESS EARLY 20TH CENTURYWith net collar, puff sleeves and a line of fabric covered buttons closing the back, the fitted bodice over a finely gathered net skirt mounted four layers of net frill135cm long, 39cm under the armCondition Report: Ripped net on the back above third tier of frill, 8cm acrossStaining to buttons on the backA few small holes to grills and groundSmall repairs to the netSlight discolouration to the hem lineCondition Report Disclaimer
Lot 326
DAME EDITH INTERESTAN EVENING DRESS IN GILT METAL BROCADE SHOT WITH EMERALD GREEN AND PINK ON A BLACK GROUNDMID 20TH CENTURY The fitted bodice with a long back zip, the shaped hip line fitted with a gored and pleated skirt, the fitted sleeves with zIp closers to cuff, the back with a dipped hemline146cm long, 56cm underarm widthProvenance:Dame Edith Sitwell DBE (1887-1964). Condition Report: The hem stitching is missing to backCondition overall is goodCondition Report Disclaimer
Lot 327
A CARVED FLUORITE DRESS RINGThe carved and polished fluorite mythical beasts, on a later silver coloured wired frame, to tapering shankFinger size J, 38.5g grossProvenance:Dame Edith Sitwell DBE (1887-1964)Exhibited: National Portrait Gallery, London, 1994, The Sitwells and the Arts of the 1920'S and 1930's, p. 151, 4.40 where suggested 'The fluorite ring, carved in the shape of two bears, is nineteenth-century Chinese workmanship, and was also in Edith's possession by 1950.'Condition Report: The two mythical beasts were once joined, they are now broken apart into the two sections as they are now set, chips to ears and further places, and some fractures to stones, the setting has some wear commensurate with age and use, tarnishing.Condition Report Disclaimer
Lot 339
DAME EDITH INTERESTA BLACK DAY DRESS CIRCA 1950 Custom made With fitted bodice and long zip to back, stand up collar with frilled velvet trim and a matching trim to cuffs on fitted sleeves, with popper closers 133cm long, 66cm wide under the arm Provenance:Dame Edith Sitwell DBE (1887-1964) Condition Report: Slightly grubby White patch marks to the liningCondition Report Disclaimer
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