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§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) JUG AND MUG IN THE WINDOW - 1955 Signed and dated lower right, ink study on paper Dimensions:56.5cm x 44.5cm (22.25in x 17.5in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) LITTLE TUSCAN CHURCH - 1956 Signed and dated lower left, signed and titled to backboard, gouache and chalkDimensions:49cm x 59cm (19.25in x 23.25in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) FIGURE AND FLOWERS - 1963 Signed and dated lower left, signed, titled and dated verso, oil on canvasDimensions:75cm x 62cm (29.5in x 24.5in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) PALAZZI, FLORENCE Signed lower right, gouache and watercolour Dimensions:38cm x 49.5cm (15in x 19.5in) Provenance:Provenance: From the artist's estate. Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected:The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
§ DAVID MCCLURE R.S.A., R.S.W., R.G.I. (SCOTTISH 1926-1998) IN PIAZZA DEL CARMINE - 1956 Signed and dated lower right, pencil and gouacheDimensions:36cm x 68cm (14.25in x 26.75in)Provenance:Provenance: From the artist's estate.Note: Note: Lyon & Turnbull are delighted to offer this curated selection of works from the estate of esteemed Scottish artist David McClure. The collection encompasses work from throughout his artistic life; early scenes of his marital home in Edinburgh’s Lawnmarket across his travels in Scotland and Europe to the more flamboyant studio pieces and still lifes of his later career.Born in Lochwinnoch to a family of furniture designers, McClure initially undertook studies at the University of Glasgow in English & History, where he also developed a keen interest in philosophy. His studies were interrupted by war service, during which he was conscripted into the coal mines as a ‘Bevin Boy.’ Throughout the War he painted and drew prolifically, which appears to have consolidated his interest in the visual arts, and in 1947 he enrolled at Edinburgh College of Art. It was here that he established many important connections in the Scottish arts scene, not only in his contemporaries including James Cumming, William Baillie, John Houston, Elizabeth Blackadder and David Michie, but also through exposure to the influence of major figures such as Anne Redpath, William Gillies, John Maxwell, William MacTaggart and Robert Henderson Blyth. McClure’s work aligns with this wider twentieth-century Scottish painting tradition characterised by a strong use of colour and confident handling of paint.An accomplished student, he was rewarded with travelling scholarships which took him to Italy, Sicily and Spain. These experiences would prove to be formative and had a profound influence on McClure’s rich use of colour and receptiveness to Folk Art for the rest of his career. It also introduced the young artist to the importance of painting while travelling, both around the UK and abroad. Within this collection are a group of works from an important painting trip to Millport that McClure made in the winter of 1955/56 with his wife and young son. He managed to capture some of the landscape of the island as planned, but the particularly bitter weather conditions prolonged their time inside and resulted in these striking pen and ink drawings of hedgerow gatherings set inside their rented cottage. In contrast, an invitation from the Norwegian government allowed the family to spend two months of a hot summer there in 1963, where McClure painted his wife and muse Joyce in ‘Figure and Flowers.’ As well as enabling them to travel, McClure’s artistic vision had an impact on the whole family; when discussing the painting ‘Fruit and Garlic’ his daughter Paola reflected: The palette of hot earth colours offset by sharp notes such as emerald and blue is a thread that runs through many of dad’s works. It was a palette our mum loved so much that on one occasion she went to a local wool shop armed with a similar but smaller work to ask if the colours could be matched to yarns for her to use in her own knitting. Various garments resulted, one of which, a richly striped ‘balloon dress’ raised a few eyebrows when I wore it to my graduation in the early 1980s – the expectation at the time being for the regulation white blouse and black skirt.Teaching was also a significant part of McClure’s life. He initially worked at E.C.A., but was soon recruited by Alberto Morrocco to teach at Duncan of Jordanstone. On acceptance of the role McClure quickly adopted Dundee as his home city, where he and his family would remain for the rest of his life. As well as painting and his passionate commitment to teaching, McClure also maintained an interest in art history and philosophy and read widely throughout his life. He often made knowing art-historical references in his artworks, such as in ‘More Pears’ where he singles out the precariously placed basket of fruit at the front of the table on Caravaggio’s ‘Supper at Emmaus,’ and depicts his own version with characteristic vibrancy.As this collection demonstrates, McClure’s artistic approach was generally jubilant, engaging with the visual and emotional joys of life with his signature vibrant palette and an expressive, fluid approach. The works sing out and ask us to revel in their celebration of life.
German Third Reich Nazi Luftwaffe dress bayonet with decorated hilt and crosspiece stamped SB 13859, proud Luftwaffe cypher to grip, Weysberg Krischbaum & Cie Solingen to ricasso, 33cm singled edged blade, scabbard and frog. PLEASE NOTE ALL BLADED ITEMS ARE SUBJECT TO OVER 18 CHECK ON COLLECTION OR DELIVERY
A George V silver circular box, the hinged lid embossed with a scroll cartouche enclosing a pair of dancing figures above a Royal Mail Line ship, the front with presentation inscription 'First Prize Fancy Dress Ball...', the interior with mirror, Birmingham 1926 by Elkington & Co, weight 116.5g, diameter 7.8cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Continental School - Half Length Portrait of a Young Lady wearing a Blue Dress and Bonnet tied with a Black Silk Scarf, holding a Chinese bowl, oval 19th century pastel with coloured chalks, 71cm x 56.5cm, within a gilt composition frame of wide section.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A gold, mother-of-pearl, turquoise and white enamelled part dress set, comprising a pair of cufflinks, the circular fronts detailed '15', diameter of each front 1.3cm, and a dress stud, detailed '15', total weight 10.4g, with an associated case.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A mixed group of medals comprising a trio of WW1 medals named to "L.Z. 2864 E.CRONK A.B. R.N.V.R" (possibly copies); WW2 Defence Medal; General Service Medal 1918-62 with Malaya clasp, name erased, a Queen's Korea Medal named to "22697 PTE. J.A. HAWKINS D.W.R"; a Malaysian Service Medal; United Nations Service Medal Korea; General Service 1918-62 medal with Malaya clasp, engraved to "2361429 A.C.I P.E. GLASS RAF; a Canadian 1939-45 Volunteer Service medal and a set of WW2 dress miniatures including Territorial Efficiency Medal and General Service medal (qty, mixed lot)
An Elizabeth II Scottish Queen's Own Highlanders basket-hilted sword, with a Wilkinson blade, etched with regimental insignia, royal cypher, 'A T SHAW' and the date 28th June 1974, serial 102863. In a fitted travel case complete with field service brown leather scabbard and a further dress scabbard. Sold together with a related print after Ken Howard, which includes the original owner with this sword depicted to the top centre.Provenance: Owned by 2nd Lt A.T. Shaw, 1st Battalion, Queen's Own Highlanders.Please note that the successful bidder must be over the age of 18 and show proof of ID.Condition:Case length 114cm x 28cm. Sword blade length 82cm, overall length 92cmCondition overall is generally very good. There is some white residue near the tip of the blade and some further blemishes to the bottom third of the blade, but the engraving is in very good condition. The ferrule is a little dry. There is one small scuff mark to the leather scabbard. This sword would have seen little use because the owner transferred to another regiment after a short time.The leather handle on the case has some wear and cracking from handling.
A folder of assorted medals, comprising 1939-45 Star, Defence Medal and 1939-45 War Medal, Arctic Star (copy), UN Bosnia Medal, United States Indian Wars Medal (re-issued copy), Normandy Medallion, etc together with a varied collection of miniature dress medals, quantity of replacement full size ribbons etc
Royal Engineers. A First World War Victory medal to '9132 Spr. J. Slaven R.E.' Sapper James Slaven also served with service number 424078 and died of wounds on the 12th of April 1918. 50th (Northumbrian Signal Company) and Royal Engineers. Also entitled to the 1914 Star and British War Medal; together with Special Constabulary Faithful Service Medal to "Wilfred Timms"; a set of WW1 dress miniatures comprising 1914 Mons Star, British War Medal, Victory Medal and King George V Coronation medal; two identification bracelets named to 'Pte A.V. Eade 46867 'D' Company, 9th Worcester Reg't' and '2nd Lt .T.C Lewis Rifle Brigade, Fox Holes Lind Lane, Scarcroft Leeds, KSVT/155/J2 and sixc various year clasps.
Two painted panels peacock decorated, pair of yellow silk panels painted with fruiting branches, rose ribbon decorated night dress case, woollen beadwork embroidered panel, black silk damask apron with pocket and lace border, gold and pale blue eastern silk scarf, cushion cover appliqued with New York University logos, and other decorative textiles.
Early Victorian velvet reticule, the front embroidered with a young woman wearing costume circa 1830, floral decoration, gilt bead decoration to the dress and flowers, her face, hands and feet are painted satin, with draw ribbon, reticule 17cm wide x 18cm high.Condition ReportOverall condition is very good. There are a couple of small marks on the back and around the edges, but no significant fading of the material due to age.
Vintage embroidered evening bag with figures wearing oriental dress, with griffin/lion to the reverse, the fixed frame has raised gilt decoration, clasp is two snakes with a chain handle, a vintage tapestry bag with fixed frame in gilt and silver metal and a 1920's/30's beaded bag with bakelite fixed handle (in disrepair) (3)
Moss crepe skirt labelled 'Quorum', possibly Celia Birtwell design (been shortened or rehemmed), a blue and white early 1970's peasant-style cotton dress labelled 'Frantini Designs' with empire line, frills to the bodice, sleeves, flounced hem and tie belt at the back, a 1970's midi dress labelled 'Kati at Laura Philips' trimmed with white lace and with matching belt, a 1970's corduroy maxi dress, a pink crepe and flowered cotton maxi dress, a black crushed velvet full-length maxi coat, a peasant-style brown dress with ethnic print labelled 'Rita Kumar for Judith Ann', a late 1960's matching dress and coat labelled 'Anita Mods' and a Kooki elasticated mini skirt (9)
1960's cotton party dress with yellow forsythia printed onto a cream ground, yellow lining to the bodice with spaghetti straps, small bow and matching belt, with a stiff petticoat, a blue and white cotton sundress with spaghetti straps with matching belt, unlabelled, a Peter Collins linen green shift dress, sleeveless, with faux belt, green button and brass details, size 12, a 1950's/60's silk day dress, a yellow cotton day dress and a brown and cream silk cocktail dress labelled 'Bonwit Teller' (6)
Quantity of various mid 20th century and later dresses to include a Liberty print cotton shirt dress with pintuck detail and short sleeves, labelled, a raw silk green cocktail dress with bow detail to the neck, three-quarter length sleeves, a Jaeger cotton dress, floral on blue background with matching belt, a green and mauve striped raw silk shift dress, a wool paisley-pattern dress labelled 'Dorville at Michael Geary' size 14 with matching belt and scarf, an apricot-coloured raw silk shift dress, a royal blue raw silk 1980's cocktail dress with full-length puff sleeves, front button fastening with bow detail, an apricot full-length maxi dress, sleeveless, a linen maxi dress shirt dress, a green check and smocked dress labelled 'India Imports', a blue Laura Ashley-style dress labelled 'An Uniquity Patience Designer Collection', size 12 and another 1970's smock dress in Liberty-style fabric, full length sleeves (12)
1950's silk cocktail dress, blue printed with vibrant pink/red/purple carnation pattern, tulip skirt with a front pleat, shoulder straps, (the straps have been pinned for the photograph) with a 1950's chiffon over satin cocktail dress, printed tartan green and pink with yellow wool detail, half sash belt tied to the front in a bow, ruched detail to the neckline (2)Condition ReportMeasured front of dress - waist approx 14" across, so waist approx 28" front underarm to underarm measurement approx 17"
Two vintage night dresses with smocked detail to the neckline and bodice, one pink, one blue, a 1970's cotton maxi dress, blue Liberty style fabric, 'Modern Mother London' sunsuit, a yellow printed cotton night dress, a dressing gown, blue flowers on a white ground, two other cream night dresses, an Aran sweater in cream, a Fair Isle style cardigan, a Fair Isle style hat, a Howick of Scotland jumper etc ( 2 boxes)
Various 1980's and later items to include a Louis Feraud cream blazer. Guillaume fitted top, an L.L. Bean knitted jumper, a black wool skirt with black and white ethnic design, a pair of 'Rockwell's - Louisiana' bell bottom jeans, a dissected 'Shelley Fox' dress, batik style printed skirts, a cheesecloth bomber shirt etc. (2 boxes)
1970's vintage wool dress tapestry material, labelled "Joe Ellen Couture by Allen Davidson" bow and belt detail, banded hem, 'v' neck full length sleeves, zipped fastening. A grey wool 1970's dress labelled "Designed by Anna Roose" with tie bodice front neck, wool belt, full sleeves with silver fastening button to the cuffs, wool trim to the hem and a pink lining. A vintage wool dress cream wool bodice with blue and cream striped skirt, the cuffs and blue and cream stripes, 'v' necked no label. A peasant style linen smock with embroidered detail to the shoulders, some staining. A woollen wedding dress designed and made in the workshops of the National Theatre when it was the Old Vic, Waterloo Road for a wedding in 1967, it was created by the mens' main cutter Stephen Skaptason and a Canadian from Stratford, Ontario and costume supervisor Ivan Alderman, this has a zip fastening full length with train, shawl collar the sleeves with slight split, with hook and eye fastening, lined, overall condition good (5)
A black wool crepe dress with pink leather, black velvet and black leather detail labelled "Anne Buck", batwing sleeves, the bodice is purple and black and the three quarter length sleeves are detailed in purple, a black taffeta cocktail dress with spaghetti straps, an elaborate brocade bolero jacket labelled "Hidy Misawa London" size 12 full shawl collar with puff sleeves, a red halter neck vintage red evening dress, labelled "Laura Jane by Deborah Pearson" size small ribbed material with elastane, a 1980's cocktail dress in cream nylon crossover bodice and draped detail to the skirt labelled "October" designed by Arthur De Silver, a pink knitted drop waist dress with blue and pink lurex detail to the bodice stand-up collar and cuffs with puff sleeves, a black silk maxi skirt labelled "Made by Hilary Boulton" with white button detail and fishtail in white chiffon (7)Condition ReportThe "Anne Buck" crepe wool dress has various small holes in the purple front panel, a slplit to seam below right hand pocket and some small holes to both the front and back in the black crepe wool.
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228188 item(s)/page