A FINE PAIR OF 18 BORE SPANISH MADRID-LOCK PISTOLS BY DIEGO VENTURA, MADRID, CIRCA 1745. with bright barrels formed in two stages, moulded at the muzzle and the median, octagonal breeches stamped with gold-lined barrelsmith`s stamps (Neue Støckel 8398 and 1118), gold-lined vents, the barrels retained by a slender pierced band released by a spring-catch, tangs chiselled with border-ornament and foliage against a punched ground, stepped bevelled locks signed `Diego Bentura` beneath the pans, engraved with a resting sportsman with a hound at his feet and with trophies-of-hunting on the tails, the cocks and steels chiselled with strapwork and foliage against a punched ground, highly figured walnut full-stocks moulded over the fore-ends, carved with acanthus behind the rear ramrod-pipe and the tangs, engraved, chiselled and parcel-gilt steel mounts comprising pierced scrolling foliate side-plates with grotesque monster terminals and central oval medallions engraved with male and female classical portrait profiles respectively, trigger-guards with moulded strapwork on the bows and anthemion terminals, spurred trigger-guards engraved with a Turkish warrior and a European huntsman each in contemporary costume amidst a spray of trophies and foliage, the pommel caps finely chiselled on a gilt fishroe ground with a classical warrior bust and a nobleman respectively, ramrod-pipes en suite with the trigger-guards, horn-tipped wooden ramrods, perhaps the original, and remaining in fine condition throughout . 43.7cm; 17 1/4in . (2). Diego Ventura is recorded in Madrid circa 1722 and 1762. He was the disciple of Alonso Martinez and became gunmaker to King Carlos III in 1760, dying two years later, as described by his near contemporary Isidro Soler. Another lock also signed Diego Bentura and dated 1730 is preserved in the Musée d`Art et d`Industrie Saint-Étienne, cat no. 150. See A. S. del Campo, p. 397 and J. Lavin 1965, p. 109.
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A 20 BORE FRENCH SILVER-MOUNTED FLINTLOCK PISTOL BY LEPAGE A PARIS, PARIS CHARGE AND DISCHARGE MARKS FOR 1750-56. with three-stage swamped sighted barrel decorated with gold scrolls about the fore-sight, signed in gold over the breech and decorated with further designs in gold (losses), shaped tang decorated en suite with the breech, rounded lock signed beneath the steel spring (cock repaired), figured walnut full stock carved with rococo flowers and foliage behind the rear ramrod-pipe and about the tang (fore-end repaired), full silver mounts cast and chased with rococo ornament in low relief, comprising side-plate and trigger-guard each decorated with scrolls and shells, spurred pommel fitted with a classical warrior bust profile on the cap, a pair of ramrod-pipes, and associated ramrod. 37.4cm; 14 3/4in
An extremely rare ladies yachting ensemble, probably Redfern, circa 1890, the sleeves altered circa 1895, of warm cream felted wool, the bodice and skirt embroidered in high relief with anchors and mythical sea creatures, the beasts with sequined bodies, glass eyes and purl wire webbed feet, the bodice with stand collar and military-style gold bauble fastenings, tabbed peplum to the low pointed waist, the massive upper sleeves of cream silk grosgrain, bust 86cm, 34in, waist 56cm, 22in. Special outfits for sports were a feature of the late 19th-early 20th century be it for cycling, archery, hunting or sailing. Although yacht ensembles were regularly advertised hardly any have survived. Redfern who set up a major tailoring establishment at Cowes, famed for its yachting became specialists in this area.
A Lieberman & Siegel cream wool walking suit, American, circa 1917, labelled, in cream wool gabardine, embroidered detailing to belt, pleats to the skirt, bust 92cm, 36in (2) This collection was purchased in the 1970’s by Steven Gregory from a second hand shop in West Norwood. One of the pieces bore the unusual embroidered name tag ‘Mrs Trummer’. From this small lead Mr Gregory managed to amass a huge amount of information which places the clothes in context with their social history. Mrs Trummer was born in 1837 as Elizabeth Agnes Hodges and was twice married. Her second marriage certificate lists Elizabeth Agnes Coles (widow) marrying Otto Trummer (a Prussian merchant) on 28 March 1863 at Saint Mary, Edge Hill, Lancashire. Her father John James Hodges is listed as an artist. There is a record of Otto Trummer’s application for British Citizenship in The National Archives dated 30th November 1870. The Census of 1871 show them living at 23 Norland Square, Notting Hill. Some time after 1871 they moved to Morland Road, Norwood. Norwood was home of the future Frederick III, Emile Zola and Camille Pissarro. After Otto Trummer sold his business in New London Street, EC3 in the mid 1880’s they moved to 54 Lancaster Gate, Bayswater. The Opera Coat c.1896-7 is a glamorous testimony to visits to the grandest social events. Mrs Trummer died in 1904 aged 67. How the clothes came to arrive in West Norwood remains a mystery but a Miss Elizabeth A.I. Trummer (born in India c.1858) worked as a music teacher at Harcourt in Croydon and lived in West Norwood, she may have been a relation. Some of the later clothes in this collection (some of Indian silk) were presumably hers. These costumes map the rise and prosperity of an émigré and his wife at the end of the 19th century.
A rare group of Queen Alexandra`s lingerie, circa 1890-1905, all bearing royal cyphers, comprising: two nightdresses adorned with Valenciennes and whitework, two chemises-one with unusual flaps to front and back groin area (possibly for medical examinations); the upper part of a cut-down chemise; and a fine lawn petticoat with large Queenly crown to the bust; together with a lace cap and two cotton towels with red Queenly crowns AA 32 and AA6 motifs, (9)
A Clemence Roche rose lame and lace evening gown, circa 1919-21, labelled St Honore, 1 Place Beauvau, Paris, with diagonal drape of fabric to the front from which a rose and silver lace camisole bodice emerges with rhinestone strap, the waist with draped swags of beads, large medallion and streamers, pointed side train which hooks onto opposite hip or is held, bust 86cm, 34in
A rare Charles Drecoll evening gown, circa 1913, the bodice with remains of label, of pale pink chiffon and blonde lace overlaid over ivory satin, tinted sequined corsages down one side of the skirt and to the bodice, pink satin waistband, long beaded fringes to the sleeves, bust approx 92cm, 36in, waist 77cm, 30in, (2)
An Agnes/Madame Havet golden velvet cocktail dress, circa 1927, labelled, with softly draped cross-over bodice, gold and silver beads and rhinestones to the dropped waist, the skirt with three dimensional flowerheads studded with pastes, bust 82cm, 32in; together with a silvery velvet cape with wired collar, (2)
A fine and rare Coco Chanel couture printed lace cocktail gown, Spring-Summer, 1928, narrow brown on beige woven label, no 77752, comprising: ivory crepe de chine slip with attached skirt panel of lace, the short over-bodice with scarf-like panel to one shoulder, the scarf and hem entirely edged in small lace flowers with tiered petals, bust 79cm, 21in; together with a copy of a Harper`s Bazaar sketch of a similar dress captioned ÒChanel Endorses Silken Lace`, April 1928, (2). Although Chanel often used lace in her gowns-this over-printed lace technique is very rarely seen.
Paquin `Nuit Enchante` a fine black beaded georgette evening gown, Spring-Summer, 1930, model no 670, the bias cut ground covered with flame-shaped black bugle beads, transparent hem and upper bodice, matching diamante inset belt, bust 92cm, 36in; together with a contemporary fashion sketch of this gown on calque paper, (3)
An extremely rare and early Balenciaga ivory satin damask evening jacket, circa 1938, with large brown on cream woven first label, the satin figured with a tracery of silver creatures and foliage, lightly padded shoulders, the pockets forming curved basques at the front, bust 97cm, 38in, waist 76cm, 30in
A classic Madame Gres grecian-style draped jersey evening gown, Spring-Summer, 1947, labelled, the corsetted bodice fastening centre-front by hook and eye, complex drapes form a wide neckline with twists at the shoulders, bust approx 86cm, 34in, waist 61cm, 24in; together with a xerox fashion sketch of the gown by de Louchel taken from Femme Chic, Spring 1947, (2)
An early Balenciaga draped black jersey dinner gown, circa 1946, labelled but not numbered, with drooped, padded shoulders, streamlined front with V-pleats at the neck, the back with pleated and draped skirt and large glass cinder-like button, bust 86-92cm, 34-36in, curved waist 66cm 26in. Femina Suisse reported of the 1946 collection ÒBalenciaga`s draped effect is more 1885 than 1900É He possesses that sense of proportion and that ability to adapt which characterize the skillful designer whose audacity always stops at the required pleat. The black crepe dress is heavily draped at the hips, lightly so at the corsage, and pinched in at the waist by a wideish beltÓ.
A rare Agnes/Madame Havet orientalist brocaded silk cocktail dress, circa 1925, labelled `Agnes, Madame Havet, 7 Rue Auber, Made in France`, the ming-style brocade in blue, orange and green highlighted in gold, the black satin pagoda sleeves, hem and collar with blue and gold embroidery, bust 101cm, 40in
Two Charles James ensembles, London, late 1930s, comprising: gold lame backed chine taffeta evening gown and matching stole, 1938-9, un-labelled, with double notched panels to the bodice, zip fastened, bust 101cm, 40in; and a couture violet cannele silk suit, late 1930s, un-labelled, the jacket with angular neckline, pointed lapels with openings at the top, presumably for threading a scarf through, the curving front seams piped in white, the bias-cut skirt with notched waistline, lined with ivory crepe silk, bust 101cm, 40in, waist 91cm, 36in, (4)
An early Marcel Rochas couture suit, Spring, 1935, the jacket with large woven silk label and no 9553, woven in grey and white chine silk with butterflies, the jacket with velvet collar, shamrock buttons; together with a reproduction knife-pleated black crepe skirt with matching buttons, bust 86cm, 34in; together with three xeroxes of the ensembles photographed in Vogue, and L`Officiel in 1935, (4)
An Hubert de Givenchy couture black silk cocktail gown, Spring-Summer 1955, Model 1318, labelled and numbered 7:3811, with graduated horizontal pleats to bodice front which emphasize the small waist above the full skirt, bust 86cm, 34in, waist 6cm, 24in; together with a xerox from the Givenchy archive of this model, (2)
A Schiaparelli white organza and shocking pink slubbed silk ball gown, Spring-Summer, 1953, un-labelled, the white organza embroidered with wild roses with velvet petals, overlaid over the shocking pink ground which peeks out at the top of the bodice, a broad flounce frames the shoulders, bust 86cm, 34in, waist 6cm, 24in; together with a xerox from L`Officiel, June 1953, p.68 showing the Schiaparelli model, (2). This is one of last creations made by Maison Schiaparelli as the house closed in 1954.
A fine Madame Gres turquoise blue draped chiffon cocktail gown, late 1950s, labelled, the boned and corsetted bodice edged in deep band of turquoise and white fringed beads studded with emerald rhinestones, a cascade of chiffon to one shoulder, narrow pleats of chiffon broaden to form gentle folds across the tapering skirt, bust 82-86cm, 32-34in
A Christian Dior boutique wine silk faille cocktail gown, circa 1955, labelled and numbered 573212, with integral boned corset, wide gently folded neckline which frames the shoulders, with small bow to one side, over horsehair and tulle petticoats, bust 82cm, 32in, waist 61cm, 24in; together with a xerox of a similar but not identical Dior couture model, (2)
An Yves Saint Laurent for Dior couture chine taffeta cocktail gown, Autumn-Winter, 1959, labelled and indistinctly numbered, of jade green, brown and black silk with slightly dipped waistband at the back, the rear bodice with two bows, layered tulle petticoats, bust 92cm, waist 72cm, 28in; with matching evening purse, (2). Provenance: Rosamond Bernier
A Mary Quant black and white wool day dress, 1963, labelled, the houndstooth check bodice over striped skirt with large black buttons, bust approx 92cm, 36in; together with a photograph of the dress being modelled by Jean Shrimpton, (2). This dress was modelled by Jean Shrimpton and photographed by John French for The Sunday Times, February 17 1963, cf p.136 `John French: Fashion Photographer`. It is noted that the dress cost 25 gns.
A Balenciaga couture shocking pink and gold brocade evening gown and bolero jacket, Spring-Summer, 1964, labelled and numbered 92586, the skirt and bodice emblazoned with gold and silver beaded starbursts outlined in rose chenille, the jacket with three domed silk covered buttons, bust 82cm, 32cm, waist 61cm, 24in, (2)
A Zandra Rhodes `Mexican Turnaround` printed pink chiffon evening gown, 1977, labelled and size 10, with feather shaped pearlised sequins to the bodice, grey ribbed satin waistband, ruched panels of chiffon are caught in a band of pearls at the front, pink silk jersey underskirt, bust approx 86cm, 34in
An Ossie Clark/ Celia Birtwell printed chiffon top and wide crepe trousers, circa 1971, bearing early black on white printed satin label, with flower and mountain print in green and pink, the pale salmon chiffon top with ties to neck, flounces to upper sleeves; the white crepe pants with shirred bands to the front, bust approx 92cm, 36in, waist 68cm, 27in, (2)
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110041 item(s)/page