European and World Whitework: to include an 18th century tambour embroidered panel, hemmed to the sides, raw edges elsewhere, presumably cut down from an apron or handkerchief, and clearly valued enough to have a careful darn at one side. Embroidered with large and finely executed flowers and leaves; a fragment of linen noted to be ''Danish Hedebo'' with a needle lace border; a very fine lawn panel, most likely embroidered in India, with stylised leaves, and ovals showing various different needle lace fillings; a circular lawn panel, probably Indian; two fragments of tambour embroidery probably sleeves; a panel of cream linen with stylised design, shaped, button holes at each end, probably a dress front; a small fragment of possibly Ayrshire work, with fine fillings; a pair of oval panels worked on cotton, backed with a heavier cream fabric, both embroidered with stylised flowers in vases, probably of eastern European origin; a lawn panel of whitework insertion, a formal design featuring fleur de lis; and finally a small panel of needle lace worked on net, a cross and ''IHS'' worked to the centre, with a good flower to each side. Shaped, as if to cover something, with ecclesiastical significance? (12). Variable but generally good.
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A Collection of Mountmellick Floral Whitework Items, 19th century, the textured technique originating in County Laois in Ireland, the flowers used in the designs those that were found in the local area. To include a small reticule with fringing, back and front panels both worked with flowers; a circular, and a rectangular mat with flowers and fringing; two small coasters with intricate work; a folding, rectangular hanky case; a draw string bag; another; a medium size rectangular night dress case; and three larger examples, two with extensive embroidery and shaped front flaps, fringed, the third embroidered with the initial ''D'' and finished with a knitted lace edge (12) . All clean and in good, used order.
Bianchini Férier Evening Dress Fabric Samples, French, 1920's Stamped and labelled to the inside, Bianchini Férier, Fabricants de Soieries, Lyon, Paris, New York, titled, Autumn 1924, Crepe Chemisier, Printemps 1925, displaying a variety of evening dress fabrics, including crepes in a variety of colours and textured patterns 31.5 by 41.5cm 30 pages, 424 samples of varying sizes, approximately 34% missing overall In a red and black mottled paper mounted ledger with velum spine and corners Another Unbound File of Early 20th Century Fabric Samples Including silks, jacquards, brocades, wool, paisleys and velvet 32cm by 49.5cm by 3cm 24 double sided pages, four blank pages, 137 samples of varying sizes and approximately 43% are missing No bindings Part Album of Printed Chiffons, Voiles Fabric Samples Including some with flocked detailing 32cm by 49.5cm by 3cm 25 double sided pages, 24 double pages, 118 samples of varying sizes and only 1% are missing No bindings (3) Bianchini Férier was founded in Lyon, France in 1888. A century of success for them began when the studio was awarded the Silver Medal at the Paris Exposition Universelle in 1889. This led to the opening of offices in Paris, London, Brussels and final,y in 1909, New York. In 1912 Bianchini signed a contract with the artist Raoul Dufy, who was then designing for couturier Paul Poiret. Bianchini Férier created superb designs for Givenchy, Balenciaga, Chanel, Dior, Feraud, Laroche, Nina Ricci, Yves St Laurent and Scherer among others. Paper edges of the ledger are very worn and torn, card binding.
French Lace Sample Book, early 20th century Including an organdy embroidered head-dress and blue paper pattern, other items include cotton collars, embroidered net, embroidered coloured lace, handwritten in black and numbers in red ink, samples double sided per page 34cm by 5cm by 47cm 23 pages, over 100 samples, 5% missing In a cloth mounted ledger, bearing paper labels to the spine and front cover 95 928567-28705 French Fabric Sample Book, circa 1920/30 Enclosing two vertical columns per page of embroidered samples in the form of circles, leaves, basket of flowers, flowers and other shapes in voile and similar fabrics 35cm by 52cm by 9cm 96 pages with approximately 1,076 samples, of which about approximately 20% are missing In a black and white marbled paper mounted ledger, with black cloth to the spine Another French Lace Sample Book Enclosing machine-made lace samples, in cream, white, black lace and net, suitable for trims mounts also embroidered examples, together with handwritten notations in red and black ink for design codes and colours 37cm by 50cm by 5cm 30 pages double sided, approximately 538 samples, and 2% missing In a cloth covered ledger bearing paper labels with 333 26001-26519 (3)
Fabric Sample Books, 20th century Including: A small late 19th century album of printed cotton samples Two Societe Anonyme des Anciens small sampler books, Satin Mercerise 1906 and Cretonette Robe 1906 One volume L G & C Fabricants de Soieries, Lyon, Impressions et Façonnés, Edition No 17 Another Toiles de Jouy Cretonnes - Percales, Toiles Modernes, No 40 One volume of 1920's Passementeries Collection No 3 with samples and coloured images Part volume Societe Nouvelle D'Impression Appret & Teinture, Lyon 1931-2 One volume Coronet Silks 1938 together with coloured printed illustrations of ladies in 1930's dress A Bianchini Férier Rouen folding pamphlet with printed cottons A 1950's Russian colour book of knit and weave patterns A DTL album of brocade type upholstery fabric Eleven circa 1960/70 red paper mounted J Claude Frères & Cie, Paris Lainages Pour Dames etc (two boxes)
French Silk Sample Book, late 19th century Enclosing woven silks in a variety of colours and designs including stripes, flowers, heads of wheat, paisley, checks, animals, figures, book marks, ribbons, velvets and flocked designs, tassel fringing, corded silk stripes, brocade, silk for ties and cravats, nursery and dress silks, some bearing the label Vve JD & PB 41cm by 57cm by 11cm Approximately 98 double sided pages, over 4,900 samples, 5% missing In a black cloth mounted ledger with vellum binding . The samples have possibly been replaced/moved as shadows around some of the pages of samples. Edge of pages are scuffed and worn,
A mid 1800's Brazilian Naval Hero Admiral's uniform belonging to an Englishman, Admiral John Pascoe Grenfell comprising of Bi-corn hat with Lisbon tailors makers mark, tunic with heavy bullion wire embroidered decoration, British made buttons, pair of removable epaulettes, along with matching trousers, brocade belt with buckle and knot, dress sword with approx 700mm long blade (Cannot be removed from scabbard) upper fitting loose, overall length 900mm, framed oval portrait photograph in gilt frame approx 300mm in size overall, all housed in a large glass fronted wooden display case with hinged side access panels. https://en.wikipedia.org/wiki/John_Pascoe_Grenfellhttp://www.grenfellhistory.co.uk/biographies/john_pascoe_grenfell.phphttps://www.findagrave.com/memorial/185901176/john-pascoe-grenfellhttp://www.thepeerage.com/p42655.htmhttps://libguides.liverpool.ac.uk/library/sca/johnpascoegrenfellCONDITION:All items have significant moth damage, wear and holes and old sewn repairs. The sword is rusted into the leather scabbard and cannot be removed.
WW1 British Miniature Medal group comprising of Military Cross, 1914 Mons Star with bar, War Medal and Victory Medal along with his full size medal ribbon bar for the same and a card bearing his name Major Gerald Evan Spicer MC with spare ribbon, bow to be worn with evening dress and a named receipt from Gieves Ltd from 1952 for mounting medals. Empty box which contained his full size medals. His private papers and tape recorded interviews are held in the Imperial War Museum.https://www.iwm.org.uk/collections/item/object/80003142https://www.iwm.org.uk/collections/item/object/1030006759
British Army Royal Army Chaplains Department Major's Service Dress Jacket with all buttons and medal ribbon bar for NATO Kosovo, GSM, Iraq Medal and Western European Union Mission Service Medal. Tailored by GD Golding. Dated 2/ 2001 and named to "R Jarvis". Complete with matching trousers and two pairs of white shirts. Plus his black cross strap and pouch with RAChD badges. Along with his Mess Dress jacket and trousers complete with all insignia, dated 2000. Plus a WD marked 1954 dated Holy Communion wafer tin with wafers inside.
Jenny Watson Red Haired Girl with Buttoned Dress, 2020 Rowney Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jenny Watson is a post-conceptual painter represented by Vigo Gallery in London. She draws aspects of daily life into her art practice. Here the self, a bird, a cat and a horse are assembled as a set of key images urgently rendered in watercolour. She often uses the device of self-portrait as alter ego. Disjunctive combinations of image, text, haberdashery and objects alongside traditional painterly formats are often presented in an interrogation of painting itself. Jenny Watson was born in 1951 in Melbourne, Australia. She completed her Diploma of Painting, National Gallery of Victoria Art School, Melbourne, Australia (1972) and Diploma of Education, State College of Victoria, Melbourne, Australia (1973). From 1978-1984 she was a Partner in Art Projects, Melbourne, (Artist run space). Since 2002 Jenny has been an Adjunct Professor, Queensland College of the Arts, Griffith University, Australia.
BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venedig Titel: Junge Venezianierin mit violettem Kopftuch. Technik: Öl auf Holz. Maße: 32,5 x 24,5cm. Bezeichnung: Signiert oben rechts: Eug.v. Blaas. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Neben den meist großformatigen Genredarstellungen Eugen von Blaas' waren seine kleineren Brustbilder weiblicher Modelle bei einem internationalen Publikum sehr gefragt. Es handelt sich hierbei nicht um Portraits im eigentlichen Sinn, sondern um die Wiedergabe eines aparten italienischen Frauentypes in unterschiedlicher Charakterisierung. Diese Spezialität de Blaas' brachte ihm den Beinamen "Maler der Venezianischen Schönheiten" ein. In die Reihe dieser Werke gehört das hier angebotene Werk "Mädchen mit Kopftuch". Eugen de Blaas zeigt hier eine ganz andere Seite seines malerischen Könnens. Die Konzentration richtet sich ganz auf die charaktervolle Mimik der jungen Frau, Kopftuch und Haar sind flüchtig, fast impressionistisch gemalt, der Pinselstrich darf bei dieser leichten Technik gezeigt werden, die Spitze des Kleides ist pastos tupfend gebaut. Die Lichtführung in diesem kleinen Bild ist besonders raffiniert: Das starke, von oben einfallende Licht liegt gleißend auf dem Kopftuch, der weißen Spitze der Bluse und dem Dekolletee. Vor dem tief dunklen Hintergrund entsteht ein starker Kontrast in dem das, durch die krausen roten Haare leicht verschattete Gesicht den ausgleichenden Mittelpunkt bildet. Der Blick aus den mandelförmigen Augen, das leicht Lächeln und der schräg gelegte, von dem hellblauen Kopftuch ganz umspielte Kopf vermitteln einen herausfordernden Eindruck, dem sich der Betrachter kaum entziehen kann. Anders als bei dem Bild "Zwei Venezianerinnen", bei dem die Blicke der beiden Schönen auf die neue Preziose konzentriert sind und der Betrachter außenstehender Beobachter der Szene bleibt, ist der Blickkontakt zwischen dem rothaarigen Mädchen mit dem Kopftuch und ihrem Gegenüber gleichsam das Thema des Bildes selbst. Erläuterungen zum Katalog Eugen von Blaas Deutschland Romantik 19.Jh. Gemälde Porträt Malerei Venedig BLAAS, EUGEN VON BLAAS, EUGEN VON 1843 Albano Laziale - 1931 Venice Title: Young Venetian with Purple Headscarf. Technique: Oil on wood. Measurement: 32,5 x 24,5cm. Notation: Signed upper right: Eug.v. Blaas. Frame/Pedestal: Framed. Provenance: Private collection, Europe. Besides the mostly large-format genre depictions of Eugen von Blaas, his smaller bust images of female models were in great demand by an international audience. These are not portraits in the true sense of the word, but rather the reproduction of a distinctive Italian type of woman in different characterizations. This speciality of de Blaas' earned him the nickname "painter of the Venetian beauties". In the series of these works belongs the here offered work "Girl with Headscarf". Eugen de Blaas shows here a completely different side of his painting skills. The concentration is entirely directed towards the young woman's facial expressions, full of character; headscarf and hair are fleeting, almost impressionistically painted, the brushstroke may be shown in this light technique, the tip of the dress is built pastos dotted. The lighting in this small image is particularly refined: The strong light coming from above lies glistening on the headscarf, the white lace of the blouse and the décolleté. Against the deep dark background, a strong contrast is created in which the face, slightly shaded by the curly red hair, forms the balancing centre. The view from the almond-shaped eyes, the slightly smiling face and the slanting head, completely surrounded by the light blue headscarf, create a challenging impression that the viewer can hardly escape. In contrast to the image "Two Venetian Women", in which the glances of the two beauties are concentrated on the new preciousness and the viewer remains an outside observer of the scene, the eye contact between the red-haired girl with the headscarf and her counterpart is, as it were, the subject of the image itself. Explanations to the Catalogue Eugen von Blaas Germany Romanticism 19th C. Paintings Portrait Painting Venice
STOSS, VEIT STOSS, VEIT um 1447 Horb - 1533 Nürnberg Umkreis Titel: Mondsichelmadonna. Datierung: Um. 1500. Technik: Lindenholz. Fassung entfernt. Maße: 126cm. Provenienz: Privatbesitz, Deutschland. Die sehr gut erhaltene Figur zeigt die Muttergottes stehend auf der Mondsichel, ein Hinweis auf die Offenbarung des Evangelisten Johannes, das Jesuskind auf ihrer linken Hand vor ihrer Brust haltend und mit der rechten Hand stützend. Das nackte Jesuskind wendet sich dem Betrachter zu. Es hält in der rechten Hand einen Apfel, Symbol des Sündenfalls als Hinweis auf die Erlösung der Menschheit durch seinen späteren Kreuzestod. Maria trägt über einem engen Kleid einen über ihre Schulter drapierten Mantel, den sie unter dem rechten Arm aufnimmt, wodurch dieser in langgezogenen Falten vor ihrem Körper fällt. Der Faltenwurf wird belebt durch knittrig aufwirbelnde, virtuos geschnitzte Partien. Marias Gesicht mit der hohen Stirn wird umrahmt von den breit ausfächernden Haaren, die in Strähnen vor dem Körper und in Wellen auf ihren Rücken herunterfallen. Ursprünglich wird die Figur die Mitte eines Altarschreines gebildet oder als Teil eines Marienleuchters im Kirchenraum gehangen haben. Die virtuos geschnitzte Plastik dürfte im Umfeld des großen Bildhauers Veit Stoß (1447-1533) in Nürnberg entstanden sein. Vor allem die Auflösung der Falten erinnert an den von Veit Stoss geprägten Stil der Nürnberger Plastik um 1500. Auf dessen Umfeld verweist auch das zarte Gesicht der Maria. Wir danken Guido de Werd, Köln, für seine freundliche Unterstützung bei der Katalogisierung der vorliegenden Arbeit. Erläuterungen zum Katalog Veit Stoss Deutschland 15./16. Jh. Skulpturen Religiöse Darstellung Skulptur Madonna mit Kind STOSS, VEIT STOSS, VEIT ca. 1447 Horb - 1533 Nuremberg Circle Title: Woman of the Apocalypse. Date: ca. 1500. Technique: Lime wood, frame removed. Measurement: 126cm.Provenance: Private ownership, Germany. The very well preserved figure shows Our Lady standing on the crescent moon, a reference to the Revelation of the Evangelist John, holding the Child Jesus on her left hand in front of her breast and supporting her with her right hand. The naked baby Jesus turns to the viewer. She holds an apple in her right hand, a symbol of the Fall of Man as a reference to the redemption of mankind through his later death on the cross. Mary wears a cloak draped over her shoulder over a tight dress, which she takes up under her right arm, causing it to fall in elongated folds before her body. The drapery is enlivened by crumpled, virtuously carved parts. Maria's face with the high forehead is framed by the broadly spreading hair, which falls in strands in front of the body and in waves onto her back. Originally the figure will have been the centre of an altar shrine or hung as part of a Marian chandelier in a church. The virtuosic carving is thought to have been created in the surroundings of the great sculptor Veit Stoß (1447-1533) in Nuremberg. The dissolution of the folds in particular is reminiscent of the style of Nuremberg sculpture around 1500, which was influenced by Veit Stoss, and to whose surroundings the delicate face of the Virgin Mary also refers. We are grateful to Guido de Werd, Cologne, for his kind support in cataloguing the present work. Explanations to the Catalogue Veit Stoss Germany 15th/16th C. Sculptures Religious Art Sculpture Madonna with child
Milne (A. A.) When We Were Very Young, presentation copy signed by the author and Christopher Robin as 'Billy Moon', fifth edition, illustrations by Ernest Shepard, original blue pictorial cloth, gilt, dust-jacket, most of spine missing, 8vo, 1924.⁂ An exceptional association and presentation copy. The inscription on the half-title in the author's hand (apart from the words 'Billy Moon') reads: "For Soldier (this book about Himself) with love from his friend Billy Moon Written by himself in the presence of A.A. Milne". Christopher Robin's childhood nickname was Billy Moon. This copy was signed by him aged 5 and was given to Louis Goodrich, whose signature is above the inscription on the half-title. "Alan clearly tried his best to create a happy childhood for his son, and once even arranged for an actor called Louis Goodrich, who he had met at the Garrick Club, to dress up in full military uniform to surprise Christopher. At the time Christopher was fascinated by soldiers, but later suggested that Alan may have regretted introducing him to Louis as they struck up an unlikely friendship: It was difficult for him, of course, Christopher said. For there was Nanny always in the way. Nanny who claimed so much of my affection. And on the rare occasions when Nanny was out of the room, there was my mother in her place. Where did he fit in? Nowhere special. And now here was Soldier. You could see how my eyes lit up at the very thought of Soldier, at the mere mention of his name. You could see (or you could be told) how he made me laugh, how I adored him. No, my father couldn't compete." (The Extraordinary Life of A.A. Milne, by Nadia Cohen).
An early 20th century Naval officers dress sword, by Friedeberg & Co Naval Outfitters, Portsmouth, length of blade 79cm, etched with a crowned fouled anchor to one side and a Royal coat of Arms, with gilt lions head pommel and backstrap and wire bound shark skin grip in a brass mounted scabbard, overall length 94cm.
A pair of Cornish serpentine wall brackets by Stevens of Wherrytown, Penzance. Height 14cm.'THE STEVENS FAMILY OF WHERRYTOWN, PENZANCE IN THE 19TH & 20TH CENTURIES''My maternal grand-mother, Mahala Brown, came down to Penzance with her family from Matlock in Derbyshire, 1850. At that time, the railway ran only as far as Bristol, from there they had to take a ferryboat to Hayle, doubtless an arduous journey which the family never forgot.Mahala's father, Joseph Brown, was a skilled worker in the Blue John stone which was found only in Derbyshire and was highly prized in France where it was called "Bleu Jaune" hence the English name. I believe the Blue John ran out so the family decamped to Cornwall to work with the recently discovered Serpentine at the Lizard. There was a Serpentine Works in Wherrytown which must have offered employment.They young Queen Victoria and Prince Albert visited Mounts Bay in 1846 on the royal yacht. Prince Albert landed in Penzance and was conducted to St. John's Hall where he admired a set of serpentine vases, readily presented to him by the Mayor. Victoria & Albert subsequently ordered a number of items for Osborne House on the Isle of Wight, which immediately popularised the serpentine ware.Mahala Brown later married a former sea-captain, Charles Grenville Stevens in 1869. Legend has it that they walked in bridal dress from Wherrytown to Madron church and back. Charles gave up the sea and was instructed in the art of stone-carving by his father-in-law, Joseph Brown.Extract from The Western Morning News, Dec.17th 1984...." Joseph Brown was a skilled worder of serpentine, but he was eclipsed by his son-in-law Charles Stevens....who, within a few years, had been accepted as the finest carver of serpentine in the country. Charles had an instinctive feel for the stone and carved some magnificent ornaments on of which, a 3' anchor, circled by a dolphin, is to be found at the V & A Museum".Mahala gave birth to 2 sons, Samuel and Joseph who later learnt the skill of carving serpentine from their father and became equally accomplished. They established 2 small shops in Wherrytown where they sold a wide variety of ornaments in serpentine all turned on a treadle lathe in a shed in the back yard.Samuel married Matilda Lawry in 1898 and Matilda bore him 3 daughters. The middle of the 3, Norah Maria, was my mother and she grew up with her sisters in Wherrytown in the early years of the century. The serpentine shops continued to flourish due largely to the increase in tourism. My mother later married John Cyril Mann who became Mayor of Penzance in 1969.I was born in 1934 and as a boy, I well remember visiting the shops and workshop on many occasion marvelling at the vast range of serpentine goods the brothers had produced.Sadly, the shops and most of Wherrytown were destroyed in the disastrous storm of 1962'.David MannOctober 2020
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