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POP MUSIC, signed promotional photo by Billy Preston, half-length in floral suit, 8 x 10, EX

A mens 2 piece dark beige suit by Hugo Boss. Trousers approx. 34 inch, jacket approx. 40 inch chest, damage to jacket lining, with original Hugo Boss coat hanger.

A vintage centaur Gold blue wool suit together with 3 men's vintage jackets in shades of blue & black.

A mens Versus by Gianni Versace double pinstriped suit. Trousers 36/50, jacket 38/52.

3 mens 2 piece suits. A navy blue suit by Next, a Taylor & Wright suit and an M & S Collection navy blue suit.

2 mens branded 2 piece suits. A Gibsons grey pinstriped check suit, trousers size 36 inch, jacket size 42 inch and a Van Gils grey suit, jacket size 42 inch.

NAPOLEON I: (1769-1821) Emperor of the French 1804-14, 1815. Manuscript Document, unsigned, with four passages struck through in bold, dark ink in Napoleon's hand, five pages (all edges gilt and featuring circular watermarks of the French Imperial Eagle and Napoleon in profile), folio, n.p., August 1810, in French. The document is a draft of the Emperor's decree on the dissolution of the Dutch Guard and is set out in fourteen numbered articles, in part, 'Napoleon, Empereur des Francias, Roi d'Italie et protecteur de la Confederation du Rhin. Nous avons decrete et decretons  ce qui suit: Article 1er La Garde hollandaise fera partie de notre garde imperiale sous la denomination de garde hollandaise. Article 2e La premiere compagnie des gardes du corps restera organisee telle qu'elle est, avec la denomination de velites hollandais. Les officiers a la suite de cette compagnie, les sous-officiers et les velites qui ont rang d'officier seront places dans la ligne. Article 3e La 2e, la 3e et la 4e compagnies des gardes du corps seront incorpores savoir: la 2e dans le regiment des grenadiers de la garde hollandaise, la 3e et la 4e dans les regiments de grenadiers et de chasseurs a pied de notre garde. Les officiers a la suite des sous-officiers de ces 3 compagnies qui ont rand d'officier seront places dans la ligne........Article 7e La compagnie d'artillerie legere de la garde hollandaise conservera sa denomination, et restera attachee a l'artillerie legere de notre guarde. Article 8e La compagnie du train d'artillerie de la garde hollandaise conservera egalement sa denomination sera attachee au bataillon du train d'artillerie de notre garde. Article 9e Les veterans de la garde hollandaise conserveront leur organisation. Ils seront employes a la garde de notre palais imperial de notre bonne ville d'Amsterdam. Article 10e Les officiers de tout grade qui par l'effet de la nouvelle organisation de la garde hollandaise se trouveront a la suite ou sans emploi, seront places dans la ligne.......Article 13e Ne seront admis dans notre vieille garde que les Francais et les Hollandais d'origine. Les etrangers qui se trouvent dans ce corps seront places dans les fusiliers de notre garde ou dans la ligne. Ils pourront meme etre incorpores dans une des gardes royales de Westphalie, de Naples, ou d'Espagne. Article 14e La solde, les masses de toute espece resteront les memes comme par le passe, jusques au 1er janvier 1811, epoque a laquelle il sera fait un changement a cet egard' (Translation: 'Napoleon, Emperor of France, King of Italy and Protector of the Confederation of the Rhine. We have decreed and we decree as follows: Article 1 The Dutch Guard will form part of our Imperial Guard under the denomination of Dutch Guard. Article 2 The first company of bodyguards will remain organised as it is, with the denomination of Dutch velites.The officers following this company, the non-commissioned officers and the velites who have the rank of officer will be placed in the line. Article 3 The 2nd, 3rd and 4th companies of bodyguards will be incorporated, namely: the 2nd in the regiment of grenadiers of the Dutch Guard, the 3rd and 4th in the regiments of grenadiers and chasseurs a pied of our guard. The officers following the non-commissioned officers of these 3 companies who have the rank of officer will be placed in the line…..Article 7 The light artillery company of the Dutch Guard will retain its denomination, and will remain attached to the light artillery of our guard. Article 8 The company of the artillery train of the Dutch Guard will also retain its denomination will be attached to the battalion of the artillery train of our guard. Article 9 The veterans of the Dutch Guard will retain their organisation. They will be employed in guarding our Imperial Palace in our good city of Amsterdam. Article 10 Officers of all ranks who, by the effect of the new organisation of the Dutch Guard, find themselves out of service or unemployed, will be placed in the line……Article 13 Only the French and the Dutch of origin will be admitted into our old guard. The foreigners who find themselves in this corps will be placed in the fusiliers of our guard or in the line. They could even be incorporated into one of the royal guards of Westphalia, Naples or Spain. Article 14 The pay, the masses of all kinds will remain the same as in the past, until 1st January 1811, when a change will be made in this respect'). With blank integral leaf. An interesting document demonstrating the Emperor's talent for organisation. Some very light, extremely minor age wear, VGThe Dutch Guard had been created in 1808 by Louis Bonaparte, King of Holland, at the request of his elder brother to take part in the Peninsular War. Following the annexation of the Kingdom of Holland by the French Empire in 1810, the brigade was officially disbanded and its personnel (who had become French citizens) and soldiers distributed amongst the different existing military bodies, as confirmed in the present document. The decree would be promulgated in the following month, September 1810.

FORD GLENN: (1916-2006) Canadian-American actor. A good signed 8 x 10 photograph of Ford in a head and shoulders pose in costume as Johnny Farrell, removing a revolver from the inside of his suit jacket, from the film noir Gilda (1946). Signed by Ford in bold black ink with his name alone to a clear area of the background. A couple of very light, minor corner creases, VG

DUFY RAOUL: (1877-1953) French Fauvist painter. A.L., unsigned (although with his name Raoul appearing within the text, in the third person, towards the conclusion), two pages, 4to, n.p. (Perpignan), n.d. ('Mardi', 28th March 1942), to his wife ('Ma Cherie'), in French. Dufy states that he has received his wife's letter, which he will go over in detail tomorrow, and continues 'Tranquillise toi sur ma sante, mon traitement suit son cours regulier. Nous avons eu plusieures journees de pluie qui m'avaient un peu cruille mais ce soir tout se remet. Quant a mon travail ca va de mieux en mieux…..J'arrive enfin a ce que j'ai poursuivi toute ma vie. J'ai fait aujourd'hui une seance particulierement heureuse aussi, j'espere que je pourrai realiser une belle exposition qui nous assurera notre tranquillite. Je pense que tu rentree a St. Maxime, et je vais t'envoyer par echelon des mandats cartes, et aussi par lettres recommandees que tu toucheras a la poste et que tu pourras transformer comme tu voudras. Vois comment tu pouvras garder tes valeurs, il ne faudrait pas tout garder dans la maison, tu peux faire un depot dans une banque? Enfin penses-y et tu me diras ce que tu feras' (Translation: 'Don't worry about my health, my treatment is following its regular course. We had several days of rain which had me a little worried, but tonight everything is recovering. As for my work, it's getting better and better…..I finally arrive at what I have pursued all my life. I had a particularly happy session today too, I hope that I will be able to produce a beautiful exhibition which will ensure our peace of mind. I think you're going back to St. Maxime, and I'm going to send you money order cards in installments, and also by registered letters which you can collect at the post office and which you can change as you like. See how you can keep your values, you shouldn't keep everything in the house, can you make a deposit in a bank? Finally think about it and you will tell me what you will do'), concluding by referring to family members and sending affectionate greetings, 'Pour Suzanne [La soeur de Dufy, don't il peint le portrait en 1904] je commandrais qu'elle parte pour sa cure accompagnee par une personne qui lui plairait et que nous payerons car il ne faut pas la laisser seule. J'ai recu ce matin une lettre bien angoissee de Madeleine qui est maintenant au courant du mauvais etat. Toi soignetoi bien pas de fatigues, pas de soucis, tu me le promets et bientot nous serons ensemble. Je t'embrasse bien fort, ma cherie. Embrasse Suzanne, bonjour a Raymond, bise a Mickey et encore mille tendres baissers de ton Raoul qui t'adore' (Translation: 'For Suzanne [Dufy's sister, whose portrait he painted in 1904] I would order that she leave for her cure accompanied by a person she would like and that we will pay because we must not leave her alone. This morning I received a very distressed letter from Madeleine who is now aware of the poor condition. You take good care of yourself, no fatigue, no worries, you promise me, and soon we'll be together. I embrace you very much, my darling. Embrace Suzanne, hello to Raymond, a kiss to Mickey and another thousand tender kisses from your Raoul who adores you'). Accompanied by the original envelope hand addressed by the artist to 'Madame Raoul Dufy' at St. Maxime. Some light age wear, one small, neat split to the left edge and a thin area of staining to the upper edge, about VG Eugenie-Emilienne Brisson (1880-1962) wife of Raoul Dufy from 1911-53. 

 ‘I cannot resist the desire to repeat these words from your burning pen and adapt them to friendship although traced by love’  FERNIG THEOPHILE: (1775-1819) French military officer who, with her sister Felicite, enlisted in the French Army dressed as men during the French Revolutionary Wars, Once their gender was discovered they were granted permission to remain in service, becoming celebrities frequently mentioned in the contemporary French press. Appointed aide-de-camp officers under General Charles Francois Dumouriez, the Soeurs Fernig were sentenced to exile after Dumouriez’s treason of 1793. A rare A.L.S., Theophile (twice), four pages, 4to, Brussels, 18 Fructidor an 9 (5th September 1801), to Isidore Audeval, her cousin, in French. Fernig writes a lengthy letter, in essence a love letter, flowing with warmth and affection, stating, in part, ‘Oui, je suis encore ici..... Console-toi, mon ami, ta cousine n'etait point gaie quand tu t'affligeais, et s'il existe une heureuse sympathie entre les gens qui se conviennent, les notres en sont une preuve.......vous savez combien je me proposais de plaisir a vous y rencontrer.......Guilleminot n'arriva point, et au lieu de lui, je recus une lettre qui m'annoncait le retard de son voyage de 15 jours, trois semaines! J'ecrivis a ta soeur, je t'ecrivis aussi, et je dechirai ma lettre. Je te croyais a Mortagne, au milieu de tes amies, oubliant les absentes. Je t'accusais meme d'etre passe par Bruxelles sans etre venu les voir....que sais-je ce que je ne pensais pas!......La douleur est mere de l'injustice, et par elle je suis excusable: n'est-ce pas, mon ami? J'ai senti tout mon sang s'agiter, courir dans mes veines et refluer vers mon coeur, en apprenant votre chute de cheval. J'espere qu'elle n'aura pas de suite, mais prenez toutes les precautions et les menagements possibles: vous vous devez a vos amis autant qu'a vous-meme. Pourquoi trouverais-je mauvais le rapprochement de nos deux noms, quand l'amitie nous lie si  etroitement?........Que ton ame honnete, delicate et sensible se penetre, se convainque bien de la purete de la mienne dans mon acquiescement a ce que tu fais, et de mon plaisir a faire le tien: Dieu m'en est temoin, et j'implore du ciel toute sa colere si ma candeur n'egale pas ma protestation. Croiriez-vous que je n'eprouve plus l'ombre de mes regrets de ne point avoir partage les plaisirs de Mortagne depuis que je sais que vous n'y etiez pas? C'est cependant la verite! Je n'ai de ma vie ete plus triste qu'en voyant ecoule le premier jour de cette fete, ne pouvant y aller et vous y croyant......Ne n'apesentis point sur le desagrement de ton metier. Tu es esclave, oui; mais tu l'es de l'honneur, et c'est le plus supportable des tyrans. Tu marches a travers de mille contrarietes, mais elles te couvrent de glorie et ton noble devouement fait triompher le myrte sur le laurier. Tu le sais, mon ami, le myrte est l'embleme de l'amitie. Jusque dans le moindre de tes sacrifices, il n'est point un sentiment qui ne t'en tienne compte, et tous ces sentiments sont dans le coeur de ceux qui t'aiment. Nous nous sommes vus trop peu de temps, il est vrai, et j'en ai ressenti la verite, mais il y a un moyen de nous en dedommager......je ne puis resister au desir de repeter ces mots sortis de ta plume brulante et les adapter a l'amitie quoique  traces par l'amour: "Ecris-moi je le veux: ce commerce enchanteur, Aimable epanchement de l'esprit et du coeur, Cet art de converser sans se voir, sans s'entendre, Ce muet entretien, si charmant et si tendre. L'art d'ecrire. Abelard, fut sans doute invente, Par l'amante captive et l'amant agite, Tout vit par la chaleur d'une lettre eloquente". Comme eux, que notre amitie profite de cet art divin, de cette faculte celebre, et trompons l'espace, qui nous separe en nous communiquant toutes nos pensees, nos peines et nos plaisirs: nous adoucissons par a les premiers en doublant les derniers’ (Translation: ‘Yes, I’m still here…..Console yourself, my friend, your cousin was not cheerful when you were upset, and if there is a happy sympathy between people who suit each other, ours are a proof of it……you known with how much pleasure I intended to meet you there…..Guilleminot did not arrive, and instead of him, I received a letter which informed me of the delay of his trip by 15 days, three weeks! I wrote to your sister, I wrote to you too, and I tore up my letter. I thought you were in Mortagne, among your friends, forgetting the absent ones. I even accused you of having passed through Brussels without having come to see them……what do I know what I was not thinking!........Sorrow is the mother of injustice, and through it I am excusable: is it not, my friend? I felt all my blood rushing, running through my veins and flowing back to my heart, on learning of your fall from a horse. I hope it won’t be followed up, but take all the precautions and consideration possible: you owe yourself to your friends as much as to yourself. Why would I find the bringing together of our two names wrong, when friendship binds us so closely?.......Let your honest, delicate and sensitive soul penetrate itself, be well convinced of the purity of mine in my acquiescence in what you do, and of my pleasure in doing yours: God is my witness, and I implore heaven all his anger if my candour does not equal my protest. Would you believe that I no longer feel the shadow of my regrets at not having shared the pleasures of Mortagne since I learned that you were not there? It is however the truth! I have never been sadder in my life than when I saw the first day of this festival pass, not being able to go there and believing you were there……Do not dwell on the unpleasantness of your profession. You are a slave, yes: but you are one of honour, and that is the most endurable of tyrants. You walk through a thousand annoyances, but they cover you with glory and your noble devotion makes the myrtle triumph over the laurel. You know, my friend, the myrtle is the symbol of friendship. Even in the least of your sacrifices, there is not a feeling that you do not take into account, and all these feelings are in the hearts of those who love you. We saw each other for too little time, it is true, and I felt the truth of it, but there is a way to compensate us for it…..I cannot resist the desire to repeat these words from your burning pen and adapt them to friendship although traced by love: “Write to me I want it: this enchanting trade, Amiable outpouring of mind and heart, This art of conversing without seeing each other, without hearing each other, This mute interview, so charming and so tender, The art of writing, Abelard, was undoubtedly invented, By the captive lover and the agitated lover, Everything lives by the warmth of an eloquent letter”. Like them, let our friendship profit from this divine art, from this famous faculty, and let us deceive the space which separates us by communicating to us all our thoughts, our sorrows and our pleasures: we soften the former by doubling the latter’). A letter of beautiful content. Some light staining and minor discolouration (largely to the first page) and with a few minor, neat splits to the edges of folds. G Isidore Audeval served with the 16th Dragoon Regiment and Theophile’s correspondence with her cousin spans a period of five years from October 1797 to January 1803. The thirty-three letters were published by Honore Bonhomme under the title Correspondance inedite de Mademoiselle Theophile de Fernig, aide de camp du General Dumouriez (Firmin Didot, Paris, 1873), Bonhomme observing ‘We are surprised to find the grace, the playfulness, the candour of the young girl where we expected to meet perhaps only the roughness and the dark energy of the soldier’.

MONTGOMERY B. L.: (1887-1976) British Field Marshal of World War II. Small group of one A.L.S. and three T.Ls.S., Montgomery of Alamein, four pages (total), 8vo (1) and 4to, Seine-et-Oise, France, July 1954 - October 1956, all to Paul Loosli, the president of the Gstaad Ski Club and director of tourism in Gstaad. Montgomery writes largely concerning his travel and accommodation arrangements for Switzerland, in part, 'I note that you want to have the Ski-Jumping on Sunday, January 30th, and that would be suitable for me. I will now come to Gstaad on Saturday, January 29th and I will stay there till Wednesday, 16th February, 1955' (15th July 1954), 'I have received the photograph you sent me, taken when I presented the Ski Cup to the winner last February. I have signed the photograph and have posted it back to you. I hope it will arrive safely' (also 15th July 1954), 'I note that the competition for my cup will now be held on Sunday, 6th February and that date will suit me very well. My son and his wife will be arriving in Gstaad on that morning to stay with me and it will be a great thing for them to be able to see the ski-jumping competition. Neither of them have ever seen any ski-jumping before. I would of course be delighted that you should ask General Guisan to attend the competition for my cup…..I know him well and will be very glad to see him again. Please tell him from me that I hope he will be able to come' (12th December 1954), 'I send you this copy of a letter (still present) I have sent to Mr. Reuteler, giving my dates for next January - February. I presume the 10th Feb. is O.K. for the Jumping; that is the date we agreed' (15th October 1956). Together with the letter referred to, a carbon copied T.L.S., Montgomery of Alamein, with holograph salutation and subscription, one page, 4to, Versailles, Seine et Oise, 15th October 1956, to Mr. Reuteler, marked Copy by Montgomery in red indelible pencil at the head, providing his correspondent with the dates of his visit to Gstaad from January - February 1957 and adding, 'I will have with me the same A.D.C. as last year - Captain A. W. Cheyne. I would, myself, much like to have the same rooms as last year - if this is convenient to you. I will arrange for the same telephones. Captain Cheyne can of course have any small single room you have available'. Each of the letters are accompanied by their original envelopes, hand addressed by Montgomery. Together with three unsigned carbon typed retained copies of Lossli's replies to Montgomery. Some light age wear and two letters with small staple holes to the upper left corners, G to VG, 8 

LENNON JOHN: (1940-1980) English singer and musician, co-lead vocalist and rhythm guitarist of the Beatles. An excellent, rare signed colour 5 x 7 photograph of Lennon, the candid Kodak image depicting the musician standing in a half-length pose on a New York City street at night, wearing a beige suit jacket, striped scarf, cap and his trademark Windsor glasses. Signed in ink with his name alone, largely across a light area of the image. An ink note in the hand of a collector to the verso indicates that the photograph was taken on 8th April 1975 [following the recording of the Tomorrow Show at the NBC Studios in New York when Lennon was interviewed by Tom Snyder] and signed on 8th April 1975 following a performance of the play Same Time, Next Year [at the Brooks Atkinson Theatre, New York]. A wonderful signed photograph. EXLennon's appearance on the Tomorrow Show with Tom Snyder was the final major broadcast interview the Beatle would give before his tragic death.  .

‘I am only sorry not to have deviated sooner, that an occupation where the aid of the eyes was not absolutely necessary was precisely that which could best suit me’  HUBER FRANCOIS: (1750-1831) Swiss entomologist who specialised in honeybees. A fine L.S., Francois Huber, three pages, 4to, Ouchy, Lausanne, 11th June 1814, to Georges Cuvier, in French. Huber apologises for the circumstances which did not allow him to reply earlier to his correspondent's letter, adding that he is 'Penetre de reconnaissance pour la faveur que l'institut de France a deigne m'accorder ca ete pour moi un veritable vhagrin d'etre condamne au silence dans cette occasion, et de ne pouvoir vous dire combien j'en ai ete touche' (Translation: 'Penetrated with gratitude for the favour that the Institut de France has deigned to grant me, it is a real sorrow for me to be condemned to silence on this occasion, and not to be able to tell you how touched I was'). Huber further states 'Sans cesser de m'occuper de l'histoire naturelle qui a ete l'etude et le charme de toute ma vie, je me suis depuis quelques annees remis a celle des mathematiques pour essayer de lire et d'entendre les ouvrages de vos celebres collegues, et de n'etre pas entierement exclu de ce qu'il y a de plus interessant et de plus certain dans les connoissances humaines. Par le moyen de caracteres et de signes palpables que je dois au zele de mon fils pour tout ce qui peut m'etre utile je n'ai rien trouve jusqu'a present dans cette nouvelle etude, qui m'ait du faire regretter le temps que j'y ai consacre: je suis fache seulement de n'avoir pas deviue plutot, qu'une occupation ou le secours des yeux n'etais pas absolument necessaire etait precisement celle, qui pouvait le mieux me convenir. Je n'ai sans doute ni la pretention, ni le moindre espoir de faire aucune decouverte dans une route si dignement parcouvue et d'avoir jamais a moins de quelque miracle rien a apprendre a mes maitres. Mais si dans le cours de mes recherches sur les Abeilles j'ai le bonheur d'appercevoir quelque nouveau trait de leur histoire……. J'ai lu Monsieur avec le plus grand interet vos belles et etomantes recherches sur les osserments fossiles, permettez-moi de saisir cette occasion pour vous remercier du plaisir infini que j'ai pris a cette lecture et de vous prier de vouloir bien me mettre au nombre de vos plus sinceres admirateurs. Je ne finirai point cette lettre Monsieur sans vous dire combien nous avons ete reconnoissants de l'accueil plein d'indulgence et de bonte, que les savants et les naturalistes ont fait a mons fils, pendant son sejour a Paris,  ses parents en conserverout toujours un precieux souvenir' (Translation: 'Without ceasing to concern myself with natural history, which has been the study and the charm of my whole life, I have for some years returned to that of mathematics to try to read and hear the works of your famous colleagues, and not to be entirely excluded from what is most interesting and most certain in human knowledge. By means of characters and palpable signs which I owe to the zeal of my son for all that can be useful to me, I have found nothing up to now in this new study, which should have made me regret the time that I devoted to it: I am only sorry not to have deviated sooner, that an occupation where the aid of the eyes was not absolutely necessary was precisely that which could best suit me. I doubtless have neither the pretension nor the slightest hope of making any discovery on a road so worthily travelled and of never having anything except some miracle to teach my masters. But if in the course of my research on bees I have the good fortune to perceive some new trait in their history…….I read Sir with the greatest interest your beautiful and astonishing research on fossil bones, allow me to take this opportunity to thank you for the infinite pleasure that I took in this reading and to ask you to kindly put me among your most sincere admirers. I will not finish this letter, Sir, without telling you how grateful we were for the welcome full of indulgence and kindness which the scholars and naturalists gave my son during his stay in Paris, his parents will always keep a precious memory') and in a postscript remarks 'Lorsque la seconde edition de mon livre sur les Abeilles paraitra je vous prierai Monsieur d'en offrir un exemplaire de ma part a l'Institut et je prendrai aussi la liberte de vous offrir un en le recommandant a votre indulgence' (Translation: 'When the second edition of my book on bees appears, I will ask you, Sir, to offer a copy from me to the Institute and I will also take the liberty of offering you one, recommending it to your indulgence'). With address panel to the verso of the final page, bearing the remnants of a red wax seal (small area of paper loss and tear where originally broken). A letter of excellent association and content, not least for its references to bees and the blindness which afflicted Huber. Some light age wear and a few minor tears to the edges, about VG

MUSSET ALFRED DE: (1810-1857) French Poet and Novelist. Best known for his autobiographical novel The Confession of a Child of the Century (''Confession d'un enfant du siècle'' (1836), in part related to his love affair with George Sand. A good A.L.S., `Alf.d de Musset´, one page, 8vo, n.p., Tuesday 28th, n.y., in French. Musset asks his correspondent if they could postpone a meeting date, and states in part `Vous serait-il indifférent de remettre à vendredi notre séance? Il ne me serait pas possible de m´y rendre jeudi. Si un autre jour vous convenait mieux, seriez-vous assez bon pour m´écrire un mot?´ (`Would it be indifferent to you to postpone our meeting until Friday? It would not be possible for me to attend the meeting on Thursday. If another day would suit you better, would you be good enough to write me a note?´ With blank integral leaf. VG

BERNHARDT SARAH: (1844-1923) French stage Actress. The most prominent actress of her time. A.L.S., Sarah Bernhardt Damala, two pages, written to the first and third page, 12mo, n.p., n.d., in French. The document bears to the heading her attractive embossed monogram with her initials and the motto ''Quand Meme''. Bernhardt, in her usual very difficult writing states in part `Ma charmante Dame. Je ne suis point coupable car j´ai….´ (Translation: `My charming lady. I am not at all guilty because I…´), and further suggests to meet her correspondent `…demain à l´heure qu´il vous plaira..´ (Translation: `…tomorrow at any time it will suit you…´ Accompanied by the original envelope also bearing her printed monogram. G to VG     Sarah Bernhardt signs adding her husband surname Damala. She married Aristides Damala, also known by his stage name Jacques Damala, a Greek military officer who turned into actor. The marriage last very short time. Damala was since the very first day unfaithful, and despite the humiliations she endured, giving money to Damala so as to pay his drugs, mistresses and debts to prostitutes, and despite that the fact her husband's infidelity had been a common topic for gossip, becoming the object of criticism and even satire for press, she did not divorce him until her husband, eleven years younger than her, passed away at the early age of 34. 

MILHAUD DARIUS: (1892-1974) French Composer. A fine A.L.S., Milhaud, one page, 4to, brown paper, n.p., n.d., to a friend, in French. Milhaud refers to some of his works and to an agreement reached with his correspondent, stating `Entendu pour "Enfantines" transcription pour piano a quatre mains (partie supérieure facile) des 3 poemes de Jean Cocteau pour chant et piano. Je viendrai un de ces jours revoir mon paquet de contrats. Quand voulez-vous?´ ("Agreed for "Enfantines" transcription for piano, four hands, (upper part easy) of the 3 poems by Jean Cocteau for voice and piano. I will come to see in the near future my contracts file. When does it suit you?" Small creasing to the right bottom corner, otherwise G  

MOORE DEMI: (1962-     ) American actress. Signed colour 8 x 10 photograph of Moore standing in a three-quarter length pose in the famous image known as Demi's Birthday Suit featuring trompe-l'oeil body painting by Joanne Gair, photographed by Annie Leibovitz and featured on the cover of the Vanity Fair August 1992 issue. Signed by Moore in bold blue ink with her name alone to a light area of the image. EX

3 plastic Hero Figures. Luke Skywalker (height 31cm). Stormtrooper (height 30cm). Pus one other - red, yellow & black suit, yellow cape, black boots and helmet with visor (height 41cm). GC-VGC (£60-80)

Vintage NASA lithographs (35.5x28 cm's), books, and a children's replica NASA astronaut space suit.

ATTRIBUTED TO C E BUTLER oil on panel - late 19th/early 20th century portrait of a bearded man wearing a suit and felt hat, unsigned, 20 x 14.5cms

Intelligence Corps suit jacket and hat, two military peaked hats and a policeman's helmet

Daphne Charlton née Gribble, (British, 1909–1991) Portrait of Francis Davieoil on canvassigned and dated 195161 x 51cm***CONDITION REPORT***Oil on original canvas, slight rubbing around the edges but otherwise good, not framed, one repaired hole near the artist right suit lapel, inscribed presumably with the name of the sitter verso. Not framed.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Leonard Insull ventriloquist's dummy, dressed in a check suit and wearing a sailor's cap, approx. 130cm high, with walnut box seat***CONDITION REPORT***Head retaining original finish but scuffed and worn from use, one eyebrow is drooping, eyebrows, eyes, tongue and lower lip all move, hair looking rather worn, hands with original finish but wear to the palms, discolouration and wear to the costume, particularly so to the cap and shoes, base box does not have a bottom panel.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Clothing: a Prince of Wales chequed three piece gents suit, a cream jacket and a fishing waistcoat/gillet

Vintage clothing; a 1960's outfit in coral wool by Peggy French Couture comprising short sleeved dress, matching jacket, muff and fur trimmed pillbox hat (label says size 16), together with a faux fur hat and a 2 piece suit in traditional Welsh woollen cloth

A replica late 15th/early 16th century full size steel suit of English armour, fully articulated and wearable together with hanging stand

WW2 Third Reich Deutscher Reichsbund für Leibesübungen DRL Leaders Track Suit badge. Size 105mm x 115mm.

A 1940s skirt suit of black wool with grey fleck, having novelty heart shaped pockets to jacket and beautiful Deco buttons.

A 1950s Berkertex continentals pink and white candy striped two piece skirt suit.

A 1970s/80s red leather three piece suit, comprising jacket, trousers and skirt.

An assortment of ladies clothing, predominantly 1970s, including cream wool Mansfield skirt suit.

Marks & Spencer double breasted evening suit, trousers being 36'' waist x 33'' leg.

Karl Lagerfeld for Chanel: a Black Fantasy Tweed Skirt SuitAutumn/Winter 2002Comprising a jacket with leather collar and horse-shoe cuffs, and a mid-length skirt (2)Condition Grade BLabelled size 44For further information on this lot please visit Bonhams.com

AN IMPERIAL BEIJING ENAMEL CUP STAND, KANGXI YUZHI MARK AND OF THE PERIOD (1662-1722)China, c. 1700-1722. Of sixteen-lobed form, the body of heavily cast copper alloy and with the rims finely gilt. Exquisitely painted in bright enamels, the interior with eight phoenixes radiating from the central raised stand with kuilong decoration against a yellow ground. The central recessed ring, added to support a cup, with a half-open peony bloom and furled petals against a turquoise ground, the base similarly painted with radiating and overlapping flower petals, centered by a roundel enclosing a red-enameled four-character mark Kangxi yuzhi and of the period.Provenance: By repute from an old estate in London, United Kingdom. English trade, acquired from the above. Condition: Good condition, commensurate with age, presenting remarkably well with crisp colors and a subtle luster overall. Old wear and a dense crackling to the enamels, as well as minor warping, dents and nicks to the metal fittings, exactly as expected from this type of ware. Small areas of verdigris, the inner edges and corners of the well with minor yet distinct areas of calcification, indicating the piece may have been used as a jardiniere for some time. Obvious nicks and losses, no restoration or repair of any kind.Weight: 744.3 g Dimensions: Diameter 21.6 cmThe sides painted on the interior with petals against a turquoise ground and on the exterior with colorful kuilong against a yellow ground, the galleried rim with blue foliate scroll against a white ground.The rich color palette and the delicacy of the multi-colored design employed to decorate this exquisite cup stand demonstrate the superb craftsmanship of the Imperial Palace Workshops in Beijing, the Zaobanchu, and the extraordinary skill of their painters. The technique of enameling on metal was originally introduced to the Chinese craftsmen in the Guangzhou area by French Jesuit missionaries in 1684, following the lifting of restrictions at Chinese ports. Being a port city, these artisans were the first to be exposed to wares from Europe and initially developed the skills to replicate these imports. Enamored with the range of vivid and pastel tones of both the imported and tributary wares, the Kangxi Emperor recruited enamel artisans from Guangzhou and Jesuit missionaries to work in the Palace and advance the proficiency of the Enamel Workshops. Painted enamel thus became a defining art form of this period, in quality, innovation, and unsurpassed opulence.The appearance of Kangxi yuzhi marks - unframed, inside double circles, as in the case of the current cup stand - on a number of the surviving examples provides an indication of the Emperor's close personal attachment to these pieces. This exquisitely decorated cup stand can probably be dated to the latter years of the Kangxi reign, possibly to the period AD 1700-22, since a fully developed enamel palette has been used to great effect in its painted decoration on a yellow ground, which is found on the majority of enameled metal vessels from this era. The delicately-painted phoenixes are rendered in both pink and blue enamels, of types which were not successfully prepared in the imperial ateliers until around 1700. In fact, this lot can be seen as a celebration of these newly invented enamel colors and the way they could be used to create painterly, but at the same time jewel-like, decoration. A related palette can be found on a small white-ground lobed box, also with a Kangxi yuzhi mark, in the collection of the National Palace Museum, Taipei (see Enamel Ware in the Ming and Qing Dynasties, Taipei, 1999, page 172, no. 82), which also bears a blue Kangxi yuzhi mark. The painting on the current lot is, however, executed with even greater sophistication.Literature comparison: Compare a Beijing enamel plate, also of sixteen-lobed form, with a Kangxi yuzhi mark, and painted with the same design, in the National Palace Museum, Taipei, image number K1E000374N000000000PBA.Also compare an almost exact reproduction of the present cup stand commissioned by the Qianlong Emperor, 22.5 cm diameter, with an enameled four-character Qianlong mark and of the period, from the Qing Court collection and still in Beijing, illustrated in Metal-bodied Enamel Ware: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2001, pages 212-213, no. 203. The fact that only a few details were slightly reinterpreted to suit the Qianlong Emperor's taste speaks for the timeless beauty of the present cup stand. Furthermore, compare with entry I-15 in Garland of Treasures: Masterpieces of Precious Crafts in the Museum Collection. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 30 November 2022, lot 27 Price: HKD 885,000 or approx. EUR 107,000 converted at the time of writing Description: A superb and rare imperial Beijing enamel circular dish, Kangxi red enamel yuzhi four-character mark and of the periodExpert remark: Compare the closely related enamel decoration, yellow ground, and Kangxi yuzhi mark. Note the different form, motif, and the significantly smaller size (9.5 cm). Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 May 2013, lot 2157 Price: HKD 1,230,000 or approx. EUR 186,000 converted and adjusted for inflation at the time of writing Description: A very rare imperial painted-enamel cup and stand, Yongzheng enameled four-character marks and of the periodExpert remark: Compare the related enamel decoration and yellow ground of the cup stand. Note the different form, motif, smaller size (15.2 cm), Yongzheng reign mark, and that the lot also comprises the matching cup.Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 7 April 2013, lot 3028 Price: HKD 1,840,000 or approx. EUR 278,000 converted and adjusted for inflation at the time of writing Description: A rare imperial enameled gold-bodied cup stand, Qing dynasty, Qianlong / Jiaqing periodExpert remark: This lot is another example of an imperial enameled cup stand, however of later date and unmarked. Note the related size (20.5 cm). The Sotheby's catalog note for this lot states that the Qianlong-marked cup stand in the National Palace Museum (see Literature comparison) is gold-bodied, which is contradicted by the Palace Museum's own publication, stating that the rims of the cup stand are only gilt, e.g. not made from solid gold.“康熙御製”款黃地花式鳳紋折沿杯托中國，約1700-1722年。 來源：據説來自英國倫敦私人收藏；英國古玩交易，購於上述收藏。

Three gentleman's tweed suit jackets by Dunn & Co and High and Mighty

Suitcase of curtain fabric, cushions, Irish wool suit jacket and wool and angora ladies coat

* Children's clothes. A Regency boy's linen skeleton suit, late 18th/early 19th century, hand-stitched cream linen skeleton suit, comprising a long-sleeved shirt with stand-up collar of fine white linen, front with 2 tucks either side of opening, latter with 3 (of 4) metal button closures stamped '1' within a wreath and lettered 'United States of America' around edge, back of shirt with 6 tucks, lower edge of shirt with 8 further buttons, matching, for attaching the trousers, latter with front pockets, and cuffed at ankles, with button closure (buttons replaced), several very small holes (largest 5 x 5 mm), waist with a few rust marks (from buttons), chest 74 cm (28 ins), sleeves 25 cm (9.75 ins), waist 30 cm (11.75 ins), length of trousers 56.5 cm (22.25 ins), overall length 84 cm (33 ins), together with:A Victorian boy's velvet dress, hand and machine-stitched all-in-one ensemble comprising conjoined waistcoat, jacket, and skirt: maroon grosgrain taffeta waistcoat with collar, and front closure with a metal hook and stitched loop and 7 mother of pearl buttons (1 or more replaced?); waistcoat sewn into a wine-coloured velvet jacket edged with maroon taffeta and lined with cotton twill, with flap pockets, long sleeves, embellished with scalloped cuffs and mother of pearl buttons, and 11 long laps at rear, closure below collar with button missing; matching velvet skirt with wide taffeta trim, attached to waistcoat with stitching at waist, front closure with 4 buttons as before, 7 metal hooks and corresponding loops on inside, overall some small light marks, and 1 or 2 tiny holes, chest 66 cm (26 ins), sleeves 39.5 cm (15.5 ins), waist 64 cm (25 ins), overall length 68 cm (26.75 ins), plus 3 19th century christening gowns, generally in good conditionQTY: (5)NOTE:Provenance: Second item from a collection which came from the family of Thomas Crewe Dod (1754-1827) of Edge Hall, Malpas, Cheshire.First item: a rare survival of a boy's outfit made during a period of great transformation in the history of children's clothing. Prior to the 1780s boys had been attired in tailcoats and breeches in imitation of those worn by men. The last two decades of the 18th century saw the introduction of the infinitely more practical and comfortable skeleton suit, typically composed of a jacket or shirt and long trousers which buttoned together as here. This suit of cool linen is finer and less structured than the formal suits generally seen in family portraits, and was likely made for hot summer days, with the comfort of the child in mind, though perhaps not intended for boisterous play. Children's, and particularly boys', clothing is incredibly scarce, and the survival of a cream lightweight skeleton suit in such good condition is highly unusual.  

SELECTION OF CALVIN KLEIN JEWELLERYcomprising Glint bangle, a black hinge bracelet, a silver hinge bracelet, a large glass crystal statement necklace, a black rectangular suit of a necklace and earrings

LEONARDO COLLECTION PORCELAIN DOLLScomprising Ilana in a blue velvet dress, coat and hat, baby Oula in pale blue trousers and hooded jacket, baby Oula Jaaskelaine in a pale blue towelling suit and cord jacket and hat, baby Georgia in a pink romper suit with hat and socks and another baby in a white romper suit, together with four baby mats

A suit carrier together with assorted bags etc

19th century English schoolPortrait of a scholar in dress suit, oil on canvas, 34 x 29.5cmA Cotswold Estate

Two hallmarked silver photograph frames, the larger to suit 7x5 inch photo, Sheffield 1995, maker Carr's of Sheffield Ltd, the other oval, maximum diameter of photo 7 inches, Sheffield 1997, maker Carr's of Sheffield Ltd

Modern hallmarked silver photograph frame, to suit 7x5 inch photo, Sheffield 1996, maker Carr's of Sheffield Ltd, in Smythson of Bond Street box

Pair of George V hallmarked silver boat shaped salts, Birmingham 1912, maker H J Cooper & Co Ltd, length 8cm, Walker & Hall silver pepper, Sheffield 1903, hallmarked silver salt to suit blue glass liner and a hallmarked silver salt with blue glass liner, Birmingham 1912, maker's mark rubbed, weight excluding linered example 60g

Vintage or classic Castrol oil dispenser cabinet to suit car or motorcycle enthusiast, height 142cm

A Sparco racing driver's one piece suit, together with a racing driver's helmet, slight scratches to helmet. Size 58.

A fisherman's one piece Rapala Prowear fishing suit with size 46/47 boots.

An Aynsley porcelain twin handled cup and cover, to commemorate twenty five years of passenger flight of Concorde 1976-2001, painted with reserves of Taking Off, and Over New York City, limited edition no. 35/100, painted by J Shaw, boxed with stand and certificate, together with a Royal Sutherland Fair well to Concorde limited edition tankard, a Anya Hindmarsh cosmetics case, to celebrate twenty seven years of Concorde's Commercial Super Sonic Flight, boxed, and a Concorde plastic suit cover. (4)

The Gentleman's Magazine: Or, Monthly Intelligencer for The Year 1733 by Urban Sylvanus, Published, printed and Sold at St. Johns Gate: by F. Jefferies in Ludgate-Street, London 1733, First Edition, approx 14cm x 21cm. The front and back covers of this hardback book are present but detached and part of the spine cover is missing, the paper is age toned but not brittle or loose and would suit restoration. nice book, £200 retail in better condition, let market decide. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Red leather travel suit case trunk. A vintage 20th Century military travel suitcase trunk chest. With red carry handle to top with rectangular body with stitched decoration, metal clasps and fixings on a hinged lid to reveal a spacious interior. Capt. A. V. Rix to top. Measures approx. 40cm x 65cm x 27cm

Edward Bent Walker (British, 1860 - 1917) Portrait of a gentleman wearing a grey suit and tie, three-quarter length Signed and dated 1900, oil on canvas, 125cm x 88.5cm.

A pencil sketch with watercolour depicting a gentleman wearing a suit, 28 cm x 19 cm

A charcoal grey 2007 Chelsea F.A. Cup final two-piece suit by Hugo Boss,  with embroidered badge inscribed Chelsea Football Club, size 48, believed to have been worn by Joe Cole

An England Football Association Italia '90 official suit carrier, with two accessories pockets and carry handle, in well used condition, an Italia '90 press pass, etc. Provenance: The above lot is the property of David Bloomfield, the England Football Association press officer for the Italia '90 World Cup campaign. 

Bovey pottery character figurine in a pale honey colour - Depicting an RAF pilot with a flying helmet, goggles, flight suit and a parachute harness. 1 of a series of 6 in the group called 'our gang'. Modelled by Gwyneth Holt and Fenton Wyness.

Palitoy - Action Man - A bundle of Action Man part uniforms / clothing. Lot includes a quantity of homemade knitted clothing, plus some vintage Palitoy garments and accessories including German Stormtrooper jacket; British Army Officer jacket; Space Ranger tabard; Space Ranger Captain one piece rubberised suit and similar. Items show age and play related wear, appearing Fair Plus - Good overall and are unchecked for completeness. (This does not constitute a guarantee)

Palitoy - Action Man - Three flock haired, unboxed Action Man figures. Figures all marked 'Made in England by Palitoy Under License From Hasbro © 1964' to rear of torsos. Figures wear a variety of outfits - some home made; one wears Astronauts suit. Conditions generally appear to be Fair - Good with some signs of play and light surface marks. Astronaut in particular would benefit from cleaning. (This does not constitute a guarantee)

A car accessory mascot in the form of a running Indian Chief mounted on a radiator cap, possibly to suit Alvis 4.3 or Pontiac, approx. 6" high.

An Art Deco style car mascot in the form of a stork in flight, to suit Hispano Suiza cars, signed F. Bazin, radiator cap mounted, approx 8 1/2" long.

An Art Deco stylised car accessory mascot in the form of a stork in flight, to suit Hispano Suiza or similar, display base mounted, approx. 5 1/2" high.