Ca. 200–400 AD. Roman. An iron spatha with a long tapering, bevelled blade, and a reconstructed bone hilt with a circular pommel and a cylindrical grip with ribbed decoration. Good condition; custom-made stand included. Starting around the late 2nd century AD, the Romans began adopting the long, double-edged swords called 'spathae', which were originally only used by the Germanic peoples. The Roman spatha was a key part of Roman military equipment used in war and gladiatorial fights. In literature, the spatha appears in the Roman Empire in the 1st century AD as a weapon used by presumably Germanic auxiliaries and gradually became a standard heavy infantry weapon from the late 2nd century onwards, relegating the gladius to use as a light infantry weapon. The spatha replaced the gladius in the front ranks, giving the infantry more reach when thrusting. While the infantry's spathae had a long point, versions carried by the cavalry had a rounded tip that prevented accidental stabbing of the cavalryman's own foot or horse. Good condition; custom-made stand included. To find out more about spathae, see Bishop, C. C. (2020). The Spatha: the Roman Longsword. Bloomsbury Publishing. Provenance: Private UK collection; Formerly acquired on the European art market from pre-2000 collections. Size: L:870mm / W:70mm ; 965g
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Ca. 945 - 332 B.C. Third Intermediate Period to Late Period. Egyptian. A group of Egyptian faience antiquities including a composite /statuette of the torso of the Ibis-headed god Thoth who was patron of scribes and the recorder of the decision of the deceased in the weighing of the heart ceremony in the Book of the Dead. Richly formed in a dark green glazed faience upon a trapozeidal base. Arms raised at the chest holding writing implements. In the centre, a long light blue faience composite amulet of the crocodile god Sobek with his long stretched tail and scales depicted moulded to a high standard. A suspension hole through the head to provide the attachment to a necklace or bracelet. Lastly, a shabti figure formed of a glazed faience of an overseer, one hand seen outretched at his side.In ancient Egypt, amulets were believed to have positive properties, that magically, would bestow upon its owner and wearer. Throughout Egypt’s long history, people wore amulets to avoid disease and other forms of misfortunate. Amulets were used as a magical talisman to ensure well-being and good fortune. Amulets were made in huge abundance and were inexpensive to most when crafted in faience, which was available to nearly everyone.However, other forms of amulets were made of expensive materials such as gold, silver and semi-precious stones, which were believed to be more durable and everlasting. Aside from wearing amulets during daily life for health and well-being, they were also used for the dead and were placed on the mummy or inside the bandages of the deceased. Amulets were often small, varying between mm to a 2 1/2 “. Pectoral scarabs and other forms of amulets were larger than the average funerary amulet.These funerary amulets would provide magical properties to the deceased, ensuring an eternity of good health and well-being. A few examples of popular amulets were the heart scarabs, usually larger than the average naturalistic scarabs. These were usually formed of rich hardstone with a chapter from the book of the dead asking its heart not to tell of his or her misdoing through life, during the weighing of the heart ceremony. The heart would be placed on the scales and weighed against the Maat feather. This is where our modern-day saying light as feather derived.The Ib heart, an amulet in the shape of a heart, was believed to hold the deceased essence and thought and feeling. The Four Sons of Horus plaque amulets used to protect the organs of the deceased; these were Imsety, the human headed deity protector of the liver; Duamutef, the jackal-headed deity, protector of the stomach; Hapi, the baboon headed deity, protector of the lungs; and finally, Qebehsenuef, the falcon-headed deity, protector of the intestines. These were placed lovingly in the bandages to protect the deceased organs for use in the afterlife.Amulets of similar forms see: Carol Andrews, Amulets, 1994.William Flinders Petrie, Amulets, 1914. Provenance: From a London private family collection, formerly acquired on the UK art market in the 1960s - 1970s; then passed by descent. Size: L:Set of 3; 45-65mm / W:44489mm ; 20g
Ca. Late 3000–Early 1000 BC. A large and finely polished fish-shaped axe in light beige stone, with an asymmetric convex cutting edge tapering to shouldered and 'hammer' butt, a hole has been drilled to receive a handle. Provenance: Private UK Collection. Danish collection, 1950s-1990s. Private Belgium collection between 1997-2007; then sold to a British collector. Size: L:190mm / W:60mm ; 895g
Ca. 206 BC–220 AD. Han dynasty. A beautiful terracotta bird with a light red body, black head and tail, green wings and legs. Historical texts indicate that tombs were meant to contain a generous supply of the same goods and utensils that served a living person, and earthenware animals like this bird may have served as part of the food supply sustaining the deceased in his afterlife. For a similar terracotta bird, see https://www.metmuseum.org/art/collection/search/640950. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:150mm / W:205mm ; 450g
Ca. 618–907 AD. Chinese Tang Dynasty. This elegant court lady stands on a flat base. Her hands are held close to her body and they support a small brown dog, which rests on her chest. Her red, light blue and cream-coloured long robes fall in heavy folds that emphasize the graceful sway of her body. Her head is turned slightly to the side and the face is sensitively modelled with full rosy cheeks, a small mouth and elongated eyes, and is framed by the stiff wings of her coiffure which is drawn up and then divided into two soft loops. This stately, elegant figure exemplifies the ideal standards of beauty and fashion that prevailed during the high Tang period of the 8th century in China. During this period, a more voluptuous body type had become fashionable, which was reflected in women's robes being long and loose-fitting, and their hair was worn in fuller hairstyles that framed the face. Other painted pottery figures representing this type of court lady are illustrated in The Quest for Eternity – Chinese Ceramic Sculpture from the People's Republic of China, Los Angeles County Museum of Art, 1987, pp. 139-40, nos. 83-84, and col. pl., p. 56. Several paintings on silk, from Turfan, of women that are similar in type to the present figure, depict them with pink cheeks, to indicate the use of rouge, which is seen on the full cheeks of the present figure – see The Ancient Art in Xinjiang, China, 1994, pp. 86-7, pls. 210, 213 and 215. The hairdo of the present figure is very similar to that of a court lady of similar type painted on a Tang dynasty (784) mural at Wangjiafen, Xian, illustrated by P. Karetsky in Court Art of the Tang, Maryland, 1996, p. 274. For another similar figure sold at Christie's, see https://www.christies.com/en/lot/lot-5776675. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:480mm / W:190mm ; 4.9kg
Ca. 100–300 AD. Roman. A finely blown flask in a light-blue coloured glass. The vessel features a flat, spherical body, a long cylindrical neck slightly constricted at the base, and an everted folded rim. The passing of time has created a beautiful iridescence on the glass’ surface. While glass-making had been practised for centuries, the Romans invented the glassblowing technique in the 1st century BC, which revolutionized this craft. Roman glassmakers reached incredible artistic heights with both free-blown vessels and mould blown forms and decorations. To find out more about glass objects in the Roman world, Bayley, J., Freestone, I., & Jackson, C. (2015). Glass of the Roman World. Oxford And Philadelphia: Oxbow Books. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s. Size: L:125mm / W:60mm ; 24.2g
Twenty four bottles of vintage and collectors ale, including Bass King's Ale, Bass Prince's Ale, Whitbread Forest Brown Ale, Red Rock Lager Beer, Courage Light Ale, Guinness Foreign Extra Stout, Imperial Russian Stout brewed in 1972, and others (Est. plus 21% premium inc. VAT)Condition generally good
Forty four bottles of vintage and collector's ale mainly from 1981, comprising 21 Buckley Cwrw'r Briodas Frenhinol Royal Wedding Ale, 3 Shepherd Neame Royal Wedding Ale, 7 Godson's Bridal Ale, and 1 British Oympic Appeal light ale 1984, 11 Bass Royal Brew, 3 Gibbs Mew & Co. Royal Heritage and 2 Eldridge Pope Remembrance ales (Est. plus 21% premium inc. VAT)Condition mixed
A 19th Century Doll's Sedan Chair, mounted in light brown leather and trimmed in green, sectional domed top, wood and giltwood carrying handles, giltwood base and detailing, functioning handle, lined in green fabric with woven caned seat, back window has a leather slide, 21cm by 8cm by 8cmCondition report: Discolouration to the leather exterior and wear. Gilt detail to the roof of the sedan has been broken and reglued, some of the corner mounts broken and reglued, front leg reglued, gilt possibly repainted, possibly replacement green lining - see extra images.
Late 19th Century Light Brown Wool Dress, with pleated detail to the bodice, long flared sleeves with pleated detail, full skirt and matching over-skirt; Cream Wool Dress Woven with Pink Flower Heads with fitted bodice, sleeves missing and replacement lace trims and to the round neck; Large Printed Paisley Shawl (a.f.) (3)
Circa 1940/60s Evening Dresses, comprising a Harrods pale peach silk chiffon sleeveless dress appliqued overall with silver beads; short sleeve net top embroidered with large flower heads in red, blue and brown; black lace short sleeve top with button fastening and collar; a pink lace mounted evening dress with capped sleeves, round neck, button fastening and tiered skirt; black lace sleeveless full length dress with net shoulder straps; white evening dress with satin type bodice appliqued with sequins and beads, spaghetti straps and full net skirt; Susan Novell London pink silk evening dress with pleated cross bodice and velvet trim and full skirt (7)Condition report: White dress - slight staining under arms, slight discolouration to the bodice and skirt, sequin loss and stain to the skirt, small holes.Black lace dress - lace worn and holes to the bodice, and smaller holes to the skirt.Pink taffeta dress - wear to the bodice and couple of light brown spots/marks to the skirt.Cream bead dress - numerous bead losses and wear and slight staining.Black shirt - ok - slight fading.Pink lace dress - some wear to the bodice, numerous holes to the skirt and wear.The net top - holes to the hem and wear.
Early 20th Century Ladies' and Genlemen's Costume, comprising a St Michael pink and white patterned day dress, bearing a red CC41 label, (labelled 44" bust); CC41 lavender crepe short-sleeved day dress with gathered trims and fabric belt tie; Treasure Cot Co Ltd, London & Birmingham maternity two piece including a wrap skirt and matching top with buttons to the front, short sleeves and collar in green with a black and white print; green floral cotton printed maternity dress, with three-quarter length sleeves, buttons to the front and fabric belt; CC41 Ladiwear Model light-brown open jacket with side pockets; Leak & Thorp Ltd York, Ladies Tailors and Costumiers brown self-striped jacket, with four buttons fastening to one side; peach floral short sleeved shirt with Peter Pan collar and elasticated hem; blue cotton girl's 'sailor' dress bearing a Northern Ballet label to the inside, and a white cotton naval style jacket; G E Edwards & Co Shirt Makers, Strand large linen shirt/night shirt with red and white trim to collar, button placket and pocket, a white cotton shirt with multi-pleated button placket and a red, white and blue woven shirt; CC41 child's blue cap (13)Condition report: . St Michael dress - belt missing, couple of holes to the back, some areas of wear and stitching around the zip, to the front above and below the waistband, some of the seams coming loose, wear overall. Lavendar dress - fading to the dress, couple of small holes overall and wear, 32" bust. Treasure Cot Co Ltd maternity suit - slight fading and rubbing to the fabric, top of the pleats to the skirt has some loose stitches, couple of small brown marks. CC41 jacket - small hole and water stain to the lining and slight wear overall. Thorp & Leak jacket - couple small holes and marks to lining. press stud added. Peach shirt - slight wear. Sailor dress - velcro been placed over opening on back, silk tie to front is a replacement, possible alterations to the back, fading and wear. Jacket, fading and wear and later buttons. Red and white trimmed shirt - remains of name written to button placket. Others slight wear.
Circa 1920s Costume, comprising a Pauletta Sports, Paris & London green velvet evening coat, with black silk lining and fur trimmed cuffs to the long flared sleeves; a Bradleys, Chepstow Place London black velvet evening coat, with smocked detail to the shoulders, attached neck tie and pleated cuffs; pair of silver and black brocade evening shoes labelled 'The Peerless' (3)Condition report: Green cape - missing shaped appliques to the hem. Some light brown staining to the back and front, stitched repairs to the shoulders, some wear to the velvet. Fur cuffs coming loose to both sleeves.Black cape - very little wear overall.See extra images.
Circa 1940s and Later Canvas Work Wear, comprising five jackets in cream, brown and navy labelled Fabram, Beacon etc; three pairs of Bowden Wear navy dungarees (two pairs with original paper labels), and a light-brown full-length boiler suit; Trutex Cliteroe brown cotton dress (with original paper tag); two Uniforms Registered of Toronto white nurses' dresses with multi-pleated bodice and buttons to the front (12)
A Collection of Assorted 1950s Mainly Printed Cotton Day Dresses and a Suit, comprising the labels Sambo Fashions, Charles Hymen Chicago, Beech Tree, in floral and striped designs (14)Condition report: Pink scallop print dress - wear to all the button holes, small hole to the back and fading.Blue floral double breasted dress - slight wear under the arms and waist seam.Green striped floral dress - stitched repair to collar and pocket.Grey/white striped dress - rust marks to the shoulder and couple of tiny holes and fading.C Hymen Chicago dress - patched repair near sleeve.Beech Tree faded green dress - stitched hole to the back, very slight discolouration to the underarms, fading and both of sleeve seams have small holes.Red and white dress - repair to the sleeve seam and fading.Atlantic daisy head dress - wear to the sleeveholes, buttons missing to the pockets, two small repairs to the back and fading.Brown and white striped dress - loose thread to the pockets, stitched repair to the back, fading and wear.Eastern figures printed dress - light stain under the arms and fading.Sambo Fashions and three other dresses - all ok with slight wear.
Circa 1940/50s Ladies' Jackets and a Suit comprising a Siegal light-brown fitted coat with contrast lined collar, button fastening, pockets to the front; red cotton ribbed two-piece suit including a long straight skirt, tailored jacket with collar, button fastening and stylish crescent-shaped pockets; patterned wool double-breasted jacket with collar and lapels; Emtona navy jacket with collar and button fastening another in black labelled Pamur of fitted design; three other wool jackets in red and grey; pale blue Mellor crepe jacket, another in green labelled Tredesco and a black wool straight skirt with inverted kick pleat (11) Condition report: Siegal coat - hole/wear to the back of left shoulder, small hole towards end of sleeve, lining has lots of wear and holes, some fading and wear. Red ribbed suit - lining is stained and holes/wear, slight fading and wear overall to the rest of suit. Patterned jacket - lining stained and very worn/holes and slight wear overall; Emtona navy jacket and black Pamur jacket - both show slight wear and fading.
Assorted 1950/60s Evening Wear, comprising a black fitted silk jacket with collar and buttons; black textured fitted jacket with collar and front pockets; Wayne Smith blue and black brocade jacket with shaped collar, elbow-length sleeves; bronzed and black woven jacket with light brown velvet Nehru collar and two buttons to the neck, three-quarter length sleeves; Carnegie Model blue sleeveless dress with drop waist, pleated skirt, white cotton appliques and white beads to the front; Acquer Model dark green full skirt with padded scalloped trim to the hem; Janet Cotton pink full skirt with black flocked velvet decoration (size 26); black reversible skirt with black and white check full skirt; four beaded evening tops labelled Len Edwards, Hong Kong Hand Beaded, Elizabeth Mai Casual Couture in pale pink, blue, cream and black (12) (12)Condition report: . Black jacket - 42" bust, one button missing, had insertions added to the front and back, cream lining is stained. Black textured jacket - 34", couple of light marks and wear to the fabric. Blue and black brocade jacket - unlined, some staining and wear, 42". Bronzed and black jacket - loose threads to the hem, overall wear to lining and fabric, 40" bust, button holes restitched. Carnegie Model dress - some beads missing, discolouration to the top of the bodice and white trims, 38" bust, slight wear overall. Acquer model skirt - 24" waist, stitched repairs to the waistband and top of the zip area, slight fading and wear. Janet Cotton skirt - several small splits to the back and slight wear. Black reversible skirt - 30" bust, slight wear overall. BEad tops - all have some bead and sequin losses,
Circa 1950/60s Ladies' Suits and Occasion Wear, comprising a Lydia of London grey lace mounted suit of short sleeve shift dress with scallop detailed bodice, mauve modesty panel, and matching jacket with three-quarter length sleeves; Michael Howard of London similar pale-pink dress suit with later fur-trimmed cuffs; Edward Black of London pale-pink dress with brown lace mount three-quarter length sleeves; Kenneth Cross Newcastle Upon Tyne suit in green slubbed silk-type fabric, long sleeve dress with detail to the waist and matching coat with collar and fur-trimmed cuffs; Philip Kunick blue slubbed dress with three-quarter length sleeves and jewelled detail to the neck (size 14), and a similar blue coat with collar and button fastening and three-quarter length sleeves; navy and white gingham jacket with peplum waist, button detailing, purple collar and cuffs and matching purple skirt; cotton suit in navy-blue with white spots and contrasting spots to the pockets and collar; Carnegie Model mustard coloured grosgrain style dress, with central tab and button detail to the front, three-quarter length sleeves, another in teal blue with buttons to the front, embroidered wriggle work to the bodice front and bead stars, front pockets; Rembrandt Original purple long sleeve dress with V-neckline and black velvet bow to the neck, (size 18); Mascotte Model black dress with pleated detail to the front and buttons to the reverse; and a black sequin dress (13)Condition report: . Lydia of London suit - 38" bust, general wear overall, some fading and some small holes to the lace, lace puckered to the hem. Michael Howard suit - light brown stain to the back, lace worn and some small holes, lace puckered to the hem, overall wear. Edward Black lace dress - 35" bust, slight wear and hem cut. Kenneth Cross suit - 42" bust, some discolouration under the arms and to the lining of the coat, slight wear overall. P Kunick dress - slight wear overall, discolouration to the lining. Blue coat - slight fading and wear. Gingham check suit - 38" bust, some fading to the purple, belt missing. Spotty suit - belt missing, size 42, slight wear, small part of waist seam open. Carnegie dress - discolouration to the front and back and rubbing to the fabric, 35" bust, small spot mark near the hem. Blue Carnegie dress - sleeves discoloured, 42" bust, some areas of loose threads and wear, belt missing. Purple dress - several areas on the seams where threads pulled or open, slight fading. Black dress with sequins - some wear and loose threads, some of the seams are pulled or open, sequin loss. Mascotte model dress - seams under both arms open a little bit, slight wear, 38" bust. .
Assorted Circa 1950/80s Ladies' Costume, comprising a Clive cream wool coat woven with stripes of different shades of blue with collar, front pockets and press stud fastening; Cresta Couture green and taupe linen type two-piece, comprising a sleeveless shift dress and long-sleeved coat with button fastening (size 16, 38" bust); Harrods Ltd London blue slubbed dress coat with two cord-mounted buttons; Jacques Heim pink linen two piece suit, comprising a sleeveless shift dress with buttons to the front, round neck and a matching short jacket with short collar and side pockets; ELEL Modele Switzerland dark pink linen three-piece comprising patterned chiffon top with attached pettitcoat, linen skirt with chiffon matching waistband and open jacket with collar (size 41); yellow linen type slubbed suit comprising a short sleeve shift dress with high collar, stitched buttons to the front and matching jacket with deep V-neck and wrap style, large buttons to the hem and a silk under-dress; Adele Mayfair pale peach wool sleeveless panelled shift dress; Liberty of London Mono cotton jacket printed with pink carnations, with buttons to the front, collar and pink lining (size 16); Horrockses Fashions trevira black and white dress with long sleeves and bow to the waist (size 16); Donald Campbell floral patterned silk short sleeve cocktail dress with green contrasting waistband (size 10) (10 items)Condition report: . Clive coat - 40" bust and 35" length, small hole to lower sleeve and coat - see images, couple of small light stains and slight staining to the lining under the arms. Cresta Couture suit - slight wear. Harrods Coat - some marks around the neck, slight fading and wear, 46" bust, 38.5" length. Jacques Heim two piece - 38" bust, some discolouration to the shoulders, sleeves, back of skirt -bobbling and slight wear. Elel Modele suit - 36" bust and 26" waist, rubbing and wear overall, skirt re-hemmed, split to the lining of the jacket. Yellow suit - slight wear to dress and jacket, under dress split and damaged, 32" bust. Adele shift dress - 38" bust slight wear. Liberty jacket - slight wear. Horrockses dress - slight wear. Donald Campbell dress - some wear and slight discolouration and zip replaced.
Jean Muir Costume, comprising a brown wool mix two-piece suit including an A-line skirt and matching long-sleeved jacket with Mandarin-style collar and no fastenings, woven in checks with orange, red and brown threads, (size 14); a longline open light-brown suede jacket with long sleeves and punched detail to the edges (size 12); a pair of brown wool mix trousers (size 14) (3)
Assorted Jean Muir Costume, comprising a navy-blue jersey dress with elbow-length sleeves, square neckline (size 14); light-blue jersey dress with long sleeves, V-shaped gathered elasticated waistband, button fastening (size 10); navy-blue jersey long sleeve cardigan, V-neckline and button fastening (size 10); black jersey waterfall long-sleeved cardigan with sequin detail around the front (size 12); black long sleeve top with round neck, two-tier ruffle-trimmed collar with pink trim edges, button fastening to the back (size 12); pair of black crepe slim-fitting evening trousers, appliqued overall with tiny sequins (size 8); black panelled A-line skirt printed with gold stars overall (size 8); black jersey skirt with asymmetric hem (size 12) (8)
Ladies' Costume comprising Emanuel Ungaro herringbone wool mix jacket (size 8 petite); pair of Dolce & Gabbana brown suede trousers and a two-piece linen suit in light-brown (size 44); Saint Laurent Rive Gauche cotton shirt dress with large front patch pockets and long sleeves (size 38); Armani black and white dogtooth-check wool jacket; Escada angora and cashmere navy jacket with overstitching (size 42), a black MaxMara jacket (7)
Assorted Modern Ladies' Costume, comprising a black grosgrain dress with ribbon appliques to the front; Andre Peters navy-blue velvet two-piece suit trimmed with grosgrain; Louis Feraud green textured jacket (size 8); John Bates black chiffon sleeveless evening dress with multi-pleated bodice with large applique (size 10); Belville Sassoon Lorcan Mullany black bead and tassel-trimmed short dress (size 12); Ozbek brown jersey full length long sleeve dress with split to the centre, a white sleeveless top with collar, multi-pleated front with zip fastening; Ben de Lisi full length sleeveless velvet-type dress with geometric design (size 10); Harrods soft black leather cropped jacket with three-quarter length sleeves, button fastening (size M); Pearce Fionda black longline wool jacket with single-button fastening, pleated detail to the reverse (size 10); Gucci long skirt with mesh mount (size 42); red wool wrap dress with one-button fastening, long sleeves, quilted satin collar (size 34); Gianni Versace Couture long skirt woven in black, white and silver with stretch (size 42/8); Apparance France cream faux fur textured coat (14)Condition report: . Black dress appliqued - some ribbons loose and slight wear, staining under the arms. A Peters suit - staining to the lining on the jacket, slight rubbing to the velvet. Louis Feraud green jacket - rubbing and wear. JOhn Bates dress - slight wear overall. B Sassoon dress - slight wear, bead losses. Ozbek dress - slight wear. Ozbek shirt - slight yellowing and wear. Ben de Lisi dress - slight wear. Harrods jacket - slight wear. P Fionda wool jacket - slight wear. Gucci skirt - slight wear. G?? red dress - slight wear. G Versace skirt - couple of brown spots to the reverse, fraying by the waistband fastening. Apparance coat - some small/light stain marks and slight wear.
An Alphabet Sampler Worked by Rebecca Tatham Dated 1812, with alphabet and verse worked in cross stitch, 'Short is our longest day of life, And soon its prospect end, Yet on that days uncertain date, Eternity depends', in an oak frame, 33cm by 44cmCondition report: Clean condition, green/gold thread has been used on the apostrophe of 'it's', couple of tiny spots of light brown.
Early 20th Century Japanese Red Silk Figured Kimono, embroidered with silk embroidered cranes, red silk lining and silk crepe tie to the reverse; Late 19th Century Theatrical Dress of Green Silk with Similar Red Silk Kimono Mount, the dress with boned bodice and long sleeves, bearing the label. 'Court Dress Makers, Madame Alford, London', full skirt with gilt metallic trims to the hem and bodice, skirt lined with green silk, the kimono is embroidered overall with floral motifs in coloured silks and silvered threads, gold bow detail to the reverse (2)Condition report: Green silk dress and robe - the green silk has faded in some areas and shoes wear, trim to the edges of bodice and cuffs shows wear. seam split to skirt where it opens. The attached robe has splits to the bottom of each armhole. Some loose threads and wear overall. Some discolouration to the lapels.Red silk robe - some slight wear overall to the silk, some discolouration to the lapels and light rubbing to the embroidery.
Four Early 20th Century Hats, comprising a Gage Brothers & Co pink/purple silk hat with yellow velvet trim and leaf appliques; cream silk hat constructed from strips of ribbon with straw to underside of brim and floral appliques; Madame Wright Cheltenham black straw work hat with zig zag design; small pink straw and silk hat with ribbon swirl appliques and embroideryCondition report: Pink small hat - silk lining split and shredded, fading and wear.Gages hat - lining split and worn, silk mount has split in numerous places, some gilt metal leaves are missing, fading and wear.Cream hat - couple of light marks, some stitched repairs and wear.Madame Wright hat - very faded, brim and hat are pinned together.
Collection of Assorted Circa 1930/50s Hats, comprising two black felt hats with original French paper labels on; Gilbert Orcel Paris pale mauve over stitched hat; black felt hat with double leaf paste set brooch; Mme Ramieres-Aragon Albi black straw hat with deep brim; Paris Maid grey felt hat with stitched details; Hermance Paris black felt hat with contrasting green felt and large applique ribbon; London First black felt hat with hat pin and pleated crown; Gardenia Merrimac Hat Corp light peach felt hat with feathers; four black straw hats of various styles (one box)
Hermes Silk Scarf 'Napoleon' Designed by Ledoux, incorporating military features with a burgundy border woven with bees, 90cm by 90cm, boxedThe Bees were a symbol of immortality and resurrection which along with the eagle were chosen by Napoleon as emblems of the Empire Condition report: . Couple of light marks and wear.
Hermes Silk Scarf 'Feria de Sevilla' Designed by Hubert de Watrigant, featuring the horsemen and women of the annual Sevilla fair, within a bright blue border, 90cm by 90cm, boxed with outer card caseCondition report: . Couple of light brown stripes to the white background in the centre and slight wear.
A LATE VICTORIAN SILVER NOVELTY TABLE LIGHTER, by Lawrence Emanuel, Birmingham 1900, in the form of a ship's port lantern, triangular, loop handle to top, the front with red glass section, the back engraved with faux door fittings. 9.5cm high including handleCONDITION REPORTMarks clear and well struck. Left and back top overhanging corners bent over. Minor dings and light surface scratches commensurate with age and use
JUAN SANDOVAL VASQUEZ TWO TREES - A TAXCO MEXICAN SILVER AND ENAMEL HINGE OPENING BANGLE, of tapering form and decorated with black enamel spots, Two Trees mark. 6cm inner diameter, front 2.7cm wide by 1cm deep, 3.39 troy ouncesCONDITION REPORTLight surface wear, very light wear to the enamel, hinge and clasp good.
A SET OF FOUR GEORGE IV SILVER SALTS, maker's mark 'IW', London 1821, circular with everted rim, heavily embossed with scrolling foliage and flowerheads, shaped cartouche to front, raised on three foliate-capped paw feet. (4) 8.1cm diameter, 21.2 troy ouncesCONDITION REPORTMarks clear and well struck. All stand upright, no rocking to feet. Traces of gilding remain to interiors, heavily worn. Two engraved with crest to cartouches, other two vacant. Minor dings throughout. Light surface marks and scratches commensurate with age and use
A VICTORIAN SHELL CAMEO AND HAIRWORK BROOCH, depicting the bust of Ceres, the reverse with a panel of tightly woven hair behind glass, within a fancy scroll frame. 6.5cm by 5.5cmCONDITION REPORTGood overall condition with some light wear to the frame and some slight fraying to the edge of the hairwork panel. The centre can be turned to display either the cameo or the hairwork, however, it is not easy to fasten the clasp with the cameo to the reverse and forcing it may damage the cameo. It fastens with a pin and c-hook.
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534310 Los(e)/Seite