We found 19303 price guide item(s) matching your search

Jean Paul Gaultier ladies suit, pin stripe with jacket and trousers, size 42

A good mixed lot to include RS bowls, Casio calculators and a large quantity of sewing needles, also included in the lot is a quantity of triboard, wet suit and similar [2].

A metal model depicting a Knight in suit of armour, measuring approximately 77 cm [H].

c.1988 Hermès ladies evening suit. Black jacket with beaded velvet lapels (embroidery probably by Lesage) with velvet covered buttons. Straight skirt. Retailed at £1800. Size French 44 (UK 16) -81% cotton 19% silk with trompe de chasse buttons

c.1998 Guy Laroche day to evening 2 piece skirt suit, black grain de poudre, again designed by Alber Elbaz - retailed around £1200. Size French 42 (UK 14) -100% wool

Karl Lagerfeld 2 piece skirt suit with ragged stitch detail. Size French 44 (UK 16) -52% acetate 48% rayon

A 20TH CENTURY SHOP DISPLAY AUTOMATON OF A GENTLEMAN in the form of a gangster in pinstripe suit and trilby, fitted for electricity, 80cm high Condition Report: Available upon request

The following lots 453-464 are the property of a private American collector A ROYAL DOULTON FIGURE SUNSHINE GIRL HN1348 modelled as a young woman in bathing suit under a parasol, issued 1929-1937, designed by Leslie Harradine, 13cm high Condition Report: professionally restored to parasol.

Lewis Hamilton & Jenson Button - A framed and glazed F1 Vodafone Mclaren Mercedes child's race suit being autographed to the centre by Lewis Hamilton to the left and Jenson Button to the right with printed photographs of each to the top corresponding corners. Measures; 107cm x 57cm. 

Terence Stamp - English Actor - original owned and worn neck tie by Stefano Ricci. Comes with a handwritten note from stamp which reads: ' Seventies 'Kipper' tie, purchased by me in Via Condotti, Rome, to go with a maroon suit ', and then signed. Rare. 

ACTION MAN: A silver coloured moon suit together with a space sled. (One glove). Est. £10 - £15.

Six carded playworn Austin Powers figures, McFarlane Dr Evil and Mr Bigglesworth, Austin Powers, Mini Me, Felicity Shagwell & Austin 'Danger' Powers, together with Trendmasters Dr Evil In Silver Suit

A SELECTION OF LADIES VINTAGE AND MODERN CLOTHING, mainly evening wear, various styles and periods, to include a 2pc dress suit by Martin Roberts and examples by Gina Bacconi, Etam etc. (12)

A COLLECTION OF LADIES MODERN AND VINTAGE CLOTHING, various styles and periods to include a Lace of London 2pc suit, examples by Mansfield of London and Jaeger, plus a Victorian / Edwardian jacket-with damages (7)

A LATE 20th CENTURY FULL-SIZED CARLOS V OF SPAIN EMBOSSED SUIT OF ARMOUR, hand crafted in steel and iron, the breast plate heavily embossed with lion mask to centre. Embossed lion mask to helm, pauldrons deltoid, couter and poleyn. Fleur de lis embossed detail to couter and fan plates .Etched floral engravings to pauldron side guards,gauntlets upper,visor,gorget and greeves, King Carlos head effigy and floral engravings surmount to side tassets. Armour standing upright on a wooden plinth with red gown, ostrich feathers to helmet and holding Arthurian sword, H 200 cm

A French 19th century gilt bronze, silvered metal, aventurine glass and blue coloured glass mounted ebony and ebonised bowfront commode a vantauxprobably made for the Ottoman and/or Russian marketOf inverted breakfront outline, with an onyx top and gadroon cast moulded edge, above a frieze mounted with scrolled fruiting flowers and foliage interspersed by squirrels and birds, over a pair of panel mounted doors each with a central elongated arched panel mount inset with scrolled acanthus, floral, shell and lion mask mount hung with a ribbon-tied martial trophy pendant comprising fasces di combattimento, weapons, banners, trumpets, drums and a suit of armour above a floral and scrolled foliate mount, enclosing one shelf, flanked by projecting stepped canted angles each with C-scroll and flowerhead pendant mounts centred by a floral wreath within a concave elongated arched panel mount, over a shaped apron mounted with rocialle, scrolled acanthus and flowers, on four later Corinthian capital form sabots, restorations, 99cm wide x 49cm deep x 95cm high, (38 1/2in wide x 19in deep x 37in high)This lot is subject to the following lot symbols: * TP

A gilt bronze, silvered metal, aventurine glass and blue coloured glass mounted ebony and ebonised side cabinetadapted/constructed from 19th century elementsOf double bowed and breakfront outline, with an onyx top and a gadroon cast moulded edge, above a frieze mounted with a trailing branch issuing C- and S-scrolls, foliage and flowers, over a pair of panel mounted doors each with a central elongated arched panel mount inset with scrolled acanthus, floral, shell and lion mask mount hung with a ribbon-tied martial trophy pendant comprising fasces di combattimento, weapons, banners, trumpets, drums and a suit of armour above a floral bouquet and scrolled foliate mount, flanked by projecting canted angles, each inset with panel mounts, centred with a foliate wreath surmounted by a pair of birds, on foliate capped spiral reeded toupie sabots, with tortoiseshell veneered rear pilaster angles, some losses to the aventurine glass and some composition replaced segments to the blue coloured glass, restorations, 114cm wide x 45cm deep x 98cm high, (44 1/2in wide x 17 1/2in deep x 38 1/2in high)This lot is subject to the following lot symbols: * TP Y

A garnet, diamond and enamel suit of cards ring by Natalia Josca, the central facetted garnet within a surround of enamel panels each representing a suit of cards, with rose cut diamonds in between, finger size M 1/2, 14g gross From the collection of Natalia Josca

70s / 80s ROCK - LPs. Rockin' collection of about 150 x LPs. Titles/artists include Caldera, Sky Islands, Boston, Klaatu, Sir Army Suit, Kenny Loggins, Keep The Fire, Toto, Pablo Cruise, Lifeline, Climax Blues Band, Stamp A.Bum, Upp, Wise After The Event, Michael Franks, Burchfield Nines, The Flying Burrito Bros, Nova, The Doobie Brothers, Godley & Creme, Moon, Saga, Easy Street, Glenn Hughes, Full Moon, Peter Green, Steely Dan, The Alan Parsons Project, Beyond Panic, Journey, Kansas, John David Souther, Jim Carroll Band, Bonnaroo, Lake, Bryn Haworth, Utopia, Hudson Ford, Michael Pinder, Esperanto, The Doobie Brothers, The Captain and Me, Heavy Metal Be-Bop, Stephen Bishop, The Prospect Before Us. Condition is generally VG+ to Ex.

An Elizabeth II diplomats dress suit, comprising peaked cap, bicorn hat, dress sword and cover, dress jacket and trousers (see illustration).

A German silver chalice lid only, 19th century, surmounted by a king with a suit of armour with cape holding an orb and sceptre, standing upon a knop supported by mythical beasts, above a lobed domed cover, the rim engraved in Latin "Bonus animus in mala re, dimidium est mali MDCXXIII" a quote from Roman comic playwright Platus (254BC-184BC) "Good courage in a bad circumstance is half of the evil overcome", the underside with Continental and English assay marks, with initials TC, possibly London 1885 but partially erased. Height 18.5 cm, 405.1 grams (see illustration).

Victorian Scottish silver brooch set with Malachite and yellow paste, a white metal fringe necklace with card suit emblems and matching bracelet . CONDITIONSilver gross weight 147 grams Please see ewbanks.co.uk for condition reports and further images

NECA - 2:1 scale hardcopy prototype of Kane in Nostromo suit from Series 3. Painted in similar colour scheme. Complete with separate components including feet, shoulder armour piece, tube, two-piece helmet, visor and head with facehugger wrapped around. Comes with black base. This lot is fragile and should be handled with care. Excellent. Dimensions: 57 cm x 28 cm x 26 cm (21.92'' x 10.77'' x 10.00"). . VAT STATUS: M

NECA - Prototype of Kane in Nostromo suit from Series 3. Complete with two-piece helmet and gun in belt holster. Good. Dimensions: 15 cm x 8 cm x 5 cm (5.77'' x 3.08'' x 1.92"). . VAT STATUS: M

1930s dolls’ house furniture, including a German wooden wireless, a Taylor & Barrett gas cooker, Japan inlaid furniture and a yellow ceramic bathroom suit (some slight damage)

An Armand Marseille 341 black baby, with brown sleeping eyes, closed mouth, black painted hair, bent-limbed composition body and blue velvet suit —14in. (35.5cm.) high

A small Kammer & Reinhardt 101 character boy, with blue painted eyes, closed mouth, jointed composition body and blue sailor’s suit —8in. (20cm.) high (missing wig and faded and dirty clothes)

A pair of German bisque figures of children with dogs, the boy dressed in grey sailor’s suit holding a pug under each arm, the girl in pale grey dress with terrier under one arm and her other arm held up as if holding a treat —13in. (33cm.) high (both appear to have factory? repaired chips to front base edges)

A large SFBJ 236 character baby, with dark sleeping eyes, open/closed mouth with two moulded top teeth, replace brown mohair wig, bent-limbed papier-mâché body and blue velvet suit —25in. (63.5cm.) high (restored break down right side of head)

An interesting carved wooden character, possibly a Shaman with red painted creased face, large nosed and heavy brows, plaid hood suit applied with felt circles —14½in. (37cm.) high

Late 14th-early 15th century AD. A long Western European two-handed sword of German origin, the pommel, circular (type H1 or H2), is mounted on a guard and presents a latten inlaid cross within a circle, the cross guard style, curved, corresponding to type 1; the hilt is formed by a hand-and-a-half grip; the blade, tapering sharply, is of hexagonal section, well enough preserved beneath the smooth, richly dark patina of Goethite, with no significant pitting in any part, but the sides of the blade are showing strong corrosion and damage due to the actual use on the battlefield; the shallow fuller is running about one third of the length; beautifully balanced and ready in the hand. See J. Oakeshott, R.E., The Archaeology of the weapons, London,1960; Oakeshott, E., Sword in hand, London, 2001; Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991. 1.8 kg, 1.33m (52 1/2"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This sword has good parallels in various similar specimens (Oakeshott, 2001, fig.106), ranging from the second half of 14th century to 1450 AD. The pommel recalls at least two swords preserved in the Philadelphia Museum of Art, one of them presenting also a similar but less curved crossguard (Oakeshott, 1991, pp.161-162"). A third sword in the Philadelphia Museum shows instead a complete identical cross-guard (Oakeshott, 1991, p.164), but a completely different pommel. The blade is very similar to that of a specimen once in the Oakeshott collection, and now in the Nationalmuseet of Copenhagen (Oakeshott, 1991, p.160"). Swords of this type all have the same bladeform, but considerably varied hilts, and examples have been found all over Europe. Many survive; perhaps the finest of them all is one which was found in the River Cam, preserved now in the Fitzwilliam Museum in Cambridge (Oakeshott, 1960, pl.16c"). Another very important specimen, second only to the Cambridge example, with a similar blade but a totally different hilt was, at the times in which Oakeshott wrote his Archaeology of the Weapons, in a famous and very choice private collection in Denmark. This is one which was put in the Hall of Victories at Alexandria, presumably as a trophy, by the Mamluks. There are many such trophies, swords of Italian fashion and of fourteenth-century types, with Arabic inscriptions applied to their blades after being deposited in this Arsenal by the Mamluk Sultans of Egypt. Some were probably acquired as gifts from merchants or embassies from Genoa, Pisa or Venice, but others are undoubtedly the spoils of war, captured from Christian forces based on Cyprus. In 1365 one such force (under Peter of Lusignan, titular King of Jerusalem) made an attack upon Cairo. It was beaten off, and several swords bear witness to Peter's defeat. Type XVII is characterised by being, in first instance, a big 'bastard' sword, with no samples of short-grips. It was a long 'Sword of War'. The flat round/oval pommel appears here as in the most part of the samples of such category (the 75%), and because the pommel shape and decoration, the sword can still be included in the chronological framework of the second half of XIV century, without excluding the first half of XV century. The noteworthy element of this sword is its pommel with the inlaid cross. The presence of the cross suggests the belonging of the weapon to some military order of Chivalry. Considering that the Templars were destroyed at the time in which our sword was made, the main candidates could be the Hospitallers or the Teutonic Knights. Or even, the sword could have belonged to some warrior who decided to take part to the crusade expeditions against the Turks. Blade and handle is well preserved. Most probably our specimen is from a battlefield or a river find. The evolution of the armour, in the western Europe of 14th century, shows an ever-increasing amount of defensive pieces. With an increase in the effective use of archers and foot soldiers beginning early in the XIV century, the largely mail-clad mounted warrior began to show an unprecedented level of vulnerability. In response to this, quite logically, was to augment the typical defences of the early 14th century (a mail suit, iron helm, and early plate defences for the legs) with additional plates of iron on other parts of the body. These plates were strapped over the existing mail, adding protection, in varying amounts, to the upper extremities and the torso. While these changes may have added some level of protection against foot soldiers and arrows, they had the effect of rendering older-style cutting swords ineffective against anyone wealthy enough to afford one of these so-called transitional harnesses (the transition being between basically mail only and full plate harnesses"). The difficulty encountered in wounding someone dressed like this led other weapons to rise in favour, most notably impact weapons like the mace, axe, and war-hammer. This comported in a parallel way the change in the making of the swords, creating types like the XVII, which ranged from 1350 to 1425-1450 circa, with some specimen reaching even the dawn of the 16th century. The sword had to change to retain its effectiveness on the battlefields. To combat the armour of the time, it was necessary to make greater use of the thrust to find vulnerable gaps and joints in an opponent's defences. The flat lenticular cross-sections so popular on earlier swords were not well-suited to the thrust, since they gave the blade a necessary measure of flexibility to aid the cut. The wide tip sections needed for heavy cleaving were also an impediment to thrusting. Different cross-sections and blade profiles, therefore, needed to be developed to give the stiffness and the proper tip shape required for thrusting. This was the combination which gave life to the swords of this typology: swords with a pronounced hexagonal section to add stiffness to the blade, of hand-and-a-half proportions, to take advantage of the extra power and manoeuvrability given by the addition of the second hand to the grip. Fine condition, repaired. Very rare.

Circa 1270-1330 AD. An iron longsword of Oakeshott's Type XIIIA.10 (Oakeshott, 1991, p.105), cross style 10, pommel style K, comprising a slender triangular blade with deep fuller and acute point, with inlaid copper design to each face of a circle with cross and rings within the quadrants, starbursts above and below; narrow lower guard with flared ends, each quillon showing three round holes near the outer edge; long grip with slight taper, disc pommel with chamfered edges; a nice example of a well employed sword, with the point of the balance down towards the point, ideal for a weapon designed to deal slow, powerful slashing blows. See J Oakeshott, R.E., The Archaeology of the weapons, London, 1960 (Woodbridge, 1999); Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991; Oakeshott, E., Sword in hand, London, 2001. 1.3 kg, 1.12m (44"). From an important English collection; acquired in the 1990s; accompanied by an academic report by specialist Dr Raffaele D'Amato. This sword belongs to the category which in the Middle Ages, was referred as 'La Grant Espée d’Allemagne', or 'Great sword of Germany', or 'Espée de guerre', 'Grete war sword' and so on (Oakeshott, 2001, p.90"). Other names were applied in different countries but, as said by Oakeshott, it was German in origin, of great size and fashionable in use. It was especially popular between 1250-1360 AD. This circumstance is well attested by the appearance of such swords in contemporary works of art, MS illustrations, sculptures, tomb effigies, especially in Germany and Spain (Oakeshott, 1960 (1999), figs.88-94; 1991, figs.80,82"). Oakeshott classified them like swords of type XIII: these swords are of a very striking and individual shape; some of them are very large - and this is the reason they were called 'swords of war' in the time of their highest popularity, between about 1280 and 1340. These Epées de Guerre were massive weapons, but are not to be confused with two-handed swords. There were a few such, as early as 1350, but they were considerably bigger and were always referred to as Epées a deux Mains or even 'Twanandswerds' (Oakeshott, 1960 (1999), p.207"). The war sword had a blade some 36 to 40 long with a very long hilt, from 6 to 8 between cross and pommel, but it could be wielded in one hand, though provisions were made for using it with both. Most Type XIII swords were large like the current example, but there are several of more ordinary dimensions, though they have hilts. This sword of type XIIIA, destined to the war, is characterised by parallel-edged blade, longer grip (quillons) and rounded point (Oakeshott, 1991, p.96), but the specimens of type 14 show a more pointed tip. The specimens of this type are heavier and very near to the two hand proportions, like the current example. The latter has a nearly perfect parallel with a specimen of unknown provenance, today in the Burrell collection in Glasgow, the blade 92.1cm in length. Most probably this specimen is from a battlefield or, most probably, a river find. The hilt was originally covered with leather, like the specimen of type XIIIa.9, published by Oakeshott and found from Danube (1991, p.104"). The tang is very long, like the untouched specimen belonging to Ottokar of Bohemia (Oakeshott, 1991, p.114), which suggests that it is likely that most of the blades came to the cutler in such way, so that the hilt could be made to a length to suit the customer. It points to swords produced in workshops of the Holy Roman Empire. It is however, very difficult to say where a sword was produced. A place of great blade making and steel workshops was Solingen, a city which has been always been associated with the making of blades, and where now there is a splendid Klingenmuseum, devoted to all the arts of the swords. But in 13th century, there were many other centres of production, although less documented. In the famous chronicle of Froissart, written in the 14th century, there is a constant mention of Bordeaux (doubts arose from Oakeshott, 1991, p.9, if Bordeaux in Gascony or Bordeau in Haute-Savoie) as the place in which the most important and worthy blades (not only swords, but also spears, axes and arrows) were done. Probably most of the European cities, which became worthy for the production of the swords, were producing them as early as the 12th century. (Passau on the Danube, Koln, Milano, Brescia, and perhaps Toledo (but the real evidence for Toledo is only at the end of the 15th century.)) It is interesting to mention the piece of documented evidence already underlined by Oakeshott about the making of the swords in Milan already at the end of the 13th century. In the so-called Chronicon Extravagans de Antiquitatibus Mediolani, a certain Galvano Fiamma, wrote (XVIII,5,6) about Milano that '…Inter alia sunt armature militares: inueniuntur enim in nostro terretorio armorum fabricatores in mirabili copia, qui cottidie fabricant cuiuscumque generis armaturas, scilicet loricas, thoraces, lamerias, galeas, galerias, ceruelleras, collarias, cyrothecas, tybialia, femoralia, genualia, lanceas, pilla, henses, pugiones, clauas. Et sunt omnia ex ferro terso et polito, speculorum claritatem excedentes…' ('Among the other things the military armours: in our territory immense number of workmen are to be found who make every manner of armour, i.e. hauberks, breastplates, plates, helms, helmets, steel skull-caps, gorgets, gauntlets, greaves, cuishes, knee pieces, spears, javelins, swords, daggers, clubs. And they are all of polite and cleaned iron, shining more of the mirrors for his brightness…'"). Fine condition. A nice example of a well used sword.

A BOXED MATTEL HOT WHEELS RACING DIECAST MICHAEL SCHUMACHER COLLECTION FERRARI F2004 F1 RACING CAR, 1/18 scale, model of Michael and his Farrari 2004, mounted on a perspex plinth with a piece of fabric from a driving suit worn by Michael Schumacher during the 2004 F1 season, with certificate of authenticity, Limited Edition No.3165 of no more than 5000, appears complete and looks to have hardly ever been removed from its box, minor damage to polystyrene base, outer box has minor wear

A QUANTITY OF CLOTHING to include a new (with tags) Ted Baker jacket size 42R, green suede dinner jacket size 36R, Chester single breasted jacket size 42R, Scott and Taylor dinner jacket with trousers (42/36), Marks and Spencer suit, chest 42, together with jumpers, trousers, shirts, hats and gold material etc

Baron D'Aguilar, 1922-2011, pastel study of a woman in a blue swim suit

Baron D'Aguilar, 1922-2011, study of a reclining lady in blue swim suit

A scarce pre WWII Imperial Japanese Air Force fur lined winter flying suit, with printed label. GC (the fur collar mothed).

AN EARLY 19th CENTURY CREAMWARE PUZZLE JUG, of baluster form, pierced with four card suit and circular cut-outs, the body moulded with sprigged figures, windmill etc. 20.5cm

A DECORATIVE SUIT OF ARMOUR. 173cm high

Giorgio Armani blazer, Pal Zileri trouser suit, Holland & Sherry blazer, Nino Danieli two trouser suits and blazer and other suits, Egeria robe, with suit covers and two chrome clothes rail on castors, one a/f Condition Report Click here for further images, condition, auction times & delivery costs

A collection of 1950's and later items relating to the Royal Yacht including duck suit, tropical shoes, sailor's cap and photograph. A Royal Naval seaman's jumper

Assorted Circa 1970's Ladies' Clothing, comprising a Missoni two piece of cream jersey trousers with pink metallic knitted cuffs to ankles and matching stripes to the side, and a silk mix short sleeved jumper with metallic threads in pink and green; Ian Peters pink metallic two piece sleeveless shell top, with buttons to the shoulder and matching trousers (size 14); Regamus London black wool long sleeve tunic dress, with black velvet trims, woven with pink, green and yellow squares, with a pink silk belt (size 12); The Villager sleeveless tunic style playsuit, faux side fastening with buttons in bold stripes of blue, yellow, red, green and grey and a matching skirt; Bruce Oldfield two piece skirt suit in blue sequins (size 10); black wool and large silver sequinned batwing long sleeve loose fitting jumper; light blue sleeveless evening top adorned with sequin flower heads and beads (8)

A Quantity of Assorted Circa 1940's and Later Gentlemen's Clothing, comprising Eade, Peckover & Co, Sackville Street, London grey wool waist coat and tail coat with black trim and two military jackets; two black evening suits, a jacket and two pairs of trousers, two black wool waist coats and a white evening jacket; morning suit jacket and a pair of striped trousers; seven black evening tail coats, six pairs of evening trousers, RC Heron & Co Middlesbrough white three piece tail suit; checked wool dressing gown and short quilted robe; two school blazers in red and black wool with contrasting trims retailed in Bradford; and a gentleman's black wool cape (quantity). Condition is mixed, however the majority of items either show wear, or have stitched repairs, tears to lining, but still very useable.

Circa 1940's Ladies' Suits, comprising Rogant Gillie Tweed pale blue and pink checked suit, stylish buttoned pockets and pleated skirt; Hebe Sports green and white slubbed suit with red stripes, A-line skirt with inverted pleats to the front and back; brown checked tailored suit and straight skirt with kick pleat; EP de Prycker similar suit in brown and black with a pleated skirt; Jacobs Oregon grey pin stripe two piece suit with rose pink stripe; pink lace day dress with short sleeves, flared skirt and belt (size 44); black wool dress with short sleeves, sequin decoration around the neck, shaped two tier skirt to the front trimmed with sequins; purple floral short sleeved dress and belt; Stix Baer & Fuller Saint Louis black wool coat with appliqué trim to the shoulders and round neck (9). Rogant suit - slight wear, 27'' waist, 36'' bust. Hebe Sports - lining of the jacket is faded and armholes repaired, slight wear overall, 38'' bust, 27'' waist. Brown suit - lining has been repaired to the sleeveholes, small mark to the skirt, slight wear, 26'' waist, 38'' bust. EP de Prycker suit, slight wear, 28'' waist, 34'' bust. Jacobs Oregon suit - slight wear, 27'' waist, 34'' bust; Black wool dress slight wear, couple of loose threads, seam open, sequin losses. Purple dress - couple of small brown spots and some discolouration/wear, waistband has stitched repairs; Stix Baer & Fuller coat - slight wear.

Assorted Circa 1940's/50's Ladies' Clothing, comprising a Taylors tan two piece suit, pretty jacket with shaped patch pockets and scalloped detailed overall, straight skirt; Briny Marlin green wool two piece suit; jackets comprising a Helen Ashcroft Manchester black jacket; EP de Prycker brown and cream wool striped jacket; eau de nil textured jacket woven with black spots, double breasted with button fastening, stylised pockets with tabs; Hebe Sports green textured striped jacket; Carnegie Model pale green suit including a jacket with three quarter length sleeves and turn back cuffs, wriggle work trim to the collar and front of jacket, and belt; navy and blue spotty dress with cut work collar and bodice and cuffs, attached jacket, elbow length sleeves and belt; Climatic black wool double breasted coat with astrakhan mounted collar; and a Slenderstyle stylish black coat with turn back cuffs and gathered sleeve ends (size 48) (10). Taylors suit - slight wear, 30'' waist, 34'' bust. Briny Marlin suit, area of wear to the shoulder, staining to the lining under the armholes and slight wear, 33'' waist, 36'' bust. Helen Ashcroft Manchester jacket - 38'' bust , some wear to the lining and sleeveholes repaired. EP de Prycker jacket - 38'' bust, lining repairs, wear and armhole lining has split, small repair to the back, slight wear overall. Eau de nil jacket - 38'' bust, slightly discoloured overall. Hebe sports - 38'' bust wear to lining, stitched repairs and some wear. Carnegie Model - slight wear, 40'' bust 32'' waist. Navy spotty dress - repair near the zip and some wear.

Assorted Circa 1930's-1960's Costume, comprising a brown and cream geometric patterned silk dress, long sleeves, lace trim to the deep V-neck and cuffs; green silk long sleeved dress with shaped neckline, bow to the hip, printed with yellow blossom; Boutique Michael black and white faux double breasted silk dress, with three quarter length sleeves, neck tie and collar; floral silk dress with three quarter length puffed sleeves, deep gathered hem; black sleeveless cocktail dress in silk taffeta, asymmetric style bodice top and spaghetti straps; blue, grey and cream floral moire silk short sleeved cocktail dress; royal blue silk shirt dress, multi vertical pleats to the front (size 16); blue and white silk printed checked two piece suit, comprising a short sleeve shift dress and matching jacket; cream silk kimono style jacket, pockets to the front and printed with flower heads; cream silk chiffon long sleeved shirt with V-neck, gathered frill around the neck, silk trimmed cuffs and neck; green and gold metallic textured long evening skirt; The English Lady silk green long sleeve paisley style shirt with collar (size 34); Marcusa wild silk orange, lime and red large check shirt dress with long sleeves and fabric belt (size 14); turquoise and cream geometric patterned short sleeve silk shirt; gentleman's HIFi red cotton short sleeve shirt depicting fishermen (M); Kleider Kraft Austrian red cotton short sleeve dress (size 44) (16). Brown and cream dress - split under arms, staining to both underarms. Green blossom dress - slight wear. Boutique Michael dress - stain to the underside of the pleats. Floral silk dress - slight wear. black cocktail dress - slight wear. Moire floral dress - stitched repair and slight stain under the arms. Royal blue dress - belt missing, slight fading to the front. Blue and white suit - colour faded under one arm, slight wear/damage to the blue trim on the collar of the dress. Kimono - silk lining torn, stitched repair under one arm, slight wear overall. Cream silk shirt - couple of tiny holes to one of the sleeves lower down, slight wear. green metallic skirt - sligh wear. The English Lady shirt - slight wear. Marcusa dress - slight wear , rubbing under one arm and a covered button missing. Turquoise and cream shirt - slight wear. HiFi shirt - slight wear.

Assorted Circa 1970's/1980's Ladies' Evening Dresses, including a Zandra Rhodes red silhouette tiered jersey dress, with long exaggerated sleeves, purple silk mount to the neck and bodice; John Marks London by Anne Tyrrell black jersey style dress with spaghetti straps and diamante trims (size 10); Trina Lewis and Marjon Couture black dress with v neck and appliquéd with diamante overall (size 16); N Galinsky Leeds black short sleeved dress with black fringing applied to the skirt; Dawn Breakers designed by Diana Mackinnon gold woven full length cat suit with lining and shoulder ties (size 10); Ladies Pride purple full length dress woven with gold and black in geometric shapes (size 14); pink, green, orange, black and yellow floral long dress by Charley Neal with long sleeves; Gina Bacconi black short dress with cut work bodice, capped sleeves and silk waist tie; D'Allairds black cocktail dress with lace mounted top with three quarter length sleeves and pleated skirt; black velvet off the shoulder cocktail dress with silvered textured wrap skirt; brown full length sleeveless dress with shoulder mount (size 14); white net type full length dress with capped sleeves, smocked waist (12 items). Zandra Rhodes - some loose threads and thread pulls. John Marks and Trina Lewis dresses - slight wear to both. N Galinsky dress - fading to shoulders, two small stitched repairs under each arm, couple of thread pulls overall. Cat suit - couple of thread pulls. Ladies Pride dress - slight wear and pulling. Charley Neal dress loose stitches to the bottom of the zip, some wear and slight fading. Gina Bacconi dress - slight wear. D'Allairds dress - slight wear. Off the shoulder dress - slight rubbing to the velvet. Brown dress - slight wear. white dress - couple of loose threads to waist.

Assorted Gentlemen's Costume and Accessories, including white cotton evening dress shirts, striped shirts, black wool waistcoats, white tie waistcoats, grey waistcoats, leather collar box and a quantity of collars (three boxes). Contains approx: 50 x white and pale blue detachable collars; 9 x coloured wool gents waistcoats; 11 x grey/black wool waistcoats; 5 x gents grandad collar shirts; 16 x white cotton evening waistcoats; 10 x gray morning suit waistcoats; 8 x black evening waist coat; 12 x white gents shirts - some with starched collar and bibs, mixed condition.

Assorted Circa 1930's-1950's Ladies' Costume, comprising white chiffon long dress printed with colourful flower heads, tiered skirt, short sleeves and scooped neck, detachable capelet to the back; St Michael printed cotton house coat; printed chiffon type open jacket; printed silk tea dress with V-neck and smocking to the front, short sleeves, pleated skirt and waist ties; burgundy ground full length dress printed with flowers, zip fastening to the front; navy sleeveless shift dress with asymmetric waist and similar jacket; similar style dress and jacket in blue and white spots; blue crepe day dress with V-neck and embroidery to each side, elbow length sleeves; black lace mounted dress, round neck, short gathered sleeves; red wool bouclé two piece fitted skirt suit; and a later 1930's style chiffon printed dress (11). Burgundy floral dress - alterations and wear. Blue two piece - alterations and wear - been partially remodelled. Spotty two piece - alterations and been partially remodelled.

Assorted Ladies' and Gentlemen's Circa 1940's and Later Costume, comprising a Dorette Ltd Bradford ladies pale blue wool two piece stylish skirt suit, with original receipt dated '1947, 18 coupons received'; Blanes cream silk and lace mounted sleeveless full length evening dress (size 10); white crepe sleeveless full length A-line dress with wide 70's collar and zip front; cream silk style full length evening coat, with buttons to the front and hood lined with faux fur; Taramina brown and black Liberty wool fabric dress, with batwing sleeves, gathered waist and lace trimmed collar; two gentlemen's checked wool dressing gowns in red and blue; two gentlemen's black dinner suits; two school blazers; Rogers & Co Ltd, Military Outfitters, Mayfair brown checked three piece suit; Burberry stone coloured mac with checked lining and blue wool detachable liner (14). Dorette suit - couple of small holes to the lining and suit, some discolouration, rubbing and wear. Blanes dress - slight wear. White crepe dress - slight wear. Taramina dress - slight wear. Dressing gowns - some wear, holes to the back of the neck on the red gown and general wear. gents suits, blazers all show some wear overall.

Assorted Modern Ladies' Costume, comprising Austin Reed green velvet sleeveless evening dress, matching full length jacket, velvet evening bag and a similar green velvet stole with gold decoration (size 10); Austin Reed black full length evening dress with spaghetti gilt chain straps to the back, decorated with diamante appliqués and matching jacket (size 8); pair of black velvet trousers (size 10) and dark purple velvet blazer (size 10); Hobbs black skirt suit (size 8), another similar (size 10); Janice Wainwright black wool two piece skirt suit with black silk trims, embroidered lapels and peplum trim (size 12); Jaeger black velvet evening jacket with black zigzag grosgrain trims (size 10), and a blue velvet skirt suit (size 12); Dusk black long sleeveless sequin evening dress (size 10); and two Hector Russell wool kilts (14)

Assorted Circa 1950's and Later Ladies' Costume, comprising Le Rose taupe and cream spotty woven shift dress and matching jacket (size 12); Feminella green two piece suit; Downs London gold and pale blue rose pattern brocade full length evening dress (size 42); another similar in green; red silk brocade full length evening dress, with large bow to the back, pleated skirt; Jay De-Ar sheer green and metallic green striped day dress with capped sleeves; Julian Rose London pale green and gilt woven full length evening dress with spaghetti straps; black shot blue midi-length dress with flared skirt, 3/4 length sleeves (size 40); another Rose full length dress in pale gold satin with spaghetti straps and matching stole; pink and black spotty long sleeve mini dress with round collar; pale blue floral chiffon printed sleeveless dress with pleated trim under the bust; Max Finberg of London gold metallic sleeveless shift dress with tunic top embroidered with threads and yellow plastic flower heads, pleated hem; turquoise satin type full length evening dress with spaghetti straps; Montigo Bay bronzed metallic printed chiffon type full length dress with long sleeves; black and white floral printed sleeveless evening dress in the Grecian style; green, blue and gold sleeveless dress with Nehru collar; black sequin top dress with jersey skirt (size 12); royal blue full length evening dress with long sleeves, high neck and cut out detailing; two Chinese style brocade coats, jacket and a Japanese kimono (22)

Assorted Ladies' Clothing, comprising a circa 1920's white cotton and cut work long sleeve dress with fabric belt; cream jersey two piece with faux wrap skirt hand painted with an exotic bird in orange, brown and pink, sleeveless top with low scoop neck (size 12); similar Gail Hoppen cream long sleeved jersey top with elasticated cuffs and single button fastening (size 12); Versace Jeans Couture pink/orange 'iridescent' skirt suit resembling snakes scales (size 30); Benny Ong cream silk dress with three quarter length sleeves, boat shaped neck, vertical pleated detailing to the front and back, silk neck tie (size 12); Le'Bay cardigan/jumper with silk panelled mounts in three colours, cowl neck and cotton woven waist and cuffs; Frank Usher brown jersey harem pants, with elasticated waist and cuffs (size 38); and Frank Usher blue jersey dress with spaghetti straps and brown trims with panels to the front and back, with matching shawl (size 36) (8)

Quantity of Gentlemen's Suits, including twelve black dinner jackets, twenty eight pairs of striped morning suit trousers and black dinner trousers, one morning coat, one black silk trimmed evening tail jacket and three black waist coats (variety of sizes)

Assorted Circa 1950's/1960's Ladies' Costume, comprising Barri-Moore Ltd Knightsbridge black full length woven floral brocade dress with buttons to the waist; Susan Small black and silver checked silk taffeta two piece evening suit, full length A-line skirt and fitted cropped jacket; floral full length evening dress with spaghetti straps and buttons to the bodice; Peggy French pink open coat; Diana Dress pink rose printed silk type knee length dress, with deep v to the front and back, elbow length sleeves; pale blue sleeveless dress with deep collar and black velvet tie; Peter Portland Model grey patterned cotton dress with elbow length sleeves, collar with bow, pleated knee length skirt (size 38); two Alice Edwards Italian printed cotton dresses, one with apples and a yellow rever collar and trimmed scalloped shaped waist, the other printed with slices of oranges and lemons (both size 14); black and white patterned cotton dress with floral collar and hem (10). Diana Dress - hole under one arm, some staining and belt missing.

Assorted costume including a Feraud jacket; a Brioni suit, a Brioni jacket, an Aquascutum coat; with another; a Daks coat; ten kilts and shirts; two Scottish brooches and two plumes, faux fur coat, Burberry jacket and skirt etc (on rail)

Pair of leather boots, dress uniform, three modern shields, modern suit of armour on shield plaque

WW2 Pattern Winter Tank “Pixie” Suitlight tan, heavy cotton, full suit. Double, full length zips. Pockets to the chest and legs with press stud fastened flaps. Removable belt. Some service wear and dusty condition.

WW2 RAF 1941 Pattern Sidcot Electrical Heated Flying Suitgreen canvas suit. Full length body zip. Zips to the cuffs and ankles. Open top pockets to the left chest and both legs. Internal issue label and issue stamps. Some service wear.

WW2 USAAF L1 Pattern Flight Suitgreen, light gabardine suit. Full length body zip. Zips to both ankles. Button fastening to the cuffs. Various pockets to the chest and legs, all closed with zips. Internal issue label. Some service wear and minor damage.