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Lot 90
19TH CENTURY CONTINENTAL SCHOOL oil on canvas - half length portrait of a lady, in a blue dress with lace ruffles, indistinctly signed 'Cavaliere' and dated '74, 57 x 46cms, together with D E KECHICHIAN (French, 20th Century) gouache - male figure with book, signed 'Kechichian'; together with artist's studio stamp below signature, 36 x 28cms (2)
Lot 52A
UNITED KINGDOM. Elizabeth II, 1952-2022. Gold 200 pounds, 2020. Royal Mint. Proof. The second issue from the Great Engravers series, following the popular 2019 release of William Wyon's Una and the Lion.Fifth portrait of Queen Elizabeth II facing right; ELIZABETH II · D · G REG · F · D · 200 POUNDS · 2020 · . Design by Jody Clark. / Three standing female figures in classical dress, representing Ireland, England, and Scotland. A harp, a Union Flag shield, and a thistle lie at the feet of the respective personification. Artist signature to the left and quiver and palm frond in exergue; FOEDUS INVIOLABILE. Original design by William Wyon. Edge Milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). FDC. Mintage: 335.Diameter: 40 mm.Weight: 62.42 g. (AGW=2 oz.)Composition: 999.0/1000 Gold.PLEASE NOTE: 18% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 46
Edward Cucuel (1875 San Francisco - 1954 Pasadena/Kalifornien)'Am Meeresstrand', Öl auf Leinwand, 50,5 cm x 70,5 cm, signiert, verso signiert, betitelt, partiell minimal craqueliert, minimal fleckig, partiell retuschiert Edward Cucuel wurde als Sohn eines französischen Zeitungsverlegers geboren. Daher lag nicht nur der erste Berufsweg als Illustrator nahe, sondern auch die weitere künstlerische Ausbildung in Frankreich. Nachdem der angehende, in Amerika geborene, Künstler die Kunstakademie in San Francisco besuchte, studierte er auch in Paris an der angesehenen Académie Julian, der Académie Colarossi und der staatlichen Académie des Beaux-Arts. Für seine künstlerische Arbeit war nicht nur das Studium der "Alten Meister" in Italien und Frankreich wesentlich, sondern auch Reisen nach Spanien, Algerien, sowie dem weit entfernten Ceylon, Japan und China. Bis er sich schließlich in München der Künstlervereinigung "Die Scholle" anschloss. Um gegen den damaligen "Münchner Malerfürst" Franz von Lenbach anzugehen, formulierte die Künstlergruppe im Heft "Jugend - Münchner illustrierte Wochenschrift für Kunst und Leben" folgende Erklärung: "[.] Die 'Scholle' hat kein anderes gemeinsames Ziel, keine andere Marschroute, als dass jeder seine eigene 'Scholle' bebaue, die freilich auf keiner Landkarte zu finden ist."Der weitere damalige Künstlerkreis am Chiemsee - innerhalb dessen er seine zweite Frau Clara Lotte von Marcard (1897-1968) kennenlernte - beeinflusste den Künstler sicherlich ebenso. Beispielsweise ist die Freilichtmalerei des Tiroler Künstlers Leo Pütz, sowie die Nähe zur impressionistischen Malerei, zu nennen. Wiederzuerkennen im besinnlichen und zugleich atmosphärischen Gemälde "Am Meeresstrand". Hier malte Cucuel ein Mädchen am Meer. Gekleidet im sommerlichen Kleid und Hut, steht es barfuß am Strand. Gerade durch die Darstellung der Repoussoirfigur - mit dem Rücken zu uns als Betrachter gewandt - und dem Blick in die Ferne berührt es in sehnsüchtigem Sinne. Wir können uns geradezu in die junge Frau hineinversetzen, den Wind auf der Haut spüren, die salzige See schmecken und den kühl nassen Untergrund erfühlen. Die fein gesetzten Spiegelungen im Wasser und die leichten Wellen setzen das Motiv mit dem hoch gesetzten Horizont zusammen und gliedern das Bild ebenso wie der Strandabschnitt. Während des Ersten Weltkriegs malte Cucuel in Holzhausen am Ammersee, danach in München und Starnberg. 1939 ließ er sich in Pasadena (Kalifornien) nieder, wo er bis zu seinem Tode 1954 lebte.Edward Cucuel (1875 San Francisco - 1954 Pasadena/California)'Am Meeresstrand', oil on canvas, 50,5 cm x 70,5 cm, signed, signed on verso, titled, partially minimally craquelure, minimally spotted, partly retouchedEdward Cucuel was born the son of a French newspaper publisher. Therefore, not only was his first career path as an illustrator obvious, but also his further artistic training in France. After the American-born artist attended the art academy in San Francisco, he also studied in Paris at the prestigious Académie Julian, the Académie Colarossi and the state Académie des Beaux-Arts. Essential to his artistic work was not only the study of the "Old Masters" in Italy and France, but also journeys to Spain, Algeria, as well as faraway Ceylon, Japan and China. Until he finally joined the artists' association "Die Scholle" in Munich. To counter the then "Munich painter prince" Franz von Lenbach, the artists' group formulated the following statement in the magazine "Jugend - Münchner illustrierte Wochenschrift für Kunst und Leben": "[. The 'Scholle' has no other common goal, no other route, than that everyone cultivates his own 'Scholle', which admittedly cannot be found on any map." The other artists' circle at Chiemsee at the time - within which he met his second wife Clara Lotte von Marcard (1897-1968) - certainly influenced the artist as well. For example, the open-air painting of the Tyrolean artist Leo Pütz, as well as the proximity to Impressionist painting, can be recognised in the contemplative and at the same time atmospheric painting "Am Meeresstrand". Here Cucuel painted a girl by the sea. Dressed in a summery dress and hat, she stands barefoot on the beach. It is precisely through the depiction of the repoussoir figure - with her back turned to us as the viewer - and her gaze into the distance that it touches us in a longing sense. We can almost put ourselves in the young woman's place, feel the wind on our skin, taste the salty sea and feel the cool wet ground. The finely placed reflections in the water and the light waves compose the motif with the high-set horizon and structure the picture just as the beach section does. During the First World War Cucuel painted in Holzhausen am Ammersee, then in Munich and Starnberg. In 1939 he settled in Pasadena (California), where he lived until his death in 1954.
Lot 45
Gerhard Marcks (1889 Berlin - 1981 Burgbrohl) (F)'Gürtelbinderin', 1958, Bronze, braun patiniert, Höhe 55 cm, im Guss monogrammiert, Gießerstempel 'Guss. Barth Bln. Mariendorf', Gussnummer M, eines von insgesamt 13 Exemplaren, partiell leichte Kratzer, partiell leichte Korrosionsspuren, Provenienz: Geschenk innerhalb der Familie MarcksDie römisch anmutende Gürtelbinderin lebt geradezu von ihrer Geradlinigkeit. Aufrecht auf einer quadratischen Plinthe stehend, wird sie in ihrem Gewand gezeigt, in einem Moment kurz davor, dieses an der Hüfte zusammen zu binden. Die Falten des altertümlichen Kleides werden mit feinen Linien dargestellt, nah ist es am Körper anliegend. Das ruhige Gesicht wird von zusammengelegten Haaren umfasst. Der Künstler spielt mit minimalen Kurven und der gleichzeitig rechtwinkligen Haltung der Arme und Hände - bereit den Gürtel zu binden. Marcks hatte eine ganze Sammlung von eigenen Hand- und Fußzeichnungen, die sicherlich sein Formverständnis für die schlussendliche Ausführung dieser skulpturalen Körperteile unterstützt haben.Gerhard Marcks (1889 Berlin - 1981 Burgbrohl) (F)'Gürtelbinderin', 1958, bronze, brown patinated, height 55 cm, monogrammed in the casting, foundry stamp 'Guss. Barth Bln. Mariendorf', casting number M, one of 13 copies in total, partially light scratches, partially slight traces of corrosion, Provenance: Gift within the Marcks familyThe Roman-looking belt-tying woman lives virtually from her straightness. Standing upright on a square plinth, she is shown in her garment, at one moment about to tie it at the hip. The folds of the ancient dress are depicted with fine lines, close it is to the body. The serene face is embraced by folded hair. The artist plays with minimal curves and the simultaneous right-angled posture of the arms and hands - ready to tie the belt. Marcks had a whole collection of his own hand and foot drawings, which certainly supported his understanding of form towards the eventual execution of these sculptural body parts.
Lot 11
Gil de Siloé (Antwerp, Belgium or Urliones, France?, circa 1467 - Burgos, 1505)"Saint Barbara"Carved, gilded and polychromed wooden sculpture.110 x 28 x 30 cm.This image bears a great resemblance to the polychromed limestone sculpture of the Virgin and Child, from the facade of the arch of Santa María la Mayor, in Burgos, and which is currently on display at the Burgos Museum. The similarity to the face is remarkable, being an almond-shaped oval, with a long, thin nose and a small mouth with an expression so characteristic of the sculptor. To this can be added the treatment of the hair, made up of long, wavy locks, loose on both sides of her face.The Saint is represented in a frontal position, standing with her right leg slightly forward, creating a contrapposto effect. Dressed in rich courtly clothing, she wears a dress in reddish tones tied with a fringed chord which falls to her feet forming folds reminiscent of Gothic folds. With a pronounced bosom, her white blouse peeks out and she is covered from shoulders to feet in a luxurious gold cloak with a blue interior. Saint Barbara gathers up the cloak with her right arm to pick it up, in one of the sculptor's graceful gestures.This sculpture gives a strong indication of Gil de Siloé's origin being Flemish, evident in the headdress that covers part of the saint's head, in her extremely delicate hands and in the sweet beauty of the face.Finally, the wonderful tower held in her left hand is remarkable and symbolizes Saint Barbara's attribute. In her other hand she would have held a palm, which is not preserved, symbolizing her martyrdom.The tower, according to tradition, consists of three windows "to remember the words of the Saint, according to whom the light had entered her through the three windows of the Father, the Son and the Holy Spirit", as indicated by Don Luis Monreal y Tejada in his Iconography of Christianity. In this tower she was locked up by her father, Dioscuros, to protect her from her suitors. Saint Barbara, who had previously baptized herself, fled from the tower and was therefore arrested, tried and sentenced to death. The miracle occurred when, before being beheaded, lightning struck, killing her tormentors.Saint Barbara, virgin and martyr, lived in Antioch in the middle of the 3rd century under the rule of Maximian.Gil de Siloé was a sculptor who was the greatest representative of Elizabethan Gothic, a style typical of the Crown of Castile which originated after the merging of Mudejar art and Flamboyant Gothic with Flemish influences. His origin remains uncertain: it seems likely that he was Flemish and the fact that he sometimes signed "Gil de Enberres" (Amberes being the Spanish for Antwerp) attests to this, but he also sometimes signed "Gil de Urliones" (possibly referring to Orleans) so a possible French origin remains on the table.Be that as it may, Burgos and his great artistic activity attracted him. He arrived there, as el Prado explains in its biography, with an already "defined sculptural language that he would maintain throughout his career and that is characterized by a detailed and meticulous technique that tends to cover all surfaces with decorative elements.” Despite having been called by the rich activity of Burgos, "he lived and worked in Burgos, in Castile, without his clients or the environment influencing him enough to make him change his art", affirms the professor of Art History from the University of Burgos, Dr. Alberto C. Ibáñez Pérez, in the article on Siloé from the Royal Academy of History.The great quality and renown of his work resulted in the creation of a sculptural focus in Burgos, which "radiated its activity and influence throughout the Castilian territory" from the end of the 15th century.Highlights of the artist's output include the altarpiece of the Tree of Jesse, the main altarpiece of the chapel of the Conception in Burgos Cathedral, made between 1483 and 1486, which is considered his first great work and was conceived "with the idea of uniting the three major arts in order to offer a message, in which reality presented with elegant detail served as visual support for the idea,” Ibáñez explains.Also remarkable is the tomb of the parents of Queen Isabel the Catholic, documented in 1486, and that of her brother, Prince Alfonso, both works commissioned by the Queen and sculpted in alabaster, for the Miraflores Charterhouse. The church also has a a Madonna and Child by Siloé, known as the Virgin of the Choir, practically identical to the one exhibited in the Museo del Prado (E000961).Reference bibliography:- Monreal y Tejada, Luis. (2000). “Iconografía del Cristianismo”. El Acantilado.- Ibáñez Pérez, Alberto C. (s.f.). “Gil Siloe”. Real Academia de la Historia. https://dbe.rah.es/biografias/14526/gil-siloe- Museo del Prado. (s.f.). “Siloé, Gil de”. https://www.museodelprado.es/aprende/enciclopedia/voz/siloe-gil-de/fa1e7ddb-348a-4871-8f36-18363eb8e102
Lot 14
A 9ct gold navette shaped carnelian dress ring mounted in claw setting, (J) a pair of carnelian stud style earrings with screw fastenings, an Edwardian 9ct gold bar brooch set beaded crescent and floral spray, (4.5cm) shows no signs of hard solder or repair and a 9ct gold oval open work amethyst pendant with heart shaped border, stone approx 2ct (total weight of brooch, ring, pendant 5.2g)
Lot 75
A 9ct gold garnet and pearl open mounted cluster ring set central cultured pearl with surround of six circular garnet points, (L) (2.44g), a yellow metal dress ring with open work setting, mounted central water opal cabochon, mounted in rub over setting flanked by sapphire with beaded and leaf style mount, (0.5ct approx) (M) (1.86g) (2)
Lot 99
A late 19th/early 20thc German bisque head doll, impressed mark verso, S19 Germany 275, with later wig, inset glass eyes and open mouth, with composition body, missing fingers, damage to toes etc (h: 60cm) and a German plaster moulded late 19thc doll with inset glass eyes, open mouth and jointed composition body, a/f, (L: 20cm) a plastic 1940s / 50s doll with jointed body, with 1950s clothes, including two piece jacket and skirt set, dress, coats etc and a Star obstacle race, a Fair Isle style baby's shawl etc and travelling case with clothes etc
Lot 2003
Assorted Early 20th Century Costume and Textiles, comprising a peach satin sleeveless drop waist 'flapper' dress, with v-neck to the front and back, smocked panels to the side of the skirt hung with peach feathers,'gold' coloured silk panel embroidered with flower heads in the same colour, printed cotton to the reverse 104cm square,yellow silk and metallic embroidered panel of geometric and floral design 55cm by 100cm,Indian cream wool shawl printed with paisley motifs 145cm by 158cm,(4)Flapper dress - some staining and discolouration overall, especially under the arms, several areas satin is rubbed and stitched repairs to the reverse.Embroidered square - couple of small holes, couple of stitched repairs, bleach? spots and loose threads, feathers worn.Yellow metallic embroidery - tarnishing, fading and several areas where the threads have rubbed.Indian shawl - some discolouration to the cream centre, and several small holes and wear.
Lot 2007
Circa 1900s Wedding Dress in white silk mounted with net, embroidered with floral motifs, lace 'relief' flower heads, appliquéd ovals to the bodice, sleeves and skirt, full length with a round neck and collar mounted with flower heads, sheer elbow length sleeves, tiered skirtAlterations to the back of the dress, internal bodice and waistband. Lace mounts to the front of the bodice are loose - may just need some stitches. Some discolouration. Numerous small holes to the net overall, curling lace flower heads and general wear.
Lot 2008
Early 20th Century Costume and Accessories, comprising a black lace long sleeved dress with buttons to the front, collar and black velvet waistband, cream lace long sleeve top with collar, flared cuffs and wrap style bodice with waist ties, broderie anglaise waistcoat, black silk apron with multi pleated trim and velvet apron with embroidery,cream silk shawl printed with pale pink delicate flower heads within silk fringing 120cm by 140cm,navy silk shawl with a hand embroidered paisley style deep trim 97cm square,(rail and box)
Lot 2010
Early 20th Century Nightdresses and Undergarments in silk and other fabrics, comprising nine assorted silk night dresses, Queen of the Night 'The Pre-Eminent Slumber Wear' pink floral short sleeve nightdress, four pale blue sleeveless and short sleeve silk night gowns with lace trims and embroidery,cream silk night dress with short sleeves, v-neck line appliquéd with flowers,Elizabeth Hayes London pale peach silk night dress, and two other examples,nine assorted chemises, slips, bed jacket in yellow, pale pink, blue, white, silk and other fabrics, some with embroidered and other detailing,(18)Green silk night dress - sleeveless with lace trim 38" bust, 38" waist, slight wear.Pale blue sleeveless with purple trims - 36" bust, 34" waist, slight wear.Pale blue with ribbon embroidery - slight wear to the bodice, 32" bust, 34" waist, slight wear.Pale blue short sleeve night dress - 42" bust, 38" waist, couple of small brown spots waist ties restitched.Pale blue short sleeve with collar - 42" bust, 38" waist, couple of small brown spots.Cream v-neck night dress - 52" bust 48" waist couple of thread pulls and slight wear Queen of the Night floral night dress - 40" bust, 40"waist, slight discolouration to the back of the neck.Sleeveless floral dress - 48" bust, 44" waist, some discolouration to the bust, slight wear.Elizabeth Hayes peach embroidered dress - 36" bust, 34" waist, some discolouration to the bodice front and back.Pink woven chemise - 34" bust, 32" waist, slight wear overall.Yellow chemise - 36" bust, 32" waist, slight wear.Pale pink slip dress - 36" bust, 34" waist, wear to the hem and shows general wear overall.Another pale pink slip - 28" bust, 24" waist, slight wear.Pale blue silk slip - 36" bust, 34" waist, slight wear.Cream satin slip - 32" bust, 28" waist, couple of light stains overall.Cream silk slip with floral embroidary - 48" bust, 42" waist, loose stitched to the waistline several small brown spots towarss the hem and strap split.Cream silk sleeveless chemise with v-neck line - belt missing 40" bust, slight wear.Pink silk bed jacket with single patch pocket - 42" bust, slight wear.
Lot 2012
Assorted Early 20th Century Lingerie and Undergarments, comprising silk, cotton and satin brassieres, corset tops including the labels Ahkli, Sharp Undergarments, Beauty Line, Naturana, Triumph, in yellow, pink, cream, white and black,eight girdles bearing the labels, Prestige, Supp-Form, Twilfit, Naturana and Mireille,panti-hose sheer stockings in original box,other items include camisoles, under dress, a Smedley peach wool bed jacket, a peach satin type night dress with lace trim collar etc,Costume Accessories comprising a red silk shawl, lace bonnet veil, modesty panel, decorative textile fragments, gloves etc,(two boxes)17 brassieres and corsets
Lot 2013
Assorted Early 20th Century Nightdresses and Slips, comprising six peach silk night dresses and slips, some with lace trims, embroidery and floral printed examples, including the label Shirly,six blue and green night dresses and slips, some printed with floral details in silk and jersey,four pale pink nightdresses and slips,(17)Pale peach silk lace trim - 34" bust, slight wear.Shirly sleeveless night dress - 46" bust, 42" waist, slight wear.Floral smocked night dress - 32" bust, 26" waist, small hole just below waist, slight wear.Peach lace trimmed night dress with floral embroidary - 40" bust, slight wear.Pale peach satin slip with embroidery - 36" bust, slight wear.Sleeveless slip lace trim - 36" bust 32", waist couple of tiny spot marks and lace rubbed Pale peach sleeveless night dress - 36" bust 34", waist slight wear.Green floral night dress with v-neck line - 40" bust, small hole to the front and slight wear overall Blue silk chiffon night dress with lace bodice - 30" bust, 30" waist, slight wear.Blue floral night dress with spaghetti straps, later elastic added to the bust area, 32" bust, 34" waist, hole close to the hem at the front and some wear.Pale blue short sleeve night dress with yellow floral embroidery - 46" bust, slight wear.Two pale blue slips - 30&34" bust, both show some wear.Pale pink satin night dress with lace trimmed v neck - 46" bust slight wearAnother in silk - 34" bust, slight wear Cherry Blossom satin type sleeveless nigth dress with zig zag trim - 34" bust, 28" waist Pink satin sleeveless slip with lace mount - 38" bust, staining under one arm and slight wear.
Lot 2019
Circa 1920s Black Crepe Short Sleeve Evening Dress with slash neck, black appliqué beads in geometric design, press stud fastening to one shoulder,J W Robinson Co Grey Silk Evening Coat with collar, embroidered overall with ‘wrigglework' embroidery, long sleeves, silk lining(2)Dress - some bead loss, light staining and wear under one arm, stitched repairs under the side opening on opposite side.Coat - some of the trims are loose and couple of areas where slightly discoloured, sleeve hole seams to lining open/ part repaired/replaced.
Lot 2021
Circa 1920s Ladies Costume comprising a pale pink printed sleeveless cotton day dress,a cream linen drop waist day dress with green cotton collar, embroidered flower heads, matching mount to the drop waist,a cream and brown striped silk dress with buttons to the front, short sleeves and pleated skirt,a cream silk sleeveless drop waist dress, with zig zag printed bodice, v-neckline and pleats to each side of the skirt,a blue printed long sleeeved drop waist dress with fabric ties to the neck, attached belt,Tricoline striped cotton long sleeve jacket with patched pocket detail, two button fastening,a green striped silk long sleeved shirt with neck tie,orange long sleeve shirt with collar and wavy chequed design,(8)Pink cotton dress - 36" bust, 32" waist, couple of areas of discolouration to the front and back.Cream linen drop waist dress - 36" bust, later green velvet insertions added to the skirt, some discolouration to the drop waist area and embroidery, slight wear over all.Cream silk striped dress - 36" bust, some discolouration and wear overall.Zig zag mounted silk dress - slight discolouration, belt missing, 36" bust, some tears to either side of the pleated areas in a couple of places.Blue dress - some discolouration, especially to the collar and some marks to the skirt front and back, 38" bust.Orange striped jacket - some purple marks to the back of one sleeve, 40" bust, 1 button missing.Green striped shirt - 38" bust, small hole to the back of the sleeve.Orange shirt - 34" bust, slight wear.
Lot 2022
Early 20th Century Costume and Accessories, comprising a circa 1920s wedding dress with a cream lace mounted long sleeved bodice, high sweetheart neckline with lace standing collar, cream lace chiffon skirt with train, lace waist band with faux pearl buckle to the back of the dress, multi covered buttons to the lower sleeves and back,Irish crochet lace collar, Brussels lace bonnet veil in white, floral wax head dress and samples of hair (both boxed), cream under dress with train,(rail and box)
Lot 2023
Early 20th Century Ladies Costume, comprising a black silk drop waist dress with v-neckline, long sleeves with detail to the cuffs,black silk taffeta dress with multi pleated detail to the waist, three quarter length sleeves, v-shaped neckline with embroidered and beaded decoration,black silk crepe dress with collar, buttons to the waist, multi-pleated detailing to the bodice and skirt,CC41 black short sleeeve dress, self woven with spots, black and white dog tooth small checks to the collar, covered buttons and pocket fronts,black crepe sleeveless dress with vertical smocking, a-line skirt has two black and white gingham frills attached, gingham also lines the sleeve holes,black silk taffeta double breasted coat with a black and white dog tooth check mount to the shawl collar and cuffs,black glazed cotton underskirt with a tiered hem of black and white stripes,black and white striped cotton long sleeved shirt with buttons to the front,(8)Black drop waist dress - 42" bust, couple of loose stitches below one arm hole and slight wear.Silk taffeta dress - 36" bust, both sleeve holes have got stitches missing some fading, belt missing, seam to the reverse is open.Silk crepe dress - 38" bust, very small hole to the bodice, some discolouration to one shoulder and slight wear.CC41 dress - 34" bust, splits under and around the right arm, covered buttons discoloured, rubbing and wear overall.Crepe dress - 34" bust, some slight wear overall, and some discolouration to the frills.Black coat - 30" bust, some staining to the collar and covered buttons, left hand seam needs stictching, slight rubbing and wear.Cotton skirt - waist 33", slight wear and discolouration overall.Shirt - bust 38", slight discolouration and wear overall.
Lot 2024
Early 20th Century Ladies Evening Costume, comprising a black chiffon sleeveless long dress with collar and piped waist detail, black multi striped evening top with 3/4 length sleeves and waist tie, Marshall & Snelgrove, London, Tea Gown Department black sleeveless lace-mounted long dress with chiffon inserts to the skirt and a similar jacket, a black silk underdress with the same label, black silk crepe bias cut underdress, a black net bodice with voluminous long multi-pleated chiffon sleeves, another similar with black lace mount,(10)
Lot 2025
Early 20th Century Ladies Evening Costume, comprising a black velvet sleeveless drop waist dress with gathered skirt, stylish black velvet sleeveless long dress with v-detail to bodice, smocked and multi-pleated detail to skirt, black velvet evening jacket with multi gathered trim, gold lame evening jacket with long sleeves, floral silk and gold woven evening jacket with long sleeves (5)
Lot 2026
Assorted Circa 1920-50s Evening Costume, comprising a black wool coat, with laced collar detail and appliqué details, purple silk lining, Fenwicks Bond Street black velvet coat with quilted lining, black long sleeveless chiffon dress with smocked bodice, black lace dress with 3/4 length sleeves, scalloped neckline and gathered skirt, black taffeta slip, black 'Grecian' style sleeveless long dress with pleated and bow detail, green floral silk cocktail dress with v-shaped neckline and 3/4 length sleeves, Harrods silver, black and gold brocade sleeveless cocktail dress (8)
Lot 2027
Circa 1930s and Later Ladies Costume comprising a black silk long sleeve dress, black silk covered buttons, printed overall in pink, green and purple stylised flower heads,short sleeved day dress printed with large flower heads on a blue ground, scalloped waist and neckline,another with plum coloured mounts to the collar and cuffs, a-line skirt,Elgora black wool fitted coat with long sleeves, deco style clasp to the waist,black silk crepe evening coat with long sleeves, collar with black crepe plaited trim, and crepe belt,another with a v-neckline, single button fastening and long sleeves,(6)Black silk dress - 38" bust, hole to the seam under the right arm, slight discolouration and wear.Short sleeved dress - 38" bust, belt missing, slight fading and wear overall.Plum dress - some fading, loose stitching to the waist band, 34" bust, belt missing.Elgora coat - 34" bust, 30" waist some rubbing and wear to the wool.Black crepe coat - holes to belt, few loose threads under one arm, 28" bust, slight wear and worn in areas.v-neck coat - 33" bust, slight wear and fading.
Lot 2028
Quantity of Assorted 20th Century Military Costumes, Nurses Outfits, comprising a khaki wool battle dress blouse and similar trousers, a pair of khaki mens dress trousers, canvas shirt with collar, epaulettes and a beret,four pairs of gents wool trousers, white canvas shorts and trousers, jackets and overalls,three blue naval nurses outfits, a White Swan cotton nurses uniform, various short sleeved white canvas uniforms with buttons to the front, two including American Red Cross Service Badge to the arm, and various aprons some with red crosses,(on rail)
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228098 item(s)/page