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A mixed lot of medical related items to include a 19th century Apothecary poison glass bottle with stopper , medical models , heart , mannequin hand , starfish etc. Please see images.

A Rare Edwardian OR's Blue Wool Dress Tunic to the 21st (Empress of India's) Lancers, double breasted with pale blue plastron and facings, the cream wool lining stencilled 21 L/37 06/7 01, the shoulder straps embroidered with the regimental badge, with brass collar dogs and buttons, the left sleeve with lance corporal's rank chevrons, on a walnut mannequin

A Victorian OR's Scarlet Dress Tunic to the King's Dragoon Guards, with black facings, yellow cord trim, white collar dogs, brass buttons and shoulder titles, gold lace sergeant's chevrons, Rough Rider's spurs and Musketry Instructor's insignia, with buff waistbelt, crossbelt and pouch, on a wood and metal table top mannequin

A Levine female mannequin on a black tripod base, along with a stocking leg

A Stockman mannequin and stand, printed mark no.50406

A MODERN SHOP DISPLAY TORSO MANNEQUIN

A black stylised female mannequin bust, together with a lady's feather hat, (2).

A late 20th century stuffed mannequin torso, raised on steel support

A decorative vintage style mannequin head with crown, H.71cm

A male mannequin

A mannequin

A modern articulated mannequin height 60in.

dating: 20th Century provenance: Japan, Composed of iron kabuto with gilded decorations, mabizashi and fukigaeshi with floral decoration en suite with the breast-plate. Menpo with removable nose-piece and yoddarekake. Big sode. Kote, haidate e suneate en suite. Complete with exhibition mannequin. height as shown circa 180 cm.

dating: 19th/20th Century provenance: Japan, Iron kabuto with big datemono, mabizashi and fukigaeshi, covered with painted leather, three-plated shikoro. Iron menpo with removable nose-piece and mustaches. Sode and do decorated en suite. Kote with metallic and fabric plaques (rips). Haidate and suneate of the Edo period. Mounted on an exhibition mannequin. height as shown circa 184 cm.

dating: 20th Century provenance: Japan, With kabuto provided with big datemono, with wooden, dragon-shaped maedate. Large fukigaeshi and mabizashi with floral decorations. The armour provided with Menpo, Sode and kote. The do with big mon, gilded on the breast-plate. Complete with Haidate and suneate. All the elements with lacing en suite. On an exhibition mannequin, complete with a stool. height as shown circa 150 cm.

dating: Period (1603-1867) provenance: Japan, Kabuto with iron, thirty-two plate hachi, large fukiageashi, four-plate shikoro. Antique maedate with a break. Brown lacquered menpo, with removable nose-piece, big mustaches, opening for sweat, four-plate yodare-kake. Complete with iron do, sode, kote, haidate, all with fabric decorated en suite. Some damage and sign of time. Needs an adequate repair. On a wooden mannequin. From the collection of Alessandro Zileri from Verme, explorer, traveler and Italian diplomat. height as shown circa 160 cm.

dating: Period (1603-1867) provenance: Japan, Kabuto with heavy, iron, sixty-plate hachi, with black, rough lacquer, small fukigaeshi with Mon, three-plate shikoro (detached). Maedate with Mon en suite with fukigaeshi. Black lacquered menpo, with removable mustaches and nose-piece, five-plate yodare kake. Iron do with riveted bands, with five-element kusazuri with thick, brown lacquer and blue laces. Sode en suite, lacquered as well. Complete with kote and suneate. Some damage and sign of time. Edo period. On a wooden mannequin. Needs an adequate repair. From the collection of Alessandro Zileri from Verme, explorer, traveler and Italian diplomat. height as shown 160 cm.

dating: 17th Century provenance: Indopersia, Coat of mail composed of iron, riveted rings, thicker mails and more dense on the breast-plate, sleeves with thinner mails to facilitate the movement. Neck-line with front opening and turn-up on the back. Long sleeves. Long leg protection, provided with central opening both on the front and on the back. With iron helmet (probably later), the skull richly engraved with warriors on horseback inside the cartouches with floral weave (one repair). Chape at the peak, sliding nose-piece in the front part (screw to be repaired) and two plume-holders. Complete with iron mail neck-defense in simple rings. On an exhibition mannequin. height as shown circa 160 cm.

VINTAGE FEMALE MANNEQUIN ON GLASS STAND WITH GREY WIG (A/F)

VINTAGE STANDING FEMALE MANNEQUIN ON GLASS STAND

VINTAGE STANDING FEMALE MANNEQUIN ON STEEL STAND (A/F) ONE ARM MISSING

VINTAGE SEATED FEMALE MANNEQUIN (ONE FINGER MISSING)

A shop window display mannequin, Child Running, white body, glass disc stand, 126cm high

A rare Kathe Kruse mannequin doll, German circa 1935, the magnesit head finely modeled as a young girl, with beautifully painted blue eyes, real lashes, shaded mouth and real light brown shoulder-length hair, on a shaped stockinette body with stitched fingers, wearing original silk floral patterned dress in pink and brown, felt bonnet, underclothes, white socks and black shiny shoes, together with her original wooden stand, 37” (94cm) tall,

MANNEQUIN LEGS

A mannequin on stand

Mid 20th Century life size mannequin having wooden articulated arms from the defunct All Saints Hospital, Spitalfields

and inscribed with the title pen and ink on paper Wright, J and Kerbel, C,. Fred Page: ringmaster of the imagination, Jeanne Wright and Cecil Kerbel, South Africa, 2011, p 91 25,5 by 18,5cm The work of Fred Page is probably best identified by its limited pallet and eerie subject matter. The dark emotive quality of his oeuvre is most likely the result of his upbringing – after losing his mother at the age of 10, he was exchanged from one relative to another before landing up in an orphanage. Page first moved to Port Elizabeth, the city with which his art has become synonymous, in 1937 to work in a tyre factory, having previously traipsed from one job to another after a short stint in the military. During World War II, Page returned to the military serving in the Signal Corps. It was only in 1945 after the war had ended that Page decided to become an artist. His initial training was by correspondence. Upon reception of a grant awarded to him as an ex-serviceman, Page went on to study at the Port Elizabeth School of Arts and Crafts from 1945 – 1947, where he was guided by the watchful eye of Jack Heath – a product of the post-war Royal Academy of Art. Page created surreal imagery, portraying the real world and the unexpressed world generated by human behaviour. Page shares many formal and conceptual qualities with the Surrealist movement. He often incorporated De Cherico’s use of monumental architecture as a means of creating a dislocation of the real, depicting elusive psychic experiences, possibly also influenced by his love for science fiction literature. His compositions are constructed like theatrical sets, as is evident in Shopfront where the white architecture and black, faceless windows, so typical of Page’s work, are found in the centre of the composition, and are framed on either side by classical columns. A set of three steps revealing Page’s incorporation of deep perspective, lead up to the set of doors separating two shop windows, revealing a dismembered mannequin in each window. Page recorded architectural features in great detail, as in the dark, cast iron railing of the fence in the foreground of The Presence. A statue of an angel carrying a trumpet is situated in what appears to be a city park, but the strange presence of an elephant and the phallic statue that flank her, suggest otherwise. The winged angel is an example of the macabre that Page often represented, having enjoyed visiting graveyards. Death remained a consistent theme that pervaded his work. Although Page himself denied the meaning of his own work, the pieces he created present a situation, evoking emotional tension rather than simply conveying a narrative. Proud, H., Revisions: Expanding the Narrative of South African Art, SA History Online and UNISA Press, Cape Town, 2006. Wright, J. & Kerbel, C., Fred Page: Ringmaster of the Imagination, Cecil Kerbel and Jeanne Wright, Port Elizabeth, 2001

The work of Fred Page is probably best identified by its limited pallet and eerie subject matter. The dark emotive quality of his oeuvre is most likely the result of his upbringing – after losing his mother at the age of 10, he was exchanged from one relative to another before landing up in an orphanage. Page first moved to Port Elizabeth, the city with which his art has become synonymous, in 1937 to work in a tyre factory, having previously traipsed from one job to another after a short stint in the military. During World War II, Page returned to the military serving in the Signal Corps. It was only in 1945 after the war had ended that Page decided to become an artist. His initial training was by correspondence. Upon reception of a grant awarded to him as an ex-serviceman, Page went on to study at the Port Elizabeth School of Arts and Crafts from 1945 – 1947, where he was guided by the watchful eye of Jack Heath – a product of the post-war Royal Academy of Art. Page created surreal imagery, portraying the real world and the unexpressed world generated by human behaviour. Page shares many formal and conceptual qualities with the Surrealist movement. He often incorporated De Cherico’s use of monumental architecture as a means of creating a dislocation of the real, depicting elusive psychic experiences, possibly also influenced by his love for science fiction literature. His compositions are constructed like theatrical sets, as is evident in Shopfront where the white architecture and black, faceless windows, so typical of Page’s work, are found in the centre of the composition, and are framed on either side by classical columns. A set of three steps revealing Page’s incorporation of deep perspective, lead up to the set of doors separating two shop windows, revealing a dismembered mannequin in each window. Page recorded architectural features in great detail, as in the dark, cast iron railing of the fence in the foreground of The Presence. A statue of an angel carrying a trumpet is situated in what appears to be a city park, but the strange presence of an elephant and the phallic statue that flank her, suggest otherwise. The winged angel is an example of the macabre that Page often represented, having enjoyed visiting graveyards. Death remained a consistent theme that pervaded his work. Although Page himself denied the meaning of his own work, the pieces he created present a situation, evoking emotional tension rather than simply conveying a narrative. Proud, H., Revisions: Expanding the Narrative of South African Art, SA History Online and UNISA Press, Cape Town, 2006. Wright, J. & Kerbel, C., Fred Page: Ringmaster of the Imagination, Cecil Kerbel and Jeanne Wright, Port Elizabeth, 2001

A child mannequin with clothes h.117cm, and one other full size tailors dummy (2)

A mid-20th century female shop display mannequin

A 1920's hand beaded flapper dress on vintage mannequin

A Pair of Hanging Gent Mannequin Clothes Hangers, Each 76cm Long

An early 20th century French mannequin, raised on wrought iron base

A pair of mannequin legs

A pair of mannequin legs

A Victorian dress makers mannequin, with Arctic fox fur stole

Two glazed wall mounted collectors display cabinets, a six drawer table top cabinet (made up), table top mannequin stand, a bobbin holder (5)

Circa 1940/50 Emenson brocade wedding dress, wax flower head dress and veil, circa 1920s tops, jackets and dress (a.f.), gents suits, bowler hat, modern pleated silk dress with drawstring neck, full length kaftan, embroidered silk dress in the Chinese style, gents purple checked dressing gown, wicker mannequin head, fabrics, gloves, dress patterns etc (10 hangers - part rail and 3 boxes)

Height adjustable mannequin on a metal base, and a later adjustable example (2)

Chil-Daw Adjustable Mannequin, on tripod stand, printed 'Bust 36-43' and 'No 344739'Some wear to the fitting. Body appears quite clean and good condition.

A Chil-Daw adjustable ladies dress mannequin, No.344739

One male top half mannequin on wooden stand and two young children top half mannequin on wooden stand and two female hanging top half mannequins

A ceramic model of a bull, signed with initial F.K 17.5cms wide and a mesh mannequin and gilt metal candlestick (3)

Vintage mannequin Kennett & Lindsell Ltd. no. 12, on metal stand

An early 20th century French mannequin, raised on wrought iron base

An early 20th century dress maker's adjustable mannequin

TWO FULL BODY FEMALE MANNEQUINStogether with a male half body mannequin, all on stands

A wooden laundry basket & mannequin with a Mercedes racing shirt

A bronze-effect seated Buddha & metal mannequin

Small decorative mannequin together with a grim reaper figure

A 1920'S FRENCH OPEN CANEWORK MANNEQUIN. 5ft 7ins high.

A mixed lot of textiles to include a quantity of linen, vintage dresses, samplers, silk scarves and mannequin head.

A 1960's Obermaier 'military uniform' mannequin, with removable neck cap and articulated wooden arms, on an adjustable tripod stand, together with a male mannequin head with blonde hair and painted features, marked 21481 / 1608 (a/f)

2 VINTAGE MORLEY SOCK/STOCKING MANNEQUIN DISPLAY STAND

The War Illustrated magazines, illustrated, various, Drill in Threes and Elementary Drill, booklet published by Gale and Polden Ltd and a quantity of passed auction catalogues on Important Watches, Furniture and other Works of Art, a vintage painted wooden dolls house, along with a painted wood and fabric mannequin decorated with rose heads and a lace bodice, on a turned column and pedestal, 61" h

*Jo Bondy (1937-2015),'ZIRKUS'an assemblage sculpture, within a deep gilt frame32 x 27cm,together with 'The Button Lady',a dressmaker's mannequin wearing a bodice adorned with buttons, assemblage sculpture, 168cm tall,a small terracotta sculpture of a seated horse, and a stoneware sculpture of a bird with a female head, anda photograph of the artist (5)Jo Bondy was a British artist active at the height of the pop art movement during the 60s and 70s. Her work was the subject of a recent solo exhibition curated by England & Co. Galleries.*Artist's Resale Right may apply to this lot.

A Wooden Artists Movable Mannequin Figure, 32cm high

§ John Armstrong, ARA (British, 1893-1973) Rain Dance signed lower right "John Armstrong" oil on canvas laid on board 56 x 74cm (22 x 29in) Provenance: Sotheby's, London, Sale, 20th July 1988, Lot 218; Brandler Galleries, 1 Coptfold Road, Brentwood, Essex; Private Collection, UK Other Notes: Born in Hastings, the son of a clergyman, Armstrong attended St Paul's School in London before pursuing a law degree at St John's College, Oxford. However, he changed his mind and decided to study art instead at St John's Wood Art School in 1913-14. During the First World War, Armstrong served in the Royal Field Artillery in Salonika. After the war he embarked on a career as a theatre designer in London and went on to become a distinguished painter and muralist. It was particularly thanks to his friendship with the actors Elsa Lanchester and Charles Laughton that he succeeded in attracting numerous private collectors. Even though he is best known for his whimsical surrealist paintings, he was far from a conventional "Surrealist". His first solo exhibition was at the Leicester Galleries in 1928, at which he showed paintings of mannequin-like figures reminiscent of the model theatre, as the critic Anthony Bertram remarked. In 1933, Armstrong joined the Unit One group formed by Paul Nash and exhibited a series of highly textured semi-abstract works in tempera - a medium which he preferred to oil. It was in the late 1930s that his work became much steeped in Surrealism and French Neo-Romanticism. At the same time, he was an equally prolific designer, notably producing posters for Shell and Royal Mail as well as designing costumes for film and theatre productions. During the Second World War, he worked as an official war artist, being commissioned by the War Artists' Advisory Committee to record the consequences of war. In the late 1940s, Armstrong gradually distanced himself from Surrealism and espoused the use of symbols in his work. He developed Parkinson's disease in 1960 - however, he continued to paint until his death in 1973. Dirty, would benefit from a clean. Little scuffing just below the pink umbrella.

MANNEQUIN TORSO AND 3 CD RACK