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English School, late 19th century - Portrait Miniature of a Lady, in a lace-trimmed dress with roses corsage, signed with initials M G, ivory, oval 10cm, French gilt lacquered brass frame and English School, 19th century - Portrait Miniature of a Man, perhaps a philosopher, in blue turban and brown coat before red drapery, ivory, oval 66mm, giltmetal frame (2)Please note Mellors & Kirk have applied for an exemption licence for the ivory in this lot. Ref: 3BJPALEE and K6XYZKP5

A MID-19TH CENTURY GEM-SET, ENAMEL AND SEED PEARL CORSAGE ORNAMENT, CIRCA 1860Of scrolled openwork backplate, applied with black and white enamel, the upper motif centring an oval-shaped pink foiled-back stone, further accented by seed pearls and emeralds, suspending a similarly-set motif of swag design, mounted in silver and gold, length 7.2cm Condition Report: Loss to enamelAbrasions and wear to stonesChips to seed pearls, one small seed pearl deficientReverse with two bails, chain link connectorsSigns of wear commensurate with ageTotal gross weight approx. 15.4g

A 1970s full length FRANK USHER evening dress, fully lined synthetic crepon, the V-neck trimmed with a self coloured corsage and the hem with a pleated ruffle. Size 12: together witha 1970s Victorian style wedding dress, the frilled bodice and long sleeves trimmed with lace and pearl beads, double layer skirt with small train. made in England by COUNTRY BRIDE, size 14

Qty of ladies clothing to include, navy sequin shrug, navy lace and chiffon knee length T- Dress by Debut size 8-10, strapless white chiffon dress with black corsage and black lace sash, Coast, size 10, Strapless satin cream gown with black chiffon overlay detail, Coast, size 12, yellow cotton knee length dress, Jessrie, size 8, yellow floral cotton dress coat Jessrie, size 8 (both Jessrie labelled as 6, but comprtably fits 8-10)

RUSSISCHES KABINETTFOTO DER GROSSHERZOGIN ELISABETH FEODOROWNA AUS DEM 19.JH. Auf Karton aufgezogen, mit gedruckter Signatur und Logo auf der Vorder- und Rückseite, Großfürstin Elisabeth Feodorowna posiert mit einen spektakulären Miederschmuck, die Edelsteine wurden Ella von ihrer Schwiegermutter, Zarin Maria Alexandrowna von Russland, als Hochzeitsgeschenk überreicht, das Set bestand aus einem Kokoschnik, einer kunstvollen Halskette, Ohrringen und einem beeindruckenden "devant de corsage" HxB: 24,5/17 cm. Leichte Altersspuren.| RUSSIAN CABINET PHOTOGRAPH OF THE GRAND DUCHESS ELIZABETH FEODOROVNA FROM THE 19TH CENTURYMounted on cardboard, with printed signature and logo on the front and back, Grand Duchess Elisabeth Feodorovna posing with a spectacular corsage jewellery, the gemstones were presented to Ella by her mother-in-law, Tsarina Maria Alexandrovna of Russia, as a wedding gift, the set consisted of a kokoshnik, an elaborate necklace, earrings and an impressive ‘devant de corsage’ HxW: 24.5/17 cm. Slight signs of age.

Four Damask tablecloths, plus one with floral applique design, together with a handmade Bridal tiara and a floral corsage made from feathers.

20th Century Wedding Dresses, comprising a peach satin long full length dress with long flared sleeves appliqued with satin and pearl mounted leaves, round neck, floral corsage to the reverse and detachable long train,an ivory full length dress with long sleeves in silk type fabric with round neck, wriggle work trim to the bodice with sequin flower heads and a-line skirt with train, bow to the reverse, a lace mounted dress with scooped neckline, long sleeves, full skirt, white machine crochet trim to the neckline and waist,a Muriel Martin London white dress with long sleeves, trim to the skirt and long train,a circa 1970s straight wedding dress with long sleeves and textured loose weeve panel to the front,(5)Lyn Hopwood Costume Collection 1800-1960; collected over a lifetime and provided much pleasure giving talks and demonstrations across the country

Late 19th to Mid 20th Century Costume comprising a black silk bodice with black beaded trim and similar black silk full skirt with a black lace mount, black wool short cape, black taffeta silk underskirt and another of striped design, cream silk type underskirt, white cotton petticoat, white linen ecclesiastical shirt, cream net spotted long skirt, cream silk shirt, white taffeta type underdress and a Sambo Fashion blue sleeveless cocktail dress with matching corsage, (12) Private Family CollectionSome of the items included in this collection were from Sarah Dyer; her parents were landowners in Ireland and murdered during the potato famine. She was fortunate to be taken in and cared for by a local humble tenant family. Sarah married a Welshman by the name of Dyer and they moved to Naples, Italy, unfortunately there is no historical date to explain why. They had three children, Annie Laurie, Winifred Sarah and a boy, after which her husband abandoned them, and she made supported her family by taking in lodgers. Annie Laurie Dickens and her husband went on Tour to Egypt in 1910. Winifred Sarah married Thomas Washington Allen, an English engineer working in Armstrong's munitions factory, they continued to live in Naples, and had three girls including the vendors grandmother.

Arturo Noci (Italian, 1874-1953) The Rose Corsage; portrait of a flame-haired young lady wearing a yellow rose corsage, signed, oil on canvas, 53.5 x 32.5cms, in frame.

Early 20th Century Cream Silk Wedding Dress, with elbow length lace mounted bodice and sleeves, v-neckline, wax corsage to the waist, small train to the reverse,Baby Costume comprising white cotton baby robes with lace insertions and embroidery, white cotton blanket, white cotton bed cover with tape lace insertions, two embroidered cream wool capes, white net christening robe, two baby bonnets, cream wool and silk mounted cape with cream silk fringing, white silk short sleeve robe etc,(one box and dress)

Sophie Liénard (French, active 1842-1845)Queen Victoria (1819-1901), Queen of Great Britain and Ireland (1837-1901), standing in the Royal Box at the Drury Lane Theatre, wearing white dress, three-quarter-length sleeves trimmed with two tiers of white lace, white rosette to her corsage set with a diamond pendant jewel, blue sash of the Order of the Garter, black lace shawl, diamond pendent earrings and diamond tiara, the ruched trim of her white gloves decorated with black rosettes, a nosegay of pink roses held in a gold bouquet-holder (a gift from the Marquess of Coyngham) in her left hand, her right hand resting on the ermine stole draped over the ledge of her box, on which sits a programme held open by an ivory fan, the gilt-wood and red upholstered chair behind the Queen bearing her monogram VR. Painted on porcelain, signed on the reverse and dated, Queen Victoria/ copied by Sophie Lienard, of Paris,/ from the original by E. T. Parris/ London._1838., gilt-mounted on a suedette slip impressed with a gilt-metal crown and monogram VR, gilt-wood frame . Rectangular, 179mm (7 1/16in) highProvenance:Bonhams London, 28 June 2012, lot 151;The Twinight CollectionFootnotes:As indicated by the inscription verso, the present lot derives from a portrait by Edmund Thomas Parris (British, 1793-1873). On her first state visit to the Drury Lane Theatre in November 1837, Parris made a preliminary sketch of the Queen from his seat in the orchestra. Understandably, this image of the young Queen was immensely popular and was reproduced by a number of artists. A version by the miniaturist Sarah Biffin was sold in these rooms, 19 November 2008, lot 167. Versions in oil exist in the Royal Collection and the Forbes Magazine Collection, New York. The portrait was also engraved by Charles Edward Wagstaff and published by Hodgson & Graves on 5 April 1838, giving it an even wider circulation. Perhaps due to the success of this portrait, later the same year, Parris was commissioned by Hodgson & Graves to portray the Queen's coronation. He received sittings from the Queen and all of the key figures who were scheduled to attend the ceremony. A print of this painting, also by Wagstaff was later published in 1842.The whereabouts of Parris' prototype are somewhat elusive. It has been suggested that the original work is possibly that which formerly belonged to Queen Mary, exhibited in Queen Mary's Art Treasures at the Victoria and Albert Museum in 1954 (R. Ormond, Early Victorian Portraits, vol.I: Text, London, p.480).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Charles Boit (Swedish, 1663-1727)Anne, Queen of Great Britain and Ireland (1665–1714), seated three-quarter-length, in an ermine-lined crimson cape, lilac-coloured gown, white chemise, the lesser George on a blue ribbon at her corsage, crown and orb to dexter, interior and drapery background. Enamel on copper, signed on the obverse and dated, C: Boit pinx; / 1712, gilt-metal frame with pierced spiral cresting. Rectangular, 127mm (5in) highProvenance:with D.S. Lavender Ltd, London, 1993 Mrs T.S. Eliot, executor's sale 'A life's devotion: The Collection of The Late Mrs T.S. Eliot', Christie's London, 20 November 2013, lot 152;The Twinight CollectionExhibited:D. S. Lavender (Antiques) Ltd., London, The Monarchy in Portrait Miniatures from Elizabeth I to Queen Victoria, 1993, no. 63 (lent by D. S. Lavender (Antiques) Ltd.).Literature:C. Lloyd and V. Remington, exhibition catalogue Masterpieces in Little. Portrait Miniatures from the Collection of Queen Elizabeth II, London, 1996, p. 134Footnotes:Charles Boit, born in Stockholm to French parents, first trained as a goldsmith in his hometown before travelling to Paris to further his studies. He moved to London in 1687 where he benefitted from the protection of the Swedish portrait painter Michael Dahl. His 'very neat' work, as described by George Vertue, assured him patronage, the apogee of which was marked by his appointment as court enameller to King William III in 1696. Royal employment continued under Queen Anne, which included a commission to paint a large (40.5 x 61cm) commemorative enamel plaque celebrating the Battle of Blenheim. This highly ambitious project was abandoned due to a combination of technical, financial and political issues, ultimately forcing Boit to flee to France in 1714. In Paris he was able to re-establish his career, enjoying the patronage of the Regent, Philippe, Duc d'Orléans. In 1717 he was made an Agrée of the Académie Royale.A full-length portrait by Charles Boit of Queen Anne, depicted seated with her consort Prince George of Denmark standing to her right, is in the Royal Collection (RCIN 421497, signed and dated 1706).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A standing portrait of a European lady holding a flask and cup,Deccan, Central India, late 17th century,Opaque pigments heightened with gold on paper, facing left, haloed, her long hair loosely tied in a knop, wearing a corsage embroidered with floral sprays over an orange dress, possibly part of a larger composition now lacking, framed within a19th century gilt oval medallion9.5cm. visible, the medallion frame 17.4 x 14.2cm.Condition Report: This lot is fitted within a medallion frame. It was likely part of a larger composition, then separated before being displayed as it is sold in our sale.Besides some light scattered pitting, the painting presents as clean overall. The pigments are strong and do not show any signs of lifting off. The painting is laid onto an oval card itself fitted in the black rectangular frame with oval opening. there is a further loose oval paper between the painting and the frame fall back. 

with brown painted side glancing eyes, blonde mohair wig, swivel head, jointed cloth body with felt limbs, two fingers together, blue felt and white muslin dress with matching bonnet and shoes, felt roses in hat and corsage and holding basket with doll’s head to outside —13 1/2in. (34.5cm.) high (some moth damage, especially around neck joint and left cheek, other damage and ageing)

Boucheron, beau devant de corsage Belle Epoque en platine stylisant un noeud ajouré d'une frise feuillagée entièrement pavée de diamants taille ancienne et intermédiaire, signée, 12x4.8 cm, 45g

Antique American Character sweet sue era doll with original rose dress and bonnet set shoes and  socks and striped undergarments ,in box base and lid remains  and side label, and a further lovely same era pale blue 1950s era child American doll with bonnet and corsage and shoes and socks. A good pair in original clothing in good for age condition(2)

Antique Chad Valley 20” dolls Bambina models ; to include a bright felt pink costume doll with hat with corsage-some perish to felt as shown and another child Bambina doll in a rose coat and hat and side glancing glass eyes -original clothing with a replacement vintage dress below the coat and both have original felt shoes etc, good velvet solid construction and both have the chad valley aero lite button on the torso shown in a photo) (2)

A white-glazed bride delicately holds a pale pink and yellow corsage with one hand extended, while a Japanese figurine of a man in a white, gold, and black outfit rests beside his mask and instrument. Wedgwood backstamp on Here Comes the Bride. Japan manufacturing sticker. Dimensions of the largest item: 4"L x 1.75"W x 7.75"H. Manufacturer: WedgwoodCountry of Origin: EnglandCondition: Age related wear.

A RARE ART NOUVEAU ENAMEL AND DIAMOND 'PANSY' RING, BY CHARLES RIVAUD, CIRCA 1900 The cushion-shaped diamond weighing approximately 2.20cts, within a raised petal mount, applied with blue enamel, to shoulders, set with rose-cut diamonds and blue enamel, mounted in 18K gold, signed CR for Charles Rivaud, French import mark, with maker’s original case stamped 'CH. Rivaud, 23, rue de Seine, Paris', ring size M A very similar model is reproduced in the book Paris Salons 1895 - 1914 - Joaillerie - II: les designers de L à Z by Alastair Duncan, with the mention Paris Salon 1904”. Charles Magloire Rivaud, an imaginative artist and skilled artisan, continues to captivate the jewellery world with his enduring legacy. Born on April 5, 1859, in the village of Boismorand, Loiret, France, Charles was destined for greatness in the realm of jewellery, inheriting a rich tradition spanning three generations. His journey began in Paris, where he discovered his passion and embarked on a transformative path in jewellery making. Rivaud delved into electroplating, pioneering techniques that would reshape the industry. His marriage later in life marked a significant turning point, merging his love for craftsmanship with a deep commitment to his beloved city. Establishing his workshop on the Quai de l'Horloge, Charles envisioned a space where creativity thrived, welcoming fellow artists and enthusiasts alike. Renowned for collaborating with esteemed sculptors such as Oscar Roty, Jean Dampt, and Victor Prouvé, Rivaud gained prominence as a publisher of meticulously sculpted medal-adorned brooches, notably the celebrated Broche du Souvenir in 1898. His partnership with Victor Prouvé was prominently featured at the Salon de la Société Nationale des Beaux-Arts, showcasing Prouvé's medal brooches—Aurore, Crépuscule, Gaule, le Bonheur—published by Rivaud. Amidst Parisian society, Charles remained steadfast in his pursuit of artisanal excellence. Collaborating with renowned sculptors and painters, he elevated his creations to unparalleled heights, captivating patrons, and critics alike. Through each meticulously crafted piece, Charles Rivaud breathed life into a world where tradition intersected with innovation, and beauty transcended the constraints of time. Among his remarkable creations, stands the iconic 'Centenary bracelet', a testament to his reverence for history and artistic genius. Crafted to commemorate the 100th anniversary of the French Revolution, this masterpiece encapsulated the essence of a bygone era, immortalizing the ideals of liberty, equality, and fraternity. Adorned with intricate details and symbols of enlightenment, the Centenary bracelet remains a timeless symbol of Charles Rivaud's enduring legacy. His participation in the Universal Exhibition in Paris exhibited Rivaud's important contribution to Decorative Arts. From 1901 to 1913, his Salon contributions spanned a diverse array of jewellery, from iron rings in 1903 to a corsage plate depicting Rodin's Head of Saint John in 1912. Rivaud's mastery was symbolised by his unique mark— the letters CR accompanied by an electric battery—a testament to his ingenuity and legacy in the world of decorative arts. His legacy extended beyond craftsmanship; Rivaud was also the founder of the Société du Salon d'Automne and a member of the Société des Artistes Décorateurs. Charles Rivaud contributions were noted in several Salons between 1906 before his passing in 1923. His son, André-Charles, succeeded him in 1924, ensuring the continuation of Rivaud's esteemed legacy. Rivaud leaves behind a legacy of innovation and creativity that continues to inspire generations. His unwavering dedication to excellence and passion for the craft. Victorians cherished hidden meanings: this fascination reflected in jewellery craftsmanship. Flowers, rich in romantic symbolism, conveyed sentiments through the Language of Flowers. To Victorians, blooms embodied tender emotions like attachment and compassion. During the era, this floral vocabulary became a discreet form of communication, aligning with Victorian propriety. Amid the excess of floral symbols, the pansy held a special significance, symbolising think of me, derived from the French word pensée for thought. Literature including Shakespeare's Hamlet, abounds with references to pansies, hinting at their contemplative essence. In the floral language, pansies conveyed thoughts of the giver toward the recipient, often associated with platonic or unrequited love. The pansy's potent symbolism transcended into bespoke jewellery, adorned with exquisite enamel work, reinforcing its status as a cherished symbol of affection and contemplation.

An impressive sapphire and diamond devant-de-corsage, late 19th century, set with a shallow octagonal sapphire, a cushion-shaped sapphire and a pear-shaped sapphire, within a foliate openwork border set with cushion-shaped diamonds, mounted in silver and gold, length 6.9cm, fitted caseAccompanied by report number 81309-87 dated 18th June 2021 from GCS stating that the octagonal sapphire measuring approximately 18.3 x 14.6 x 5.5mm and the pear-shaped sapphire measuring approximately 13.8 x 8.4 x 5.6mm are each of Sri Lankan (Ceylon) origin, with no indications of heat treatment, and the cushion-shaped sapphire measuring approximately 9.7 x 8.9 x 3.9mm is of Burmese (Myanmar) origin, with no indications of heat treatmentProvenance: formerly in a Noble Family Collection

Miniature portrait of a gentleman wearing purple suit with gold trimming, on ivory 3.5 x 2.75 cm and a portrait of a lady wearing pink dress with floral corsage, on ivory 3.75 x 3 cm, both in bracelet mounts (2) Ivory Submission References: G2JN8T4D (gentleman) 2PJEWU95 (lady) CITES permit is included. Exporting outside the EU will require an additional export permit. *CR Painted surface of the gentleman crazed and lady somewhat faded.

Christian DIOR (attribué à), collection Haute Couture, Automne-Hiver 1953. Ensemble de cocktail en taffetas de soie imprimée.Création: Christian DIOR.Haut de forme corsage drapé, simple boutonnage, manches courtes, jupe large évasée.Griffe manquante.Provenance: Garde robe de madame Yvonne Minassian, première vendeuse chez Dior.Modèle réalisé à la demande de madame Minassian, dans un autre tissu que celui de la collection et avec un dos différent.Footnotes: Christian DIOR (attributed to), Haute Couture collection, Fall-Winter 1953. Cocktail set in printed silk taffeta. Creation: Christian DIOR. Draped bodice top, single-breasted, short sleeves, wide flared skirt. Label missing. Provenance: Wardrobe of Mrs. Yvonne Minassian, first saleswoman at Dior. Model made at the request of Mrs. Minassian, in a fabric other than that of the collection and with a different back. For further information on this lot please visit Bonhams.com

Christian DIOR, collection Haute Couture, Automne-Hiver 1957. Robe bustier grand soirCréation: Christian DIOR - La dernière collectionEn satin de soie ivoire entièrement rebrodé de petites perles blanches sur paillette argent. Le haut du buste présente également une broderie réalisée comme un devant de corsage. La jupe ample sur jupons de tulle présente de part et d'autre deux larges plis donnant le volume. Griffe blanche, graphisme noirFootnotes: Christian DIOR, Haute Couture collection, Fall-Winter 1957. Strapless evening dress. Creation: Christian DIOR - The latest collection. In ivory silk satin entirely embroidered with small white pearls on silver sequins. The upper bust also features embroidery done as a bodice front. The full skirt on tulle petticoats has two large pleats on either side giving volume.For further information on this lot please visit Bonhams.com

A small group of gold jewellery, comprising:a 9ct gold shell cameo, a carved shell cameo depicting an elegant lady in side profile wearing a jewelled pendant and foral corsage, London import hallmark 1986, 4.76g an Egyptian 18ct gold sapphire and paste cluster ring,with a cluster of round cut sapphires and paste, all claw set to a plain shank, Egyptian official national mark for 18ct gold standard, 1940 to present, 3.12g Ring size O, anda 9ct gold green hardstone pendant,an oval green hardstone cabochon, bezel set to an articulated bale, Birmingham 1967, 5.67g (3)Condition ReportEqyptian gold ring showing 4 vacant collets, one paste to end with significant loss. With chips and abrasions to central sapphires.Marks and scratches to mounts.Minor tarnish.

A circa 1920 Callot Soeurs black satin and lamé evening dress, the cream lace top with cap sleeves and later added corsage, above a chinoiserie patterned bodice, skirt and train with black lace cape to back CONDITION REPORTS The sleeves have discolouration throughout especially to the underarm. There are some snags in the tulle and signs and moth mainly to the black lace drapes. The waist is approx. 25 inches and the bust is approx. 26 inches. Has clearly had something red stitched into it at some point, not at the time and not recently as there are various loose threads within the garment.In a very fragile condition with wear and tear conducive with age, use and attic storage with items that have significant moth damage. See extensive and numerous images for further detail. Provenance: made in the early 20th Century for the then Lady Apsley then by descent.

Lackenmacher, Gabriele (geb. 1949 Altenwald), Frau mit Corsage und entblößter Brust, Öl auf Papier, 28 x 22 cm (Passepartoutausschnitt), auf Passepartout sign. u. dat. (19)84, im Wechselrahmen unt. Glas ger., Gesamtgröße: 41,8 x 31,8 cm.  4292-007

GEORGE SPENCER WATSON ROI, RP, ARA, RA (1869-1934)Portrait of Mrs William Tisdall, (Elsie Gardiner) standing nearly full length, wearing a white dress with rose corsage, standing by a mirror and vase of red flowers, oil on canvas, 59 1/2 x 34 1/2 inExhibited: The Royal Academy, London 1909. no.40.Possibly Exhibited at The Paris Salon.Dresden. Kunstsalon Emil Richter, 1911.Dorset County Museum, Dorchester & Southampton Art Gallery 18th Sept 1981-10 January 1982 no.3Provenance: The Artist's family, by descent.The artist refers to the painting of this portrait in his notebook at the time. 'Aug 08. Mrs Tisdall nee Gardiner sister of Hilda and Mrs Thompson...done at Charlesfort.....Had a delightful time there'.Born in London the son of a surgeon, George Spencer Watson trained as an artist at St. John's Wood and The Royal Academy Schools from 1889. Exhibiting at the RA from 1891, George Spencer Watson's best Edwardian portraits show a controlled aestheticism and display the influence of John Singer Sargent.Although his earlier preference had been to paint subject pictures in the tradition of Lord Leighton and George Frederick Watts, Spencer Watson's later success as a society portraitist led to a steady stream of commissions. After 1900 Spencer Watson began exhibiting regularly at The Royal Academy, at The New Gallery and at The Society of Portrait painters of which he became an active member. Until the First World War he also exhibited at the Paris Salon regularly until the 1914 War, and he had a one man touring show in 1912. His price for a full length ranging between £60 and £100 (around £10000-15000 in current values)The sitter, Elsie Gardiner, had married William Tisdall in 1899. The Tisdalls were a prominent Irish family who had owned the Charlesfort Estate, Kells, Co. Meath since the mid 18th Century.

A 1930s lace and silk two-piece wedding dress, worn by Miss Mary Balleny Charlton, on August 16th 1939, comprising tambour-type lace coat dress, with plunging neckline, full-length sleeves, silk piping, sash, and covered buttons, and a wax flower corsage, worn over a bias-cut silk slip dress, and satin petticoat, bust approximately 34", waist 26", together with veil, and wax flower and silk ribbon bandeau/hair crown.Notes:Digital images in the listing are of the dress being worn by the aforementioned Miss Charlton on her wedding day. Original photographs retained by family.

A collection of eight 19th century Parian busts and figurescomprising three busts of Clytie in Classical style in various sizes, one stamped R & L for Robinson & Leadbeater, a small bust of a young man, a bust of Princess Alexandra, a bust of a young lady with roses in her hair and a bird perched on her a shoulder, a figure of 'Rebecca at the Well' and a figure carrying a basket of grapes, (8)first height 30cm. Condition: Mostly good condition. Rebecca is without vase to her right and chip to foot. Minor chips to rose petals on corsage of Princess Alexandra. Bust of girl with bird has chips to rose petals in her hair and rose corsage has been knocked off. figure with grapes, chips and losses to leaves

Belle Époque Anhänger mit Saphiren und Altschliffdiamanten von zus. ca. 2,5 ct, davon Mittelstein ca. 0,5 ct, altersübliche Farbe u. Reinheit, Saphire zus. ca. 2,8 ct, Platin, Fassungen GG 14K, 11,4 gr, Länge ca. 5 cm, Anfang 20. Jh. im Stil einer Korsagenbrosche des Rokokos. Gefälliges Unikat unter Verwendung von Teilen aus anderem Zusammenhang, guter altersgemäßer Zustand, rückseitig div. Reparatur- u. Arbeitsspuren, Saphire Facettkanten stark berieben.| A Belle Époque pendant with sapphires and old-european-cut diamonds totalling approx. 2.5 ct, of which the centre stone approx. 0.5 ct, colour and clarity typical for the period, sapphires totalling approx. 2.8 ct, platinum, settings GG 14K, 11.4 g, length approx. 5 cm, early 20th century, in the style of a Rococo corsage brooch. Pleasing unique piece using parts from other contexts, good condition consistent with age, various traces of repair and work on the reverse, sapphire facet edges heavily abraded.

A 9ct gold locket and chain and a 9ct gold cameo brooch/pendant, a 9ct gold round locket, with a foliate hand engraved front, 24mm diameter, Birmingham 1976, suspended by a gold Prince-of-Wales link chain, tested as approximately 9ct gold, 600mm long,together with a 9ct gold oval shell cameo brooch/pendant, depicting a lady wearing a corsage, with a scalloped wire edge and articulated tapered bale to pin and roller catch fittings, 30mm x 43mm, Birmingham 1978, 21.56g total (2)Condition ReportMinor marks and scratches.Cameo a little dirty.Minor tarnish.

AFTER PABLO PICASSO, Femme au Corsage Bleu, dated in the plate, off set lithograph, French vintage Montparnasse frame, 28cm x 18cm.

French School (late 18th/19th century): Miniature Portrait of a Lady, bust length, with white shawl, gilt-trimmed dress and floral corsage, on ivory, oval 3.2cm by 2.7cm A Similar Portrait of a Young Officer, bust length, wearing gilt-braided blue jacket with epaulettes, on ivory, oval 4cm by 3.2cm (2)With Non-Transferable Standard Ivory Exemption Declaration Numbers 23ARV98S and D4N366XF

Fernand Leger (after) 'Le corsage Rouge' lithography print, plate signed bottom right, numbered with pencil bottom left, limited edition 13/300, bottom left publishing house stamp 'Leonardo Artis', heavy paper with watermark BFK Rives France, sheet size 50 x 65 cm, without additional documentation, sold unframed

Carl Spitzweg 1808 München - 1885 München Jäger mit Mädchen (Der verliebte Jäger). Um 1848-1852. Öl auf Leinwand. Links unten mit der Signaturparaphe. 33,7 x 24,9 cm (13,2 x 9,8 in). • Wohl eine der frühesten Fassungen des Motivs 'Jäger und Mädchen' im Werk Spitzwegs • Effektvoll inszenierte Szene des ländlichen Liebespaars vor der Kulisse des gebirgigen Hochwalds • Fein und detailreich ausgearbeitete Komposition, die die beiden wildromantischen Charaktere als größere Einzelfiguren besonders in den Blick rückt. Wir danken Herrn Detlef Rosenberger, der das Werk im Original begutachtet hat, für die freundliche Auskunft. PROVENIENZ: Privatsammlung Berlin. Privatsammlung Baden-Württemberg. AUSSTELLUNG: Carl Spitzweg: Reisen und Wandern in Europa und der glückliche Winkel, Seedamm Kulturzentrum, Pfäffikon, 22.9.2002-5.1.2003; Haus der Kunst, München, 24.1.-4.5.2003, S. 152f., Kat.-Nr. 69 (m. Abb.). LITERATUR: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, WVZ-Nr. 1483 (m. Abb.). Siegfried Wichmann, Carl Spitzweg. Jäger mit Mädchen im Wald. Dokumentation, Starnberg-München, R.f.v.u.a.K. 1984, S. 12-19, 24-27, Bayerische Staatsbibliothek, München, Inv.-Nr. Ana 656 SW 19. Das verliebte Paar in der alpenländischen Natur, mit den Figuren des Jägers und der Sennerin stellt eines der schönsten wiederkehrenden Motive in Spitzwegs Œuvre dar. Während seiner zahlreichen Wanderungen im Alpenvorland, den Münchner Hausbergen und Tirol dürfte er diesen beiden als Symbolfiguren idyllischer, freier Ländlichkeit des Öfteren begegnet sein. In seinen Skizzenbüchern finden sich etliche Zeichnungen des Paares, deren Zuneigung er in immer neuen Posen arrangiert. Bereits seit seiner Frühzeit variiert Spitzweg das Thema in kleinen Details und Nuancen: mal findet ein Treffen in der Felsenschlucht statt, mal auf einem Gebirgspfad am kleinen Marterl, im Hochwald oder am Brunnen. Die künstlerische Subtilität Spitzwegs zeigt sich in dem unterschiedlichen Charakter der Begegnungen, die als zufälliges Aufeinandertreffen erfolgen, als Stelldichein in nächtlicher Heimlichkeit oder auch tagsüber bei der mittäglichen Rast, wie die Chronik einer Liebesgeschichte in den Alpen, wenn man alles zusammennähme. Die beiden Figuren und ihre Romanze scheinen ihn nicht nur malerisch nachhaltig beschäftigt zu haben, merkt man doch an den zahlreichen Varianten die theatralische Lust am inszenieren und an der Erzählung. Bei einigen der Gemälde steht die Landschaft im Vordergrund, bei anderen - so wie in diesem Fall - treten die Figuren größer im Vordergrund auf. Sie wenden sich, ganz ineinander vertieft, vom Betrachter ab und spazieren in den dichten Wald, hinter dem man - in ganz Spitzwegscher Manier - einen kleinen Ausblick erhaschen darf auf den hinter den Wolken silbrig schimmernden Mond. Deutlicher als andere Variationen des Themas verortet er die Szene hier im Gebirge, wie es sich in der am rechten Rand eingefügten Felswand zeigt. Außergewöhnlich ist im vorliegenden Gemälde auch die Lichtregie, die wie vor einer Waldbühne von vorne zusätzlich beleuchtet zu sein scheint. Neben die in tupfenhafter und lockerer Malweise in den unterschiedlichsten Grüntönen wiedergegebenen Vegetation und dem Anzug des Jägers setzt Spitzweg im Gewand der Sennerin seinen bevorzugten Farbklang aus rotem Rock, blauer Schürze, schwarzem Mieder und weißer Bluse, zurückhaltend hier jedoch in kleinster und subtiler Dosierung. Die beiden Figuren des Jägers und der Sennerin finden sich auch in einzelfigurigen Szenen in Spitzwegs Œuvre, hier finden sie auf heimlich-romantische Art im Gemälde zusammen. [KT] Aufrufzeit: 09.12.2023 - ca. 13.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCarl Spitzweg 1808 München - 1885 München Jäger mit Mädchen (Der verliebte Jäger). Um 1848-1852. Oil on canvas. Lower left with the signature paraph. 33.7 x 24.9 cm (13.2 x 9.8 in). • Probably one of the earliest versions of the 'Hunter and Girl' motif in Spitzweg's work • Effectively staged scene of the rural love couple against the backdrop of the mountain forest • Finely crafted composition, rich in detail, which focuses on the two romantic characters as larger individual figures. We are grateful to Mr Detlef Rosenberger, who examined the original work, for his kind support in cataloging this lot. PROVENANCE: Private collection Berlin. Private collection Baden-Württemberg. EXHIBITION: Carl Spitzweg: Reisen und Wandern in Europa und der glückliche Winkel. Seedamm Kulturzentrum Pfäffikon September 22, 2002 - January 5, 2003; Haus der Kunst, Munich, January 24 - May 4, 2003, pp. 152-153, cat. no. 69 (fig.). LITERATURE: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke. Gemälde und Aquarelle, Stuttgart 2002, no. 1483 (fig.). Siegfried Wichmann, Carl Spitzweg. Jäger mit Mädchen im Wald. Dokumentation, Starnberg-München, R.f.v.u.a.K. 1984, pp. 12-19, 24-27, Bayerische Staatsbibliothek, München, inv. no. Ana 656 SW 19. The love couple in the Alpine countryside, with the figures of the hunter and the dairymaid, is one of the most beautiful recurring motifs in Spitzweg's oeuvre. During his numerous hikes in the foothills of the Alps, Munich's local mountains and Tyrol, he was likely to frequently encounter these two as symbolic figures of an idyllic rural life. His sketchbooks contain numerous drawings of the couple, arranging their affection in ever new poses. Even from his early days, Spitzweg varied the theme in small details and nuances: sometimes a meeting takes place in a rocky gorge, sometimes on a mountain path at a small shrine, in a mountain forest or at a fountain. Spitzweg's artistic subtlety becomes evident in the encounters’ varying characters. A chance meeting, a rendezvous at night in secrecy or during the day at a midday rest, like the chronicle of a love story in the Alps. The two figures and their romance seem to have been a lasting preoccupation for him, and not just in terms of painting, as the numerous variations thereof testify to his joy in staging and telling the story. In some of the paintings, the landscape is in the foreground, in others - as in this case - the figures appear larger in the foreground. They turn away from the viewer, completely immersed in each other, and walk into the dense forest, behind which - in true Spitzwegian style - we catch a glimpse of the moon shimmering silvery behind the clouds. More clearly than inother variations on the theme, he located the scene in the present work in the mountains, as the rock face in right suggests. The lighting is also unusual in this painting, which appears to be lit from the front, as if in front of a forest stage. Alongside the vegetation and the hunter's suit, depicted in a dabbed and loose painting style in various shades of green, Spitzweg uses his preferred color scheme of red skirt, blue apron, black corsage and white blouse as the dairymaid's apparel, albeit in the smallest and most subtle doses. The two figures of hunter and dairymaid can also be found individually in single-figure scenes in Spitzweg's oeuvre; in this painting they come together in a secretly romantic way. [KT] Called up: December 9, 2023 - ca. 13.38 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Antique 1930 Rare Italian Gaspere Burgarella doll 22” tall ; All Original .An exceptional All wooden jointed and painted finish doll with socket head, sculpted head, Finely painted eyes with eye liner and grey blue eyes with accents and delicate fine eye lashes, a closed neat rosebud mouth, a human hair plaited long hand made original wig, doll is jointed and articulated at elbows and knees in addition to arms and legs and is dressed in her whimsical original felt attire with dress and hat with corsages and long green felty beads and flat felt shoes and rayon socks , organdie petticoat and pants. The matching wired felt bonnet has a floral felt corsage to match the dress The dress has some small felt holes as shown and is all entirely original ., and some slight age dust.Burgarella dolls are rare and much collected for their scarcity alone. Gaspare Burgarella  all doll company ,Made in Rome , Italy 1926-1935.Please note that this item is available for National and international postage Via Hansons or courier services; please ask for Details.

Unusual Art Deco and later clear paste set jewellery, eight ray star hair clip; 90mm hair slide; other hair clips; double hoop flower corsage grip with brooch pin fitting; small double clip with pendant centre; Sonia Lee Deco style hoop brooch; pair of dress clips for holding a scarf; two small single clips with small perfume phial; pair of 50mm clips in period box; another pair of 45mm clips; cord bracelet with paste letter H; a large filigree and paste dress clip 115x15cm; and others.Condition report:Please see additional uploaded images of all items in this lot. Most of them have collector's labels detailing age / era, company name (where appropriate) and material(s) used.

A Small Quantity of Jewellery, including a bracelet stamped '14K', length 18cm; an amber and coral necklace; a bangle; various earrings and necklaces (a.f.); three beaded corsage pieces etcBracelet - 4.0 grams.

A long tiered paper nylon underskirt and a long pale cream tiered and very full tulle underskirt (probably bridal). A long satin dress (bride's or bridesmaid's) in a high-waisted and long-sleeved design, mid 1960s, with daisy chain waist trimmings. A white tulle dress with a daisy motif detail, Tudor-type collar, full skirt, long sleeves, open front satin-lined skirt with a wax flower corsage, small size (the underskirt is marked in places), 1950s. A gold brocade bridal or evening cape with narrow fur collar, early 1950s. A satin evening or bridal halter-neck dress with decorative tassels, low back and tapered skirt by Sue Wong, size 8, heavily embellished in pewter paste stones and seed pearls, and wide shawl in sateen with same beadwork as the dress and long spider's web hemline in a crocheted design, 1970? A pearl decorated floor length tulle cape with a satin lining  (7)

Ty Beanies - Eight Ty Beanies housed within perspex display cases. Lot includes Ty Beanies Scrum; Ty Beanies Corsage; Color Me Birthday Beanie and similar. Ty Beanies appear to be in Excellent condition overall with swing labels attached. Cases show dusty signs of display generally appearing Fair Plus - Good. All items are unchecked for completeness. (This does not constitute a guarantee) (K)

Assorted 20th Century Milliner's Haberdashery comprising peach and cream coloured hat braid,a large pink velvet floral appliqué and two smaller flower heads, ostrich feathers,a silk fabric corsage, various circa 1920s and modern bead and silk floral appliqués, beaded Indian sari trims,three Romance Veils hat nets in original packaging with brown felt trim, other net trims, many items with original paper labels etc (one box)The Milliner's Workroom

After Jean Louis Gregoire (1840-1890): A Bronze Bust of a Young Lady, her hair up, wearing a corsage, on a waisted circular socle and square plinth, signed J GREGOIRE30cm highPatination fairly dry. General wear and scuffs. Plinth tarnished. No breaks ort repairs. 30cm high not as catalogued

Milano: Skira, 2008. First edition hardcover book featuring the Serpents corsage ornament on the front dust jacket, and the view of the Salon Sycamore on the back. Written for the Calouste Gulbenkian Museum in Portugal, and the eighty pieces that was exhibited in the Lalique Room. 135-pages with stunning photos and illustrations of the pieces. Artist: Maria Fernanda Passos LeiteIssued: 2008Dimensions: 9.5"W x 12"H x 0.75"DEdition Number: 1st edition Country of Origin: ItalyManufacturer: SkiraCondition: Very fine.

New York: Harry N. Abrams, Inc., 1990. First edition hardcover book depicting a Lalique corsage ornament of opals, glass, and gold on the front dust jacket. 262-pages, 377 illustrations, and 251 full colored plates. Discusses various notable fine jewelry from Faberge, Cartier, Tiffany, Lalique, and more from the mid-19th century. ISBN: 9780810936065. Artist: Kenneth SnowmanIssued: 1990Dimensions: 9.25"W x 12.25"H x 1"DEdition Number: 1st edition Country of Origin: United StatesManufacturer: Harry N. Abrams, Inc.Condition: Good.

Y&nbspENGLISH SCHOOL (19TH CENTURY) PORTRAIT MINIATURE OF A LADY WEARING WHITE LACE TRIMMED DRESS, A PEARL BROOCH AT HER CORSAGE AND GOLD NECKLACE WITH EMERALD JEWEL Watercolour on ivory, oval In a gold frame 6.3cm highPlease note Dreweatts have applied for a de minimis exemption licence for the ivory in this lotRef: Y Indicates that this lot may be subject to CITES regulations when exported. The import of lots that are subject to CITES regulations are banned in certain countries. Please check your country's import regulations before bidding.  

HERMES Paris, déposé, circa 1937. Demi-parure 'Oursin'En métal doré, composé d'un clip de corsage et de clips d'oreilles.Traces d'utilisationHaut. Clip: 5 cm; Haut. Clips: 2 cm.Footnotes:HERMES Paris, registered, circa 1937. 'Oursin' half-parureIn gold metal, consisting of a bodice clip and ear clips.Slightly faded.High. Clip: 5cm; High. Clips: 2 cm.For further information on this lot please visit Bonhams.com

Miu Miu tan leather handbag with flower detail / corsage to front - 40cm x 20cm ~ has hole in internal lining and obvious wear

PABLO PICASSO Malaga 1881 - 1973 Mougins: Buste au Corsage à Carreaux. Jacqueline im Profil nach rechts. Offsetlitho (stark verkleinert) nach Picassos gleichnamiger, 1957 entstandener Lithographie (1er état). Vgl. Bloch 849 und Mourlot 308 (Lithographie 1957). - Mit dem seitenverkehrten Datum „18.12.57.“ in der Darstellung und dem Namenszug unterhalb der Darstellung. 34,5 x 28 cm (Darst.). Auf chamoisfarbenem Vélin. Mit winzigem Randeinriss und schwachen -knickspuren. [ms]

Pierre Molinier (1900-1976)Grande Poupée - Sculpture-modelage, 1957-1958 Poupée de 112 cm de hauteur comprenant 3 parties :- Tête de poupée : 28 cm de hauteur.- Tronc et jambes coupées à mi-cuisses : 84 cm de hauteurModelage sur une armature de bois, plâtre enduit et peint couleur chair. Visage maquillé, yeux provenant d'un taxidermiste.- Main droite empruntée à un mannequin de vitrine, avec bague au doigt et ongles postiches, jarretière au poignet et gants.La poupée porte une perruque, une voilette, un corsage de dentelle, foulard, culotte, porte-jarretelles, boucle d'oreille, veste de velours cousue par Molinier.On Joint : trousseau de la poupée contenu dans une mallette à fermeture-éclair, intérieur rouge : deux perruques en cheveux, une claire et une foncée ; un collant noir ; trois paires de bas ; une tunique noire transparente, une culotte noire ; un bandeau en tulle, etcDoll of 112 cm in height including 3 parts :- Doll head: 28 cm high.- Trunk and legs cut to mid-thighs: 84 cm highModeling on a wooden frame, plaster coated and painted flesh-colored. Face made up, eyes from a taxidermist.- Right hand borrowed from a shop window mannequin, with ring on the finger and hairpiece nails, garter on the wrist and gloves.The doll wears a wig, a veil, a lace bodice, scarf, panties, garter belt, earring, velvet jacket sewn by Molinier.We attach: the doll's keychain contained in a zipper case, red interior: two hair wigs, one light and one dark; black tights; three pairs of stockings; a transparent black tunic, black panties; a tulle headband, etcFootnotes:ProvenanceCollection particulière, FranceThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Antique Louis-Philippe 'devant de corsage' with green glass. Two-part brooch, so-called devant-de-corsage with pendant set with green glass and four seed pearls. Period 1830 - 1840. In good condition. Tests as 74.1 % gold. L x W: 7 x 5 cm. Weight: 5.62 grams.

Ozias Humphry, RA (1742-1810) Portrait miniature of a lady in a purple dress with blue ribbon and a pink rose at her corsage, her hair upswept beneath a white lace cap watercolour on ivory, oval, in a gold frame with brooch pin attachment5cmProvenance:Bonhams, London, 30 May 2013, lot 38, when acquired by the late Barry Lock (1934-2021)This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 8J1AA67M.Examined out of frame. Ivory very slightly warped along the sides. Some fading near the sitter's face and visible discoloured retouching on the right near her neck.

John Smart (British, 1742-1811)A portrait miniature of a lady of the Lodge family, wearing a white stole over her blue dress and frilled white chemise, a topaz jewel at her corsage, her hair upswept. Watercolour on ivory, signed on the obverse, J.S., gold fausse-montre frame, with a border of half pearls, the reverse with a glazed hairwork compartment. Oval, 50mm (1 15/16in) highThis lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

A costume design by Edith Head for Veronica Lake as Nan Rogers in Miss Susie Slagles’s (Paramount 1945).  A mixed-medium costume design by Edith Head, illustration likely by sketch artist Waldo Angelo. The sketch features a posed full-length female figure in an Edwardian period costume holding a fur muff. The figure is wearing a jacket with bishop sleeves, a full-length skirt with an s-shape, gloves, a floral corsage, and a beret with a pom-pom. The sketch is unsigned with no annotations. Edith Head who managed and ran the costume department at Paramount would work with several designers and sketch artists on the films she oversaw. Head who drew a lot of her sketches in her early years at Paramount now utilized sketch artists like Waldo Angelo, who were able to quickly sketch a variety of Head's design concepts for her to present to the director, producers, and talent of the film.  DIMENSIONS:SKETCH 14.25 X 22.5 INCHESMOUNT 19.5 X 31 INCHES

Circa 1940-50s Ladies Clothing comprising an orange crepe day dress self woven with stripes, elbow length sleeves, round neck, pleated detail to the front of the skirt, matching fabric belt and a cream silk crepe corsage,a navy and white day dress with contrasting red mounts to the front pockets, red buttons, short sleeves and matching belt,a black and red large checked wool coat, black collar attached fabric belt and long sleeves,a Vogue Vintage Model blue wool day dress made from a 1943 pattern,another Vogue Vintage Model in teal blue crepe, modelled as a jacket from a 1939 pattern,(5)

A collection of headdress to include: a white petaled half-hat, 1950s; a small paste tiara, a 1930s/40s headdress for a bride in white wax flowers and diamante detail on two rings; an iridescent pearlised head piece; a clip corsage and head clip, 1960; a headpiece in paste stones depicting a double bow design made by Bellapacella; a pearl collar, 1950; a fur and pearl collar, 1960; a Bakelite comb with a large paste decoration and pale pink ostrich feather; a large feather clip headdress with a lemon dahlia. (8)

A collection of hats to include: a large dusky pink picture hat decorated with a large pink raffia fringed striped bow; a navy tulle corsage with white flowers; a peach picture hat in a figured fabric design with swathed crown, decoration, stiff brim and paste stones on a bow, 1980; a three-quarter hat that is pleated, swathed and decorated with a large bow, made by Trikki by Edna Wallace, 1960s; a raspberry pink tulle hat, ruched into small designs, American Union USA, 1960; a pale peach feathered hat with a design of pleated feathers in turquoise/beige wrapped around the front, 1950s; a velvet-type pillbox hat decorated with black feathers, 1970; a black tulle hat decorated with pink flowers on the crown, 1970s/80s; a deep peach petal hat by Vernier of London, 1950s; a half-hat in pink and beige with a pom-pom feathered detail and brim edged in green grosgrain made by Harrods, 1950s; a pale pink petaled pillbox hat in velvet-type flowers; a pure wool pillbox hat by Right Impression with a tulle veil and cream feather trim, 1970; a fascinator on a band with a cream feather feature and gold sequin motif by Peter Battley of London, 1980; a red punched felt hat with scalloped hem by Connor. (14)

Ladies Edwardian collection. A 1930s black lace evening skirt with taffeta lining Fits UK8-10 * A 1930s black lace cocktail dress with thin straps UK10 * A 1930s original cobalt blue satin and silk evening dress with diamante epaulettes and waist corsage Fits UK8-10 Condition Report: Good condition commensurate with age

James Holmes Jnr. (fl. 1836-1859) Portrait miniature of Mary Jane Perceval (d.1899) later Lady Matheson, wearing a tartan dress with flowers at her corsage, a gold bracelet on her right forearm, her hair in ringlets and dressed with red fuchsiaswatercolour on ivory, oval6.4cmProvenance:By family descent from the sitter,Their sale, Bonhams, London, 18th November 2003, lot 142, as one of 'Nine portraits of the grandchildren of Spencer Perceval, the children of Michael Henry Perceval';Bonhams, London, 25th May 2011, lot 89, together with another of the sitter's brother (see lot 345), when acquired by the late Barry Lock (1934-2021)Mary Jane was the fourth daughter of Michael Henry Perceval (1779-1829) and Anne Mary Flower (1790-1876) daughter of Sir Charles Flower, Lord Mayor of London. A number of the sitter's siblings were also painted by James Holmes Junior (see Provenance; see lots 345 and 346).She married in 1843 Sir James Matheson (1798-1878), one of the co-founders of the Jardine-Matheson company. After the East India Company lost its monopoly on trade with China, Jardine-Matheson sent the first private shipments of tea to England in 1834. Following his marriage, Matheson purchased the Isle of Lewis for over half a million pounds in 1844 where he built Lews Castle. In 1851, he settled on the island with Mary Jane and was made a baronet that same year. Matheson served as MP for Ashburton from 1843 to 1852 and for Ross and Cromarty from 1852 to 1868. The Mathesons had no children, so when Sir James died, the baronetcy became extinct, and Mary Jane remained on the estate caring for her mother. This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. B6D7P684.

James Scouler (1740-1812) Portrait miniature of a lady in blue dress with flower corsage signed and dated 'Scouler / 1765' (lower left)watercolour on ivory4cmProvenance:Elle Shushan, Philadelphia, from whom acquired in 2012 for £500This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No.YSZZN34K

Attributed to William Routh c.1760-70Portrait of Peter Leggat of Barwick-in-Elmet-Yorkshire, half-length, with hand in waistcoat pose, wearing a fine jacket decorated with gold buttons, a rose corsage pinned to his lapel and holding a stickA portrait of Sarah Leggat, wife of Peter, half-length, wearing a fine white satin stomacher dress with blue satin detail, ribbons and lace trimmings, a matching mop cap and choker, standing before a draped curtain and before an urn of assorted flowersA portrait of Jane and Elizabeth, daughters of Peter and Sarah Leggat, half-length, wearing white dresses and pretty headpieces holding a basket of flowers with their attendant dog before a landscapeEach initialled and indistinctly dated? oil on canvas, 66.5cm by 64cm, 67cm by 64cm and 74.5cm by 63cm respectively (3)This lot is sold together with the Leggat Book of Common Prayer and a small cache of documents relating to the family.Each relined, cleaned and re-varnished. The gentlemen - some surface dirt and discoloured varnish in evidence. Stretch shadow with traces of historic retouching by eye. Further vertical line of separated paint and possible old restoration approx 1cm to right of evident upright right hand side stretcher shadow approx 30cm in length. Further areas of apparent cracquelure and crazing e.g. immediately above the ledge of right hand side near his left-hand side shoulder. Similar degree of crazing, cracquelure, cracking, addition of bitumen? to background and curtain upper left. Surface is somewhat flattened from restoration, paint is thin in places. Delicate retouching and infilling all be it relatively consistently presumably to old flaked paint across the sitters face, collar, and shirt, his right hand shoulder, a good degree of his waistcoat, right hand cuff and his right hand in addition to his left hand. Further infilling generally within lower left-hand corner and more sporadically elsewhere. Som likely general strengthening through background and his left-hand arm and sleeve. Slightly adrift of frame along upper edge. The lady - In broadly similar condition to the gentlemen with regards to stretcher shadow, flattening and thinning of the paint as result of restoration particualrly the expanse of lace within the lower right hand corner. Varying sized patches of cracquelure, some being more pronounced than others. Surface dirt and discoloured varnish. Some horizontal creasing like effect within the lower area approx 10cm from lower edge. Some more apparent crazing to areas of paint particularly extremeties of background with more pronounced separation. Consistent retouching to more areas of paint within background upper left area, within stretcher shadow section. Delicate fairly consistent retouching and infilling to old flaked paint across the sitters face, left hand side hand and arm, and less consistently evident to other areas of her costume. Fine retouching and infilling to bulls eye shaped cracquelure within the urn. Some more general strengthening to background and sporadic retouches probably of a different date to background and floral arrangement etc. The children in broadly comparible state of preservation, stretcher shadow, varying sized and separated cracquelure, surface dirt and discoloured varnish. Minor rubbing to edges, especially top edge. Circular patch of restoration in background approx 8cm from upper left hand corner and 1.5cm dia. Delicate retouching and fairly consistent infilling to cracquelure across the faces of the two children. Further delicate but again consistent retouching to old flaked paint through the other flesh areas and costumes of the two girls. Couple of approx 1cm by 1cm patches of restoration along right hand side edge. More sporadic retouches and infilling across the hound and background in general with likely more consistent areas of general strengthening to background etc. This painting also displays a similar degree of flattening of surface and thinning in places due to restoration process. For more information please contact the department.