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Click here to subscribeA diorama of a three masted sailing ship 'Florence', inscribed with name on bow and on mast head flag, with steam tug in attendance,painted cliff and cloud backgroundin a wooden picture frame case. 84cm wide, 15cm deep, 48cm highCondition report: Back of case has long crack, background paper peeling, plaster around glass loose
"Jacobus Stainer" violin, "Absam prope Oenipontum 17" model, Germany, approx. 1900, belonged to the painter Eustațiu Stoenescu, in a box painted by Ștefan Pelmuș "Jacobus Stainer" violin, "Absam prope Oenipontum 17" model, Germany, approx. 1900, belonged to the painter Eustațiu Stoenescu, in a box painted by Ștefan Pelmuș box: 74.5 x 21 x 9 cm; violin: 59 x 20.5 x 4 cm; bow: l=72 cm
Mahmoud Said (Egypt, 1897-1964)Le Chômeur (The Vagabond) oil on canvas, framedsigned 'M.SAID' and dated '1946' (lower left), further signed, dated and titled 'Le Chômeur' in Arabic and English on the verso, executed in 194680 x 70cm (31 1/2 x 27 9/16in).Footnotes:'LE CHOMEUR' A MASTERPIECE BY MAHMOUD SAID FORMERLY EXHIBITED AT THE LOUVRE FROM THE COLLECTION OF RENOWNED ACTRESS LEILA SHEIRProvenance:Property from the collection of the renowned actress Leila Sheir, Cairo,The artists collection until 1964, thence by descent to Nadia Mahmoud Said, the artists daughteracquired from the above by Raouf Abou Esbe circa 1977 and gifted to his wife, the present ownerExhibited: Paris, Musee des Arts Decoratifs, Louvre, Egypt Exhibit, 1949, No 757Alexandria, Solo exhibition at the Amitiés Françaises, 1950Guezireh Palace, Cairo, Retrospective Exhibition: Mahmoud Said, 1951, No.100 Alexandria, Museum of Fine Arts, Mahmoud Said, 1960, No.53Alexandria, Museum of Fine Arts, 1964, Mahmoud Said, No.131Literature: Boctor, Gabriel. Artistes contemporains d'Egypte: Mahmoud Saïd. Cairo: Editions Aladin, 1 October 1952, (illustrated);Guézireh, Société des Amis de l'Art sous le Patronage de S.M. Le Roi, Catalogue de la rétrospective des oeuvres de Mahmoud Saïd. 1921-1951Makarius, La Revue Du Caire, 1951, No.142Rassem, 1952, plate 23 Al-Sharouni, 1965, p.76 (illustrated)Mustafa, 1966 (illustrated)Abu Ghazi, 1972 (illustrated)Dawastashy, Esmat. Mahmoud Saïd: Memorial Book on the Pioneer ofContemporary Egyptian Painting – On the 100th Anniversary of his Birth, Cairo: Ministry of Culture - The Cultural Development Fund. 1997, no. 43 (illustrated No.172)Abdul Salam, 2009, p.151Al-Shafei, Rawya Ossama. Artist Mahmoud Saïd: An Artistic and Analytical Study. MA Thesis. Faculty of Fine Arts of Alexandria, 2012, illustrated fig 157Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 252Note: The present work is included in the Artists Catalogue Raisonne; Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 252'In Said's works where people are present, we see them expressing their pleasures and dreams' we witness feminine intrigues, the murmurs of street peddlers, the frenzies of the 'Zar'. In this fabulous Egypt, where the women are golden, the sea is indigo and the palm trees are as loaded as the fishermen's nets – miraculously, a witness seems to have come from another world: he is the Chomeur Lightning bolts that sting the sky of Alexandria's Corniche point to the distress of his grey jacket, of his abandoned hands, recalling that he is an Egypt that no magic brush can transfigure. In an atmosphere of enchantment, one sunbeam almost transforms his ragged clothing into a brocade, transforms a puddle into a lake of bliss, transforms a horizon of hovels and mud into a city of Venetian prestige. The beam fades before an ageing face, marked by discouragement. There is poetry in his rags, whose holes withstand the cold wind, and he who wears them refuses to bow to humiliation Witness the Chomeur of Mahmoud Said: is this not, within this retrospective, which is one of the paramount display in Egyptian art history, an example of Egyptian arts ability not only to transform the aspect of things, but also the gaze which falls upon them? ' Laura Makarius 'Witness the Chomeur of Mahmoud Said: is this not, within this retrospective, which is one of the paramount display in Egyptian art history, an example of Egyptian arts ability not only to transform the aspect of things, but also the gaze which falls upon them? ' Laura MakariusBonhams have the rare privilege of presenting one of the most iconic and moving works by the doyen of Egyptian art, Mahmoud Said, ever to come to the market. Poignant, enigmatic and graceful, Le Chomeur or the Vagabond, is the archetypal synthesis of Said's inimitable portraits of noble Egyptian peasants and is specifically identified by leading art critics of the time as a seminal masterpiece within his oeuvre.Said's empathetic and stylized representations of Egyptian daily life, pronounced so touchingly in the present work, would later be regarded as the supreme expression of Egyptian artistic heritage in the twentieth century.Tender and ennobling in its portrayal of the dignified Egyptian peasant, the present work is evidence of an artist, who belying his aristocratic heritage and classical artistic training, captured the true spirit of the age in his penetrative renderings of the Egyptians and their everyday plight.The present work comes to market with a distinguished provenance; originally in the collection of the artists daughter, it was subsequently acquired by the renowned Egyptian Actress and fashion icon Leila Sheir, who was crowned Miss Egypt in 1964. Published in over a dozen books and journals, and exhibited numerous times during the artists life, Le Chomeur's immense significance is underscored by its inclusion in a major exhibition at the Louvre in Paris in 1949 which commemorated Franco-Egyptian culture Never before presented at auction, Le Chomeur is an extremely rare example of a major portrait coming to market. With the majority of Said's work held by institutions or in permanent collections, the current sale presents collectors with one of the few remaining opportunities to acquire a pivotal work by the artist. THE WORKThe composition is permeated by a sense of mystery which is most palpable in the sitter's inscrutable and solemn downward gaze. Reflective, demure, and exuding a sense of dignified simplicity - the sitter can be interpreted equally as a weary, sombre figure as he can a source of wisdom.In imbuing his Vagabond with a sense of humble wisdom, Said follows in a distinct European tradition in portraiture, in particular the works of Diego Velázquez, Goya and Eduoard Manet, whose paintings of world-weary 'beggar-philosophers' fit into the common intellectual notion of the social outcast as a seer possessing rare insight.A dark, almost surreal air envelops the backdrop; gloomy and desolate, the landscape is a visual metaphor for the Chomeur's hardship; yet, in stark contrast to his sullen mood, figures in the background continue their daily work; fishermen by the harbour and sailing boats in the sea remind us that our figure is an outcast from the daily activity of working life. The movement towards a vernacular, humanized art-form marked not only an artistic shift for Said, but a shift from his own aristocratic milieu. What we see in Le Chomeur is the apotheosis of Said's artistic agenda: which was his ache for capturing the ineffable nobility of the common Egyptian.Characterised by an atmosphere of nostalgia and longing, in Said's depiction we get a purified symbol of the beauty and dignity of Egypt and its people. Well documented, widely exhibited, and with a provenance that testifies to its brilliance, Le Chomeur survives as one of the most elegant and iconic examples of Mahmoud Said's work.THE WISE VAGABONDPoor beggars and vagabonds have often been depicted to underscore the virtues of simplicity and the pure heartedness of those which have no material ties in the world, heavily influenced by the popularity of Stoic philosophy throughout Western thinking. Beggars proved to be a highly rewarding subject for painters, draughtsmen and sculptors. The artists could portray various emotions and generate pathos by introducing dramatic gestures and solemn facial expressions, and lavish attention on rendering a variety of texture... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Een ovale zilveren jardiniere met blauw glazen binnenbak, spijltjes model met vastgenagelde strikornamenten en medaillons, en strikvormige handgrepen, mt Van Kempen en Zonen, Voorschoten, jl 1906, 835/000, br.gew. 915 gr, lengte 39,5 cm. An oval silver center piece with blue glass liner, pales model with bow decorations and bow shaped handles, mm Van Kempen and Sons, Voorschoten, dl 1906, 835/000, gross w. 915 gr, length 39.5 cm.
A large mid 19th century English poured wax child doll, possibly by Montanari, the shoulder head with blue glass striated eyes, down turned mouth, inserted brown hair, hair laid on surface brows, finely modelled ears, stuffed waisted body with wax limbs with creases at wrists, brass eyelet tie holes, underclothes, white work and lace dress with low wide neckline and a pair of white kid shoes with blue kid bow --27in. (68.5cm.) high (wear and hair loss); a purple and cream printed silk bodice from a party dress (fraying), a spotted muslin pinafore and a more recent printed cotton dress; and a baby's gown, two long night gowns and various undergarments circa 1900 - this doll belonged to the vendor's grandmother, Nancy Whatley born in 1906 and who lived in Wiltshire, it is believed that it originally belonged to her mother or aunt, the 1900 items are believed to be Nancy's
A SMALL MIRROR-BACKED HALF MODEL OF THE CANADIAN PACIFIC LINER EMPRESS OF JAPAN, AS FITTED AS AN ARMED MERCHANT CRUISER, 1914 the hull carved from the solid with white topsides and linings, scored decks with carved and brass fittings, racked funnels and cutaway masts, mounted on a back-silvered mirror in glass-fronted case -- 8 x 29 x 3½in. (20 x 73.5 x 9cm.)Footnote: Built by Naval Construction & Armaments at Barrow in 1890 for the famed Canadian Pacific line, Empress of Japan registered 5,905 tons. Blessed with the typically graceful lines CP were famed for, with her clipper bow sporting an Oriental dragon (now preserved in Canada) and luxurious interiors for her 160 1st Class and 40 2nd Class passengers, she also had room for up to 600 Steerage in more basic accommodation. Her twin triple-expansion engines produced a swift 16-knots which ensured she held the record for Pacific crossings for over two decades. Surviving the Great War as an armed merchant cruiser, she returned to service as before but was beginning to show her age. After a stint as an accommodation vessel in Vancouver Harbour, she was paid off in 1926 and much of her fine interior was salvaged by local homeowners.Condition report: Good overall condition. Replacement mirror.
A 1:32 SCALE PRESENTATION MODEL FOR A 'WATSON' CLASS LIFEBOAT, CIRCA 1931 the 15in. carved hull finished in white and blue with red wale and RNLI pennant to the bow, grey painted deck fitted with grab rails, deck rails, bitts, folding mast with navigation lights, fitted cockpit and other details, mounted on four plated columns to stepped wooden display base with brass plate engraved 40FT WATSON CLASS MOTOR LIFEBOAT LENGTH 41FT, BEAM 11FT8", DISPLMT 14.5T, CREW 8, DRAUGHT 3'8", TWIN SCREW, SPD 7.5KTS, BLT 1931-52 and later plexiglass cover, overall measurements -- 11½ x 21½ x 10in. (29 x 54.5 x 25.5cm.)Condition report: Good overall condition. Varnish shrunk on unpainted components
A BUILDER'S MODEL OF THE TURRET DECK STEAMSHIP GOOD HOPE BUILT BY DOXFORD & SONS FOR G.T. SYMONS & CO., LONDON, 1903 the laminated and carved 40in. hull finished in ochre below the waterline with ebonised topsides, plain decks with lined superstructure and hatch covers, silvered fittings as appropriate, masts fitted with derricks, open bridge with helm and binnacle, stayed funnel, open boats in davits, emergency steering helm and other details, mounted on two turned baluster supports to later display base with original builder's plate and plexiglass cover, overall 18½ x 54½ x 15in. (47 x 138.5 x 38cm.)Footnote: Built at Sunderland in 1903 for G.T. Symons & Co., Good Hope registered 3,618 tons. Owned at the time of her loss by Houlder, Middleton & Co. Ltd, London, on October 19th, 1917, she was on a voyage from Sifnos to Middlesbrough with a cargo of iron ore when she was torpedoed and sunk 125 miles south of Malta without casualty by the Austrian submarine K.U.K. U-14 captained by Georg von Trapp (1880-1947) - patriarch of the Trapp Family Singers which latterly inspired the hit film The Sound of Music.Condition report: Rigging restored, front mast repaired, small lamination cracks at the bow
6th-4th century BC. A bronze finger ring with lentoid intaglio bezel, horseman with spear and bow. Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 31. 3.62 grams, 24.53mm overall, 20.59mm internal diameter (approximate size British T 1/2, USA 9 3/4, Europe 21.89, Japan 21) (1"). Property of a London gentleman; formerly with Mahboubian Gallery, London, UK; acquired before 1972. Fine condition. A large wearable size.
3rd-2nd century BC. A matched pair of silver bow brooches each with vertical grooving and a hollow sphere at each end, sprung pin to the reverse; supplied with custom-made stands. 145 grams total, 80-84mm (3 1/4"). From a private Cologne, Germany, collection; previously in a private South German collection, acquired at Sotheby’s, London, 3 December 1991, lot 6; accompanied by copies of the relevant Sotheby’s catalogue pages; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10215-167712. [2] Very fine condition.
7th century AD or later. A fragment of a Late Sassanian or Sogdian silk, representing a ruler hunting a lion on horseback using a composite bow, his costume consisting of a very elaborate headdress composed of a diadem-crown, with a disc on the forehead an ensemble fastened to it from above presenting a winged disc surmounted by a crescent and a sphere in the middle, with the long ends of a band hanging behind, forming a Sassanian royal crown; the body is clothed in a kaftan secured by a kamar belt, a short jacket, leggings; riding a brown horse with a very elaborate horse harness, the quarry a spirited lion on the right side; all bordered by a hexagonal frame, with foliage and garlands on the edges, other foliage decoration on the corners and under the horseman. See Ghirsman, R., Persian Art. The Parthian and Sassanian Dynasties, New York, 1962; Feltham, H., Lions, Silks and Silver: The Influence of Sasanian Persia,Philadelphia, 2010, fig.9, for a similar silk piece; Yatsenko, S.J., 'Sogdian Costume in Chinese and Sogdian Art of the 6th-8th cc' in Malinowski, G., Paro?, A. and Szmoniewski, B.Sz., Serica – Da Qin. Studies in Archaeology, Philology and History on Sino Western Relations (Selected Problems), Wroc?aw, 2012. 24 grams, 30 x 30cm (12 x 12"). Property of a London gentleman; formerly with Mahboubian Gallery, London, UK; acquired before 1972; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10168-166853. Sassanian weavers, possibly building on Syrian draw-loom technology, developed a compound weft silk twill with elaborate repeating motifs such as winged lions, hunting scenes, tree of life patterns, and opposing birds, each motif enclosed within a pearl-like roundel, and each group of roundels separated by scrolling, geometric plant forms. Both the heraldic animal and human elements and the interlocking plant motifs inspired Eastern and Western design for centuries to come. Sogdiana was a centre of trade both in raw silk from China and in textiles. Part of the Sassanian empire until the mid-sixth century, its oasis cultures traded in and copied luxury goods, particularly silks, developing looms and techniques designed to produce the highly desirable international style. In the late sixth century, the Sogdian merchant and weaver, He Tuo, arrived in Nanking, China. One of the favourite motifs was the royal lion hunt. Lions and lion hunts are still motifs of the arts of Iran and Central Asia, and both feature prominently in the designs of carpets such as the Iranian Fars rugs and the animal rugs of Khotan. Fair condition.
1550-1610 AD. A rapier with a pointed diamond-section double-edged blade, ricasso extending to about 6cm with a stylised maker's mark with evidence of inlay, same maker's mark to the horizontal ring; bent quillons with inlay, an additional reinforcement knuckle bow to the lower part of the hilt, cylindrical pommel. See The Armouries of the Tower of London, Inventory of the armouries, the offensive weapons, London, 1916; Oakeshott, E., The sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Dufty, A.R., European swords and daggers in the Tower of London, London, 1974; this specimen found various parallels with rapiers preserved in the museums around the world, like the ones published by Dufty (1974, plate 21) and preserved in the Tower of London, and (in the shape) with a decorated rapier of Metropolitan Museum (accession number 14.25.1117"). 1.3 kg, 1.01m (39 3/4"). From a private family collection; previously acquired from a collection formed before 1990; thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato The rapier, derived from Oakeshott Type XVIIIe swords, where the ricasso is usually narrower than the blade itself, was the principal civilian sidearm throughout the sixteenth and seventeenth centuries, without excluding its military use. Designed for cut-and-thrust fencing of progressively complex techniques, the rapier was usually characterised by a double-edged blade with an acute point and a complex guard for the hand. The guards, usually of iron or steel, were subject to a variety of embellishment. They were engraved, chiselled, gilded, damascened, and encrusted in gold and silver in keeping with fashionable styles. Rapier blades, invariably of steel, bear a variety of maker’s marks denoting their origin in the two principal centres of blade-making, Toledo in Spain and Solingen in Germany. It is generally accepted among historians that the rapier eclipsed the more ungainly methods of fighting – the evidence certainly suggests that for young men the elongated rapier was the weapon of choice. Fine condition.
A group of English porcelain figures, late 18th/early 19th centuryComprising a pair of Bow candlestick figures of 'New Dancers', each standing before a colourful flowering bocage, on a rococo scrollwork base and with a candle sconce in underglaze blue and gold sprouting from painted metal stems, 24cm high, a Bow figure of a woman holding flowers in her apron, 20cm high, a pair of Derby figures of the Welsh tailor and his Wife, 14cm high, and two other Derby figures (7)For further information on this lot please visit Bonhams.com
A George III mahogany and brass bound butler's trayOf bow shape with pierced carrying handles on a folding stand, (possibly later), 85cm wide x 54cm deep x 82.5cm high, (33in wide x 21in deep x 32in high)This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
DAVID BOWIE - LP (WITH 12") COLLECTION. Great instant collection from Bowie with 17 x LPs plus 5 x 12" included (22 releases in total). Titles include Pinups (Canadian export, RS-1003, w/insert), StationToStation (APLI-1327, UK orange labels, w/insert), Heroes (PL 12522, UK orange labels, w/insert), Let's Dance (AML 3029), Diamond Dogs (INTS 5068, green label), Ziggy Stardust (green label, INTS 5063), Hunky Dory (UK SF 8244 2E/3T, with insert - VG/G+), Lodger (BOW LP 1, orange label, with insert), Scary Monsters (BOW LP 2), Tonight (DB 1, 2 copies), Aladdin Sane (UK RS 1001, orange label 3T/3T - VG/VG+, with inner and fan club insert), Stage, David Live and Ashes To Ashes (Disco-Remix). Condition is generally VG to Ex.
PUNK/ WAVE/ INDIE/ ALT/ GOTH 12"/ 10" SINGLES. A smashing collection of around 100 mostly 12" singles but does include some 10". Artists include Arctic Monkeys ?- My Propeller (RUG359T,), The Smiths (x2) inc Sheila Take A Bow (RTT196) & Heaven Knows I'm Miserable Now (RTT156), The Stone Roses (x2) inc Fools Gold 9.53 & One Love, Cabaret Voltaire - NagNagNag, REM (x2) inc Shiny Happy People & Night Swimming (picture disc), The Comsat Angels, The Wedding Present, The Clash (x2) inc Rock The Casbah & London Calling, Icehouse, The Cult, The Psychedelic Furs, Various - Wave Up, Terrorvision. The Mighty Wah!, Siouxsie and the Banshees, Redskins, Buzzcocks, The Damned, The Adventures, Billy Bragg, Killing Joke, King Kurt, Levellers, New Order, Nitzer Ebb, The Bluetones, Blondie, XTC, The Sisters Of Mercy, Silverfish, Sigue Sigue Sputnik, Shed Seven, The Pogues. Condition is generally VG to Ex.
DAVID BOWIE - LPs. Star collection of 12 x LPs from Bowie. Titles are Ziggy Stardust (Portuguese pressing, PL-14702), Diamond Dogs (INTS 5068, '81 RE), Scary Monsters (BOW LP2), Aladdin Sane (INTS 5067, green label), Changes One (PL 81732), Changes Two (BOW LP3), Heroes (INTS 5066, 1981 RE), Let's Dance (AML 3029), Low (INTS 5065), Never Let Me Down (AMLS 3117), Stage (PL-2913) and The Best Of (NE 1111). Condition is generally VG to Ex+.
DAVID BOWIE - LPs. Excellent back-catalogue of 24 x LPs from the star man. Titles include Hunky Dory (Canadian pressing SF-8244, w/insert), The Man Who Sold The World (LSP 4816 UK orange labels, with poster), Space Oddity (LSP 4813, UK orange labels 1E/2E, with poster), Ziggy Stardust (SF 8287, UK og 'Titanic/Chrysalis' credits, 1E/2E - VG/G+), Pinups, Changes One, Diamond Dogs (APLI-0576), Aladdin Sane (RS 1001, Canadian), Lodger (BOW LP 1), Scary Monsters (BOW LP 2), Never Let Me Down, Tonight, Let's Dance, Changes Two, Rare (PL 45406), Absolute Beginners (VSG 838-12), Young Americans (RS 1006), Labyrinth, Just A Gigolo and Live. The records are typically in VG to Ex+ condition though note the sleeves can vary.
PUNK/ NEW WAVE/ INDIE/ ALT - 7" COLLECTION. A wonderful collection around 116 7" singles. Artists include Morrissey (x5) inc Suedehead, Interesting Drug, November Spawned A Monster, Ouija Board & The Last of the International Playboys. The Clash, The Specials, Talking Heads, XTC, Altered Images, The Dickies, The B-52's, Sham 69, Bow Wow Wow, Gary Numan, Dr Feelgood, Ramones, The Jesus and Mary Chain, Ultravox, The Boomtown Rats, Billy Idol, Men Women & Children, TRB, REM, The Cult, Cori Josias, Shriekback, Iggy Pop, New Order, The Assembly, The Stranglers. Condition is generally VG to Ex.
DAVID BOWIE - LPs. Another expert collection of 5 x LPs from David Bowie including a 90s rarity! Titles are Black Tie White Noise (1993 EU original, 74321 13697 1, 08-031914-20 - Ex lovely clean record, a couple of light hairline marks/with printed inner/VG+ some light creasing around the edges, never heavier), Diamond Dogs (UK APL1 0576 orange labels A-1oly/B-7E - Ex/VG+ some foxing on the inside gatefold), Lodger (BOW LP 1, orange labels A2/B2 - Ex/Ex with insert), Pinups (RS 1003 orange labels - VG+/VG, with insert) and Station To Station (APLI-1327, orange labels 1E/2E - Ex/VG+ w/insert).
19th Century Silk Fabric Fragments, comprising a piece of bright yellow silk with ribbon work flower heads, 42cm by 37cm; another on dark cream silk woven with ribbon and embroidered flower heads, 50cm by 35cm; cream silk reticule (unfinished) worked with silk flowers in tent stitch, 16.5cm high; white cotton bag with yellow cotton lining and lace trims; silk brocade bow; pale blue silk embroidered in cream fragment, from a wedding dress circa 1812, see attached note, 49cm by 80cm and 49cm by 27cm
Assorted 18th Century and Later Embroidery and Lace, including a muslin panel hand worked with Dresden floral motifs; a white muslin triangular shawl worked in a similar style with white and silver threads; a possibly unmade sleeve worked in a similar style in coloured threads with bows and leaves in metallic threads; an early 19th century white muslin shawl embroidered mainly with foliate motifs (4) From the Brian Hall CollectionWhite cotton shawl with embroidery – couple of darned areas including to the v of the shawl, near the long edge, one to the centre. Other pin prick sized holes near to the edges.Panel with metal and silk embroidery – hole just underneath the bow and slight wear, pulling.Floral embroidered panel – slight wear.White cotton shawl with white embroidery and metallic threads – two small holes to the centre, numerous tiny holes overall and some small rust marks.
Early 20th Century Demare Dutoy, Rue des Petits Champs Paris, Pink, Grey and Blue Striped Velvet Dress with long sleeves, lace modesty panels and cuff trims, blue silk waist band with bow and long sashes, tassel trims to the back, military style frogging braids, crewel work embroidered collar in blue and green
Circa 1920s/30s Evening Jackets, comprising Jay's London brown velvet capelet with pink silk lining and button detailing to the arm slits; brown textured 'ombre' long sleeve jacket with fur trimmed collar; brown velvet and feather shoulder cape with velvet bow tie and silk lining; cream velvet jacket with Aztec style print (4)
Assorted Circa 1920s/30s Costume, comprising a cream long sleeve silk wedding dress with v neck, multi buttons to the front; wedding dress with lattice style panel to the neck and smocked detail to the shoulders, long sleeves, fabric belt, slim fitting; white lace mounted wedding dress with a ruched V-neckline, three quarter length sleeves, later appliquéd flower heads; the following four lots were sold at the Wartha Manor Costume Collection Sale by Phillips in 1988, a cream silk knit cardigan with long sleeves, two pockets, collar, fabric mounted buttons, tab detail for the belt; green silk chiffon evening dress with short gathered sleeves, V neck, fabric waistband with attached ties, green under dress; velvet rust/orange and black textured jacket, with long sleeves, straight hem, trimmed with black fur to collar and cuffs, single press stud fastening with bow to one side; black lace mounted flapper style dress with a blue velvet trim, long sleeves, black silk under dress (7). Cream silk wedding dress - some discolouration to the back, back of sleeves, rubbing and wear to the fabric. Lattice dress - dark stain towards the hem, rubbing and hem to the silk. Cream cardigan - numerous holes overall, largest to the left shoulder, and rubbing and wear overall. Green chiffon dress - several small holes overall, stitched repairs by both arms and overall wear. Fur trimmed jacket - condition slight wear. Black lace dress - numerous holes, especially around the armpits, very worn overall.
Assorted Circa 1930/40s Black Crepe Dresses, comprising a Marcos black dress with long sleeves, wrap style bodice with white trim, long skirt with sash (size 42); Larissa Model black dress with three quarter length sleeves, black bead circular decoration to the front, bow to the front, and belt to the reverse; another dress with similar length sleeves, V-neck line, sequin decoration, pleated panel to skirt; short sleeved dress with net panel to the chest decorated with sequins, pleated detail to the front of the dress; dress with elbow length sleeves, wrap style bodice and beaded detail to the waist with peplum; another with blue beads to the collar, three quarter length sleeves, front patch pockets and full skirt; black short sleeve crepe dress, with tab details to the neck and black bead decoration; black sleeveless dress with satin trims to sleeveholes (8) . Marcos dress - belt missing, some wear, white trim grubby and possibly later. Black dress black circular beads - some bead losses, some wear and fading. Sequin dress - sequins missing, belt missing, some loose threads and wear. Net and sequin dress - sequins missing, belt missing, slight wear. Wrap bodice dress - belt missing, slight wear, stitched repair to the top and bottom of side opening, slight fading to shoulders. Blue bead collar dress - belt missing, side seam a little bit, slight wear and fading to shoulders. Black bead and tab bodice dress - slight fading, small mark near the hem on the skirt, slight wear. Sleeveless dress - small hole to the reverse near the hem, slight wear.
Assorted Circa 1930s/50s Crepe Dresses, comprising a Linda Leigh brown dress with capped sleeves, self woven with boteh and appliqued with diamante to the bodice, silk bow, attached belt; an O Slender Model blue long sleeved dress with button and tab detail to the neck, horizontal pleats to the body; rust coloured long sleeve crepe dress with long sleeves, multi pleat details to bodice, grosgrain trim, button fastening, pleated skirt; navy crepe jacket with long sleeves, three button fastening, shaped patch pockets appliqued with white beads; Alexon Size Right grosgrain coat with three quarter length sleeves, turn back cuffs, side pockets and double breasted button fastening; two black crepe dresses with bead and sequin decoration; Hepworths black wool tailored coat with four button fastening and collar (8). Linda Leigh brown dress - slight wear, stitched repairs to the waistband, some thread pulls and diamante missing. o.Slender dress - fading to shoulders, small part of arm hole seam open, kick split open along the seam to back of the skirt. Rust crepe dress - two small holes to the shoulder, belt missing, slight wear. Navy jacket - some bead losses and slight wear. Alexon coat - some fading mainly to the back of the shoulders, both buttons have staining, small area of staining near button and wear, button holes worn. Two black dresses - both have bead and sequin losses and some wear. Hepworths coat - mark to the front (possibly from a sticker), lining has some staining and holes around the sleeve hole, small stitched repair to collar and slight wear.
Circa 1930s/50s Ladies' Day and Evening Wear, comprising a white crepe dress with ruched detail to the front, long sleeves, multi buttons to the neck, large bow to the reverse; Leanne London mauve coloured crepe dress, multi pleated to the bodice and skirt; a Kitty Copeland green short sleeved dress, with V neckline, fabric belt, brass circular stud detail to the shoulders; black crepe long sleeved dress with blue and red hexagonal print detail to shoulder bows and skirt insert; blue and white spotty long sleeve crepe dress with front pockets, boat shaped neck; Heiress cream short sleeved dress with embroidery to the neck and waist; Philip Kunick green short sleeve dress woven with small pebble shapes, wrap style bodice (7)Leanne London: 42” bust. 43.5” long, 11” under-arm. Fading, stitched repairs to waist, sleeve seam loose, staining under arm. Open bias cut dress: 34” bust, 45” long. Couple of small holes to the back, some pulling to open sleeve, stitched repair near hem.
Circa 1930s/40s Full Length Evening Dresses, comprising a pink silk brocade dress with capped sleeves, pink net modesty panel to the front and back; blue and grey striped evening dress with spaghetti straps, full panelled skirt, pleated detail to the bust, bow to the reverse; another in blue silk, appliquéd with large quilted leaves with red berries to the bust and hem; blue shot silk bias cut dress with long sleeves and drop waist; pink and white striped short sleeved dress, smocked detail to the front, full gathered skirt, fabric ties to the waist; cream evening dress with short sleeves printed with large pink flower heads, pleated to the bodice and full skirt (6). Pink brocade dress - zip is broken, stitched repairs.
Assorted Circa 1940/60s Evening and Day Wear, comprising a Romney Model purple crepe full length dress with capped sleeves, pleated bodice with deep V neck, pleated skirt and detail to the hips, bow to the reverse; a yellow silk dress woven with gold threads, shawl type collar ties at back, ruched detail to the bust and a full skirt; pink floral printed strapless dress with black net mount over the top, ruched detailing to the bust; pink net mounted strapless evening dress appliqued with sequin flower heads and silver beads, sweetheart neckline and garland of sequins to the skirt; Capriccio by Roter of London black sleeveless shift dress with V-neck line and skirt with pink trim(size 38); Stamp-Taylor Model black chiffon pleated short sleeved cocktail dress with pleated waistband, wrap style bodice and later silver floral applique; Peggy French Couture eau de nil coloured dress with three quarter length sleeves, multi beaded decorative collar, beaded buttons to the skirt, matching belt; David Gibson Regent Street three piece suit comprising a pink and gold floral woven jersey/crimplene jacket, skirt and matching pink shell top (8). Romney dress - sequin appliques later, some fading mainly to the sleeve holes, couple of stains to the lower part of the bodice and skirt front and back, skirt has a split to the front. Yellow dress - some thread pulls, slight wear mainly to the bodice and around the armholes there is some staining. Pink and net dress - wear under the armpits, black ribbon waistband is loose, marks/staining to the under dress, zip works but very stiff, slight wear overall. Pink net dress - slight staining under the arms, some bead and sequin losses, pulls to the net, and slight wear overall. Roter dress - slight wear. Stamp-Taylor dress - slight wear overall. Peggy French - couple of areas of brown spotting marks to the front, belt damaged, slight fading and wear overall. David Gibson suit - slight wear.
Circa 1940s/60s Evening Wear, comprising a black silk dress with three quarter length sleeves, flared skirt, buttons to the back, scooped neck decorated with beads, and belt; Marldena Model black silk taffeta full length evening dress with spaghetti straps, fold over bodice and buttons to the front; Polly Peck green silk taffeta sleeveless dress with shawl neck collar, buttons to the waist, pleated and ruched skirt; green full length straight dress, three quarter length sleeves (size 10); steel grey satin evening dress with spaghetti straps woven in the Chinese brocade style of roundels and pink whorls; textured black cotton A-line evening coat with collar, diamante buckle and bow style fastenings, white lining; black grosgrain coat with side pockets, three quarter sleeves, turn back cuffs and collar (7). Black silk dress - alteration to the inside of the bodice and slight wear. Marldena Model - slight wear. Polly Peck - belt missing, button missing, some staining to the skirt and under the arms. Steel grey satin dress - lining to inside the bodice has been replaced and slight rubbing and wear. Black coat - slight wear and staining to the lining. Black grosgrain coat - small hole and wear.
Circa 1950s/60s Ladies' Evening and Day Wear, comprising a Herald Fashion red satin cocktail dress with spaghetti straps, scooped under bust detail, pleated skirt to the back; Frank Usher sleeveless dress in pink silk woven with a black naturalistic design, scooped neckline; Marlbeck London red grosgrain type swing coat with cream fur lining; Simpson Hunters of Glasgow red, green and black sleeveless silk dress with a gathered skirt, large bow to one hip; black crepe long sleeve tunic top embroidered with a snake with jewelled eyes, flared long open sleeves with contrasting gold lining, pair of Elegant black crepe trousers with stitched pleats to the front; Peter Barron purple crepe three quarter sleeve dress, round neck with zig zag stitched panels to the skirt, mounted with diamante clips (size 16); navy blue long sleeved dress, with fold over knitted blue collar (size 12); Cresta turquoise and blue silk jacket with three button fastening (size 14); black Tricoville silk grosgrain long evening skirt with a bow to the back split; a black jacket of cropped design, three quarter length sleeves, bow details, button fastening; Sylvia Mills black jacket with three quarter length sleeves, one button fastening with grosgrain bow to the waist (11). Herald Fashion dress - straps repaired, couple of stitches to each side of the bodice and slight wear overall. Frank Usher - Slight fading and wear overall. Marlbeck coat - belt missing, lining is hanging lower than the outer fabric hem, otherwise slight wear. Simpson Hunters dress - slight wear overall. Snake two piece - tunic - wear around the zip area / trousers - wear around the waistband and overall. P BArron dress - slight wear, small hole to the back and front, slight fading. Navy blue dress - slight wear overall. Cresta jacket - slight discolouration in parts and slight wear. Tricoville dress - wear around the top of the zip, repair to the top of the split, couple of small areas of wear to the silk on the front and to the side. Black jacket - slight wear. Sylvia Mill jacket - slight wear.
Circa 1940s/60s Ladies' and Gentlemen's Day and Evening Wear, comprising a Kaycee tailored black wool self striped jacket; navy wool long skirt with kick pleats; Banner brown floral cotton house coat with buttons to the front; pink patterned cotton top with scoop neckline and patch pockets; St Michael white cotton short sleeved top with buttons to the reverse; bright yellow cotton jacket; Kitty Copeland black jersey evening dress with spaghetti straps and ruched detail to the front; Peggy French turquoise cocktail dress with cut out and bow detail to the back and embroidered hem; Melbray of London silver sleeveless shift dress; Carrie Couture bronzed quilted long sleeved dress; and four others; short floral brocade wedding dress with scalloped neckline and long sleeves; Led Edwards turquoise wool and sequinned short sleeve top; crimplene textured two piece suit and long A-line skirt; gentleman's Trevira retailed by R M Forsyth plum coloured dinner suit with black trims and a green evening jacket with black trims (20)
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