*French costume. A French peasant dress, Provence, circa 1810-1820, hand-sewn green cotton dress printed with small floral pattern in red, blue, yellow, and white, with two other similar fabrics used at yoke and front of skirt (intended to be covered by an apron), high-waisted, and with small leg o' mutton sleeves tightened by four rows of smocking on the shoulders, neck and cuffs fastened with pearl buttons (two replaced), bodice lined with flannel, extending to laced corset, sleeves lined (one in plain blue fabric, the other in blue gingham), overall length 143cm (56.25ins), bust 86cm (34ins), waist 70cm (27.5ins), sleeve length 65cm (25ins) Rare peasant dress; it is very unusual to find work clothes of this date in such a good state of preservation. 'Les indiennes' fabrics such as this dress is made from were at the height of their popularity at the beginning of the 19th century. These bright prints first arrived in France from India in the early 17th century. Both the import and production of such fabrics was banned in 1686, to protect French silk, linen, and wool manufacturing. When the ban was lifted in 1759 manufacturers became established all over Provence. (1)
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*Rheam (Henry Meynell, 1859-1920). Study of a Head, March 1894, watercolour, head and shoulders portrait, profile to left, of a young lady with flowing locks, wearing a scarlet dress and gazing upwards as if entranced, monogrammed and dated upper left, 29 x 19cm (11.5 x 7.5ins), gilt mount and frame, glazed, signed by the artist on the backboard and with title and date also in the artist's hand Henry Rheam studied art in Germany, at Heatherly's in London, and at Julian's Atelier in Paris. He worked mainly in watercolour, and for a brief period he contributed greatly to the output of the Newlyn School of artists (having also benefited the town with his prowess on the cricket field). However, the majority of Rheam's paintings are in a romantic, late Pre-Raphaelite style; by the mid 1890s, he had turned exclusively to such illustrative subjects. (1)
![*Castiglione (Giovanni Benedetto, 1609/16-1664/70). Small studies of heads in oriental dress, circa 1645-50 [but later], a g](https://cdn.globalauctionplatform.com/c1775602-4d43-4b5d-ab58-a78400ea6231/436d6311-8e7d-4256-8ed9-88727a0de72a/468x382.jpg)
*Castiglione (Giovanni Benedetto, 1609/16-1664/70). Small studies of heads in oriental dress, circa 1645-50 [but later], a group of fifteen etchings on thin paper, possibly early 19th century, each trimmed just inside the plate mark, and laid down on later card, with inscription in French to verso of each, 105 x 75 mm (4.2 x 3 ins) (15)
*David (Nathan, 1930-). Ondine, 1975, cast bronze sculpture with gold patina of the ballet dancer Margot Fonteyn in the role of Ondine, en pointe, arms outstretched in flowing dress, numbered 12 from the edition of 12, and signed and dated 1975 to base, mounted on black marble plinth, 44 cm (17.25 ins) high (excluding marble plinth), 34 cm (13.3 ins) wide Nathan David was made a Fellow of the Royal British Society of Sculptors in 1980, and was a part-time lecturer in Sculpture at the Sir John Cass Faculty of Arts from 1975-1990. (1)
A diamond and 'star' stone dress ring, the polished band with flared cast front section of asymmetric raised polished boundaries to textured fields, and set with three oval cabochon dark grey-brown stones full of fine straight thread inclusions tending to slight six-point asterism (believed to be sapphire or possibly quartz) and two round brilliant cut diamonds, yellow precious metal stamped '14k', ring size W
A French 18ct gold and citrine dress ring, the large emerald cut mid-gold citrine, measuring 27 x 20mm and estimated weight approximately 55cts, held by four broad claws along its sides merging and arching onto a plain planar mount and flat tapered band, size L, French eagle's head mark for 18ct gold on outside of band
A matched and cased Victorian gold dress set, the18ct gold double-ended cufflinks with convex oval plaques and chain links, one end of each with engaved monogram, Chester hallmarks 1901, weight 13.17g; and three 9ct gold studs with bright cut foliate faces, Chester hallmarks 1897, weight 2.49g; in period fitted leather case
A red hardstone, red enamel and mother-of-pearl gentleman's dress set, the double-ended cufflinks designed as mother-of-pearl discs with a small crimson hardstone set in the centre and an outer border of clear red enamel with opaque white dots, articulated bar connections, the six buttons of exactly the same design, in period fitted case
A chalcedony and diamond dress ring, the large oval cabochon pale blue chalcedony held either side by cords of white precious metal pavé set with round brilliant cut diamonds, the four ends crossing behind the stone and emerging again pavé set with diamonds to wrap around the finger merging into a polished shank, size P-Q (not round), length of ring head 2cm Comes with the receipt for US $3,500, dated 13th March 2004
A diamond, mother-of-pearl and enamel gentleman's dress set, the double-ended cufflinks designed as a round brilliant cut diamond collet set in the centre of a dished cushion-shaped plaque of mother-of-pearl with a white enamel Greek key design border, chain link connections, backs all stamped '18' suggesting 18ct gold, and with a serial number; the three buttons of similar but circular design, backs stamped 'Pt & 18ct', presented in a period fitted red morocco leather case
Unsigned - a Victorian 18ct gold cased dress fob watch, the decoratively engraved gold coloured dial with ornate two colour foliate border, Roman numerals in black, the unsigned movement numbered 31725, the ornately engraved case marked for London 1887, case 43mm diameter, dial 40mm diameter, case 44mm diameter, suspended from an unmarked two section triple strand chain with hardstone seal to the centre, 24.5cm, gross weight of watch 68gm, cased In good working order, one clip to the end of the chain is broken
K *** Swift (British, 19th Century) Portrait of a young boy, seated, wearing Highland dress, his arm upon his pet mastiff, hills beyond signed centre right "K Swift / 1866" oil on canvas 145 x 102cm (57 x 40in) Provenance: By descent within the family of the sitter One old repaired tear. Oil on canvas which is unlined. The canvas is very slack and there are undulations across the surface. The original dimensions of the painting have been extended by the artist who has used the original tacking edge along the left side. There is a patch on the reverse at the lower left corner securing a tear in the area of the dog's face which has been retouched. There are a few minor areas of loss and scuffs but overall the paint layer is in a good condition. The painting has a thin, streaky layer of varnish which has yellowed and is noticeable in the lighter areas of the sky. The frame has a few small chips and losses.
English School (early 18th Century) Portrait of a Lady, believed to be a member of the Stileman family, of Winchelsea, Sussex, seated, in blue, with her arm resting on a pink cushion and an Italian greyhound beside her oil on canvas, unlined 74 x 45cm (29 x 18in) Provenance: By descent within the family of the sitter Unlined. Old stretcher bar marks can be seen from the front. Frame needs attention. Oil on canvas, unlined. Canvas tension is very slack with undulations across the surface and pronounced stretcher bar marks. There are a few small losses to the paint layer and areas of raised craquelure. Some of the pigments appear to have degraded over time, notably in the blue of the sitter's dress. Localised areas of discoloured retouchings, noticeable in the sitter's face. Old and yellowed varnish which is dull with a layer of surface dirt. Frame has raised flaking to the gilding layer and areas of loss.
Manner of Sir Peter Paul Rubens (Flemish, 1577-1640) Portrait of a lady, head and shoulders, half length, wearing a pearl necklace and earrings and gold dress, gold coronet and motto scroll on right with crown and ribbons, indicating a possible Marchioness, bears initials 'ET' in gold to the left of the sitter oil on canvas, in a gilt frame 25 x 18cm (10 x 7in) Provenance: Private collection, London. Paint layer stable and secure. Ornate frame with losses to moulded decoration and dust layer. Under glass which is quite dirty. The gold paint is probably an addition. Frame an 18th century copy.
Jeremiah Meyer, R.A. (Anglo-German, 1735-1789) Portrait of Mrs Elizabeth Theobald (c.1725-1796), wearing a grey dress with white lace trim and a white bonnet inscribed "E Theobald Died 9 November 1796 aged 71" to the reverse watercolour on ivory, oval; in an engine-turned gold locket frame with hinged lid 7½ x 6cm (3 x 2in) This portrait miniature was executed when Jeremiah Meyer resided at Kew Green from 1774 until his death. Mrs Elizabeth Theobald was the artist's neighbour who lived at the north side of Kew Green, at Hanover House, now known as Kew Garden's Herbarium. A small scratch to the glass left of the sitter's shoulder.
Wilhelm Andreas Müller (Danish, 1733-1816) Portrait of a lady in a white silk dress with a bow at her corsage, pearls and unswept powdered hair, seated at a desk, crocheting; and A portrait of a gentleman in a brown frock coat, green waistcoat and powdered wig worn en queue, seated and holding a letter, circa 1774 watercolour on ivory, ovals; in gilt-metal frames with wavy reeded surrounds (a pair) 8 x 6½cm (3 x 2in) Provenance: With D S Lavender (Antiques) Ltd., London, where described as His Majesty King Christian VII and Queen Caroline Mathilde of Denmark; Property of a European Gentleman; Christie's, London, 27 November 2012, lot 270 Literature: Illustrated in colour in "The Grosvenor House Art and Antiques Fair 1996 Handbook", p. 231 Other Notes: In 1765, Müller was appointed as the official painter to the King of Denmark. The present pair are thought to have been executed at a time when the artist was commissioned to paint the various members at the court of Christian VII. Gentleman - slight paint loss by the right edge, opposite the sitter's neck. Lady - some staining above the vase. A small scuff by the top left edge, opposite the sitter's wig.
Pierre Pasquier (French, 1731-1806) Portrait of a lady, thought to be Empress Maria Feodorovna, in a powdered wig, wearing a pink silk cloak over a cream dress, with a diadem, ribbons and flowers in her hair enamel, oval; in a blue and white enamel and filigree frame 4.20 x 3½cm (2 x 1in) Minor losses to the edges, especially right of the sitter's head and along the bottom margin. A crack across the sitter's chest and another in the upper area running across the flowers.Notes: It has been suggested that the sitter is Empress Maria Feodorovna (née Sophia Dorothea, Princess of Wurttemberg) (1759-1828), second wife of Paul I of Russia.
Festival attire - a Star silk chiffon dress by Julien Macdonald, vibrant star and swirl print, jewelled detail; another similar; a silk chiffon jump suit by Traffic People, colourful floral print on yellow ground; a runched silk chiffon multi-coloured dress by Lipsy, part boned bodice; an embroidered silk zipped jacket by Aftershock; etc
Custo of Barcelona - a Custoline jersey fabric tunic dress printed design depicting stylised peacocks, fish courting couple etc on grey ground, transparent sequins to front; a Custoline silky jersey fabric tunic colourfully printed with geometric designs; a Custo stretch fabric tunic, printed in shades of brown with abstract design, cap sleeves; a Custo silky jersey fabric tunic printed with Oriental surrealist design (4)
A clear cut glass bell shaped scent bottle, globular faceted prismatic stopper, silver collar, Birmingham 1926, 13cm; a modern silver mounted address book, the embossed cover with lute player and ladies in 17th century dress, within a summer garden, scolling foliate border, vacant shield shaped cartouche, 14cm x 11cm, London 1991, boxed; a similar silver mounted prayer book, Sheffield 1998, boxed (3)
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