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Lot 106
A selection of silver and vintage costume jewellery. Featuring a sterling silver Catherine Best picture panel bracelet, featuring images of the sea and weather. Gross weight approximately 50.4 grams. The lot also includes two strands of vintage simulated pearls; a marcasite set 1940 silver Daffodil brooch; three wristwatches; a sterling silver twist necklace (38.8 grams) and other items.
Lot 147
A collection of earrings in 9ct gold, yellow and white metals. To include a pair of 9ct green and white stone set flower studs (approximate weight 3.1 grams) a pair of yellow metal lobed drop earrings (2.9 grams approximately); a pair of 9ct gold flower ear studs, set with amethyst (1.2 grams approximately); a pair of green stone set studs; a pair of Malachite set white metal screwbacks; a pair of 925 onyx drop earrings; a pair of opal triplet studs, a pair of opal and garnet cluster studs and a yellow metal panel featuring a military badge
Lot 1552
Square piano by John Melly, Dublin, circa 1800, the case lid veneered in handsomely-figured mahogany, the sides similarly veneered in panels with rosewood and kingwood crossbanding, the centre and corner panels each with a marquetry plaque, the satinwood fasciaboard painted with scrollwork and foliage, the cheeks with an ebony oval plaque inset with Prince of Wales feathers, the five octave keyboard, FF to f3 omitting FF♯ , with ivory naturals and ebony accidentals, single action, the dampers now absent, the soundboard covered by a five-panel Venetian swell, the mechanism now disconnected and the pedal absent, on frame stand with square tapered legs veneered en suite with case and inlaid with a floral motif, 63.25" wide, 22" deep, 31.5" high ** Ivory sale submission reference AJJY3K6M ***We believe that the case is very much in the style of the Irish cabinet maker William Moore ****An original damper has been retained which could be a useful template in any future restoration
Lot 939
A late Victorian taxidermy Bittern (Botaurus stellaris), full mount in a naturalistic setting of long grasses and ferns, within the remains of a glass display case, bearing a label for Rowland Ward 167 Piccadilly London, w.63, d.38, h.63cm.Please note that three of the glass panels are off of the case but we do have them, the front panel has a break across the corner but we have the small piece.
Lot 307
A 1960s Ercol light elm extending dining table, having rounded D-ends, pull-out action and single folding drop-in leaf, with central column leg and on plain square tapering supports, h.71cm, max length 225cm, min length 174cm, d.91cmStands well and is structurally sound.The leaf folds on a central hinge, so it is not possible to only extend with one panel.Leaf and table top colour is nicely matched.Legs slightly faded and scuffed.Overall very good.
Lot 293
A pair of 1960s Danish hardwood square footstools, each with buttoned leather removable cushions, raised on turned supports, of Allen key construction, h.39cm, tops 61.5 x 61.5cmEach good, clean and structurally sound.Panel inserts good and solid.Leather cushions complete and of original colour.
Lot 133
An Arts & Crafts copper tea caddy, of sarcophagus form, the hinged cover enclosing twin division interior, the front embossed 'TEA', with further roundel embossed side and rear panel, stamped monogram 'EP' to underside, 21 x 11 x 11cm; together with an Arts & Crafts copper caddy spoon, of shaped and stylised form, length 8.5cm (2)Stands well.Hinged cover good.Age and surface throughout, but mostly to cover.Dent to one end profile at lower right hand corner.Caddy spoon with general handling wear only.
Lot 225
John Falconar Slater (British 1857-1937): Waves Breaking on a Rocky Shore, oil on panel signed 54cm x 74cmCondition Report:Generally good condition - 7cm split to the panel bottom-left, some abrasions and minor paint loss, small patch of mismatched overpainting top-right, would benefit from a light clean.
Lot 203
Gladys Maccabe MBE ROI (Northern Irish 1918-2018): A Showery Day at the Seaside, oil on panel signed 32cm x 48cmCondition Report:Slight vertical split to the panel top-left, and another smaller top-centre. Varnish has yellowed and would benefit from a clean. Otherwise well presented, ready to hang.
Lot 182A
Richard Edward Clarke (British 1878-1954): 'The Haunted Orchard', oil on panel signed, original title label with artist's Scarborough address verso 35cm x 51cm (unframed) Notes: Clarke, born in Scarborough, studied under Albert Strange at the Art School where later he became acting Headmaster, also teaching at Pickering Grammar School.
Lot 56
Joseph Emanuel Weiser (German 1847-1911): 'A Pretty Slipper' and 'A Pinch of Snuffe', pair oils on panel signed, titled on plaques 30cm x 23cm (2) Provenance: with M Newman Fine Art, London and J & W Vokins, London, labels versoCondition Report:Good condition, some historic overpainting visible under UV light. Ready to hang.
Lot 239
Henry Silkstone Hopwood (Staithes Group 1860-1914): 'A Letter Writer - Biskra', oil on panel signed, titled on exhibition label verso 17cm x 13cm Provenance: exh. The Fine Art Society, London 1914, label verso; Bonhams Leeds 19th November 2002 Lot 111Condition Report:Good condition - ready to hang. No signs of overpainting visible under UV light.
Lot 1
A RARE SHELL-INLAID NANBAN LACQUER CABINETJapan, late 16th to early 17th century, Momoyama (1573-1615) to early Edo period (1615-1868)Of wide rectangular form with two side-hung doors, one with a keyhole, which open to reveal the interior typically fitted with ten drawers of varying size, arranged symmetrically in rows. The doors and sides richly decorated in gold hiramaki-e and mother-of-pearl inlays on the black-lacquered wood, the front with a shaped panel enclosing a ho-o bird amid dense leafy floral blossoms, reserved against by a minutely inlaid dotted ground, surrounded by a shippo-tsunagi (linked-cash) border, the sides similarly decorated with circular panels enclosing a rabbit and bird, respectively, each surrounded by a diapered border. The backs of the doors and fronts of the drawers similarly lacquered and inlaid with scrolling foliage and swirling ponds.SIZE 35.9 x 52.1 x 30.2 cmCondition: Good condition, commensurate with age. Extensive wear, age cracks, losses to inlay and lacquer, old repairs, touchups, nicks, scratches, some fittings possibly renewed.In the late sixteenth century, Japanese lacquer makers had a global clientele and vied to come up with innovative designs. They produced portable desks with drawers, such as this one, for the European, and especially the Portuguese, market. The style is known as nanban (literally, “southern barbarian”), meaning foreign.Crafted in Kyoto's lacquer workshops alongside quite different wares intended for elite Japanese clients, these kinds of Nanban coffers and cabinets decorated in gold hiramaki-e and shell were among the earliest Japanese artefacts to reach Asian and European markets, starting two or three decades after the first landfall by Portuguese adventurers in the mid-sixteenth century. Celebrated today for their lavish, innovative technique and dense ornamentation (inspired in part by wares from other parts of Asia), such pieces brought the Japanese genius for design to global attention and ensured that Japan would be synonymous with 'lacquer' until the present day.Auction comparison: Compare a related Nanban cabinet, also with two side-hung doors and depicting rabbits, of smaller size (24 cm x 29.2 cm x 22 cm), dated to the Momoyama period, at Bonhams, 6 November 2014, London, lot 279 (sold for 11,250 GBP). Compare also a related fall-front Nanban cabinet with similar decoration at Bonhams, 13 May 2021, London, lot 56 (sold for 25,250 GBP) and another at Sotheby's, 17 April 2019, Paris, lot 80 (sold for 20,000 EUR).
Lot 10
A FINE LACQUER BOX AND COVER WITH INTERIOR TRAYJapan, 18th century, Edo period (1615-1868)Formed as conjoined triple-lozenge shapes, the top of the cover finely lacquered in gold and silver takamaki-e and hiramaki-e with kirikane and gold foil to depict the poetess Ono no Komachi looking out a window, surrounded by pine trees and saplings as well as a gnarled prunus branch, below thick clouds, further with bush clover and other autumnal flowers, the edges with scrolling vines and flowerheads, the sides with a gold-lacquered rinzu pattern on a roiro ground. The interior of the cover with a nashiji ground finely lacquered in gold hiramaki-e with a lobed panel enclosing blossoming aster and bellflower, the interior of the box similarly decorated with a gnarled prunus branch over crashing waves. The base of rich nashiji.LENGTH 22.3 cmCondition: Very good condition with minor wear, few tiny age cracks, light surface scratches.
Lot 125
A TALL AND IMPRESSIVE PARCEL GILT BRONZE KORO (INCENSE BURNER) AND COVER, ATTRIBUTED TO THE MIYAO COMPANYJapan, Meiji period (1868-1912) The koro of rounded square form, fitted with a metal inset, the sides with two shaped panels in gold, copper, and shakudo takazogan to depict a rakan and oni conversing, the arhat wearing loose robes and holding a small figure of Kannon while the demon holds a staff, the reverse panel depicting pheasants and peony, the body cast with raised floral diaper and foliate designs against an archaistic scroll ground and flanked by two scrolling cloud-form handles. The cover similarly cast and surmounted by a boy wearing a gold-inlaid robe decorated with clouds and flowers, standing in a dynamic pose beside a red-capped crane with silvered body and plumage. The vessel is supported on four long legs issuing from fierce dragon heads atop a tiered base which is crisply cast with stylized butterflies surrounding a ho-o bird against a diapered ground, a superbly patinated and gold-inlaid figure of Kannon wearing a long flowing robe with deeply incised folds standing atop the base which is raised on four short feet decorated with gold-inlaid ho-o birds. Unsigned, however confidently attributed to the Miyao company of Yokohama.HEIGHT 91 cm WEIGHT 14.6 kg Condition: Very good condition with minor wear, minimal casting flaws, few minuscule nicks, occasional light surface scratches. Founded by Miyao Eisuke, the Miyao Company of Yokohama specialized in the manufacture of bronze sculptures, embellished with gold and silver as well as patinated copper alloys, that represent generic samurai warriors as well as more precisely identifiable characters from Japanese myth and legend. In addition, the company also made a smaller number of pieces in other formats such as incense burners, vases, and chargers.Auction comparison:Compare a related parcel gilt bronze censer, measuring 44.5 cm, also with rakan and oni motif and by the Miyao company, sold at Zacke, Fine Japanese Art, 4 June 2021, Vienna, lot 6 (sold for 17,696 EUR).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
Lot 129
A SUPERB PAIR OF MIYAO-STYLE MIXED-METAL-INLAID AND PARCEL-GILT BRONZE VASES WITH SHOKI AND ONIJapan, late 19th century, Meiji period (1868-1912)Each vase with a baluster body supported on a spreading foot and rising to a gently waisted neck with flat everted rim, the shoulder with two long handles issued from baku heads, the exterior carved in high and sunken (shishiaibori) relief, inlaid in iro-e takazogan and hirazogan, and engraved in katakiri and kebori, with bamboo-framed panels surrounded by two snakes flanking a toad above and a snail below - an impressive example of the sansukumi motif. Each panel shows a different but complementary design, depicting on one vase a proudly standing Shoki holding his sword in one hand and extending the other, with a long-tailed pheasant amid chrysanthemums under a gnarled pine tree to the back; and on the other three oni depicted in different attitudes, one of them fighting back against the demon queller, the back with two long-tailed pheasants perched on a craggy rock. The body is further decorated with bamboo leaves, mushrooms, and leaves, the neck and foot with formalized bands.HEIGHT each 30.5 cmWEIGHT each 4.7 kgCondition: Very good condition with minor surface wear.Provenance: From the private collection of an intrepid and seasoned connoisseur who tirelessly travels the globe and acquires with passion, discernment and above all a sense of all-embracing eclecticism, bound by no rigid formula of what should constitute a worthy object save the admiration and wonder that it can produce in the viewer.The present pair of vases, impressively cast, finely carved in high and sunken relief, and masterfully inlaid in both hirazogan and takazogan, was clearly made by an extremely talented metalworker. The inspired use of inlays makes an attribution to the workshop of Miyao Eisuke reasonable. Although most often associated with large-scale bronze figures of samurai, the Miyao Company also manufactured or dealt in a wide range of craft goods including Shibayama-work panels and ivory figures. Apparently based first in Yokohama and then, after about 1890, in Nihonbashi-ku, Tokyo, the company is first recorded at the second Naikoku Kangyo Hakurankai (National Industrial Exposition) where Miyao Eisuke collaborated with the bronze caster Momose Sozaemon in the production of a bronze figure of seven drunken shojo.The combination of snake, frog, and snail (or slug) constitutes the sansukumi motif. Sansukumi translates to 'the three who are afraid of one another'. The three animals are in a state of mutually assured destruction: the snake will consume the frog, however the frog has already eaten a poisonous snail, so the snake must perish as well. This motif is connected to sansukumi-ken, a category of Japanese hand games played by using three hand gestures. The oldest sansukumi-ken game is mushi-ken, a game originally from China. In mushi-ken, the 'frog' represented by the thumb wins against the 'slug' represented by the pinkie finger, which, in turn defeats the 'snake' represented by the index finger, which wins against the 'frog'. Although this game was imported from China, the Japanese version differs in the animals represented. In adopting the game, the original Chinese characters for centipede or millipede were apparently confused with the characters for the 'slug'. The centipede was chosen because of the Chinese belief that the centipede was capable of killing a snake by climbing and entering its head. One of the few surviving sansukumi-ken games is jan-ken, which was brought to the West in the 20th century as rock paper scissors.
Lot 2
A RARE LACQUER KENDAI (LECTERN)Japan, dated 1906The base of rectangular form with rounded corners and supported on a short foot, the exterior of rich, dense nashiji, the front with a storage drawer fitted with a lobed metal handle, opening to reveal a sparser nashiji ground to the interior, the sides and back finely lacquered in gold and colored takamaki-e with inlays of mother-of-pearl to depict a majestic peacock amid blossoming prunus branches. The top of the base with two recesses to insert the separately modeled feet of the reading stand similarly lacquered with blossoming prunus and connected at the bottom by a panel further decorated in gold hiramaki-e with sumikiri kaku ni Omodaka mon, the reading stand with two foliate-incised metal fittings suspending silk tassels.HEIGHT 49.5 cm (total), WIDTH 51.5 (the reading stand) Condition: A large crack to the reading stand (this can easily be covered). Some general wear, age cracks, losses to lacquer and mother-of-pearl inlay.The wood storage box with an inscription to the back of the cover:兵庫縣西ノ宮町辰馬悦蔵殿ヨリ明治三拾九年十二月二十八日御見臺贈与セラルゝ、大塚清質"Hyogo-ken Nishinomiya-cho Tatsuuma Etsuzo dono yori, Meiji sanjukyunen junigatsu nijuhachi nichi, on Kendai zoyo sera ruru, Ootsuka Seishichi" [This lectern table was given to me (Ootsuka Seishichi) from Tatsuuma Etsuzo whose residence is Nishinomiya-cho of Hyogo Prefecture on the 28th of December in Meiji 39 (1906)].
Lot 33
KAJIKAWA: A FINE LACQUER SUZURIBAKO (WRITING BOX) DEPICTING BOYS AT PLAYBy a member of the Kajikawa family, signed Kajikawa saku and with pot seal EiJapan, Edo (Tokyo), 19th century, Edo period (1615-1868)Of rectangular form with a flush-fitting (inrobuta) cover and silver rims. The exterior with a gyobu nashiji ground, the cover with a shaped panel bearing a mirror-black ground, finely decorated in colored takamaki-e and hiramaki-e with three karako, two of which are mischievously drawing with brushes on their sleeping companion, an inkstone and lesson book on the ground beside them.The interior of the cover with a rich gold hirame ground similarly decorated with five boys wearing elaborate patterned robes, one riding a hobby horse, three playing musical instruments, and one standing behind a tsuitate (standing screen) depicting a misty mountain landscape superbly rendered in sumi-e togidashi-e and bearing the signature and seal of the Kano painter Isen'in (Naganobu, 1775-1828).The interior bearing a nashiji ground and fitted with a nine-section board (ita) with two raised sections above and below the inkstone (suzuri), the upper section cut with a recess for the lozenge-shaped gilt-copper and silver waterdropper (suiteki), signed underneath the inkstone KAJIKAWA saku [made by Kajikawa] with a red 'tsubo' seal Ei.SIZE 4.6 x 21 x 23 cmCondition: Very good condition with minor wear and few small losses to lacquer.Provenance: Christie's, 18 September 2013, New York, lot 680. The Paul and Helen Anbinder Collection, acquired from the above. Paul Anbinder (b. 1940) is a retired editor who was a director at important publishers including Random House and Hudson Hills. Helen Anbinder (1942-2022) was an education administrator who ran the Inter-village Continuing Education Program for Ardsley, Dobbs Ferry, Hastings, and Irvington, New York. The couple were avid museumgoers and collectors of art. They donated many books and prints from their collection to their alma mater Cornell University and the Herbert F. Johnson Museum of Art.With a wood storage box (tomobako).The Kajikawa family were Japanese lacquerware artists whose school in Edo flourished for more than 200 years. Kyujiro is generally acknowledged as the founder of the family and the inaugurator of its traditions. He excelled in designing particularly delicate lacquer inro. Kajikawa artists also designed lacquer netsuke. Suzuribako by this school are considerably rarer than inro and netsuke.Museum comparison: Compare a lacquer suzuribako, also signed Kajikawa saku and with a red seal, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1955.24a-e.Auction comparison: Compare a lacquer suzuribako, also signed Kajikawa saku and with a red pot seal, at Christie's, 1 October 2020, New York, lot 21 (sold for 18,750 USD).
Lot 68
A SUPERBLY EMBROIDERED PANEL OF YOMEIMON GATEJapan, Meiji period (1868-1912)A very intricately embroidered silk panel with silk threads in various shades of salmon, ivory, cream, bronze and grey, depicting the Yomeimon Gate at the Tokugawa Tosho-gu shrine in Nikko. Mounted by a slender frame on a board with silk brocade backing.SIZE 73 x 69.5 cmCondition: Excellent condition and intricate detail. Few stray strands and a small hole on the verso backing.The Yomeimon Gate is often referred to as the "Gate of the Setting Sun" and is renowned for its intricate carvings, gold leaf decorations, and vibrant colors. It serves as a symbol of wealth, power, and prestige, reflecting the high status and influence of the Tokugawa shogunate during its reign. The gate is also considered a masterpiece of Japanese architectural and artistic craftsmanship, showcasing various styles, motifs, and techniques, including Buddhist, Shinto, and Chinese influences.
Lot 69
A SIX-PANEL FOLDING SCREEN DEPICTING A BATTLE SCENEJapan, Edo period (1615-1868)Finely decorated with ink, gouache, watercolor and gold splash on paper with brocade silk mountings, depicting a detailed battle scene. Mounted to a black-lacquered wood screen with gilt metal fittings with incised decorations.Note the fine quality of the painting, particularly evident in the elaborate armor decorations, naturalistically painted horses, and overall dynamic composition. The six panels provide a panoramic view of the battle scene, from samurais in turbulent waters to those in the forefront of the battle, on ground.SIZE (when opened) 79 x 255 cmCondition: Good condition with minor wear, little soiling, creases, and occasional light scratches. Some tears and minor material loss now hardly noticeable due to the backing with occasional touch-ups.
Lot 70
AN IMPRESSIVE PAIR OF SIX-PANEL BYOBU SCREENS DEPICTING A DOG-CHASING EVENT (INOUMONO)Japan, 18th century, Edo period (1615-1868)Finely decorated with ink, watercolors, and gold foil on paper to depict a large dog-chasing event (inoumono) watched by numerous spectators standing outside the fenced area, along with street vendors and entertainers as well as other contestants, amid gnarled pine and maple trees, as horse-mounted archers chase dogs of all stripes and colors, pointing their large padded arrows at the fleeing canines, with some dogs held by leashes by attendants on foot, including two attendants and three dogs resting under a tree as the chaotic scene unfolds, framed by thick clouds.SIZE 171.8 x 63.5 cm (each panel) and SIZE (when opened) 171.8 x 367 cmCondition: Very good condition with minor wear and little soiling, some expected tears and creases, the wood screen with minor nicks and scratches and some old repairs.Provenance: From the collection of L. Harrison Bernbaum, Chicago, Illinois, USA. L. Harrison Bernbaum is a Chicago businessman who co-founded the outdoor company High Sierra with his father Harry Bernbaum (1917-2015), who had been one of the first American businessmen to travel to Japan in 1956, helping to pioneer manufacturing relationships between America and Japan for the American sporting goods industry.With a silk brocade frame and mounted to a brown-lacquered screen with parcel-gilt fittings decorated with blossoming flowers and foliate scroll.Shooting dogs from horseback was a form of samurai training that began in the Muromachi period (1392-1573). During the peaceful 1600s this activity was revived as a samurai sporting event that attracted many spectators. As a sport, dog chasing involved two teams of seventeen participants each. The riders used softly padded arrows in order not to seriously hurt the dog, which was released within a circle of rope to begin the game. A strike on the dog's torso scored points; strikes on the head or legs did not count. The winning team usually received prizes of lengths of white silk cloth. The present screen shows the game in progress, with the judges sitting in the building at the left of the field. As many as eighteen pairs of screens on this subject are known in Japan and the West. Later examples, such as this pair, show greater numbers of spectators, probably reflecting the growing popularity of the sport.Literature comparison: Compare a closely related six-panel folding screen, also depicting a dog-chasing event, dated approx. 1640, in the collection of the Asian Art Museum of San Francisco, object number B60D1.Auction comparison: Compare a closely related single six-panel folding screen, also depicting a dog-chasing event, dated 17th-18th century, 171.5 x 370.8 cm, at Bonhams, Fine Japanese Works of Art, 19 March 2014, New York, lot 3098 (bought-in at an estimate of USD 20,000-30,000).
Lot 71
A FINE SIX-PANEL BYOBU SCREEN DEPICTING SNOW COVERED PINESJapan, 18th-19th century, Edo period (1615-1868)Masterfully painted with ink, gouache, and watercolors on a gold background, and mounted to a brown-lacquered wood screen with simplistic copper fittings. The beautiful and large six-panel byobu (room divider) employs a refined and naturalistic technique to show gnarled pine trees in snow.SIZE (when opened) 174 x 350 cmCondition: Good condition with minor wear, little soiling, occasional light scratches, and few minuscule losses. Some repaired tears with touch-ups.Pine is an auspicious symbol in Japan, representing longevity due to its long life, and endurance as it remains green throughout the winter months which becomes evident on the present imagery with the wintry snow.
Lot 72
KISHI GANRYO (1798-1852): A BEAUTIFUL SIX-PANEL BYOBU SCREEN DEPICTING CRANES AND PINESBy Kishi Ganryo (1798-1852), signed Utanosuke Shiryo and sealed 'Ganryo no' and 'Shiryoin'Japan, 19th century, Edo period (1615-1868)Finely decorated with gouache and ink on a vibrant gold leaf background. Signed Utanosuke Shiryo, and with two seals: Ganryo no and Shiryoin (lower right corner). The panels are mounted with silk brocade borders, one made of thin white brocade, and the other, wide moss-green brocade. Mounted to a black-lacquered wood screen with gilt metal fittings with incised decorations.An exceptional and beautiful large six-panel byobu (room divider) with a refined and naturalistic painting of five red-crowned cranes surrounded by young pines. Two cranes are depicted lying on the ground, appearing to rest, with one shown sleeping. Two others stand nearby, one picking at its toes and the other in a relaxed pose with one leg half tucked up. The last crane is shown in motion, walking towards something that has caught its attention in the distant left.SIZE (when opened) 169.9 x 372.6 cmCondition: Very good condition with minor wear, little soiling, occasional light scratches, and few minuscule tears.Kishi Ganryo (1798-1852), was a Kyoto artist. He was the nephew, pupil and adopted son of Kishi Ganku (1749-1838). Like his father, he was a retainer of Prince Arisugawa and attached to the imperial court. His surviving work is extremely rare.The crane is one of the most prominent symbols of longevity and good fortune in Asia. The red-crowned, or Japanese, crane depicted in this painting is said to live for 1,000 years. Pine is an auspicious symbol in Japan, representing longevity due to its long life, and endurance as it remains green throughout the winter months. The pine trees depicted in this painting introduce a freshness and liveliness which complements the spirited movements of the cranes.
Lot 48
ASSORTED JEWELLERY comprising two rolled gold bangles, boxed Excalibur sterling silver bangle, simulated pearls, marcasite panel bracelet, Clogau pierced egg on silver chain, silver circle link chain, silver chunky chain, silver mother of pearl pendant on chain, ladies Citizen Eco-DriveProvenance: deceased estate Carmarthenshire
Lot 150
3 1960s dresses. Velvet coat style dress in green with panel front and crochet sleeves by Kershaw 104cm bust t/w black crimplene Jareger dress bright coloured bodies plain black skirt 78cm bust t/w brick coloured long sleeved plain dress cowl collared belt 86cm bust. All in good used condition.
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