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Click here to subscribeGroup 1980s Butler & Wilson diamanté brooches to include the 1986 articulated lizard corsage, one other lizard brooch, the 1985 red rhinestone and blue iridescent glass bead serpent brooch (similar style brooch worn by Diana Princess of Wales in May 1986), one other serpent brooch, frog, lobster and a diamanté spider shoulder brooch, all boxed (7)
Assorted Early 20th Century and Later Costume, comprising a cream silk wedding gown with short gathered sleeves, pleated full skirt with train, lace mounts (a.f.), with net veil and wax headdress; circa 1960s Emenson long sleeve wedding dress, round neck, lace/crochet style mount to the bodice, and a long train in the same design; green watered silk taffeta halter neck long evening dress woven with small flower heads; pale blue silk evening coat woven with cream leaves; John Bates London black taffeta dress with olive green strapless bodice and a purple cummerbund; Louis Féraud black chiffon asymmetric ruched dress, with one shoulder showing; Jenners black silk chiffon mounted cocktail dress with short sleeves, V-neck and pink floral corsage; 1930s black bias cut full length dress with long voluminous net and black striped sleeves; FM dark cream and gold brocade dress, with jewelled and beaded bodice, sleeveless with straps (9)
Circa 1920s/30s Ladies Evening Jackets, Capes and Dresses, comprising a brown velvet cape with padded and smocked collar, gold coloured lining; cream velvet capelet with padded and gathered collar and crepe lining; green velvet drop waist velvet sleeveless shift dress with floral silk corsage; cream silk chiffon sleeveless drop waist wedding dress with net and silk ribbon tiered skirt, pearl set buckle, and detail to the cream velvet belt; black chiffon sleeveless drop waist dress, with bead and floral embroidery (a.f.); brown long sleeve velvet jacket with collar, one button fastening to the side (6). Brown velvet cape - slight wear. Cream capelet - couple of dirty marks to the lining, some loose stitches to collar and slight wear. Green dress - slight fading and wear, especially to the top of the shoulders where worn. Cream silk chiffon dress - some wear, damages to the net skirt. Black chiffon dress - (a.f). Brown velvet jacket - slight wear and fading to the collar and to back of shoulders.
Assorted Circa 1930/40s Ladies Costume, comprising a brown grosgrain style day dress with elbow length sleeves, collar, bead decoration, buttons to the front, pleated skirt (size 44); similar style sleeveless dress in pale green, floral and bead embroidery around the neck, multi pleated skirt; Carnegie Model blue grosgrain sleeveless dress with wrigglework embroidery, bead decoration to the V neck bodice, faux bow and front pockets; another similar by the same maker; Jay Gee Model blue linen dress with long sleeves, buttons to bodice and pleated skirt; blue and gold floral brocade dress, three quarter length sleeves, full skirt, v-neckline, collar and buttons to the front; paisley turquoise crepe short sleeve day dress with v-neckline; pink and blue short sleeve dress printed with a pastoral scene, bows to the neckline, pleated skirt, fabric waist tie; Peggy Love Glasgow burgundy velvet evening jacket with wide collar and floral corsage; black wool coat with shawl neck collar, two button fastening, tailored shape, pleated lower sleeves; Helene Model London raspberry jumbo cord coat, one large button fastening to the neck, fold back cuffs, cord belt; black wool tailored coat with buttons to the front (12). Brown grosgrain type dress - slight wear and lacking belt. Pale green dress - missing belt, slight wear and discolouration to the skirt. Carnegie Model dress - some discolouration, and some buttons missing. Similar dress - slight discolouration. Jay Gee Model dress - some buttons missing and some wear. Brocade dress - slight wear and belt missing. Paisley dress - slight wear, belt missing. Pink and blue dress - slight wear under the arms and fading. Peggy Love jacket - slight wear. black wool coat - some old threads visible, buttons possibly replaced and slight wear. Cord coat - buttons needs re stitching and slight wear. Black wool coat - slight wear and had elastic stitched to front of jacket as a button hole.
Circa 1950/60s Cocktail Dresses, comprising Sally Slade of Regent Street blue grosgrain dress with black velvet flocked leaves, peach printed flower heads, gathered skirt, no belt (size 40); similar style dress in blue and silver flower heads; Wendy Dress black and red floral woven fitted dress with three quarter length sleeves and wide collar; Hollywood Model navy blue ground dress with short sleeves, woven in abstract designs of red, white, black and green, wrap style skirt (size 40); green striped and rose woven short sleeved dress, pleated A-line skirt, bow and corsage to the square neck; blue ground self striped textured dress, with capped sleeves, square neck, pleated detail to the waist, button and swag to the hip (size 38); Hershelle black velvet evening coat with wrap around collar; black and red reversible coat with exaggerated pointed collar (8)
Circa 1950s/60s Evening Wear, comprising an orange metallic halter neck dress printed with black and white floral motifs; similar coloured Jean Allen chiffon mounted strapless dress with full skirt (size 12); Emenson pink sleeveless evening dress with full skirt, white floral flocked decoration and shawl collar; strapless pale pink dress, with pink silk cummerbund, flocked decoration in red and white floral designs, full skirt; pale pink full length sleeveless dress, woven with a red leaf design; darker pink full length brocade dress, capped sleeves, pleated bodice and skirt, v-neck; red cocktail dress with spaghetti straps and corsage to waist; Carnegie sleeveless evening dress with sweetheart neckline and spaghetti straps, purple and black velvet flocked fabric; Miss London by London Town red velvet long sleeve dress with pleated skirt; Blanes black silk dress with spaghetti straps, red and green floral embroidery to the pleated skirt (10)
Assorted Modern Ladies Costume, comprising Escada black glittery sheer long sleeve dress, buckle detail to the waist (size 36); black wool two piece suit by Margaretha Ley comprising, sleeveless dress with bead lace mount and black skirt, matching jacket (size 36); similar style suit by Bellville Sassoon Lorcan Mullany in black 'quilted' fabric, comprising straight skirt and jacket with asymmetric fastening and paste buttons (size 10); another in soft green/blue satin type long dress with long sleeve detail to the waist (size 12); white capped sleeve dress, wrap style skirt, textured fabric, corsage to the waist, and paste set buttons (size 10); Funqueth black chiffon type mounted dress with spaghetti straps and matching sheer long sleeve evening top with tie waist (size 9); D-Due black and white large polka dot mounted A-line short dress with elbow length sleeves, jewelled collar and cuffs, smaller black and cream polka dot lining; Graham Wren for Nettie Vogues silk dress with gypsy style patterned paisley top, long sleeves in turquoise and blue, turquoise silk chiffon long skirt with tiered hem, cummerbund and sheer sleeves (8). Both Escada items - good. Belville Sassoon black suit - slight wear, green/blue dress - slight wear under the arms, white dress - slight wear. D-Due spotty dress - slight wear. Graham Wren - slight wear. Others appear ok
Assorted Hats and Accessories, including a late 19th century bonnet labelled Melle Beyssac Le Puy with bead and metal petal shaped adornment; Marguerite Farety Toulouse black cut velvet on silk hat, with velvet ribbons and feathers, another similar with silk ribbons; black bonnet with pleated detail to the top, silk corsage and black silk ribbons; black straw hat and another with a high crown embroidered with black thread, bead appliqués; and a black coque feather boa (one box)
A late 1940s cerise pink dress in taffeta and full skirt, sleeveless, purple embellish ribbon pattern detail, metal zip, faded and marked on the skirt; a grey taffeta evening dress, full length, cross over bodice, wide detached belt of Cummerbund and a corsage of plums of feathers in various colours, metal zip, made by Roecliffe and Chapman, London (2)
A PAIR OF GEM-SET BRACELETS WITH EARCLIPS EN SUITE, BY BOUCHERON, CIRCA 1960Each bracelet set with gold hoops, interspersed by textured gold links highlighted with circular-cut rubies or round brilliant-cut diamonds, one mounted in 18K gold and platinum, the other mounted in 18K gold, diamonds approximately 2.00cts total, both signed Boucheron Paris, numbered, maker's mark, French assay marks, bracelets length 19.3cm; Together with a pair of earclips en suite (not signed), mounted in 18K gold, French import marks, length 2.1cm* The earclips possibly previously part of the braceletBoucheron is a French family dynasty founded by Frédéric Boucheron, an expert in precious stones, a masterful technician and creator of beautiful jewellery. In 1958 he opened his first boutique in the Galerie de Valois under the arcades of the Palais Royal which at that time was the centre of the Parian luxury trade. It was one of the first companies to open a boutique in the famed Place Vendôme in Paris, where Boucheron still operates successfully today. In 1897, Boucheron opened a store in Moscow, later transferred to Saint Petersburg in 1911 (the Moscow boutique was reopened in 2003). In 1903 a store in London’s New Bond Street and an office in New York were established. More establishments followed in Japan in 1973, Shanghai, Dubai in 2005 and finally Hong Kong and Kuala Lumpur in 2006. Today House of Boucheron has 34 boutiques worldwide and an online e-commerce website.Boucheron has a long history of royal custom. In 1878, the Russian Prince Felix Youssoupoff purchased a corsage decorated with 6 detachable diamond bows during one of his visits to Paris. In 1921 a tiara was commissioned for Lady Greville, which was later given to the late Queen Elizabeth ‘The Queen Mother’. Prince Charles then passed the tiara to his wife Camilla, Duchess of Cornwall. Queen Elizabeth II also has a collection of Boucheron jewels. In addition to Czar Alexander III, royal patrons of Boucheron have included Maharajah Sir Bhupinder Singh of Patiala, Riza Shah Pahlevi, Queen Farida of Egypt and Queen Rania of Jordan. In 1968 Boucheron launched the first piece of the Serpent collection. This protective animal, symbol of eternity, will become one of the Houses key emblems. In 2003 the House of Boucheron launched the Ava Collection in homage of the eternal grace of Ava Gardner. 2005 was a very creative year for the House of Boucheron, the ‘Trouble’, ‘Quatre’, ‘Diablotine’ ‘Vingt-Six’ and ‘Trouble Désir’ jewellery lines were launched.Boucheron has had many successful collaborations, of note Waterman, Alexander McQueen, Girard-Perregaux and MB&F. House of Boucheron is best known for its beautiful and unusual high-end jewellery.
A vintage black silk velvet evening cape heavily embroidered with metallised thread and silk lined, a 1920s evening jacket with metallised thread, black ground with pastel tulips and floral fabric corsage, 50 cm across chest and a 1950s black taffeta evening dress, the bodice embroidered with gold metallic thread (3)
*Dress. A Brussels lace wedding dress, 1899 [with later alterations], high-waisted empire-line gown with square neckline and train, hand-made, with machine and hand-stitching, comprising an inner shell of ivory taffeta (with zip closure), overlaid with cream hand-made Brussels lace, hook and eye closure at rear, sleeves elbow-length and slightly ruched, train edged in velvet, some small tears and holes in lace, and two small faint dark stains to front, train lightly soiled in places, bust 89cm (35ins), waist 80cm (31.5ins), length excluding train 150cm (59ins), length including train 190.5cm (75ins), together with a colour illustrated bound volume of verse commemorating the marriage of Mr. Port Bromell Elkins and Miss Eleanor Pollock Glass in Pennsylvania, 20th September 1899, second leaf with manuscript inscription certifying the marriage, quarter cream moir‚ cloth, decorative upper cover lettered in silver 'Bridal Bells', contained in original cardboard box, 4to, plus A Brussels lace wedding dress, 1929, cream low-waisted gown, hand-made with machine and hand-stitching, comprising a satin slip with scalloped hem, overlaid with a layered net outer shell, incorporating Brussels lace, and forming cape sleeves, ruched satin sash at waist, with bow to left side, press stud fastenings at rear, with corsage of wired faux flowers to left shoulder, some minor marks and small breaks in lace, bust 86cm (34ins), waist 86cm (34ins), length of slip 110cm (43.25ins), overall length 147cm (58ins), plus a partially deconstructed cream satin dress, late 1880s/early 1890s, comprising a ruched and padded boned bodice, lacking sleeves, and a separate long skirt with bustle pad and train, triple-pleated hem of skirt scalloped to reveal gathered hem of lining, some splits and soiling, together with original underskirt, plus a scallop-edged lace veil, 63 x 244cm (24.75 x 96ins), all contained in a small trunk Provenance: Eleanor Pollock Glass was the current owner's great grandmother, and the first item was worn by her as a going away dress; it was subsequently worn as a wedding dress by the vendor's mother Helen Louise Elkins, on 26th April 1952, and by herself on 4th October 1980. Port Brommell Elkins was an inventor and innovator, and the first person to use reinforced concrete in industrial buildings in Boston. Eleanor and Port's son, George Elkins, married Helen Douglass Gardner on 10th August 1929, and the second wedding dress was hers. The remaining items in the trunk come from the same family. (7)
*Dress. A damask bridal bodice and train, circa 1880s, comprising cream boned bodice, with cap sleeves and neckline edged with flounced layers of chiffon (a little torn and frayed in places), pointed waist with twisted gold damask edging, and a small corsage of wired berries, eyelet holes and ribbon lace for rear fastening, with some hooks and eyes, long train falling from bow and gather at left shoulder, lined with cream satin, inside of padded edge with ruched net trim, mostly hand-sewn, but some machine-stitching present, some marks, especially to edge of train, bust 74cm (29ins), waist 52cm (20.5ins), length of train from shoulders 238cm (94ins), together with a Victorian lace over skirt with train (raw edge at waist) (2)
Assorted Early 20th Century Silk and Lace Wedding Gowns, comprising a long sleeved dress with collar, black and cream wriggle work appliqué to the chest, and smocking below and to the top of the sleeves; cream silk dress with elbow length sleeves and lace cuffs, lace modesty panel, v-shaped inserts to the bodice, internal cotton corset; ivory satin brocade long sleeved dress with panelled bodice, buttons to the reverse and train; cream silk short sleeved dress, with triple piped row and button detail to the end of the sleeves, net and bead mount, V insert to the bodice, piped to the waist, floral corsage, stitched detail; cream silk dress with elbow length sleeves, net inserts to the cuffs, decorative embroidered lace mount to the bodice and pearl trim, cummerband to the waist, draped skirt with train; a lace mounted dress with cream velvet trim and ruffle to the bodice with spaghetti straps (6) . Black/cream applique panel dress - missing belt, light pink mark near the hem, otherwise ok. Dress with internal corset - couple of black marks to the hip, vertical tear from the hem, and slight discolouration. Ivory satin dress - slight stains under the arms, one button missing, slight wear, some areas of discolouration, mainly towards the end of the train. Cream short sleeved dress - chiffon mount to front and back torn and worn, and slight wear. Cream silk dress - some discolouration to the skirt and slight wear overall. Lace dress - slight wear overall, some tears to the hem and some pulls to the waist, missing belt.
Assorted Early 20th Century Wedding Dresses, comprising a 1920s taffeta drop waist style sleeveless dress, round neck, skirt embroidered in silver and gold threads with net insertions, faux bow to the back, tab detail to the front and floral corsage drapes from the shoulder; cream self-striped short sleeve dress with scoop neck, bodice detail, gathered skirt; cream velvet long sleeved dress with sweet heart neckline, gathered details to the bodice, multi buttons to the end of the sleeves, velvet belt; cream long sleeve dress with sweetheart neckline and bead trim, beading runs down the skirt radiating out to the hem, gathered bodice at the sides, train to reverse with pleat; silk crepe sleeveless dress with white and black trim appliqué panels to neckline and waist, fabric ties; cream and silver striped long sleeve dress, large gathered shoulders, multi buttons to the sleeve ends, pleated detail to the bust, long skirt and very long train; cream satin long sleeved dress with floral embroidery to the shoulders and waist, fabric waist ties, smocked bodice (7) . 1920s dress - staining to the bow, under the arms and mark to the front of the dress, net hem worn and small tears, some holes to the net insertions, slight wear overall. Cream striped dress - slight staining, zip broken. Cream velvet dress - later gilt leaves added to front, slight wear. Cream long sleeve dress - slight discolouration overall, mark to the neckline, train and hem have some spotting. Silk crepe dress - slight discolouration and some spotting overall, wear to the hem, slight staining under the arms. Cream and silver striped dress - repairs to the top and bottom of the zip, buttons missing to the centre back seam, sleeve buttons stained, wear and stains to the train, stitched repairs under the arms. Cream satin dress - slight stains under the arms, shoulders adn very slight wear overall.
An oval framed watercolour depicting a woman sitting beside a spinning wheel in a field, pinning a corsage of flowers at her breast, a dog at her feet and a tower in the distance with the word ''Blouzelind'' bottom central; along with an oil on canvas depicting a still life of flowers by 'M A East'.
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
1980's Liberty of London Large Paisley Pattern Wool Shawl; a Erfurt, Denmark Cotton Shawl, printed with Art Nouveau stylised birds and flowers, bright pink fringe; 20th Century Wool Long Shawl, with a border of stylised foliaged and boteh on a red ground; Modern Bright Red Pashmina and Silk Stole; and an Hermes Parfums Silk Corsage Brooch, of the design Calech in cream and mustard
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
Early 20th C rose cut diamond corsage bar brooch, twenty two graduated rose cut diamonds, estimated total diamond weight 1.00 carat, set in flexible links mounted on springs, allowing for fresh flowers to be held between the pin and front of the brooch, set in white metal bearing Netherlands oak leaf mark for 14 ct, measuring approximately 7.7cm x 0.5 cm. CONDITIONGross weight 9.4 gramsOverall good condition, diamonds estimated colour I/J and clarity I, small chips to the top of four diamonds, mechanism and pin in working orderNetherlands Oak leaf mark 1906-1953
Circa 1960-80s Suits and Evening Wear, comprising Ann Corbett Haute Couture Leeds, yellow and checked suit comprising a sleeveless shift dress with yellow top and checked skirt, and checked jacket with matching belt; a green shot silk two piece comprising a sleeveless shift dress with matching jacket decorated with green floral beading and appliqués; black velvet full length evening cape, with cream lining and associated belt; light brown suede mini skirt with press stud fasteners (size 28); white self striped Grecian style dress with gold detailing (size 40); John Charles gold evening dress with spaghetti straps and large floral corsage (size 14); black velvet strapless evening dress with a long sleeved black net mount; purple velvet long sleeved evening dress, with sweetheart neckline and silk cummerbund; Parigi blue chiffon type evening dress with ruched bodice, spaghetti straps and matching long sleeved jacket (size 12); Frank Usher green evening dress, multi pleated mount to the bodice, deep ruched cummerbund and full skirt (10)
Assorted Modern Evening Gowns, comprising a Planet sleeveless shift dress with bronze sequin appliqués overall (size 12); black lace long sleeve drop waist dress with buttons to the front, satin tie collar; Cibi black wool long sleeve dress, button detail to the back and over stitching, a purple silk and pink silk chiffon one shoulder dress, with ruffle trim to the neckline and hem, tassel drops to the bodice, asymmetric hem; Sticky Fingers London black sheath dress with double spaghetti straps (size 8); SC black jersey dress, sequin and bead epaulettes (size 12); Pianoforte Italy dark cream satin type full length sleeveless dress with mink trimmed straps (size Italy 46); Country Casuals Petite black devoré sleeveless bias cut evening dress (size 14); M&S red currant stretch velour cocktail dress, with long sleeves and V-neck (size 8); Next black jersey full length halter neck dress, bead trim under the bust (size 18); turquoise satin type full length dress, ruched bodice, spaghetti straps, bead appliqués in the form of stars (size 8); Radika London pale pink bias cut chiffon dress with yellow beads and floral corsage; Platinume purple and floral velvet devoré bias cut sleeveless dress; pink, yellow and blue batik style dress with shoulder straps and bead appliqué (size 8); Ranni Nicole by Ouida sleeveless full length dress, with glittery scalloped lines overall, scoop back (size 12) (15) . condition: Planet dress - some sequin losses and wear. Black lace dress - slight wear. Cibi wool dress and silk dress - slight wear. Sticky Fingers dress - slight wear. SC dress, slight wear. Pianoforte dress - slight wear. Country Casuals - slight wear. M&S dress - slight wear. Next dress - some bead losses, slight wear, rubbing. Turquoise dress - slight wear. Radika pink dress - slight wear. Platinume dress - slight wear. Batik style dress - slight wear. Ronni Nicole dress - slight wear.
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
An early 19th century malachite cameo-mounted two-colour gold suite of jewellery, all mounted in fine cannetille gold settings, comprising a necklace, head ornament (also wearable as a corsage), pendant, earrings and a ring, all mounted with graduated carved malachite oval cameos depicting various classical scenes including a woman selling Cupids as love tokens, the scene based on a Pompeian wall painting from Stabiae, which now hangs in the Naples Museum, the kokoshnik-style hair ornamemt 15cm wide, in fitted case by Harvey & Gore
An emerald and diamond ring together with a cameo brooch, both set in hallmarked 9ct gold, the ring with pierced front designed as twin undulating lines set in the loops with four round cut emeralds alternating with three round brilliant cut diamonds, to a plain shank size I½-J, Birmingham hallmarks for 9ct gold; the oval shell cameo depicting a winsome girl with flowing hair, necklace and a rose corsage, in a collet mount with ropetwist base and broad convex polished border, clasp with safety catch, separate safety chain, Birmingham hallmarks for 9ct gold ,1991, length 4.5cm (2)
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
A late 1940s evening dress with a black tulle overlay over a sage underskirt in taffeta, sweetheart neckline corsage on waist and bows on corners of neckline with a pair of pink crepe chiffon, over a cream underskirt, a boned bodice, strapless by 'Sierra' with a flower embellished on the waistline 1958/9 and a Jean Allen late 1950s brown figured and floral printed evening dress with a dark brown velvet and satin pleated waistband, metal zip, a dark brown slub satin long line jacket with frog fastening by Andrew William Buckler (4)
A LATE 19TH CENTURY DIAMOND 'EN TREMBLANT' FLORAL SPRAY CORSAGE ORNAMENT/BROOCH, CIRCA 1880Set throughout with old cushion and rose-cut diamonds, the central flowerhead mounted en tremblant, mounted in silver and gold, diamonds approximately 2.50cts total, length 9.7cmIn the early nineteenth century, botany was becoming hugely fashionable as a field of study with new species from all over the world being brought back to England by explorers and military travellers. Regarded as an acceptable hobby for young ladies, general knowledge of horticulture was widespread among the upper classes. Pupils of the subject were artistically trained and were expected to reproduce studies of flora to a high standard. This knowledge also poured across into literature and poetry of the period, William Wordsworth’s “Host of Golden Daffodils” being one of the most well-known references to the subject.It stands to reason that the jewellers and smiths of the period could not help but be influenced and inspired by this national obsession with the natural world. At a moment when techniques in gem cutting and mounting had been honed to such a fine art in a comparatively short space of time, there could be no better occasion to create an object of such beauty that it rivalled the living thing. (Fresh flowers were also favoured as an accessory or “corsage” in the costume of the period.) Catalogues suggest that floral bouquets were first used as patterns in English jewellery design as early as the mid-1770s. By the 1830s and 40s, they had become sparkling works of art. However, the English may not necessarily have been the first to be inspired by the natural world. Giardinetti (little garden) brooches and rings had been made in Italy almost a century earlier. Without doubt, those earlier examples could not compare to the sheer prowess of engineering ingenuity seen in these large bouquets “en tremblant” of the early nineteenth century.The origins of the “en tremblant” mechanism is generally attributed to the ateliers of Paris. In this competitive era of Great Exhibitions, many jewellers would have travelled back and forth between London and Paris (amongst other cities), both exhibiting their wares and studying and being influenced by the trends of their foreign counterparts. It is certainly clear that there was a blurring of influences in foliate designs and techniques. “En tremblant” literally means “trembling”. The feature, as can be seen with each of these exquisite lots, was used to highlight individual elements of the bouquet - a single flower head seeming to quiver and shake in the breeze. The method, though delicate, was simple. Each piece would be mounted or fixed via a series of wire or gold coiled springs leaving it in constant gentle motion. The French took this a step further and added trembling butterflies and dragonflies alighting on leaves - another trend quickly absorbed into English fashion. Generally designed for wear in the hair (on combs), below the décolletage or around the bust (on brooches or corsage pins), the intention was to maximise the volume of light captured and deflected in glittering sparkles, the constant fluttering eye catching to say the least.Unsurprisingly, this style caught the eye of Empress Eugénie of France, wife of Napoleon III. In 1855 she commissioned a large diamond flower corsage from Parisian jeweller, Théodore Fester. According to the official catalogue from the auction of French crown jewels in 1887, ‘The flowers: anemone, rose, carnation etc, are modelled from nature. This ornament divides into seven different sprigs, each complete in design, and the complicated flowers, by mechanical contrivances, separate for the purpose of effectual cleaning. It contains nearly 6,000 diamonds, the largest of which weighs upwards of 10 carats’. (Gere, C. and Rudoe, J. 2010, Jewellery in the Age of Queen Victoria, A Mirror to the World, The British Museum Press, London, p.171) One hundred years later, in the 1950s and 60s, Italian jeweller Bulgari produced a series of magnificent hairclips and brooches inspired by the “en tremblant” designs of the nineteenth century. Hollywood icons were enthralled by the dazzling line and patrons included Ingrid Bergman, Princess Soraya of Iran and Elizabeth Taylor, whose then-husband Eddie Fisher gifted her one such brooch on the occasion of her 30th birthday. The brooch was sold at Christies New York in 2011 for USD 1,142,500 (c. € 985,000).
AN IMPORTANT 19TH CENTURY 'EN TREMBLANT' FLORAL SPRAY CORSAGE ORNAMENT/BROOCH, CIRCA 1880The three old cushion and rose-cut diamond flowerheads mounted en tremblant, the foliage similarly-set, mounted in silver and gold, diamonds approximately 4.50cts in total, French import marks, within later fitted case by 'Moira Fine Jewellery, 11 New Bond Street, London W1', detachable into numerous parts, length all together: 26cm
A LATE 19TH CENTURY DIAMOND 'EN TREMBLANT' FLORAL CORSAGE ORNAMENT/BROOCH, CIRCA 1880Set throughout with old cushion and rose-cut diamonds, two flowerheads mounted en tremblant, diamonds approximately 2.40cts, French import marks for silver and gold, later pin fitting in 18K gold with French assay mark, length 14cm
A FINE LATE 19TH CENTURY 'EN TREMBLANT' FLORAL SPRAY CORSAGE ORNAMENT/BROOCH, CIRCA 1880The old cushion and rose-cut diamond flowerhead mounted en tremblant, the foliage similarly-set, mounted in silver and gold, diamonds approximately 6.50cts in total, French assay marks, numbered 9308, within later fitted case by 'Moira Fine Jewellery, 11 New Bond Street, London W1', detachable into two parts, length together: 15cm, shorter: 9cm* With maker's mark 'AF' partly rubbed off, possibly for Alphonse Fouquet 1828-1911Alphonse Fouquet (1828 - 1911), father of the better-known Georges Fouquet, was a French jeweller who began his career serving as an apprentice in Paris at the age of eleven. Alphonse was an obvious natural talent and in spite of years of abuse under his master, Henri Meusnier, he eventually forged a name for himself and in 1860 opened his own atelier. Here he specialised in the creation of Renaissance revival jewellery featuring sphinxes, nymphs and other mythological creatures. However, it is clear that Alphonse was also known to produce the fashionable “en tremblant” corsage ornaments whose popularity had continued to soar throughout the nineteenth century. A similar brooch to this lot was sold at Sotheby’s New York earlier this year. From the personal collection of jeweller to the stars Fred Leighton, it sold for USD 12,500 (c. € 10,775).
AN IMPRESSIVE LATE 19TH CENTURY 'EN TREMBLANT' FLOWER BOUQUET CORSAGE ORNAMENT/BROOCH, 1880The three old cushion and brilliant-cut diamond flowerheads mounted en tremblant, the foliage similarly-set, terminating with a stylised diamond bow, mounted in silver and gold, three principal diamonds weighing approximately 1.00-1.20cts each, remaining diamonds approximately 28-30cts in total, within original fitted case, dimensions 13.4x9.7cm
John Wesley Carroll (American, 1892-1959 ) Original Chalk Pastel Female Portrait (Untitled) Circa late 19th/Early 20th century, large portrait of young female subject, her dark hair pinned in loose chignon, rose pink silk drapery finished with a yellow rose corsage to her décolletage. Rendered in soft chalk pastel on Bristol paper, Signed to bottom left, very good condition, framed and mounted under glass, 23 x 17 inches.
An early 1920s mid length wedding dress with it's matching cape, the dress is typical, it belonged to the vendors grandmother - the wedding dress is in a pleated stiff crepe in pale gold, the front of the skirt in pale cream fine crepe is very worn, the corsage of deep pink velvet flowers is attached to the low waistline, the dress in a shorter 1920s design, has a matching cape lined in pink/peach crepe, the case has silk tassels attached to it
A Circa 1920s Yellow Chiffon Sleeveless Shift Dress, with multi pleated skirt hung with strings of faux pearls, silver and other beads overall to the front and back, large yellow chiffon corsage to one hip. Some bead and pearl losses, couple of small stitched repairs, slight wear overall, 34'' bust.
Assorted Circa 1960-1970s and Later Costume, comprising Blanes pink lace sleeveless full length dress, with open skirt, pink satin cummerband and large oval paste buckle (size 12); Janice Wainwright, 47 Poland Street cream chiffon kaftan dress, embroidered with motifs to shoulders and hem (size 10); Carnegie of London burgundy jersey type sleeveless dress, with faux wrap style skirt, bead flower corsage to waist (size 14); Pure Silk Batik sleeveless full length dress with round neck; English Lady turquoise chiffon sleeveless dress, with attached two tier shoulder cape (size 12); John Charles lilac wrap style dress with pleated trim to the bodice and hem and corsage (size 12); Delmar Couture full length sleeveless black and white linen dress (size 12); Daymor Couture black wrap style cocktail dress with white bodice, sweetheart neckline and spaghetti straps, embroidered with flowers and leaves (size 12); black velvet sleeveless dress with sweet heart neckline, black net and embroidered mount over a blue skirt, trimmed with ribbons; Uninhibited lilac chiffon dress with fabric ties for straps, handkerchief hem (size 8); Susan Small turquoise chiffon sleeveless dress with faux wrap skirt and ruffle trim (size 12); Odile et Odette Designs red chiffon cocktail dress with mount to skirt, sweet heart neckline and spaghetti straps (size 12) (12).Provenance: Academy Costumes, LondonThe sizes stated are a combination of original size labels or modern day equivalents marked by Academy Costumes Blanes pink dress - stitched repairs under the arms, and replacement zip, slight wear. Janice Wainwright dress - some loose threads and slight wear, zip very stiff but functioning. Carnegie of London dress - one or two small thread pulls. Pure silk Batik dress - slight wear and a couple of thread pulls. English lady dress - hem re-stitched and slight wear. John Charles dress - slight wear. Delmar Couture dress - some light staining to the white linen inside the bodice, slight wear under the arms, shoulder straps re-stitched. Daymar couture dress - slight wear. Black velvet dress - 30'' bust, straps repaired and slight wear. Uninhibited dress - stitched repairs to the straps, side seam loose to the skirt underneath. Susan Small dress - no belt, straps repaired. Odile et Odette dress - slight wear.
Circa 1960s and Later Evening Costume, comprising an olive green sleeveless satin dress with gold and green printed sleeveless top with floral and leaf decoration, slash neck and bow detail; brown net mounted sleeveless dress, with appliquéd sequins to the bodice (size 40); Leanne of London cocktail dress in blue and gold leaf design, straight bodice with spaghetti straps, full skirt with hoop to hem (size 38); green crushed velvet long sleeved dress with V-neck and corsage; Jean Allen sleeveless full length dress with purple bodice and pink blue and white patterned skirt (size 10); Savio blue silk chiffon mounted evening dress, decorated with sequins and beads overall, with crossed strap detail (size 12); white sleeveless straight dress, decorated with sequins and beads in striped detailing; Yessica bronzed colour sleeveless evening dress; Jean Varon London sleeveless chiffon nude dress, with floaty a line mount, and scoop neck hung with strips of same fabric, and matching belt; similar style chiffon mounted dress in orange appliquéd with white daisy heads with jewelled centres (10) . Lime green dress - 36'' bust, some wear to the dress mainly, slight wear overall. Brown net dress - numerous loose threads to the bodice, stitched repair to net skirt, couple of holes and wear, especially to the back of the skirt. Leanne of London dress - slight wear, straps restitched. Green velvet dress - 34'' bust and slight wear. Jean Allen dress - slight staining to the armholes, visible from inside. Savio dress - bead and sequin losses, straps repaired, stitched repair to top of the dress. White striped sequin dress - 34'' bust, some bead and sequin losses, slight discolouration to the white ground. Yessica bronzed dress - 30'' chest, slight wear. Jean Varon chiffon dress - 34'' bust, slight wear. Orange floaty dress - 32'' chest, some of flowers have been re-stitched.
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![*Dress. A Brussels lace wedding dress, 1899 [with later alterations], high-waisted empire-line gown with square neckline and](https://cdn.globalauctionplatform.com/ed49c14d-57bf-42e1-972b-a9f500bf6e82/dfa5e855-22f5-4726-8d05-a9f900ae869d/468x382.jpg)
