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Preisdatenbank abonnierenA Persian silk bed cover with central extensive polychrome embroidery depicting birds and animals in a wooded landscape within central section and deep borders, second quarter 20th C, 260 x 212 cm Provenance: More Stitches, An important collection of Historical textiles . good condition overall, one light stain near edge,one seam section, about 10 cm stitching detached
Edwardian blouse made entirely of Maltese lace, with net under layer, a black lace shawl with large scale design of flowers and scalloped edge, a lace stole, silk nightdress, Victorian bodice, and a quantity of white wear some with Bed Maltese lace others with handworked broderie Anglais Provenance: 'More Stitches', From an important collection of Historical textiles . Blouse in good condition with light stains. Black shawl good with small hole, cream in good condition. Remaining items in good condition, some with stains and small repairs
A large Indian19th century Kashmir shawl in, paisley pattern sage green, rust, aqua and blue, 176 x178 cm. Good clean condition with three areas of wear/ damage the largest being over an area of 4 x 5 cm. Several small pinholes and one small light stain near centre. See additional pictures.
Chinese 1920's double sided silk embroidered shawl 144 x 144cm with deep fringe, modern shawl gold metal thread and a vintage silk sari. 1920's shawl in good clean condition with small holes, minor repairs and a couple of small areas of light staining.Modern shawl in excellent condition.Sari in poor condition with multiple worn areas and light stains
Chinese silk embroidered shawl, extensively decorated with peony and other flowers in subdued shades, C 1920, 152 x 152 cm . several small splits or holes. Largest measures 1cm. Several light stains which are difficult to capture on images - the worst shown on corner of shall next to fringing, measuring 22 x 5cm.
Two chapan robes of woven ikat silk in purple, yellow, red and cream with typical boteh and geometric patterns. One with machine stitched quilting, lined with floral cotton fabric , braided cotton edging. The other also with floral cotton lining, machine sewn border edging.. Machine quilted chapan 84cm chest, 153 cm longin very ggod condition with no splits or tearsSecond chapan 100 cm chest, 103 cm long , in good condition with several splits on left sleeve (longest 6cm) and 3 light brown stains in same area
Three chapan robes in ikat silk lined with printed cotton fabric. Silk woven in traditional geometric patterns in pinks, purples green, red , grey and yellow. One with green cotton fabric edging, size 100 cm chest, 105 cm long. Another lightly hand quilted with cross stitch edging , red boteh pattern cotton lining and contrasting striped lining edging, size 80 cm chest, 126 cm . The third with similar edging red and yellow floral cotton lining, chest 96 cm, 126 cm long. . Chapan with green edging has multiple minor splits and repairs, mainly to neck and seat. Second in very good condition with alterations to sleeves and chest and third in good condition, with multiple light stains
Edwardian black silk velvet long jacket with highly decorative frogging to front and lace and cord work trim on neck, cuffs and hem, silk lined, (96 cm long, waist 90 cm, 47 cm underarm to underarm) together with black velvet fringed matching muff and scarf, vintage straw hat and umbrella. Jacket in good condition with minor fading and light fraying to edges of cord work. Silk lining has numerous pinholes. Very small area of fading to right armpit area, where short length of seam is undone. Muff appears to have lost decorative motif, bearing imprint of same
An Edwardian cream silk satin wedding dress decorated with looped beadwork and an orange blossom and heather posy, together with veil and silk stockings.(1908) . Some damage to area where skirt joins bodice where stitching has come undone. Several pulls to pintucked silk gauze at back of neck. Pad to lower back area of skirt has come unstitched. Two light stains to front of dress below waist and train hem is grubby. Vertical splits in area at front of skirt. Longest approximately 12 cm . Veil has multiple but small areas of damage to border and centre.Dress measurements: waist 59 cm, 38 cm underarm to underarm, length from neck to front hem 154, from rear waist to train hem 144 cm
Late Georgian or Regency cream silk wedding dress, with empire line and puffed sleeves . Good condition with light staining to lining. Dress is composed of a loose panel which has an adjustable drawstring, high waist/bustline approximately 70 cm, sleeve 35 cm (armpit), 22 cm at edge, length back of low cut neck to hem 124 cm
Two 1930's bias cut evening dresses in cream silk chiffon with red foliate pattern and brown silk crepe with stylised multi coloured floral design. Both dresses in wearable condition.Cream and red dress in good condition, with small repair to rolled edge of front neckline. Two small light brown stains near front waist.Crepe dress has faint stains on front neckline, faint discolouration to armpits and some small areas of stitching coming undone below shoulder area
A 1920's long sleeved grey beaded evening dress together with a 1920's yellow beaded crepe de chine tunic. Dress in fair condition, with light stains to silk lining at neckline, armpits and sleeves, together with multiple similar small faint marks overall. Waist 100 cm, armpit to armpit 59 cm, sleeves 32 cm, length 120 cm. No tarnishing.Tunic in excellent condition, bearing size label 46. Small amount of damage to neck fastening and faint stains to front.Both items in wearable condition.
1929 ivory satin wedding dress together with a 1930's long black shot taffeta dress with peplum . Both items in wearable condition.Black dress good, with tiny snag to neckline and faint powdery marks to rear right shoulder.Wedding dress with multiple light stains to shirt, collar and neckline which do not detract from overall appearance of dress. Small splits in silk fabric on rear left shoulder, near right armpit and right armpit. Belt worn in places
A 1930's rust chiffon evening dress with velvet trim, together with a peach satin long slip of the same era . Both items in wearable condition.Dress in good clean condition with pinhole below bust and small hole at front waist. Very faint stains near hem.Slip in clean condition, with small areas of wear near armholes where edging has come undone. Small light brown stain near hem on back and tiny split on hemline
*Aviation negatives. A collection of over 10,000 black & white and colour negatives, consisting of approximately 6,000 35mm colour negatives of military aircraft taken in the UK in the 1990s and around 3,500 mainly civil airliner/light aircraft black & white negatives taken in the UK in the 1960s/70s, also included are approximately 300 large-format black & white negatives mainly of civil aircraft shot in the UK in the 1960s (a box)
A pair of 19th century Staffordshire / Continental ceramic figure groups both with notation, the first depicting a couple getting into bed with the wording ' The last last in bed to put out the light ' and the other of a scolding to young lady and reading ' Returning at one o' clock in the morning '. The largest being; 10cm x 10cm x 9.5cm.
18.7 Carat Paraiba Tourmaline 2.5 Carat Diamond 18 Karat Gold Designer's Ring. Rare EGL and BHGL Certified 18.7 Carat Oval Cut Mozambique Paraiba Tourmaline, 2.5 Carat Pave Set Diamond and 18 Karat White Gold Ring. Paraiba Tourmaline measures 18.2 x 15.4 x 10.3mm. Good saturation of light bluish green color, internally flawless clarity. Diamonds G-H color, VS-SI clarity. Stamped 18K. Very good condition. Ring size 6. Approx. weight: 17.8 grams. EGL graded the Paraiba Tourmaline loose, additional polishing to fit setting resulted in reduced carat weight as reflected in BHGL Report. EGL Report US 659554101C dated 7/11/17 and BHGL Report 2102017-BHGR1128 dated 7/25/17 to accompany this lot. Shipping $34.00 (estimate $20000-$30000)
Paul Johnson, British (20th C) Two (2) Three-Dimensional Colored and Cut Paper Framed Works. Each unique and interesting. The works are titled "May This Promise Of Light Stay With You…", "Dancing Voices Sail Across The Sea Of Dreams" Both signed by the artist and dated '89. Good condition. Each measures 12" x 12" including frame. Shipping $85.00 (estimate $100-$200)
Vassilios CHATZIS Greek, 1870-1915 Battle of Navarino signed lower left oil on panel 14 x 21.6 cm PROVENANCE private collection, Athens Vasilios Chatzis was born in Kastoria and died in Athens. He was the son of a ship owner, and studied at The School of Fine Art, Athens under Constantinos Volanakis and Nikiforos Lytras. Chatzis was a distinguished seascapist who was initially influenced by The Munich School academic style of the time. He later deviated towards a more impressionist style, using light in a distinctive manner. So impressive were his works that during the Balkan wars of 1912-1913, he was commissioned by the Greek Government to accompany the Greek Navy, to observe and record operations of the Greek Fleet, aboard the warships 'Averoff' and 'Miaoulis'. Chatzis’s dramatic depictions of life at sea and virtuoso brushwork made him one of the most accomplished marine painters in Greece. In Battle of Navarino the spectator can experience this. The Battle of Navarino was a naval battle fought on 20 October 1827, during the Greek War of Independence (1821–32), in Navarino Bay on the west coast of the Peloponnese peninsula, in the Ionian Sea. Allied forces from Britain, France and Russia decisively defeated Ottoman and Egyptian forces trying to suppress the Greek war of independence, thereby making much more likely the independence of Greece. His works are found in private and public collections, notably: The National Gallery, Athens, The Naval Museum, Greece, The Municipal Gallery, Athens, The Leventis Gallery, Nicosia, The Koutlides Collection, The National Bank of Greece and many other public and private collections.
CHRYSSA (VARDEA) Greek, 1933-2013 Abstract signed and numbered 9/12 mixed media with neon and plexiglas 48 x 38 x 34 cm PROVENANCE private collection, Athens This work was acquired directly from the artist by the present owner. Chryssa was born in Athens in 1933. She studied in Paris at the Académie de la Grande Chaumière between 1953 and 1954, and continued her studies at the School of Fine Arts, San Francisco. Later she settled down in New York. Chryssa's first major work was The Cycladic Books, a series of plaster reliefs which the French art critic Pierre Restany described as having produced ‘the purified and stylized geometric relief which is characteristic of Cycladic sculpture’. According to the American art historian and critic Barbara Rose, this work preceded American minimalism by seventeen years. Chryssa was an artist who worked in a wide variety of media. She is considered a pioneer in light art and illuminist sculptures (as she first used neon in 1962) and widely known for her neon, steel, aluminum and plexiglas installations. The use of neon was a derivative of her everyday life in technologically advanced New York and the transformation of the big city by night with the large-scale neon advertisement signs. Her work The Gates to Times Square, 1964 installed in the square bearing its name, is regarded as a thrilling homage to the living American culture of advertising and mass communications. The work is a ten feet cube installation which visitors may walk into a gleaming block of stainless steel and plexiglas that seems to quiver in the play of pale blue neon light. Since 1972 the work is in the collection of the Albright-Knox Art Gallery in Buffalo, New York. Chryssa held a large number of prestigious solo exhibitions in the United States and the rest of the world such as: in 1961 at The Solomon R. Guggenheim Museum, New York, in 1963 at The Museum of Modern Art, New York, in 1972 at The Whitney Museum of American Art, New York and in 1979 at the Musee d’Art Moderne, Paris. Her work can be found in: The National Gallery of Greece, Athens, The Metropolitan Museum of Art, New York, the Museum of Modern Art, New York, The Solomon R. Guggenheim Museum, New York, the Whitney Museum of American Art, New York, The Museum of Modern Art, San Francisco, the Tate Gallery, London and many other public and private collections.
Pavlos KALLIGAS Greek, 1883-1942 Church in Santorini signed lower left inscribed Santorin, 12 Septembre 1933 on the reverse oil on panel 12 x 22 cm PROVENANCE The Greek Sale, 11 May 2004, Bonhams, London, lot 73 private collection, Athens Pavlos Kaligas studied chemistry at Oxford University, England and later in 1907 he travelled to Munich and studied painting at The Royal Academy of Fine Arts. There he was taught by G. von Hackl. In around 1912 he returned to Athens and mainly painted landscapes and portraiture. Kaligas was an impressionist. His work emits a spiritual quality and is always well composed. His paintings have an elegant feeling, characterised by simple, clear outlines and bright colors used to accentuate the sense of light and shade. He participated in a number of prestigious international group exhibitions such as: The 1934 and 1936 Venice Biennale and the 1938 Pan-Hellenic Exhibition. His work is found in many public and private collections, notably: The National Gallery, Athens, The Athens Municipal Gallery, The Rhodes Municipal Gallery and The National Bank of Greece.
CELADON JADE 'RUYI' SCEPTRE the slender arched shaft finely carved with a sinuous dragon amongst blossoming flowers in the centre and with a bat at the terminal, the ruyihead tip with a chrysanthemum garden, the stone of a pale tone with creamy white, black and light russet inclusions 40cm long
REVERSE GLASS PORTRAIT OF A YOUNG WOMAN DRESSED AS A SHEPHERDESS BASED ON AN OIL PAINTING ATTRIBUTED TO GIUSEPPE CASTIGLIONE (1688-1766), QING DYNASTY depicting a young Chinese lady, possibly the Fragrant Concubine of Emperor Qianlong (Rong Fei), seated beneath a tree and clad in a Western dress, holding a staff in her left and a basket of flowers in her right hand, in later Rococo-style gilt wood frame 93x55cm (sight) Provenance: Private Scottish collection. For more information, please see lot 183. Giuseppe Castiglione (1688-1766) and Chinese Reverse Glass Paintings The art of reverse glass painting flourished in China during the so-called 'Kang-Qian Golden Age', under the reign of the three successive generations of Qing Emperors Kangxi, Yongzheng and Qianlong. It is a vivid example of the active economic and cultural exchange between China and the West in the Qing Empire, as the techniques both for manufacturing the material - namely flat sheets of glass -, and for painting on the reverse side of these sheets originated in Europe, and was brought to China by Jesuit missionaries. Chinese craftsmen who learnt from the Jesuits quickly mastered the techniques, and by the late 17th century, workshops in Canton were already busy producing large quantities of reverse glass paintings for export to Europe. These paintings not only became prized possessions of wealthy European families, but their shimmering quality and aesthetic beauty also caught the interest of the Imperial Court. According to the Jesuit missionary, Joseph Marie Amiot, Emperor Qianlong became so fond of reverse glass paintings that he summoned Cantonese artists to Beijing to produce such paintings and also commissioned his two Jesuit court painters, Giuseppe Castiglione (Lang Shining, 1688-1766) and Jean Denis Attiret (Wang Zhicheng, 1702-1768), to paint on glass (see Joseph Marie Amiot: Mémoires concernant l'histoire, les sciences, les arts, les mœurs, les usages, &c. des chinois). Born in Milan, Giuseppe Castiglione was sent to China by the Jesuit Mission in 1715 and subsequently served a total of fifty-one years as painter in the Imperial court, until his death. The three Emperors of the Golden Age were his patrons. Besides producing a great body of work himself, he also taught his Chinese counterparts the illusionistic devices of Western oil painting, such as linear perspective and chiaroscuro. Paintings by Castiglione and his students appear more three-dimensional and more realistic than any traditional Chinese painting, although, to cater to the taste of the Qianlong Emperor, who disliked strong light and shadow contrasts and thought of shadows as dirt, Castiglione softened his use of chiaroscuro, especially when it comes to the rendering of faces. Although it is a well-known fact that Castiglione was commissioned to produce reverse glass paintings, no surviving sample can be attributed to him beyond doubt, to the effect that no reverse glass painting has been included in his catalogue raisonné. The present lot is interesting due to its striking similarity to a surviving oil portrait attributed to Castiglione, possibly depicting the Fragrant Concubine of Emperor Qianlong (Rong Fei) (see Cécile Beurdeley & Michel Beurdeley: Giuseppe Castiglione: A Jesuit painter at the court of the Chinese emperors). Both the colour and the compositional schemes are identical, suggesting that the reverse glass version was based on the oil painting. Iconographically, the shepherdess as a symbol of innocence and benevolence is a persistent theme in the history of European painting, harking back to the depiction of the Virgin Mary as the Divine Shepherdess. In the 17th and 18th centuries, it became very popular and was emblematic of the European aristocrats' longing for Arcadia to represent young ladies as shepherdesses in a bucolic landscape, a longing which may or may not have been shared by Emperor Qianlong as he commissioned Castiglione to portray his favourite concubine.
Pair of framed and glazed limited edition prints by R A Gilronan of Highland scenes, Autumn Mountains and First Light 35 x 18 cm CONDITION REPORT: POSTAGE: There are postage restrictions on this item. If you are looking to bid please contact the Office on 01925 658833 to discuss shipment options prior to bidding.
δ A pair of Chrome 'spiral' lamps by Jacques Charpentier , 1970s, of cylindrical form, with raised twin double light fitments, fitted for electricity, 81cm high, 13cm diameter IMPORTANT: This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A pair of green painted and gilt chinoiserie Brighton Pavilion style tôle wall lanterns , of recent manufacture, with bell-hung pagoda canopies above rectangular glazed sides each enclosed by a lateral door with mirrored single light interiors, fitted for electricity , 68cm high, 37cm wide, 24cm deep
An English cut-glass eight light chandelier , circa 1880, the upper canopy and cup both with fan-cut scalloped rims hung with drops, the multi- stem elements and receiver bowl decorated with fine cutting, and hung with a pendant finial in the form of an acorn, the eight arms and pans all decorated with intricate strawberry cutting, and the arms also with prismatic cutting, one section of the stem replaced, fitted for electricity without drilling , 135cm high, 69cm diameter
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