17th century | height: 23 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | Known as a "Versatoio", this apothecary jar comes from Liguria, Italy and dates to the 17th century. It is made of faience, which is a typical Italian ceramic covered with a lead glaze, which gives the jar a characteristic shiny surface. The blue-and-white decoration includes rich floral motifs, typical of the Baroque ceramic art of the time. The inscription on the jar "S. de Menta" refers to its contents, i.e. mint syrup (Latin sirupus de menta), which was commonly used in medicine as a remedy for stomach problems or to freshen the breath. The jar is equipped with a spout and handles, which facilitated handling and precise dosing of liquids in pharmacies. Its distinctive aesthetics, together with its practical use, make it not only an important artifact for historians of pharmacy, but also a valuable example of the Italian ceramic tradition of the 17th century. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.more photos:https://drive.google.com/drive/folders/1oBSEA5wKywQKldovOa23lW2DjGMpTNZV?usp=sharing
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18th century | height: 37 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | This beautiful apothecary jar from the 18th century is made of earthenware and decorated with hand-painted blue decor. The inscription "S. DE ABSYNTHIO' refers to a syrup made from wormwood (Artemisia absinthium), which was widely used in the past as a remedy for various digestive problems. The container is decorated with rich ornamental elements and floral motifs typical of the Baroque period, which underlines its artistic and functional value. The shape of the container is elegantly rounded, with a spout for easy dosing of syrup and a large handle for better handling. The lid of the container is preserved and matches the decor of the body, thus ensuring the integrity of the design. This vessel was intended for the storage and display of medicinal products in pharmacies and is a beautiful example of faience pharmacy ceramics. | condition: lid damaged at edges | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
18th century | height: 13 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | This 18th century jar comes from faience pottery workshops, probably in Delft, and is intended for holding milk thistle syrup (S. CARD:MAR). Milk thistle has been valued for centuries for its medicinal properties, especially for supporting liver health. The jar is decorated with blue-white decor, a style popular in European ceramic production at the time. The decoration includes floral motifs, two stylized birds, and a small angel on the lower part of the cartouche, which are elements typical of the Baroque and Rococo periods. The inscription indicating the contents of the jar is located in the central cartouche, which increases the legibility and functionality of the jar. These jars were used in pharmacies to store medicines, but also served as decorative elements of the interior. The preserved condition and quality workmanship make this artifact a valuable example of 18th century pharmaceutical ceramics. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory, the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.
Small snuff box in embossed gold. France. 18th century.In an oval format, completely carved with exquisite decoration of architecture, still life of fruits and flowers, musical instruments (violins, trumpets) and curtains. On the inside it has the marks “S crowned” and a lion rampant. 2,8 x 7,4 x 3,2 cm.Weight: 56 g.
Italian school. Early 16th century.‘The Annunciation'Oil and gold ground on copper.38 x 39,5 cm.With the inscription ‘Vera S. Mariae Angelo V. Effig.’Delicate composition framed in a tondo decorated at the cardinal points by very special little angel heads as they look like portraits. It has slight flaws.
A Group of 35mm Cameras, comprising a Pentax Spotmatic F, silver, body G, shutter works, with a Meyer-Optik Domiplan f/2.8 50mm lens, barrel G, optics F-G with a light fungus patch, a Pentax MG, silver, body G, shutter jammed, mirror is up, with a smc-Pentax-M f/2 50mm lens, barrel G, optics F-G with haze, a Pentax ME Super, silver, body G, shutter jammed, mirror is up, with a smc-Pentax-M f/1.7 50mm lens, barrel G, optics F-G with haze, a Chinon CM-4, black, body G, shutter works, with an auto-Chinon f/1.9 50mm lens, barrel G, optics F-G with haze, and a Minolta Vectis S-1, grey, body G, untested, with two lenses, a Minolta 22-80mm zoom, and a Minolta 25-150mm zoom, barrels G, optics G.
A Group of 35mm Rangefinder Cameras, comprising a Rank Mamiya, silver, body F-G, shutter cocks but blades don't open, meter responds to light, rangefinder works, a Petri Computor 35, black, body F-G, shutter cocks but blades don't open, meter, rangefinder works, a Yashica Minister-D, silver, body G, shutter cocks but blades open slowly, meter not responding to light, rangefinder works, and a Petri 7-S, silver, body G, shutter cocks but blades don't open, meter responding to light, rangefinder works,
A Trio of Zeiss Ikon Contaflex Cameras, comprising Contaflex Super, serial number V81279, silver, body G, name "OM Lee" scratched on rear of top plate, shutter works but slow at 1 second, light meter not responding, with Tessar f/2.8 50mm lens, number 2774001, optics G with light dust, with ERC, VG, also Contaflex Super S-Matic, serial number B31594, silver, body VG-E, shutter works but slow at 1 second, light meter responding, with Tessar f/2.8 50mm lens, number 3419551, optics VG, with ERC, VG, and Contaflex Super, serial number G24681, silver, body VG-E, shutter works but slow at 1 second, light meter not responding, with Tessar f/2.8 50mm lens, number 4006732, optics G, with ERC, VG,
A Mixed Selection of Cameras, to include a Fujifilm Instax 100, powers up, lens extends, body G, a Polaroid One-Step Flash, body VG, in maker's box, a Polaroid Super Colour Swinger, body G, three Kodak Instamatics, an Ensign folding camera, a Bantam Colorsnap, working, and two Kodak Extralite 600's in cases, and a box camera.
A Selection of Various Format Cameras, comprising a Bell and Howell Electric Eye, body G, untested, a Bencini Koroll II, shutter working, body G, a Bencini Comet S, body G, working, a Halina 300, not working, a Photax Brevette, working, a Fujifilm Fotonex 400ix Zoom, untested, a Halina Pet, body G, working, a Halina 35x, body G, shutter stuck, a Kapco 35mm, body G, working, and a King Regulette, working.
A mixed collection of medals, comprising: Victorian South Africa medal, named to 6268 Pte. T Taggart, A & S Highlanders, with Transvaal, Orange Free State and Cape Colony clasps, an Edward VII South Africa medal, named to the same soldier, with South Africa 1901 and 1902 clasps, a WWI Campaign medal, named to S-16568 Pte. A Taggart, Gordons Highlanders, a WWI Campaign medal named to J.73875 K Birch Ord. RN, each lacking ribbon, and a cased QEII Imperial Service Medal, to William Grove.
Pierce (Michael) and others. '...So Few: a folio dedicated to all who fought and won the Battle of Britain 10th July - 31st October 1940', number 43 of 401 copies, signed by the creative team with 25 tipped-in silhouette portraits of surviving pilots by Michael Pierce, all signed in pencil by the artist and subjects and with photographic plates of them & their related memorabilia and facsimile accounts, in original RAF blue morocco upper cover inlaid with pilot`s wings and blocked in gilt, with accompanying leaflet in original cloth drop-back box, 4to Royal Air Force Benevolent Fund 1990.Some minor dents to the edges of the outer slipcase, with surface wear - the book itself has no apparent damage.
1620 | PUBLISHER: Antwerp, Apud Perum et Ioannem Belleros | NUMBER OF PAGES: 1004 + index | LANGUAGE: Latin | DIMENSIONS: 390 x 252 mm | THE FULL TITLE OF THE WORK: Joannis Lorini Societatis Jesu Commentarii in leviticum. In quibus praeter exactam sensus litteralis explanationem, variarum tum editionum, tum lectionum collationem cum vulgata, phrase[o]n etiam Scripturae, atque vocabularum,... Editio Secunda castigatior. Cum indicibus locupletissimis locorum S. Scripturae, rerumque lectu digniorum. Hebraicarum exin grecarumque vocum elencho expolitur, et illustratur | CONDITION: missing edge straps, spots, insect damage | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
A collection of jewels, comprising: a gold Virgo pendant on a gold snake chain, pendant length 4.0cm, chain length 44.5cm; a bicoloured gold and platinum chain necklace, stamped 18ct Plat; a cubic zirconia pendant necklace on a 9ct gold chain, British hallmarks; an amethyst and garnet pendant on a 9ct gold chain, British hallmarks; a double strand cultured pearl necklace, to a gold clasp, stamped 14K; a lady's stainless steel watch by Ebel, quartz movement, Ebel case and spare links; a lady's stainless steel watch by Seiko, quartz movement, Seiko case; a gold ring modelled as the titular ring from Lord of the Rings, size Q, stamped 18CT; a 9ct gold and green tourmaline ring, size S, British hallmarks; a ring set with a brilliant-cut diamond weighing approximately 0.35 carats, in a bicoloured mount, size P, stamped 18ct Plat; a square cluster ring of brilliant-cut and baguette diamonds in 18ct gold, size J1/2, British hallmarks; a gold ring of buckle design, size L; and a ring set with two cushion-shaped diamonds in 18ct gold, size K, British hallmarks, central stone deficient
A group of nine gem-set rings and a gold pendant, including an emerald five stone ring, set with white zircon shoulders, size U, an emerald and diamond ring set in 9ct white gold, size S, a diamond seven stone ring set in yellow gold, size N, a tanzanite and white zircon ring set in white gold, size U, an aquamarine and diamond three stone ring, size S, a pink tourmaline and diamond three stone ring, set in 9ct yellow gold, size S, a green quartz ring set in silver, size S, a synthetic spinel ring, in yellow gold, size P, a topaz ring, size S and a gold pendant, 2.5cm
A collection of gem-set and diamond jewels, comprising: an emerald and diamond ring, stamped 9CT; a lemon quartz and diamond pendant, stamped 9K; a chrome diopside and white zircon cluster ring; a 'Csarite' diaspore and diamond ring, British hallmarks for 9ct gold; an amethyst and tanzanite ring in white gold, stamped 14K; a 9ct gold and diamond four-stone ring, British hallmarks; a sphene and diamond ring in 18ct white gold, British hallmarks; a blue topaz four-stone ring in 9ct white gold, British hallmarks; a pavé-set diamond ring in 9ct rose gold, British hallmarks; an aquamarine and diamond ring in 9ct gold, size S; and a green garnet and diamond ring and pendant, each mounted in gold, ring with British hallmarks for 9ct gold, pendant stamped 9K, chain of gilt silver, together with five authenticity certificates
No Reserve, a collection of reference books, including two copies of Louis Dieulafait, Diamonds and Precious Stones, 1874; W. Arnold Buffum The Tears of the Heliades or Amber as a Gem, 1896; S. Tolansky, The History and Use of Diamond, 1962; Julis Wodinska, A Book of Precious Stones, 1909; four books on Chinese jade carvings; one book on Chinese Snuff Bottles; and a Christie's catalogue, Fine Chinese Jades, February 13th 1978
Pastel blue meets a bright white VELCRO® strap on this non-limited model. All the hands are in white. A black tachymeter scale adorns a white-colored bezel. All dials in the collection carry the OMEGA X Swatch branding, the iconic Speedmaster logo and the MoonSwatch logo. The biosourced glass construction, the etched ‘S’ integrated in the center of the glass, the fine and sophisticated circular pattern on the dial outer ring and the recessed subdials, the angular and smooth lugs construction, the iconic ‘dot over 90’ detail on the tachymeter scale, and of course the unique Bioceramic feel are common to all models. The hour, minute, and chronograph seconds hands as well as the hour markers sport Super-LumiNova® for a perfect glow in the dark. *In accordance with our General Conditions of Sale, the lot is sold 'as is'. The auction house does not guarantee the accuracy of timekeeping or the condition of the lot. The buyer accepts full responsibility for any repairs, maintenance checks, or works that may be required. The condition or timekeeping state will not justify delayed payments or cancellation of the sale.
Four various evening bags to include a 1930's fixed frame and Bakelite double fastening bag cream embroidery on black background with a black fabric chain handle, a black 1920's bag embroidered with sequins and beads front flap fastening with a rigid top and beaded ends, another 1920's beaded bag (a/f) and another bag (4)
A 1950's grey lace strapless evening dress, ruched bodice, the lace overlaid, a pale pink satin and grey net under dress, side zip fastening and hook and eye, there are some pulled threads, with a stunning cream 1950's full length evening dress, cream printed with white flowers, fitted bodice with scalloped detail to the slightly dropped waist, with frilled shoulder straps and neckline, the skirt is full and sweeping, it has a separate stiff petticoat (both small), and 1950's gold and cream brocade full length evening dress, the skirt bias cut and full, the bodice ruched, with scoop back and broad double shoulder straps (4)
1940's/50's brown jacquard cocktail dress, three quarter length sleeves, peplum waist, brown velvet trim to the bodice, the skirt with a split showing a brown velvet panel, a Peggy French Couture brown cocktail dress, draped bodice, square neck, three quarter length sleeves, a Simpson's St. Regis Room silk cocktail dress brown paisley style pattern, draped bodice with grosgrain ribbon detail to the waist, a black satin cocktail dress, a black lace cocktail dress with a chiffon drape to one side and a moire silk full circle skirt (6)
Josef Herman (1911-2000) Watercolour on paper “Man on the Shore”, with copy of the Albany Gallery postcard receipt, 19cm x 23cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990.
An Edwardian lawn blouse, sleeveless, ( there is a tear under one arm)1930's cream lace blouse over apricot chiffon, a white cotton pinny with detailed crochet hem and a full white Victorian petticoat treble layered with a lace overhemCondition ReportThere is a tear under the arm of the sleeveless blouse, and staining under the arms, the lace longsleeved blouse appears to be without damage or repair, the cut and drawn thread edge of the pinny is pulled slightly at the the tie one one side, also a slight mark to the middle of the apron, the full petticoat has a tiny whole in the front of the skirt, middle ad there is a tiny , yellowish mark in the hem of one layer of net . otherwise this is in good order
Josef Herman (1911-2000) Watercolour on paper "Conversation II" Albany Gallery label verso, 19.5cm x 24.5cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. Condition ReportPossibly a small mark between the legs of the foreground figures. Some dirty marks to mount.
Josef Herman (1911-2000) Watercolour on paper “Miners”, 20cm x 25cm From the collection of the late Maurice Costley Josef Herman was a Polish/British contemporary artist. Herman was one of the last European expressionists. He was a figurative artist who painted working people. He came to Great Britain in 1940 and had his first exhibition in Scotland. In 1943 he moved to London and had his first London exhibition with L S Lowry. In 1981 Herman was awarded an OBE and was elected to the Royal Academy in 1990. Condition ReportCrease to lower left corner. Crinkle to left of foreground figures. Slight crease/warp to top left corner. Another slight crease/crinkle to lower centre left. Faint line to lower left corner, maybe a mark.
Edward Brian Seago RBA, ARWS, RWS (1910-1974) Watercolour drawing “Cattle on a Marsh”, signed, with Mandell's Gallery label verso and receipt dated 1986, 27cm x 36cm From the collection of the late Maurice Costley Edward Seago was born in Norwich, a self taught artist who is renowned for his portrayal of East Anglian scenes. Working in both watercolour and oil, his paintings are atmospheric and moody in an impressionistic and post-impressionistic style. During WWII he joined the army and worked on developing camouflage. He was extremely popular during his life time, exhibiting at some of London’s top galleries which included P & D Colnaghi where a queue would form along Bond Street to purchase one of his pictures. During his later career he travelled to paint with various patrons, to Venice, Gambia and to remote areas such as the Antarctic. His most famous patron was Queen Elizabeth, the Queen Mother, and many of his works are in the Royal Collection. Condition ReportOverall in good order. The paper is undulating slightly and does not sit flat, there are some small areas of faint brown discolouration to the sky, the mount has discoloured slightly. Uninspected out of frame.
Campbell Archibald Mellon (1878-1955) Oil on board “Boating Pond at Gorleston”, figures on beach with steam vessel and lighthouse in background, with Mandell's Gallery label verso and Mandell's Gallery invoice dated 1979, 21,5cm x 29cm From the collection of the late Maurice Costley Campbell Mellon was born in Berkshire and began his artist’s career in 1903. Moving to Norfolk he was taken under the wing of Sir John Arnesby Brown. He is known for his coastal scenes which are impressionistic, light and breezy, usually including busy little figures enjoying the beach. He was a member of the Royal Society of Oil Painters and exhibited at the Royal Academy. Condition ReportRecto: paint surface overall in good condition, very minor surface wear, canvas slip slightly dirty, fraying upper left corner. Odd slight but stable crack in mid left side of the frame. Verso: Board fixed with nails and cork. No covering tape. Board in good condition, inscribed August 3.30 in pencil. Dealer's label.
Black crepe 1920's dress with an embroidered and sequin detail panel to the front, the drop waist with a tie, the chiffon sleeves with split to the elbow, there is an extra detailed piece of embroidery, probably a collar as it looks to have been removed, a wool and coney cream coat, the lining panels of coney, shawl collar and cuffs in coney, a 1920's plum-coloured satin dress, V-neck, diamante detail to the shoulders and neckline, a lace three-quarter length jacket with two belts, 1920's/30's buttons to the front and detail to the belts, a pink satin possible nightgown trimmed with lace, with puff sleeves, a cotton blouse in apricot with floral insert, square neckline and ruched bodice, a black silk slip with drop waist with box pleats, V-neck, labelled 'KB Art Silk Fabric, English Made' and a 1920's cotton peasant-style dress with cross-stitch embroidery, red tassels to the bodice and sleeves (8) Condition ReportThe black dress with embroidered and sequin panel is as described in the catalogue description. The wool and coney coat has slight discolouration to the fur lapels and the the back of the coat skirt. Possibly from being folded and put away, the pink dress has a slight hole by the drop waist and a small mark, the peasant style dress has an ink stain to the front of the skirt, the black slip has the faintest white mark just under the waist to the front.
Various black evening dresses and jackets 1920's/1930's to include a black lace jacket, a black velvet short dress labelled 'Roecliff & Chapman, Grosvenor St.' with an elaborate beaded detail to one shoulder, three-quarter length sleeves, a dark blue chiffon dress with embroidered sleeves, a plaited belt fastened with a rosette, a black chiffon dress with lace insert faux flowers and diamante buckle, possibly a later edition (a/f) and six other black evening items (10)Condition ReportLace jacket approx size S/M appears in good condition with no obvious splits or holes. Velvet dress size 38 few white marks to back, small brown stain R/H side on skirt, various small marks and velvet 'crushed' in places otherwise god condition with no holes or splits. Blue dress approx size 14 embroidery to sleeves badly damaged. Dress around neck very damaged. Black chiffon dress wit pink flowers approx size 10/12 damage under both arms, some beading to front off, staining to back and some holes in lace bottom trim. Lace layered dress approx size 10, damage to R/H shoulder strap, lace split down hook and eye fastenings, some lace to hem damaged. Black dress with lace trim approx size 12/14 lace to hem damaged, lace to L/H arm damaged, neck seam stitching coming away, spot marks on dress. Black and pink chiffon dress approx size 10/12 pink chiffon to top of dress stained and damaged, chiffon over dress colour damage with a few small holes. Lace dress approx size 12/14 damage to lace on both shoulders, lace has some damage throughout. Velvet sleeveless top size 34 in relatively good condition Short velvet jacket approx size 10 seems in good condition.
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936972 item(s)/page