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Lot 209
A set of 6 Russian Dolls, each containing their own interior dolls. 1) A Latin woman in yellow, 2) A Russian woman in a green robe with royalty on her body, 3) A Russian woman in red robe, 4) A Russian man in a suit and red hat, 5) A round Russian woman with a floral design, 6) A Halloween themed woman holding a pumpkin. Dimensions of the largest item: 6.5"H x 3" dia. Condition: Age related wear.
Lot 103
Quantity of TV and Film related action figures and collectables includes Playmates Tomb Raider Lara Croft in Wet Suit, McFarlane The Walking Dead Michonne, Mattel/Hot Wheels Armageddon A.J. Frost, McFarlane Toys The X-Files Agent Fox Mulder action figures, CSI: Senses The Game, Johnny Lightning James Bond 007 "Thunderball" vehicle, and others, all generally Good to Mint, most within Fair Plus to Good Plus packaging, with some being sealed. (qty)
Lot 11
FERNAND KHNOPFF (1858-1921)Fore Aeternum, Futur 1909Monogrammé, titré en bas au centrePastel et crayon de couleur sur papier Gemonogrammeerd, getiteld middenonderPastel en kleur op papier Monogrammed, titled lower centrePastel and coloured pencil on paper28 x 28 cmFootnotes:Provenance / HerkomstAdolphe Stoclet Collection, acquired in the early 20th century Ce tableau est inscrit dans les archives de Fernand Khnoppf sous le numéro d'inventaire au catalogue raisonné 464 bis. L'authenticité a été confirmée par Madame Gisèle Ollinger-Zinque. Reconnu à juste titre comme le représentant le plus subtil, le plus raffiné mais aussi le plus ambigu et le plus mystique de l'esprit symboliste qui fleurit dans les milieux littéraires et artistiques en Belgique à la fin du XIXème siècle, Fernand Khnopff est à lui seul une énigme. A la fois peintre, dessinateur, sculpteur, et graveur, il pratique également la photographie, réalise des costumes et des décors pour le Théâtre de la Monnaie, et s'adonne à l'illustration de livres et à la création d'ex-Libris. Metteur en scène de sa propre œuvre, il conçoit à Bruxelles une maison-atelier, comme un sanctuaire voué à son ego, « un temple du moi » dans lequel il trouve un refuge au bruissement du monde extérieur. Car ce touche-à-tout est un solitaire, méfiant et peu expansif, un Narcisse qui s'est construit avec soin son propre mythe, imposant une certaine lecture de lui-même. Né en 1858 dans un milieu bourgeois, Fernand Khnopff passe sa petite enfance à Bruges. L'atmosphère de la ville le marque profondément et lui inspire quelques très belles vues de la cité, mélancoliques et silencieuses, vidées de toute présence humaine. La famille déménage en 1865 à Bruxelles où son père est nommé Substitut du Procureur du Roi. Après une année de droit à l'université, le jeune Fernand s'oriente vers une carrière artistique et suit des cours auprès de Xavier Mellery. Il parfait ensuite son apprentissage à Paris à l'Académie libre de Jules Lefèbvre, auprès de Gustave Moreau, et à l'atelier Julian. Pétri de littérature, Fernand Khnopff se nourrit d'elle : Flaubert, Rodenbach, Grégoire Leroy lui inspirent, entre autres, des univers intimes et intérieurs dont son art porte les stigmates. Il se lie à la bohême littéraire belge qui se regroupe autour de la revue et du mouvement « Jeune Belgique » et participe au groupe artistique des XX dont il est un membre fondateur. Proche des Préraphaélites anglais dont il partage le goût pour un art sincère et nostalgique, il prend part aux salons de la Rose-Croix sous l'égide du Sâr Péladan. L'art de Fernand Khnopff est un « art de patience, de précision et de raisonnement » comme le décrit Emile Verhaeren dans son éloge à l'artiste. Et de poursuivre, « Minutieux, à petits coups brefs, avec une lenteur à peine inquiète, sa pointe, brosse ou crayon, griffe le panneau ou le papier. Mais son regard est aigu à l'extrême, on sent un vouloir cruel, on y surprend toute une observation tendue vers les choses, implacable et incessante. La main ne fait aucun mouvement que n'ait déterminé et contrôlé la pensée. Elle n'hésite point, toutefois elle n'a aucun entrain, aucune folie, elle est d'une réserve et d'une prudence nettes. Point de belle liberté de dessin, point de facture forte et caractérisante, mais des traits minces, sévères, décisifs, presque de l'écriture ». Ce dessin délicatement nuancé est subtilement rehaussé de pastel. Il évoque un être au visage androgyne angélique et impassible. L'androgynie a émergé dans le milieu symboliste et décadent comme le nouvel idéal. Elle trouve un écho particulier dans l'œuvre de Khnopff dont l'idéal féminin est tout sauf univoque. Dans ce dessin, la figure est frontale, dans la lignée des portraits en buste florentins. Le visage garde ses secrets, emprisonne ses sentiments. Il est découpé au niveau du front. Un voile transparent estompe légèrement le bas du visage et se déploie sur le haut de la poitrine, accentuant encore l'aspect hiératique de la figure, enserrée dans un cercle. Khnopff considère en effet le cercle comme un symbole de la perfection. Sur le sol de son atelier, il a fait tracer un cercle d'or au milieu duquel il pose son chevalet avant d'entamer toute création. Le passe-partout entoure le dessin et en limite la perception, comme si les formes et les volumes continuaient au-delà des limites proposées. Khnopff impose cette mise-en-scène, tout comme il se permet de décentrer ses figures dans ses œuvres : « on m'a souvent reproché de couper les têtes de mes personnages par le cadre qui les entoure..., mais agissant ainsi, j'avais chaque fois un but bien précis ». Il accentue ainsi le regard de la femme mystérieuse et le texte énigmatique qui l'accompagne : « Fore Aeternum » ou « ce serait pour toujours », un hymne à l'intemporalité. Il n'est pas étonnant que ce dessin ait trouvé sa place au sein du Palais Stoclet, bijou par excellence de la Sécession Viennoise à Bruxelles, qui plus est dans la chambre à coucher des maîtres de maison, Adolphe et Suzanne Stoclet. Encensé, adulé par le public lors de la première Sécession en 1898, Khnopff connaît en cette fin de siècle une notoriété internationale, inspirant des générations d'artistes en quête d'imaginaire, de rêve et d'irréel. Fernand Khnopff wordt terecht erkend als de meest subtiele, verfijnde, dubbelzinnige en mystieke vertegenwoordiger van de symbolistische geest die aan het einde van de 19e eeuw opbloeide in de Belgische literaire en artistieke kringen. Hij was schilder, tekenaar, beeldhouwer en graveur, maar hij fotografeerde ook, ontwierp kostuums en decors voor het Munttheater, illustreerde boeken en creëerde ex-Libris. Als regisseur van zijn eigen werk heeft hij een atelierwoning in Brussel ontworpen, als een heiligdom gewijd aan zijn ego, een 'tempel van het zelf' waarin hij een toevluchtsoord vindt voor het lawaai van de buitenwereld.
Lot 693
SEVEN BOXES AND LOOSE LADIES' AND MEN'S CLOTHING AND ACCESSORIES, mainly ladies' items, to include coats, jackets, scouting uniform, evening suit, a blazer with '3rd Carabiniers' badge, a Marks and Spencer camel full length coat (as new with tags on), fur stole, shoes, bags, dresses, knitwear and trousers, brands to include Marks and Spencer, Boden, Simon Ellis, Fife Country, Peter Storm, Rohan, Fatface and Lands' End, ladies sizes 10-12, shoes 8, men's sizes XL, chest 42'' (7 boxes + loose) (sd)
Lot 546
A GROUP OF MEN'S JACKETS AND A LADIES' MODERN FAUX FUR, comprising a Spitalfields Clothing Company three quarter length jacket Blackwatch check, UK size 38R, a Jack Wills checked tweed jacket UK size small, a Jack Wills blue and red striped cotton jacket, UK size small, a Lambretta 100% wool, silver grey, single breasted three piece suit, size 38R and waist 30, a F&F black velvet evening jacket with a black satin shawl collar, UK size 38R, together with a ladies' modern Biba faux fur coat, UK size 12 (6) (Condition Report: no tears or visible damage, signs of light wear)
Lot 139
Toys Of London - Salco - Unsold Shop Stock - A quantity of items from the 1980s including Klik Klaks, 2 x inflatable aeorplanes, 2 x gold pans, 9 x childrens umbrellas, a snorkel, some skate board pads and a jump suit, pocket Backgammon and more. The items appear mostly Mint but some of the packaging has deteriorated in storage and is Poor.
Lot 1614
Action Man - Five original Palitoy Action Man figures in military dress, together with a Hasbro action figure (missing head), Action Man Helicopter (discoloured cockpit window), Willy's Jeep and Armoured army tank vehicles, a large quantity of clothing and various Action Man accessories featuring Palitoy and Hasbro examples to include weapons, divers tank suit, stickers, shoes, parachutes, helmets, hats, (Action Man figures show signs of play wear)
Lot 3542
An early 1930s ladies swimsuit with a halter neck and gathered detail on the neckline, with a low back and skirt design, left hip includes an embroidered motif of a swimmer, name tag which reads "Valerie C. A. Green" made by Jantzen made in England. An apple green knitted swimsuit made by 'Windsor Woolies', low cut legs, low cut back, high neckline and features an appliqued embroidered logo. An early 1900-1908 red cotton ladies bathing suit, style resembles a romper suit, high round neckline with white ribbon braiding stitched in a square collar shape design, the short sleeves are open along the shoulder, legs are short style, and appliqued initials on either side of front yoke read "A" and "C". (3)
Lot 5198
Dienstanzug für einen Oberarzt des Heeres Maßgeschneiderter feldgrauer Rock mit dunkelgrünem Kragen, feldgrauen Knöpfen und grünem Seidenfutter, darin ein Durchlass für die Seitenwaffe sowie das Schneider- und Namensetikett von Harnasch, Magdeburg, für einen Assistenzarzt von 1941. Silbern gestickter Brustadler, Kragenspiegel und vernähte Schulterstücke mit der blauen Waffenfarbe, anhängende Paradeschnur. Dazugehörige lange steingraue Hose mit einem blauen Vorstoß in der Seitennaht. A service suit for a senior army doctor A service suit for a senior army doctorMaßgeschneiderter feldgrauer Rock mit dunkelgrünem Kragen, feldgrauen Knöpfen und grünem Seidenfutter, darin ein Durchlass für die Seitenwaffe sowie das Schneider- und Namensetikett von Harnasch, Magdeburg, für einen Assistenzarzt von 1941. Silbern gestickter Brustadler, Kragenspiegel und vernähte Schulterstücke mit der blauen Waffenfarbe, anhängende Paradeschnur. Dazugehörige lange steingraue Hose mit einem blauen Vorstoß in der Seitennaht. Condition: II +
Lot 11
Two spray tans from Cheshire Glow Mobile Tanning Salon (Valid for 12 months)Cheshire Glow offer a range of mobile tanning services to suit your schedule, and also offer specialist bridal spray tanning with Sienna X Solution, Winner of ‘The Best Tanning Brand’ 2019.Donated by Cheshire Glow.Face value: £40.00Click HERE for their website.
Lot 298
Thomas K. Mattingly, II signed 10x8 inch colour photo pictured in space suit. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10
Lot 32
Adorable Santa Claus figural box modeled in his traditional suit, carrying a sack of presents. Halcyon Days backstamp. This item has its original box. Box measures: 4"L x 5.5"W x 3"H. Dimensions: 1.5"L x 1.5"W x 3.75"HManufacturer: Halcyon DaysCountry of Origin: EnglandCondition: Age related wear.
Lot 241
Delightful painted wooden figurine of Donald Dunk in his classic sailor suit. In hues of earthy blue, yellow, red and white. Anri metal logo emblem affixed to base. The Walt Disney Company backstamp on bottom. Dimensions: 2.75"L x 2"W x 3.5"HEdition Number: 247 Manufacturer: AnriCountry of Origin: ItalyCondition: Age related wear.
Lot 202
JOSEF LORENZL, PYJAMA SUIT, AN ART DECO PATINATED AND IVORINE INSET MODEL OF A LADY SECOND QUARTER 20TH CENTURY Modelled standing nonchalantly in a trouser suit Signed to rear, stood atop a tapered onyx base 20.5cm high, 26.5cm high overall Cf. A similar bronze model of Pyjama Suit, albeit without the insets, sold at Christies South Kensington, 12th October 2010, sale 5990, £1000 (inc premium) Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe ivorine inset elements with splits and cracks, the head with lateral cracks, the hands polished in appearanceThe base with chips and knicks to the edges and extremities, the figure firmly attached to the base, some natural flaws and veins to the base Some dirt and discolouration and colour variation Please see additional images for visual reference to condition Condition Report Disclaimer
Lot 66
James Bell Anderson (1886-1938)Portrait of a gentleman, half-length seated, in a suit and tiesigned and dated 'J B Anderson 1932' l.r., oil on canvas102.5 x 77cmCondition ReportFramed: 118 x 92cmExtensive craquelure with spots and speckles of surface dirt. The back of the canvas is boxed with board. Potential retouching to the face- eyebrows, nose and cheeks, as seen under UV light, to the eye it does not obviously present as retouching. Please refer to condition images.
Lot 86
A modern Tiffany & Co automatic stainless steel wristwatch, 30mm wide and 49mm high, running and date setting, serial no. 020261694, with two additional links, with an unmarked watch boxTHE WATCH APPEARS TO BE RUNNING! OVERALL THE GLASS AND DIAL ARE IN GOOD CONDITION. THE CASE AND STRAP HAVE SOME SMALL DENTS AND HAVE SOME LIGHT SCRATCHES FROM BEING WORN. THE BRACELET DOES NOT SAG AND IS NOCE AND TIGHT.THIS IS A NICE WATCH THAT COULD BE WORN BY ANY PERSON. IT IS QUITE LARGE BUT WOULD SUIT MOST PEOPLE
Lot 382
Harry Potter: A collection of assorted Harry Potter, Lego Minifigures, to comprise: Harry Potter (Hogwarts) (3), Harry Potter Dark Blue Jacket, Harry Potter (Gryffindor) (10), Harry Potter Tan Legs, Harry Potter Quidditch, Harry Potter Red Shirt, Harry Potter Grey Sweater, Hermoine (Hogwarts) (2), Ron Weasley Gryffindor, Ron Weasley (Black Torso) (3), Peeves (2), Goblin, Hagrid, Draco Malfoy (Slytherin) (5), Draco Malfoy (Green Quidditch) (2), Draco Malfoy Dark Blue Sweater, Snape, Crabbe, Gryffindor Knight Statue, Goyle, Dobby, Professor Quirrel, Professor McGonagall, Lucius Malfoy (Dark Grey Suit), SKeleton (Evil Skull), and Fluffy the three headed dog. Condition of figures is good. Base within photograph is not included within the lot. Please assess photographs. (one bag)
Lot 410
An early 20th Century painted-metal baby doll, 14cms, in knitted woollen suit; a painted peg doll holding a basket; a miniature bisque black baby doll with indistinct maker's mark (F.G.); and another miniature doll; together with a Lloyd Loom-style child's/doll's cot, 86cms; a green painted doll's cot, 78 x 66cms; two wooden doll's bed frames, 60 and 44cms; all early/mid-20th Century; and a mid-20th Century oval doll's bath on metal stand, with integral soap dish; and a separate smaller doll's bath, 64 x 53cms.
Lot 3342
Karl und Jenny Marx - zwei Studio-Portraitaufnahmen im Visitenkartenformat, London, ca. 1875 bzw. Trier, wohl um 1881 Halbportrait von Karl Marx in feinem Anzug mit Weste, am Hals sein Monokel hängend, rückseitige Herstellerbezeichnung "Mayall - 224, Regent Street London, W. And 914, King's Road, Brighton" sowie handschriftliche Bleistiftnotizen "Karl Marx!" und "18/2 Ord.". Maße 10 x 6,3 cm. Brustportrait von Jenny Marx in schwarzem Trauerkleid, rückseitig Herstellerbezeichnung "C. Schulz - photogr. Atelier Trier Dietrichstr. No. 216" sowie handschriftliche Bleistiftnotizen "Frl. v. Westphal" und "18/2 Ord.". Der Unterrand beschnitten, Maße 9,6 x 6,3 cm. Das Foto von Karl Marx stammt aus einer Serie von Studioaufnahmen mit John Mayall jr.Aufgrund der Jugendlichkeit der abgebildeten Jenny Marx und der Tatsache, dass der Fotograf Carl Schulz erst ab etwa 1865 in Trier tätig ist, kann angenommen werden, dass es sich nicht um Karl Marx' Ehefrau Johanna Bertha Julie Jenny von Westphalen (1814 - 1881) handelt, sondern höchstwahrscheinlich um deren dritte Tochter Jenny Julia Eleanor Marx-Aveling (1855 - 1898), vermutlich in Trauerkleidung anlässlich des Todes ihrer Mutter 1881.Provenienz: Aus einer deutschen Privatsammlung. Erworben im Oktober 1984 beim Heidelberger Antiquariat Dr. Helmut Tenner, dazu in Fotokopie die entsprechenden Katalogseiten (Losnummer 18). Zudem ein Brief des Instituts für Marxismus-Leninismus beim ZK der SED vom 10.10.1984 an das Antiquariat Tenner mit der Bitte, sich an den "glücklichen Besitzer des unter Nr. 18 des Auktionskataloges genannten Fotos" zu wenden, um eine "hochwertige Fotokopie" zu erhalten und "einem unserer Mitarbeiter gelegentlich Einsicht in das Original zu geben?". Zwei Seiten, DIN A4 mit entsprechendem Briefkopf, unterschrieben vom damaligen stellvertr. Direktor des Instituts, Prof. Dr. Heinrich Gemkow (1928 - 2017). Karl and Jenny Marx - two CDV studio portraits, London, circa 1875, and Trier, presumably around 1881 Karl and Jenny Marx - two CDV studio portraits, London, circa 1875, and Trier, presumably around 1881Half-length portrait of Karl Marx in a fine suit with waistcoat, his monocle hanging from his neck, on the reverse maker’s inscription "Mayall - 224, Regent Street London, W. And 914, King's Road, Brighton" and handwritten pencil notes "Karl Marx!" and "18/2 Ord.". Dimensions 10 x 6.3 cm. Half portrait of Jenny Marx in a black mourning dress, on the reverse maker’s inscription "C. Schulz - photogr. Atelier Trier Dietrichstr. No. 216" and handwritten pencil notes "Frl. v. Westphal" and "18/2 Ord.". The lower edge cut back, dimensions 9.6 x 6.3 cm. The photograph of Karl Marx comes from a series of studio photographs taken by John Mayall jr.The juvenile looks of Jenny Marx in the photograph and the fact that the photographer Carl Schulz did not take up business in Trier before approx. 1865 suggest that she was not Karl Marx’s wife Johanna Bertha Julie Jenny von Westphalen (1814 – 1881), but rather her third daughter Jenny Julia Eleanor Marx -Aveling (1855 – 1898), probably in mourning dress because of her mother’s death in 1881. Provenance: From a German private collection. Acquired in October 1984 from the Heidelberg antiquarian bookshop Dr. Helmut Tenner, together with a photocopy of the respective catalogue page (lot number 18).Comes with a letter of the Institute for Marxism-Leninism in the Central Committee of the SED dated 10 October 1984 and addressed to the antiquarian bookshop Tenner with the request to approach the (tr.) "lucky owner of the photograph mentioned under No. 18 of the auction catalogue" and ask for a (tr.) "high-quality photocopy" and to allow (tr.) "one of our employees to have a look at the original some time".Two pages, size A4 with letter head, signed by the then assistant director of the institute, Prof. Dr. Heinrich Gemkow (1928 – 2017).Condition: II -
Lot 77
Palitoy - Action Man. A boxed, vintage Helicopter Pilot. Flock head figure with moving Eagle Eyes, gripping hands, suit, helmet and visor with boots - Head is attached and hands are intact has detached otherwise appearing in Excellent condition in original box which is Good Plus. (This does not constitute a guarantee). [MP]
Lot 1284
Eliot, Thomas Stearns (1888-1965), poet, critic and publisher, Criterion, 24 Russell Square, London WC1; letter to Peter Winckworth ‘Dear Winckworth’, 30 Buckingham Gate. London SW1, 21 October 1937 Unable to lunch next week as he will be in Edinburgh the whole week; very glad to lunch later; ‘the only day in every week on which I am never free is Wednesday’; ‘I shall be interested to know if you really have some good Wensleydale at Windham’s; if so, I must speak severely to our steward, who has not provided any Wensleydale at all yet this year’.In 1922 Eliot jumped at an offer from Lady Rothermere, wife of Esmond Harmsworth, second Viscount Rothermere, publisher of the Daily Mail, to edit a high-profile literary journal. The first number of The Criterion appeared in October 1922. Like The Waste Land, which The Criterion first published, it took the whole of European culture in its sights. The Criterion's editorial voice placed Eliot at the centre of first the London and then the continental literary scene. The editorial life on Russell Square was also conducted over friendly dinners that served the function of a college or a club, and Eliot seemed to thrive on such occasions.At about the same time Eliot reached out for religious support, and turned to the Church of England. Few followers were prepared for Eliot's baptism into the Church of England on 29 June 1927 at Finstock in Oxfordshire, and so, within five years of his avant-garde success, Eliot provoked a second storm. The furore grew in November 1927 when Eliot took British citizenship and again in 1928 when he collected a group of politically conservative essays under the title For Lancelot Andrewes and prefaced them with a declaration that he considered himself ‘classicist in literature, royalist in politics, and anglo-catholic in religion’. (ODNB)Eliot had been introduced to Winckworth in April 1932 by (Archibald) Kenneth Ingram (1882-1965), author and vice-chairman of the National Peace Council, who was ‘anxious [for Eliot] to meet a young friend of mine … [who] has an unusually good mind and writes very fair verse. I am sure you would like him’. Ingram, an Anglo-Catholic lay theologian, socialist, and prolific writer, attempted in several works to integrate his sexuality with his religious beliefs. See David Hilliard, ‘UnEnglish and Unmanly: Anglo-Catholicism and Homosexuality’; Victorian Studies 25 (2) (1982) 181-210. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In July 1934 he sent Eliot a ‘short essay’ on the Association, which he hoped he might arrange to review in the St Stephen’s parish magazine. He hoped too that Eliot might take the chair at their meeting in Kensington on 16 October, which he duly did. In December 1934, Eliot described Winckworth to William Kemp Lowther Clarke, a Church of England clergyman, as ‘a very good man indeed, and I have great hopes of him’.The present letter is a reply to Winckworth’s invitation to Eliot to participate in a Junior Church Congress on the theme of the Christian Revolution, to be held at the Dorland Hall in Regent Street 28-20 April 1938. His letter declining the invitation expressed a need to conserve his energy, and that ‘Dorland Hall is rather too public a place to suit my book’. His reluctance to appear was doubtless influenced by an incident at the Dorland Hall in November 1935, when he had been accosted by his estranged wife Vivien in one of her ‘often histrionic attempts to embarrass him into a reconciliation’ (https://tseliot.com ; ODNB).John Peter Winckworth was born on 2 November 1908, youngest of the three children of Lewis Herbert Winckworth (1864-1940), solicitor, and Ruthella Theodora, elder daughter of the Revd Herbert Clementi-Smith of Holland Park Avenue, Kensington, chaplain to the Mercers’ Company. In September 1922 he entered Grants House at Westminster School (also attended by his father and three uncles) and left in July 1927.Admitted as a solicitor in October 1932, he practised in London, in 1947 with Messrs Trollope and Winckworth of 21 Old Queen Street, Westminster. Winckworth was one of the originators of the Seven Years’ Association, established at the 1933 Anglo-Catholic Congress to form ‘a youth auxiliary to the Church Union’. In 1948 he became Registrar of the Diocese of Oxford, and subsequently served as a Church Commissioner, Master of the Worshipful Company of Mercers 1961-2, a governor of St Paul’s School and Secretary of the Church Union.He joined the Royal Air Force Volunteer Reserve in August 1940, and was transferred to the Training Progress Section of the Air Ministry in 1941.Winckworth was author of Does Religion Cause War? (1934); Sensible Christians (1935); The Way of War: Verses (1939); A Simple Approach to Canon Law (1951); The Seal of the Confessional and the Law of Evidence (1952); A Verification of the Faculty Jurisdiction (1953); and A History of the Gresham Lectures (1966).He died at Eastbourne on 28 April 1986, and a requiem mass was held at St Matthew’s Church Westminster on 23 June.His portrait, by Richard Aylmer Frost (1905-1995), a Westminster contemporary, 1924, is among the collections of the school (GB 2014 WS-03-PIC-002/29): https://collections.westminster.org.uk/index.php/gb-2014-ws-03-pic-002-29The Windham Club, established (as the Windham House Club) in 1828 as a ‘place of meeting for a Society of Gentlemen all connected with each other by a common bond of literary or personal acquaintance’, migrated to No. 13 St James’s Square in 1836. In 1945 it amalgamated with the Marlborough and Orleans Clubs, to form the Marlborough-Windham Club. (Survey of London 28 and 29, St James Westminster, pp136-139.)
Lot 2211
Christian Dior blue chiffon sleeveless shift labelled "Christian Dior Beachwear" blue and white, a Louis Feraud white and black sleeveless cocktail dress with faux peplum, a black and white silk Louis Feraud duster coat, probably to match the aforementioned dress, size UK 12 as is the dress, a Caroline Charles pink rayon and polyester vintage suit, jacket and skirt probably size 16, a Caroline Charles viscose cream shift dress with matching three quarter length jacket in beige printed with white polka dots, a Condice cocktail dress black raw silk, the short sleeves trimmed with cream embroidery with matching raw silk cream jacket with collar embroidered white on black, size 16, a Jaegar 1980's day dress batwing sleeves colour block blue orange mustard
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19303 item(s)/page