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A two tone Nelson Toby jug, head and shoulders in tricorne hat with sash and medals, 10” overall. VGC

A vintage animal hide, ceremonial sash and arms of the chief claimants

Three vintage children's annuals, a reproduction painting , portrait of a golfer, a folding leather writing case, cased geometry set, Silician sash, two Baedekers tourist guides, etc.

An Antique copper and brass mounted powder flask, a Masonic sash, a Queen Victoria 1897 commemorative cross, Players cigarette cards, lacquered box, vintage postcards, qty.

English School (19th Century) - Five portrait miniatures; A gentleman wearing a navy coat and white stock, 6.5 cm; another gentleman wearing a brown coat and a curled wig, (very faded) 4 cm; A lady wearing a cream dress with white ruffled lace and a pearl necklace, 6.5 cm; A young lady writing, wearing a white dress with red sash, loose but cased, 11cm, watercolour on ivory; and a cased miniature of a member of the Scott family, standing in a purple jacket and black cravat with multicoloured trim, heavily cracked and damaged (5)

A group of Masonic medals and memorabilia including Founder Medal for Hunted Companions lodge, St Nabon lodge, Barlow Moor lodge, and others, approx 15 together with other metal souvenirs, bell and three 1890's certificates, aprons, sash collar, certificates etc

A HUSSAR OFFICER'S BARREL SASH Narrow crimson cords with a woven gold collar at each end, a gold olivet at one end, and three rows of four woven gold barrels. The crimson drawstring with four woven sliders and gold acorn finials. Gold elements dull, crimson cords somewhat frayed

Two large heavy metal sash clamps and metal shelf supports

Two Record 135 Sash Clamps & a 6" G-Clamp (3).

*Poland, Order of St Stanislaus, a fine jewelled 18th century small-sized sash badge attributed to Stanislaus August Poniatowski, who reigned as the last King of Poland, Stanislaw II August (1764-1795), in gold and enamels, the eight points of the badge and the centre of the upper limb all set with a single diamond, the suspension ring set with three diamonds either side of the gold top and the circular green enamelled wreath surrounding the saint also set with four single diamonds at each 90° point, the white and black finely-enamelled eagles in angles of the cross with plain gold crowns and beaks, width 43.5mm, enamel chipped in places, better than very fine and extremely rare. Provenance: Private purchase from Spink & Son, London, 3 March 1966, when attributed to Stanislaw August Poniatowski (1732-1798). The piece was originally acquired together with the diamond type 1 set of insignia of the Polish Order of the White Eagle sold at Morton & Eden, 11-12 June 2015, lot 575 and which can be traced to a New York auction in the early 1960s; further research documentation and a related letter are also included in the lot as well as an edited copy of the 1966 Spink invoice. Stanislaus Augustus Poniatowski (1732-98), a member of the Polish nobility, arrived at the Russian Court in 1755 where he became romantically involved with the future Catherine II. In 1764 he was elected King of Poland with Catherine’s support, and in the following year he founded the Order of St Stanislaus in honour of the country’s Patron Saint. The last King of Poland was himself a great patron of the Arts and founded the Polish National Theatre as well as commissioning many notable works. However with Austria, Prussia and Russia all seeking to dismember Poland in pursuit of their own interests, the country’s existence as a sovereign state was effectively ended in 1795. Poniatowski was forced to abdicate in November 1795 and died on 12 February 1798, a virtual prisoner in the Marble Palace, St Petersburg.

Indonesia, Star of Mahaputera, First and Second class sash badges, with sashes, Third Fourth and Fifth class neck badges, with ribbons and rosettes, all in silver, gilt and red enamel, good very fine or better (lot)

*Hungarian Republic (1946-49), Order of Merit, Grand Cross sash badge, in silver-gilt and enamels, width 57.5mm, extremely fine, with sash

*India, Bikaner, Order of the Star of Honour, Grand Cross set of insignia, by Spink and Son, comprising sash badge, in silver-gilt and enamels, with central gold medallion of Ganga Singh, width 60.5 mm, and breast star, in silver, with central gold medallion of Ganga Singh with blue enamelled border, 88mm, a few light scuffs and minor dents to reverse of badge, otherwise extremely fine and extremely rare (2)

*Germany, Prussia, Order of the Black Eagle, sash badge, suspension ring stamped silber, in silver-gilt and enamels, 80mm, of post-Great War manufacture, good very fine, with sash. Ex American Numismatic Society Collection, Part 2, Morton and Eden 25/26 October 2006, lot 132

Republic of Vietnam (South), National Order of Vietnam (1950-1973), Grand Cross Set of Insignia, comprising Grand Cross Breast Star in gilt and silvered metal, with reverse lugs and brooch pin for wear, 97mm,with small local marks to brooch pin and fitting, and neck badge, in gilt and enamels, with dragon suspension, 60mm width, with sash and neck ribbons, toned, one brooch pin to breast star bent, otherwise good very fine (2)

*Russia, Order of the White Eagle, sash badge, in gold and enamels, by Albert Keibel, St Petersburg, 1896-1908, marked on reverse of eagle’s talons and on riband carrier, 93 x 61.5mm, three wing feather-tips lacking, typical losses to blue enamel of ribbons and also with some damage to red enamel on reverse of the crown and to black enamel at the top of eagle’s wing on reverse, about very fine

*Libya, Dress Miniature, Order of the Grand Conqueror, Grand Cross sash badge, reverse hallmarked, in silver-gilt and green enamel, width 22.5mm, extremely fine

Hungarian Republic, Order of Merit, Grand Cross insignia, comprising Civil Division sash badge, in silver-gilt and enamels, width 58mm, and Military Division breast star, in silver, with gilt and enamelled centre, 79mm. cased, extremely fine, with sash (2)

*Mauritania, Order of National Merit, Grand Cross set of insignia, comprising sash badge in silver-gilt and green enamel, width 57mm and breast star, in silver, with gilt and green enamelled centre, 81.5mm, about extremely fine, with sash (2)

Miscellaneous Cases and Boxes of Issue (90), including Denmark Order of the Dannebrog, Grand Cross (2), Germany, Saxony, Silver Medal of the Military Order of St Henry, German Democratic Republic, Karl Marx Order, Hero of the DDR, Belgium Order of Leopold, Grand Officer, Netherlands, Order of Orange-Nassau, Grand Cross, Poland, Peoples Republic, Order of the White Eagle, with sash, Romania, Order of Hohenzollern, Grand Officer, by Weiss, Coder of Cultural Merit, Officer, Mihai I, Serbia, Order of St Sava, Second class, Slovakia, post 1993 Grand Cross, Sweden, Grand Cross for either the Order of the North Star or Vasa, by Carlman (2), some with damage but many very fine or better (lot)

Sweden, Order of Vasa, Grand Cross sash badge, in silver-gilt, gold and enamels, width 54.5mm, in Carlman case, white enamel to lower three limbs of cross restored, otherwise good very fine

United States of America, Presidential Medal of Freedom With Distinction, special class set comprising breast star in gilt metal and enamels, 76.5mm width, with 3 reverse pins for wear, with ‘D-X-9’ hand engraved into reverse, and sash badge in gilt metal and enamels, in small black, glazed case, probably a specimen issue; and Presidential Medal of Freedom (2), a cased set comprising neck badge and breast badge with lady’s bow, with related miniatures, single riband bar, and two lapel badges, in small black, glazed case, probably a specimen issue; and Chaplain’s Medal for Heroism, gilt metal neck badge, commemorative specimen issue in black modern case; WWI Victory Medal (6), two official issues, four reproductions; Military Order of the World War, in gilt bronze and enamel; WWI ID Tag impressed to ‘Roy E Sommers Dec.22.1917 U.S.M.C.’ and similarly attributed USMC Long Service Medal numbered ‘No.35342’; with two later copies of the Distinguished Service Medal and Distinguished Service Cross; mostly of modern manufacture, generally extremely fine (22)

*Italy, Tuscany, Order of Military Merit, Grand Cross set of insignia, comprising sash badge, in gold and enamels, width 70mm, and breast star, by Rothe Vienna, in silver, 83mm, badge extremely fine, star good very fine, rare

Belgium, Order of Leopold II, pre 1951 issue, Grand Cross sash badge, in silver, gilt and enamels, width 50.5mm, minor chips to central enamel, very fine, with sash

Spain, Order of St. Hermenegildo, Juan Carlos I issue, Grand Cross set of insignia, by Joachin Laz of Madrid, comprising sash badge, width38.5mm, and breast star, 64mm, in silver, gilt and enamels, in case of issue, with miniature breast star, related riband badge and sash, extremely fine (2)

*Italy, Order of the Crown, Grand Cross set of insignia, by Cravanzola of Rome, early 20th century, comprising sash badge, in gold and enamels, 50.7mm, and breast star, in silver with gold and enamelled centre, 80mm, applied eagle on breast star damaged (lacking one wing and one claw), otherwise good very fine (2)

*Senegal, Order of Merit, Grand Cross set of insignia, by Arthus Bertrand Paris, comprising sash badge, width 57mm and breast star, 81mm, in silver-gilt and enamels, in case of issue, extremely fine, with sash (2)

Pair of sash clamps

An Edwardian brown two-piece suit; an early 20th century cream day dress, a pale flannel cape, a red satin skirt and sash, a black woollen skirt, a white crepe blouse, a black crepe skirt and a cream skirt, (8).

A pair of 19th century dark maroon silk shoes with white kid leather lining; a pair of burgundy silk pumps by Peter Yapp of Sloane Street London, a pair of red satin shoes, a pair of pink silk pumps with silk rosette detail and matching sash, (4).

A 1950s black dress with a bold yellow rose design; with a 1950s bead and sequin top, a mid 1980s blue and gold dress, a Betty Jackson floral linen wraparound dress, a 1980s white drop-waisted dress with a tartan sash, and a pale lemon-yellow Oriental jacket with a faux fur trim, UK sizes 10 to 14 approx. (6).

A pair of gold plated lorgnettes, both early 20th Century together with a late 19th Century Boys' Brigade hat and sash with purse, plus a small Vesta case

A Masonic sash, Lodge Masters from 1918, with enamel badge

HM Queen Elizabeth The Queen Mother signed Royal presentation black and white photograph by Cecil Beaton of Her Majesty wearing a beautiful ball gown and diamonds, Royal Family Orders and sash of The Order of the Garter - signed in ink on mount 'Elizabeth R 1965' in original blue Morocco leather frame with domed top and embossed gilt crowned ER cipher with easel back, 29cm x 27cm. Provenance: Presented to the late Lt Colonel R Hilborn, CVO, MBE, CD Canadian Equerry to The Queen Mother for all her visits to Canada from 1965

An unusual 19th century Staffordshire theatrical figure of a pink jacketed female character in hat with green feather with blue and gilt waistcoat and tartan and sash and carrying a riding crop raised on a shaped green glazed base, (understood to represent either Dorothy Vernon "La Zingara" or Louisa Nisbett as Constance in The Lost Cause by Sheridan Knowles) 33cm tall approx

A 19th century Staffordshire figure group of a pair of theatrical characters, she dancing with an orange sash, he holding a dramatic mask, raised on an oval base, 33 cm tall approx

Masonic apron and sash

Attributed to Simon Verelst (1644-1710). Oil on Canvas: Portrait of an Aristocratic Lady wearing a bejewelled mauve dress with a blue sash aside a floral display, 50 ins x 40 ins (127 cm x 101.5 cm). Set in a moulded frame 57½ ins x 46½ ins (146 cm x 118 cms).

Fine Woven Silk & Metal thread Japanese presentation Obi (Sash) with applied certificate, created with sheeted boats, sedan chairs, processional vehicles, embroidered signature

Fifteen Masonic pennies, eleven distinct varieties, sash, apron and other Masonic items.

An oil on panel, half length portrait of a gentleman with a blue tunic and red sash (landscape verso), 5½" x 8"

A rare Jenny couture gold lamé evening gown, circa 1936, labelled and numbered 5617, with plunging low back, draped bands to shoulders and matching waist sash, bust 91cm, 36in, waist 76cm, 30in (2) Although Jenny was frequently represented in Vogue of the 1920s and 30s, pieces from this house rarely come onto the market. CONDITION REPORT: Good condition, very clean and fresh interior, no problems. Lamé is good.

A Jean Patou couture chiffon evening gown, circa 1923-4, large woven label and numbered 25934, in three shades of pink and mauve, the dropped waistline with cummerbund-like integral sash, triple layered panels to skirt, with lamé panel to skirt side, the lower hem edged in pink metallic lace, bust approx 86-92cm, 34-36in CONDITION REPORT: The silver lame band down the left skirt side at the opening probably continued above also. The bodice is open down the left hand side - so would require either the lamé panel or a lamé camisole to be worn underneath. There is a 6cm repaired vertical tear in the lamé concealed beneath the chiffon panels, to one side of the prestud closure on the skirt. Chiffon is generally good. There are faint perspiration marks on the interior of the chiffon at the left side closure. Sash needs re-tacking in a few places. Generally good.

A Valentino couture white crêpe and ostrich trimmed evening gown, early 1970s, labelled 'Valentino, Roma', the neckline and short sleeves smothered in curling white plumes, coral-pink organza empire line sash, bust 86cm, 34in CONDITION REPORT: Soiling to hem edge, needs cleaning but main body of dress is clean and good. Inner bodice with perspiration stains at underarms and yellowing to internal closure centre back. Feathers are good.

A Callot Soeurs embroidered ivory satin orientalist dress, circa 1926, un-labelled, embroidered in pale green and primrose floss silks, couched gilt threads, with large palmette to front skirt, spangled with pearlised sequin flowers, satin sash panels tie in a bow to the rear, with trained floating panel below, green chiffon camisole bodice, bust 86cm, 34in CONDITION REPORT: Satin ground has badly perished over the shoulders and underarms, and all around the circumference of the waist above the sash. The front skirt has numerous splits around the embroidered motifs which are not immediately obvious. Good colours, but satin ground is generally fragile. Splits in the green chiffon inner bodice. Poor condition, a good study document.

An early and important Christian Dior couture black satin evening gown, probably 'Ailée' (winged) line, Autumn-Winter, 1948, with woven black on white satin label, bolduc numbered 9205, comprising: bodice with asymmetric winged points, concealed hook and eye front closure and integral boned tulle corset; a trained, stiffened double-layered overskirt, opening at the front and folding back to form a second tier that is long at the front and shorter at the back; and a slim calf-length pencil inner skirt, bust 74cm, 29in, waist 59cm, 23in; together with a copy of 'Town and Country' magazine, November 1992 with front cover photograph by Irving Penn with a model wearing the dress (4) A similar model is reproduced in 'L'Album du Figaro', no 17, Winter, 1948. Irving Penn borrowed this dress for the 1992 'Town and Country' fashion shoot. CONDITION REPORT: Good condition. It would originally have had a waist sash which is missing. We have photographed it with a replica. All three pieces are numbered to match. Bodice: Good condition. One boning strut is poking through at the bottom of the binding. One strut is broken in two places, one strut is broken over the right breast cup. Strut below left breast is missing lower half (below the waistline). Satin is sleek and glossy. Underskirt: Front panel is of black satin but the remainder (which is concealed by overskirt) is of rayon. Satin is good. The rayon has discoloured to a dark aubergine colour. The skirt is stiffened with a layer of black mesh. Lining is black silk crepe de chine. Overskirt: The black satin has faded to a deep aubergine in places- but there are no dramatic colour changes. When mounted on the form the satin colour is homogenous in appearance. It is when we compare the satin inside that it becomes evident. The overskirt is entirely interlined with stiffening (probably buckram) and heavy mesh. Condition of the satin is generally good, slight scuffing. Two faint discoloration marks to left hem edge- not immediately noticeable.

Björk's Alexander McQueen 'Kimono' dress worn for the album cover of 'Homogenic', 1997, un-labelled, comprising: blue and white damask satin kimono woven with prunus blossom, and lined in oriental scarlet satin figured with foliate roundels, with wide bell-shaped sleeves, elongated front hem panels; the obi-sash of pink and brown basket-weave effect satin with navy stripes, bust approx. 86cm, 34in; together with a Christian Dior coiled brass necklace (3) Björk approached Lee McQueen, Katy England and the photographer Nick Knight to work on her 'Homogenic' album cover. She had seen and liked the sinister but beautiful image of Devon Aoki in Visionaire magazine, which they had recently produced. Devon appeared with geisha hairstyle in an oriental silk dress with deep funnel collar from McQueen's 'La Poupée' collection. Björk wanted an equally powerful, other-worldy look for her album cover, explaining that she wished to be depicted as a warrior - a warrior who fought not with weapons, but with love: 'I had ten kilos of hair on my head, special contact lenses, a manicure that prevented me from eating with my fingers, and gaffer tape around my waist and high clogs so I couldn't walk easily', she said of the fashion shoot. At the same time as Björk's photoshoot, McQueen was working on his 'Eclect Dissect' Givenchy couture collection Autumn-Winter, 1997-98 (presented in July 1997). The collection combined ethnic, tribal and cultural influences from all over the world. In the Paris show the fabulous towering 'Masai' style necklace made by Shaun Leane for Björk's album cover was re-used and there are numerous 'japonism' references in the collection with kimono dresses, oriental embroidery and geisha-inspired hairstyles. It seems that ideas spawned by the collaboration with Björk were re-interpreted and expanded in that show. However, Björk's dress was not made in Paris but hand-made in London by the McQueen studio. CONDITION REPORT: Damp staining to front 'tails', otherwise good condition. It was worn just once for the album cover. Fabric is fresh and good.

A Christian Dior couture embroidered white organdy dance dress, 1950-52, black on white woven label stamped 09908, bolduc no 17.607, embroidered overall with white fish-scale repeats in-filled with couched gold threads, the separate bodice with integral tulle corset, cross-over sweetheart neckline front and back, the full, gored skirt with pleated tulle trim to slightly flared hem, with matching stole, bust 97cm, 38in, waist 74cm, 29in (3) CONDITION REPORT: Condition is good overall but dress is soiled from storage and needs cleaning - organdy has a slightly grey appearance. Gown would probably have had a sash or belt which we don't have. Bodice: perspiration stain at left underarm, right underarm is fine. Interior of bodice is clean and good. Exterior has slight soiling and thread tarnishing to right breast tip. Very slight soiling/yellowing to organza at rear closure point and front waist where the diagonal panel meets it - both not immediately noticeable and minor. Skirt: good condition, no problems. Shawl: split at on one border edge 3cm long, and hemmed return needs re-stitching approx. 30cm, threads are tarnished where the neck would be.

A.O.F. REGALIA. An Ancient Order of Foresters sash, an A.O.F. metal mounted horn & a Victorian printed silk hanging.

An Edwardian fine wool blouse with floral embroidered inset panels, a heavily jet beaded on net evening tabard with black silk georgette sash terminating in jet beaded tassels, to/w a 19th century printed cotton bonnet (3) Condition Report Two holes to front of tabard and some beads coming adrift

A collection of Japanese items to include Geisha clogs and sandals, a cream robe with red dragon to back and orange sash depicting sailing vessel and a peach satin sash embroidered with floral sprays

*Victoria, two-pounds, 1887, bagmarks and tiny contact mark to sash of portrait, otherwise extremely fine or better

Four sash clamps

PIPE BANDSMAN'S TUNIC with eight thistle decorated silver coloured front mounted buttons, detachable epaulette and silver braided arm badge depicting a set of bagpipes, a horse hair sporran with embossed cantle and a Macbeth plaid sash

PIPE BANDSMAN'S TUNIC with silver thread braiding and thistle decorated buttons, two leather cross belts and a red woven sash

SCOTTISH DRESS KILT in the Smith tartan with a matching sash (2)

A Schoeneau and Hoffmeister bisque-headed doll with fixed blue eyes, open mouth and painted features, the head impressed SH, PB, 1909-8, Germany, with hand written label inscribed Miss Richards' Doll, 1920s, called Edith, hair belonged to the Late Flora MacDonald MBE who had her hair cut as a young girl. In black and white laced trimmed dress and tartan sash with white-metal brooch, 61cm (24in.) high

John Hoppner RA (1758-1810), oil painting on canvas, Miss Cecilia Temple circa 1790, seated three quarter length wearing white dress and blue sash with landscape beyond. 127 cm x 102 cm, framed (see illustration). John Hoppner was an English portrait painter born in Whitechapel. His father was of German extraction and his mother was one of the German attendants at the Royal Palace. Hoppner received the patronage of George III. In 1775 he became a student at the Royal Academy and in 1778 took a silver medal for drawing from life and in 1782 The Academy's highest award The Gold Medal for Historical Painting. He first exhibited at the Royal Academy in 1780. He preferred landscapes but turned to portrait painting which was more lucrative. He had many fashionable and wealthy sitters and was the greatest rival of Thomas Lawrence (1769-1830). CONDITION REPORT: All of the portraits in this single owner collection were purchased approximately 25 years ago from reputable picture dealers. These are lots 767 to 783 inclusive. All of the paintings are well presented and any restoration work will have been undertaken at this time. We have provided reports on an individual basis. This painting could be hung in its present condition without the need for any restoration. UV light reveals that the painting has suffered from significant craquelure. This is evident on the body of the dress in the main. There are some blemishes to the face on the forehead, bridge of the nose and underneath the right eye. There has been restoration and overpainting beneath the nose and across the top lip. There are other small areas of restoration in the landscape.

Ecclesiastical Interest - a clergyman's fascia or sash, green brocade, the edges with a crucifix in gold coloured threads centring the concentric circles of the world, tassel ends, early 20th century

A collection of Channel Islands Masonic garments, for the Guernsey and Alderney Lodges, comprising two armbands, a neckband and apron, in royal blue with gold borders, within original leather case, the initials E.C. embossed in gilt to top; together with Royal Arch apron and sash, small circular white patch with gilt triangle for the same Lodge; various jewels to include Stewards medals for the province of Essex Institution for Boys, Royal Masonic Benevolent Institution 1949, Royal Masonic Institution for Girls 1950, gilt silver star of David medal on crimson ribbon; together with four Masonic publications. (qty)