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A two-piece dress and jacket ensemble as seen worn by Nicholle Tom as Maggie Sheffield in The Nanny (CBS, 1993-1999), Season 6 Episode 22, "The Finale Part 2."Lovely, floral damask two-piece ensemble of sky blue, ivory, and accent colors of red, green, yellow, and orange by Los Angeles designer Lisa Anne. The linear pattern has tulips, petal flowers, grapes, and diamond shapes. A clean line outfit consisting of an A-line-sleeveless-halter-neck-shift dress and a single-breasted jacket with a notched lapel, exaggerated collar, and three wooden carved buttons. Both garments are composed of a poly-cotton blend and lined with synthetic fabric, the dress is lined with a cream lining, and the jacket is lined with a pastel blue. Both garments have a brand tag that reads, "LISA ANNE," the jacket is marked a size six.These garments were worn in the final episode of the series, where Maggie is seen saying goodbye to Fran and her father at the airport.This lot comes with a copy of the final season of the series.Jacket: Size 6PROVENANCE From the Collection of Reel Clothes and Props

A late 19th-century fitted bodice-style blouse with peplum as seen worn by Elizabeth Taylor as Mary Skinner in the film Life with Father (Warner Brothers 1947). A silk-faille Victorian style fitted bodice/blouse designed for Elizabeth Taylor as Mary Skinner. The blouse in the film is a pale pastel blue, the material has turned a soft pink. The color discoloration is likely due to cleaning and storage at the film studio post-production. The original pale blue can be confirmed by the pale blue thread color that hasn’t changed and the silk-wool lining at the underside of the bustle (also pale blue). The blouse’s princess seams allow for a nice fit typical for that period’s style. The dropped Basque waist with exaggerated peplum was a key design element of the period, as well as a dramatic bustle at the back, pleated with inverted godets and a handkerchief hem. The blouse is trimmed with tulle, bobbin lace, silk ribbon (the ribbon has begun to disintegrate), and pale blue silk velvet. Hook-and-eye closures are at the front with a non-functioning button placket of cream grosgrain silk, which runs from the neck to above the hips. A label at the front closure reads, “Warner Brother’s Pictures Inc.” and handwritten in pen is “A 981-662.” Plus, handwritten at the interior neckline are studio initials WBS and a blue paper tag stapled at the right seam stamped with “WB” with a handwritten serial number “16619 SC.” Academy Award-winning costume designer Marjorie Best designed the costumes for the film, she also worked with Elizabeth Taylor on Giant. Victorian blouses featured numerous embellishments and trim as women’s fashions were a walking advertisement of a man’s wealth and status, ensembles consisting of silk, velvet, and lace showcased vogue fashions but also affluence.

Three pairs of vintage gloves, owned by Elizabeth Taylor. The first pair are mid-length beige nylon gloves embellished with copper colored seed beads, some of which form a foliate motif, marked size 7 ½. The second pair are long black suede gloves with embroidered pastel tulips and cutwork; one of the gloves is stamped “T” at the interior. The third pair are short ivory nylon with embroidered dots and scallop trim, marked a size regular.PROVENANCE From the Collection of Jorjett Strumme, Elizabeth Taylor's assistant.

Circa 1620-1640 A.D. Composed of a slender hoop, expanding shoulders decorated with white enamelled foliage and black enamelled pea-pod ornament, repeated around the bezel, bezel with box setting holding a table-cut ruby, white and black enamelled floral design to the underside; minor loss of enamel; likely from France; accompanied by a 'Les Enluminures' hinged presentation box. Cf. Fuhring, P. ed., 'Le Style' cosse de pois' L'orfevrene et la gravure a Paris sous Louis XIII, in Cazette des Beaux Arts, January 2002, for the pea-pod ornament; cf. Chadour, A., Rings. The Alice and Louis Koch Collection, Leeds, 1994, vol. 1, no.701; cf. Oman, C., British Rings 800-1914, London, 1987, pl.96.c, for type; cf. Scarisbrick, D. et al., Toward an Art History of Medieval Rings: A private Collection, pp.204-205, for comparable. 4.57 grams, 23.32 mm overall, 18.77 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14) (1 in.). Acquired from Les Enluminures Ltd, Illinois, USA, 2016. Property of an East Sussex collector. Accompanied by a Les Enluminures certificate of authenticity. Accompanied by a copy of the Les Enluminures invoice. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11671-197579. Over the centuries, the ruby became a symbol of the amorous heart and a popular gemstone for betrothal or wedding rings in Western Europe. This gemstone was believed to symbolise the virtues of marriage and convey the desire for eternal matrimonial love. The ruby-red colour was often enhanced by setting the stone on top of a foil. The stones themselves were imported from as far afield as Thailand, Burma and Sri Lanka. Old inventories record them as 'balas rubies', which were sourced to decorate royal crowns. In the 17th century, the red colour was set-off by the pastel shades of satin which were fashionable in dress at the court of King Louis VIII, where the art of enamelling was also practiced.

Postcards, Glamour, Pastel selection, mainly published by Munk, ub, Ryland, Wichera etc., (some age toning o/w gd/vg) (26)

† ORLANDO GREENWOOD (British 1892-1989); pastel and crayon on dark brown paper, an early 20th century study of a weaver and her assistant in a Nelson (Lancashire) cotton mill, 48 x 36cm.Provenance: - Originally sold at Thompson Roddick auctioneers as part of the Orlando Greenwood estate saleFootnote: - Orlando Greenwood worked for his uncle in the Hollin Bank Mill, Brierfield Nelson.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

FRANK MCFADDEN (SCOTTISH b.1972) PORTRAIT OF A MAN Pastel/Collage on paper, signed lower left, 40 x 29cm   Condition Report:Available upon request

ROGER McCLOY (SCOTTISH CONTEMPORARY) EVENING STROLL Pastel on paper, signed lower left, 28 x 44cm Title inscribed to label verso Together with 2 similar by the same hand and another (4) Condition Report:Available upon request

MARGARET GLASS Twilight, Pinmill, monogrammed, pastel, 40 x 55cm Condition Report:Available upon request

CAROLINE COOKE (SCOTTISH CONTEMPORARY) RHUM FROM TRAIGH Pastel, signed lower left, dated (20)03, 24 x 24cm Together with a similar (2) Condition Report:Available upon request

VALENTIN PETROV (RUSSIAN b.1966) JAGUAR ON THE HUNT Pastel on paper, signed lower right, 48 x 63cm Condition Report:Available upon request

CONTEMPORARY SCHOOL READING LADY  Pastel on paper, 40 x 56cm Condition Report:Available upon request

FRANK MACFADDEN (SCOTTISH b.1972) LA NUIT Pastel on paper, signed lower right, 60 x 44cm Condition Report:Available upon request

FRANK MCFADDEN (SCOTTISH b.1972) JOHN Pastel on paper, signed lower left, 60 x 44cm Condition Report:Available upon request

FRANK MCFADDEN (SCOTTISH b. 1972) GINGER GIRL Pastel on paper, signed lower right, 59 x 43cm Condition Report:Available upon request

A FRENCH PORCELAIN LARGE TWO HANDLED CUP AND COVER, 19th century, of flared cylindrical form painted in pastel colours with a bust length portrait of Marie Antoinette wearing a lace trimmed lilac dress within a gilded border on a cobalt blue ground, the reverse with her monogram painted in pink roses and forget-me-nots, the lift off cover with bud finial, pseudo mark in blue and incised 66, 6 1/2" high, together with an "Augustus Rex" cup, cover and saucer painted in polychrome enamels with a loose bouquet of flowers with griffin moulded rims picked out in blue, marked in blue, saucer 5 1/4" diameter (2) (Est. plus 24% premium inc. VAT)Condition Report: "Sevres" cup and cover no damage but gilding badly worn, especially below portrait and inner rim and blue worn on cover (misfired?), A R saucer and cup good, cover has loss to ribbon and gilding worn

A CHINESE PORCELAIN CYLINDRICAL THREE TIER STACKING BOX AND COVER painted in pastel enamels with figures, the sides painted with a continuous procession of musicians, 3 1/2" diameter, 4 1/2" high (4) (Est. plus 24% premium inc. VAT)Condition Report: Tiny chips to inner rim of cover, all unmarked, enamels and gilding a little worn

A PAIR OF ROYAL DOULTON CHINA GARNITURE VASES, 1920's, of slender ovoid form raised upon cluster columns issuing from acanthus leaves on swept circular bases, painted in pastel colours by H. Boullemier with cherubs, one stoking a small brazier, the other seated on a broken egg with a chicken, both in open landscape, within gilt highlighted blush ivory type rims, signed, green printed mark, 10" high (Est. plus 24% premium inc. VAT)Condition Report: One has no chips, cracks or restoration. One has been broken in half at the stem and restored,

ENGLISH SCHOOL (18th century) Portrait of a Lady Wearing a Blue Hair Ribbon, head and shoulders, pastel, unsigned, 23 1/2" x 19 1/2" gilt frame (Est. plus 24% premium inc. VAT)Condition Report: Some damp spots around her mouth, otherwise very good

Y E ANTHONY ORME (b.1945) Portrait of John Lennon, pastel en grisaille, signed, 42 1/2" x 31 1/2" framed (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Very good, behind glass

FREDERICK (FRED) STEAD ARCA (1863-1940) The Rhododrendon Walk, pastel, signed, 22" x 29 1/2", gilt frame (Est. plus 24% premium inc. VAT)Condition Report: Very good, could possibly do with a better frame

Y KATHERINE HOLMES (b.1962) "The River Aire near Airton" and "Summer Sky over Arkengarthdale", a pair, watercolour, ink and pastel, signed, labels to reverse dated 1998, 10" x 13", blond wood frames (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Very good

Y DAVID GREENWOOD (Contemporary) "Granary (?) Wharfe Leeds", pastel, signed and dated (19)99, label to reverse, 10" x 15", framed (subject to Artists Resale Right) (Est. plus 24% premium inc. VAT)Condition Report: Very good, behind glass

In the manner of Angelica Kaufmann. The Veiled Vestal, pastel, signed CAC, 33cm x 26cm, together with a further pastel depicting The Blount Sisters, copy of a portrait at Mapledurham, signed CAC, 38.5cm x 30cm. (2)

After Sir Henry RaeburnPortrait of Mrs Irvine J. BoswellPastel70.8 x 58cm; 27¾ x 23in

Daniel Gardner (1750-1805)Portrait of Harriet Mostyn Owen (née Cumming) (1786-1865), wearing a white dress and turban, holding a jar and seated in a landscape by a fountainGouache and pastel on paper laid on canvas, oval53 x 46cm; 20¾ x 18inLiterature:Neil Jeffares, "Daniel Gardner", Dictionary of pastellists before 1800, online edition, no.J.338.15117

Continental School 19th CenturyPortrait of a lady with flowers in her hair and a white head scarfPastel42.4 x 28cm; 16¾ x 11in

Continental School Late 19th CenturyPortrait of an oriental lady wearing a headscarf and gold necklaceSigned with monogram and dated 87 (lower left)Pastel58.7 x 49.2cm; 23 x 19¼in

† DOROTHY WATKINS; pastel drawing, London street scene, signed, 49 x 59cm, framed and glazed.

Mary Dewing (British 2th century), a young boy with a cat, pastel on paper, signed lower left, framed, glazed and mounted, frame size 47cm x 40cm

18th or 19th century, a portrait of a young girl with an umbrella, pastel, a label to verso attributing the work to John Russell?, in a gilt frame, glazed and mounted, frame size 41cm x 37.5cm

C Vettori, pastel on board of a still life of fruit. Signed lower right and labelled and dated verso '1948', 33.5cm x 48.5cm

Framed pastel drawing depicting Scottish Cottage with SFS monogram & set of 4 framd pencil & watercolour sketches of buildings - Hardenhuish House, Ray Mill, George Inn Chippenham & 1 other by A Devonald

Tony Brummell Smith,Flowers in a garden,pastel drawing, signed,61x81cm.

WALTER HOLMES, B.1936: LANDSCAPE, WITH DISTANT CASTLE pastel, signed W.Holmes 31 x 46cm plus frame

G. Douglas, mid 20th Century pastel drawing, portrait of a Tibetan man, signed, 34 x 24cm, gilt framed

Pauline Fazakerley, pastel of a pony, framed, signed, 41 x 22cm

Early 19th Century Dutch school, pastel portrait of Captain Gerardus Johannes de Jonckeere (Dutch East India fleet), 45 x 32cm, gilt framed together with his zinc lined sea chest (various items of provenance attached verso and within)

Late 19th / early 20th Century half length pastel portrait of a young girl, unsigned, 34 x 24cm

Pencil and pastel portrait of a seated dog, signed Karella, dated '81, framed, 43cms x 40cms

Sale Item: 2 PASTEL BURNERS (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 17.5% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%

A collection of vintage 20th century women’s undergarments / under skirts and other accessories used in theatrical productions and stage performances. The lot to include various colourways, many with lace layered hems, along with multicoloured pastel underskirts, medieval style cloaks, costume in the style of Jesus Christ Superstar, and many other costume garments. Approx. 3 boxes.

Eight Georgian style chairs upholstered in red leather and covered in pastel shaded of blues, green, reds and yellow fabric.

Pastel of a 1920's lady at her boudoir

A Kashmiri hand stitched wool wall hanging, with an overall pattern of pastel coloured flowers on a black ground,173 x 116cm approx.

Twenty Artworks (mostly prints) to include: Mike Poge - Pastel study on a cat, signed, 34 x 47 cm; 19th century pencil study of a milkman sitting on his cart, 15 x 20 cm, unsigned,; W. Burnett Japp - 'St Peter's Hospital', limited edition etching 46/75; Two tapestries of women in the garden; Two 20th century tapestries of apples and plants; Fiona Owen - limited edition print, signed and numbered 56/750 in pencil below; Anne Cotterill - three limited edition prints, signed and numbered in pencil below, 27 x 22 cm each; three prints after Alejandro Rangel Hidalgo; After Sue Wales - print of bouquet of flowers in vase, frame: 70 x 61 cm; and five others (20)

William Francis Vere Kebbell (1888-1963) 'Glass Flagon', pastel on paper, artist's name and title inscribed on label verso, 37.8 x 30.7 cm, mounted, glazed and framed

Four works by different artists: British School, Early 20th Century - Farmer on a Hay Cart, watercolour, signed J.A.S. and dated 1911 lower left, 24 x 34 cm; c.1780 hand coloured engraving showing 'View of Gravesend in Kent' and 'View of Woolwich in Kent', published by Alexander Hogg, 24 x 34.5 cm; Walsh - figurative pastel and ink study, signed lower right, 60 x 32.5 cm; 'Plonlein, Rothenburg', hand coloured etching, indistinctly signed in pencil below, 31 x 34 cm; all framed and glazed (4)

Two Framed Works: 19th Century needlework silk and wool embroidery of The Story of Jesus and the Samaritan Woman at the Well, with watercolour added, 36 x 43 cm; together with a pastel study of Llyn Bach, signed and dated 'Pah', 1996 (2)

A mixed textile lot comprising a reversible Welsh blanket by Holytex in pastel shades 2.1x2.2m, a kelim cushion, 2 woven wool cushions, 2 small felted panels, a small mohair blanket by Glen Cree and a hand knitted woollen shawl/ blanket

Thirteen 19th century and later pastel burning cottages, some of Gothic form, the majority with applied shredded clay detail

A collection of 19th century Staffordshireware including two Highland characters each with a spaniel, a flatback cottage with sponged detail, a small pastel burning cottage, figure of a swan and a standing character, together with a Coalport group - The Village Cricket Pavilion (7)

Jane Lampard (Local Artist, Contemporary) - 'Peonies & Daisies', watercolour and pastel on paper, signed in pencil lower right, with artist's label verso, 66 x 53.5 cm, double-mounted and glazed in lime washed frame

Jane Lampard (Local Artist, Contemporary) - Chickens Grazing, chalk and pastel on paper, signed in pencil lower left, 57.5 x 43 cm, double-mounted, glazed and framed

Sophia Leonard (Irish) 'Beatrice', pastel and watercolour, signed lower right and dated '1992' to the reverse33.5cm x 26.5cm

Pastel study of a Collie dog

20th Century school, indistinctly signed oil and pastel of a coastal scene with yachts

Pat Kirby, pastel study of a poppy field and Ola Howard, pastel study of a woodland path

19th century English School, pastel, Portrait of a gentleman wearing a cravat, indistinct ink inscription verso, 31 x 23cm

Karl Kluth. (1898 Halle/ Saale - 1972 Hamburg). o.T. (Komposition mit Mann). 1964. Pastellkreide auf glattem Fabriano Raffaela Velin (mit WZ). 63,4 x 47 cm. Monogrammiert (in Ligatur) und datiert. Unter Glas gerahmt. - Ecken etwas angestoßen. Mit wenig merklichen Griffspuren und Randeinrissen, diese verso hinterlegt. Dort mit Spuren der ehemaligen Montierung und leichten Farbspuren. Insgesamt gut. Ausdrucksstarke, farbkräftige Zeichnung aus dem Spätwerk des Künstlers. Karl Kluths Werk unterteilt sich zwei große Werkphasen, unterteilt von der Zäsur des Zweiten Weltkrieges, welchen den Maler vom Expressionismus abkehren ließ. Im Frühwerk war er von Munch beeinflusst und sehr aktiv in der Hamburger Sezession. Im Spätwerk war als Professor an der Hochschule für Bildende Künste, Hamburg tätig, wo er u. A. die späteren Mitglieder der "Zebra"-gruppe unterrichtete. Sein Stil veränderte sich, er war immer noch figurativ, jedoch wilder, ungestümer und deutlich farbfreudiger. Seine Motive nahmen nun häufig die gesamte Bildfläche ein, wie bei der vorliegenden Arbeit. Pastel on smooth Fabriano Raffaela wove paper. Monogrammed (in ligature) and dated. Framed under glass. - Corners somewhat bumped. With little noticeable traces of handling and marginal tears, these backed on verso. There with traces of the former mounting and slight traces of paint. At all good. Expressive, colourful drawing from the artist's late work. - Kluth's style changed in his late work due to the caesura of the Second World War. He was still figurative, but wilder, more impetuous and clearly more colourful. His motifs now often took up the entire picture surface, as in the present work.