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Lot 312
Lemuel Francis Abbott (1760-1802, British) Portrait of Captain George Burdett, RN, circa. 1774-1832, in full dress,76 x 64cmAbbott, Lemuel Francis [Samuel] (1760/61-1802), portrait painter, was the elder son of a clergyman in Leicestershire-probably the Revd Lemuel Abbott (d. 1776), curate of Anstey, later vicar of Thornton, and his wife, Mary. In 1775, at the age of fourteen, he was apprenticed to Francis Hayman, after whose death in the following year he returned to his parents and apparently continued to study portrait painting independently. About 1780 he settled in London, and resided for many years in Caroline Street, Bloomsbury. On 16 November 1786 he married Anna Maria Magdalen Tracey at St George the Martyr, Queen Square, London. Their son Edward Francis Abbott was born on 20 December 1787. Between 1788, when he was a candidate for election as an associate of the Royal Academy, and 1800 he showed fifteen male portraits at the Royal Academy and seems to have specialized in painting portraits of diplomatists, colonial governors, and senior naval officers. The heads of his male portraits were accurate likenesses, particularly his naval portraits, examples of which are in the National Maritime Museum, London, notably the half-length of Nelson (who sat to him several times), shown at the Royal Academy in 1800, and the whole-length of Sir Peter Parker. Several commentators have noted the weakness of his whole-length poses. His portraits of the poet William Cowper (1792) and the sculptor Joseph Nollekens are in the National Portrait Gallery, London. His portraits were engraved by Valentine Green, Joseph Skelton, and William Walker among others. Although it was said that his parsimonious disposition led him to engage no assistants, with the result that he was overwhelmed with commissions he could not fulfil, it is known that the sporting painter Ben Marshall was apprenticed to him for three years in 1791.By July 1798 Abbott was certified insane. It has been supposed that insanity was due to an 'ill-assorted marriage' (Redgrave, Artists, 1), though Abbott referred in his will of October 1800 to his 'dear wife', who was his executrix and beneficiary. He last exhibited at the Royal Academy in 1800. Abbott died at his home in Penton Street, Clerkenwell, London, on about 5 December 1802. Waterhouse noted that his unfinished works were completed by a 'less sensitive hand' (Waterhouse, 18c painters, 21). Farington noted in his diary on 25 January 1803 that Abbott died 'about six weeks ago' 'in a State of Insanity. A commission of Lunacy had been taken out & it then proved that He was not possessed of more than 3 or 400 pounds a year' (Farington, Diary, 5.1966). On 17 August Farington noted that during a visit to Nollekens:a boy near 16 years of age was drawing upon a Slate from a Plaister figure. Nollekens told me He was the only son of the late Mr. Abbot, Portrait Painter. His mother is a Roman Catholic & a Bigot. She insists upon Her Son becoming a Romish Priest, which He refuses, & she will in consequence scarcely see him. (ibid., 6.2109)
Lot 314
Sydney S. Morrish (1836-1894, British) An elegant lady wearing a white silk dress and gloves, a bonnet with a pink parasol holding a Manchester terrier puppy, oil on canvas, framed, signed lower left and dated 1870, 55 x 40cmThis lively, spirited dog breed is a true terrier. Bred in Manchester, England, for the common man's sports of rat killing and rabbit coursing, he's got game and he loves to show it. The Gentleman's Terrier (as he is known in Victorian England) is not a sparring dog but loves a good chase, making him a flyball and agility expert.Though his looks suggest a miniature Doberman Pinscher or a large Miniature Pinscher, the Manchester Terrier is his own canine. A wee dog with a strong bark, he's got personality to burn: loyal, hearty, and a terrific watchdog who adores hanging out with his people. Among terriers, the Manchester is known to be one of the more well-mannered and responsive breeds and today spends his time as a terrific companion who can hold up his end of the conversation.The history of sunshades goes back thousands of years, but it was during the Italian Renaissance of the 16th century that umbrellas and parasols were introduced to Europe. At first the items were large, used interchangeably, and generally carried by a servant to protect the wealthy from the elements and sun. Some were heavy (made of leather) but silk, paper, and cotton grew in popularity. During the 1700s parasols had already evolved into a woman's fashion item, designed and decorated to match each promenade dress or walking suit, and was clearly defined as a sunshade; not for rain and snow. To make them collapsible developed around 1800, but ribs would break, paper tear, and the materials mildew if left damp. By the early Victorian era metallurgy had improved and alloy ribs were being used, nickel silver particularly popular. This type of thin strong metal was developed in Germany by craftsmen in an attempt to imitate the Chinese combination of copper, nickel and zinc, known as paktong.At the beginning of Queen Victoria's reign the parasols were quite plain, but by about 1850 tassels and frills grew in popularity. In each ensuing year the adornments became more ostentatious. If a dress had bows or flounces, the parasol could be adorned with the same decoration. This was a matter of taste, and ladies selected modest or extravagant versions for different circumstances, and based on what their income would allow. Of course it was only the wealthy who used parasols as a day-to-day accoutrement. A poor girl might have a simple parasol for church, or a Sunday afternoon stroll. It was during the 1850s the marquise parasol was developed, a style that tipped at the top, so a lady could hold the shaft straight and still shade her face well no matter the angle of the sun.During this time many houses featured racks (two horizontal parallel arms) for placing open parasols and umbrellas high overhead in front and back halls; ideal for implements that didn't close, could be damaged by constant opening and closing, or damp items. Parasol handles were usually straight, but some hooked examples exist. A plain parasol might have a wooden or metal pole with a bone handle, while the most expensive choices were of carved ivory shafts, decorated with inlaid jewels and gold banding. An in between version could be with carved horn and silver filigree accents. Throughout the Victorian era the handles grew longer, so "carriage" parasols were designed with a hinge in the middle to allow breakdown and ease of movement in tight spots.
Lot 526
Black crepe 1930s dress, short sleeves, deep inset V detail to front in which the crepe is reversed, small holes to left shoulder and sleeve, size 12 approx, together with long black taffeta dress, the hem stiffened with a net border, high collar, short puff sleeves and the yoke decorated with cut out flowers of net, self-covered buttons to the back and small side zip (broken) size 8 approx. (2)
Lot 529
Late 70s Yves Saint Laurent grey A-line skirt (French size 38), 1960s black wool shift dress from Berlin ,with grosgrain trimmed neckline and bow (size 42), 1970s black velvet dinner dress, caftan shaped with large plastic bobble buttons and loops to the front (size 10 approx), 1960s boned swim/play suit, from Richard Shops emerald green with white crossed-ribbon decoration to pockets and across the chest (size 10-12) approx.
Lot 541
Quantity of lovely old lace intended for a bride, including C18th pieces. Two very old panels 190cmx95cm approx, trailing festoons, seedpods and flowers. Veil 190cm square approx, describing grasses, harebells and wild flowers, sprigged and dotted overall and elaborate scalloped border to all four sides. A flounce of very old Limerick lace 112x73cm approx, oakleaves and flowers and flower border inside a leaf border. A skirt length, 503x98cm approx, deep border of Florence lace, 411x27cm approx, collar 120cm long approx, of two different laces joined, a fichu of Limerick lace, two old sleeves and two lengths of Limerick lace. Also Edwardian bead and pearl decoration, "off Granny Paynes wedding dress, made by herself" (13)
Lot 566
Two calf length silk dresses from Salvador London one early 1980s in a pattern of pale pink on cream, frilled collar, one late 80s in light brown silk, with abstract pattern of black and red shapes, elasticated scoop neck; together with a silk blouse and skirt from the early 1980s in subtle grey pink, with lace collar, cuffs waist and hem by Susie Watson (all size 10-12 approx). Also an eau de nil silk long slip dress from Salvador London, size 8 approx. (5)
Lot 577
Knitted dress by Mariuccia Mandelli, midi length, boat neck, short sleeved, deep lilac blue with ochre and white stripes (Italian size 44). Mandelli founded Krizia and was described by Karl Lagerfeld as the 'queen' of Milan in the 1960s. Also a knitted skirt , designed and made by Florence Hall, size 8, cream slubby knit with pink stripe, midi length.and a late 60s/70s purple long sleeved jersey poloneck top from Wallis. (3)
Lot 578
Dress by Diane Fres, 1980s, polyester georgette, cream with a pattern of black dashes, contrasting panels at waist hem and collar bone. Together with silk two-piece cocktail suit by Christyne Forti, black with two bold white stripes to the front of the skirt which converge at stiffened peaks at the waist, and a white stripe from padded shoulder to wrist (size 12). (3)
Lot 585
1980s white linen blouse with large ruff-like collar, puffed sleeves gathered just above the elbow and pleats to front by Casanova (size 12), Long back cotton smock dress - the yoke, shoulders and skirt embroidered in bright fronds - possibly Mexican.(12-14 approx), 1960s polycotton short sleeved white blouse the yoke puff sleeves decorated with ric-rac and floral embroidery in red green and black (size 8 approx). (3)
Lot 596
Sheath dress by Mary Quant's Ginger group, (mid 1960s) in duck egg blue worsted to below the hips, and black bottom panel. Sleeveless with high collar. Two gilt lion mask buttons sewn to false pocket holes at hip level (size 14 approx). Small area of moth damage on the back in the black panel and tiny rust marks and mark at arm holes. With contemporary duck egg blue suede and leather court shoes, medium heel, fine leather strap and button over low cut toe. Label hard to read but appears to say 'Italian Styled Dilitante, Valencia 7' (size 4-5 approx).
Lot 597
A 1930s bias cut and fitted full length dress with sweetheart neckline and ruched bodice. The dress fastens with cloth covered buttons to back and a small waist level side fastening with hooks and eyes. The garment has been dyed giving a russett ground colour to the existing ivory raised texture of the fabric (size 8 approx).
Lot 599
Four vintage dresses. A 1960s/70s 'Anokhi' cotton muslin maxi with tie belt (size 10) - small tear to hem. A 1970s 'Jacqueline de Baer' polka dot fitted dress with a bias cut swing skirt and matching belt. A black taffeta cocktail dress from 'Fenwicks' and a black 1970s dress made in India for Rene Derby. All fair condition, (4)
Lot 606
Group of Missoni clothes from the 1970s and 80s, silk jersey dress, navy, scattered with orange purple and yellow pointillist dots, with a v neck, elastic at the waist, long bat-wing sleeves with button cuffs, navy rope belt with spotted button, v-neck striped woven silky top, silk-lined inset pockets (some moth damage), cream dress, linen/nylon semi-herringbone weave, deep v-neck wooden buttons to front, elasticated waist and short sleeves, cotton t-shirt dress in Aztec style print, v-neck trimmed with striped ribbon, elasticated waist and short sleeves (all approximately size 10). (4)
Lot 610
Beautiful 1980s evening dress by Hachi (who designed for Diana princes of Wales), very fine light silk, with fine printed green and rust coloured lines on palest beige geometrical jacquard, long full skirt, lined with grey habutai, suspended from high waisted sleeveless zipped bodice which crosses at the bust. Matching jacket, cut loose and short with very wide sleeves which gather at the wrist, soft flounce to collar and front popper opening (labelled size 14 but looks nearer a size 8).
Lot 611
Flowing silk chiffon 1970s long skirt by Zinat Sara of Iran, delicate top layer of chiffon printed with images from Mughal painting, and fragments of Persian script, in turquoise, brown and orange on a cream ground over an underskirt of cream chiffon (marked size 8). Bit of damage to the bottom where silk cord hem has been stepped on. Also a 1970s long dress, in blue flock-dotted muslin, square yoke, long sleeves, with two possible blue slip linings (size 8 approx).
Lot 617
A late 50s/early 60s Worth suit in red and black tweed, neat jacket with four large plastic buttons, two flapped pockets and a false pocket, narrow skirt, just over knee length, some damage at waistline and a couple of mends to the lining hem (size 8-10 approx). Also a late 60s/early 70s, sleeveless dress and jacket from English Lady (size 12 approx), in tomato red wool, in a diamond figured weave, snazzy chrome and red plastic buttons (a few moth holes in dress).
Lot 619
Blue moire tafetta 1930/40s cocktail suit (tiny - size 6-8 approx), rust marked, and a black net 1930s evening dress; bias cut black silk crepe slip, plait detail on shoulder straps and down the front, the net has deep kick frill and stiff band to weight and swish the hem, with net bolero stiffened into frills (impossibly tiny -size 4?), some small holes. (4)
Lot 770
A box of heirloom baby things to include two Welsh Christening shawls, a linen cradle with its headboard, finely embroidered Victorian baby dress with red petticoat, a red felt cape, Edwardian toddler dress of hessian embroidered with Greek key in blue, three embroidered muslin infants dresses, three white infant's dresses, silk and lace child's skirt, bib, cardigan, nightie, cotton bootees, petticoat. (18)
Lot 3331
An early 20thC bisque headed Armand Marseille baby dolls head, with sleep eyes, open mouth, showing teeth, the head 9cm high, numbered 351/2/1/2K verso, with articulated limbs and dress, and an early 20thC bisque headed child Scottish doll, of miniature form, with articulated limbs, wearing kilt (2).
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228098 item(s)/page