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Lot 342
Two panels of fine black net woven with gold coloured metallic thread, edged with black glass beads and joined with ribbon (possibly the lower portion of a dress); and a panel of black net embroidered with a design of flowers and leaves worked in pale silk, then embellished with gold thread and small jewel-coloured beads, (2).
Lot 115
Two 1940s tweed suits by J Nissen, 20 Conduit St. W1; a 1970s Laura Ashley floral full-length cotton dress; a 1970s Laura Ashley blue cotton dress; a full-length Navy blue and white spotted dress with provenance having been worn at the reception party at Buckingham Palace before the Royal Wedding on the 27th July 1981; a full-length spotted dress; a long black chiffon dress by Kati at Laura Phillips; a 1980s Laura Ashley pink dress with sash; a blue Wallis maxi skirt with stud detail; a blue and white shift dress; and four further maxi skirts, UK sizes 10 to 14 approximately, (13).
Lot 168
An early 20th century ethnic or North African lamé evening jacket, with embroidered decoration worked mainly in gold thread, punctuated with details worked in brightly coloured silks; together with a 1920s sheer black dress with gold appliqué decoration, a 1930s gold lamé jacket/shrug, a woven metallic evening cap edged with metallic lace detail, and three further garments, (7).
Lot 2
A collection of designer clothing, including: a Marie Saint Pierre elasticated black dress, a Michael Kors black sweater, a pale pink Morgane Le Fay silk dress, a Renee Bassetti white cotton shirt, a pink ombre skirt, a Morgane Le Fay sheer black silk top, a white sheer dress by Bamford of London, a black maxi skirt by Eskandar for Bergdorf Goodman and a quantity of similar garments, (15).
Lot 110
A 1940s white Moygashel jacket with pressed metal buttons in the shape of daisies, a 1930s green cotton full-length tiered skirt, a 1930s floral linen dress with a Sensola label, a white cotton blouse, a late 1940s colourful cotton skirt with an abstract design of potted plants, a 1950s button-through sundress with embroidered floral detail to the neckline and pockets, a 1920s floral print sleeveless top, a plain cream skirt and three blouses, UK sizes 10 to 12 approximately, (11).
Lot 114
A Jean Muir early 1970s long sleeved, button through black dress, a Harry Josselyn floral dress with matching bolero jacket, a late 1960s Louis Feraud cream dress with zip up jacket, a 1960s lime green shift dress with matching jacket, a 1980s Zandra Rhodes low-waisted pink dress, a Zandra Rhodes sheer sleeveless coatee, a Celia Birtwell for Topshop red crepe blouse and four further dresses, UK sizes 10 to 14 approximately, (11).
Lot 7
A Morgane Le Fay pale pink silk dress, with an Isabel Marant sheer black blouse, a Paddy Campbell black evening jacket, an Isik Ozgur gathered skirt with abstract white circles, a black silk velvet coat with a printed abstract design, two Brunello Cucinelli pleated skirts and one other skirt, UK sizes 10 to 14 approximately, (8).
Lot 352
A large collection of early to mid 20th century buttons and buckles, including: 1920s and 1930s sets of blouse, dress and coat buttons; early 20th century linen covered buttons, some on original cards; 1950s dress and coat buttons; a quantity of 1920s and 1930s buckles, some colourful plastic examples in different shapes and sizes, (qty).
Lot 99
A quantity of early 20th century costume, comprising: an Edwardian cream flannel two-piece suit with shop label 'Gold, tailor and furrier, London', a sheer black evening blouse with white beaded decoration, a white dress with pintucks and lace detail to the bodice, a voile skirt with a pale design of leaves, a black day dress, a white pique skirt, and a cream blouse, (8).
Lot 86
A 19th century brown and cream checked day dress with a lace collar and velvet covered buttons; a Victorian black cape embellished with black beaded decoration; a black lined blouse with glass buttons and lace trimmed collar; a white petticoat/bloomer combination; and a black velvet bodice, (5).
Lot 118
A 1930s pale floral Liberty print tea dress with bow detail to the neck; together with a 1930's full-length white with blue spots muslin dress, with cap sleeves and a pleated bodice; a fine cotton blue and white medallion print short-sleeved summer dress of a similar date; a 1960s tiered floral cotton Chelsea Girl maxi-skirt; a cream crochet shawl; and a 1940s leather handbag, (6).
Lot 87
A late 19th century black silk dress with braid and bead decoration and fringing; a white blouse with pintucks and embroidered detail; a tangerine coloured 19th century dress with ruched ribbon detail and a lace collar; a Victorian black padded silk waistcoat; and a black velvet coat with appliqué decoration to the front, collar and cuffs, (5).
Lot 74
An early 20th century girl's ivory satin dress embellished with lace and appliqué beadwork and pearls; together with an Edwardian eau de Nil dress with lace to the collar and sleeves and embroidered underskirt, two early 20th century girl's lawn dresses, a cream satin dress, and a black silk velvet jacket, (6).
Lot 35
6th-early 5th century BC. A carved amber head, possibly representing a deity, show in profile, wearing a tall, elaborate headdress, with rear triangular protrusion; the face with finely modeled features showing the influence of archaic Greek portrait sculpture, including large almond-shaped eyes and an enigmatic smile; the headdress is a more elaborate version of the tall hats seen on both male and female portraits and sculptures of the time. The amber with the typical dark spotted patina of ancient amber. Property of London collector, by descent 1950s. See Causey, F. Amber and the Ancient World, p.40, fig.17 for a similar, smaller carving from the late 5th century BC (held in the Museo Archaeologico Nazionale, Ferrara, accession no. 44877), and p.81, fig. 38 for a good example of the contemporary tall hat or headdress (J. Paul Getty Museum, 77.AO.84"). This is a garment that Larissa Bonfante identifies as ‘a new fashion [which] was adopted in real life as well as in art and evidently came from the Ionian cities as a result of direct contact’ (Bonfante L. Etruscan Dress), and which is also attested on a wall painting from the Tomb of Hunting and Fishing, circa 510 BC (Causey, p.86, fig.41"). The Etruscans produced a number of high-quality carvings in amber; the majority of the raw material used originated on the Baltic coast and was brought to Italy via the European trade network that stretched through present-day Germany and Austria, and across the Alps. Amber’s naturally occurring electromagnetic qualities gave rise to the word ‘electricity’, from the Greek word for amber, elektron. 29 grams, 70mm (2 3/4"). Fine condition. This lot displays the characteristic dark patina of ancient amber, a result of millennia of oxidation.
Lot 37
6th-early 5th century BC. A carved amber pendant representing a female face, simplistically carved, in frontal view, bearing some resemblance to the contemporary Greek korai sculptures; with small, almond-shaped eyes and full, pursed lips; wearing a short, rounded cap or hat, perhaps the ‘rounded hat’ discussed by Bonfante in Etruscan Dress, p.76; and also seen on contemporary sculpture, such as on the sarcophagus of the reclining couple in the Villa Giulia Museum Rome, inv. 6646 (Bonfante, fig.144"). Property of London collector, by descent 1950s. See Causey, F. Amber and the Ancient World for a detailed general discussion. Most amber used in the ancient world came from the Baltic region, though ancient authors do mention sources from Sicily as well as the east. That from the Baltic sea was traded along the amber route south to the shores of the Adriatic and then distributed to peoples in Italy, the Balkans and beyond. Baltic amber was imported to Greece during the Bronze Age and has been found in the shaft graves of Mycenae, and it is mentioned in the Homeric Poems where it is called elektron due to its electrostatic properties when rubbed. In ancient Greek mythology amber was believed to be the solidified tears of the Heliades, the daughters of the sun god Helios, who wept at the death of their brother Phaeton. It was the Roman author Pliny who first described it as the resin of trees, and he places it after rock crystal as a luxury item. 12 grams, 41mm (1 1/2"). Fine condition. This lot displays the characteristic dark patina of ancient amber, a result of millennia of oxidation.
Lot 918
5th century AD. A silver-gilt hinged buckle set comprising: the dished loop with cabochon garnets at the hinge and either side of the couch for the tongue, panels of scrolled decoration between; the carinated tongue with scroll decoration on the forward lateral panels, four inset cabochon garnets; the lozengiform plaque with scrolled decoration on the main panel, opposed bird figures placed on the rear edges and a finial comprising addorsed bird-heads, all with inset cabochon garnet eyes; plaque pierced for attachment. Property of a gentleman; acquired in the late 1960s-early 1970s. Cf. Menghin, W. The Merovingian Period. Europe Without Borders, Berlin, 2007 (Kerch, Ukraine, p.306"). Buckles such as these are often described as being Gothic, an east Germanic people who settled in the Roman provinces as the political stability of these areas collapsed. Their art styles are typical of the Migration period in that they are composed of stylised animals and swirls and often employing garnets; there is also a hint of Roman and Byzantine styles. The display of wealth was carried out by by both men and women and was a means of defining themselves on the basis of their common lineage as part of distinct families. As well as distinguishing themselves through formal Germanic dress, it is also likely that ruling families sought to identify themselves with the high culture of the Byzantium. 66 grams, 11cm (4 1/4"). Very fine condition; one cabochon absent.
Lot 1305
2nd-3rd century AD. A schist figure of the goddess Hariti standing on a stepped base, wearing flowing robes with jewelled belt with collar and string of jewels around neck; hair arranged in a top knot bound by fillet and falling onto shoulders; right hand is raised and holding fruit or a flower, left is held down and grasping dress; mounted on a custom made stand. From an important London collection, acquired in the 1970s. Hariti is a Buddhist goddess who protects pregnant women and children and is also prayed to by women wishing to conceive. She is still worshipped today and is regraded as the protector of the Newar people of Nepal and has an important temple at the Swayambhunath stupa in Kathmandu. 8 kg, 44cm including stand (17 1/4"). Good condition; some restoration.
Lot 1587
2nd millennium BC. A pair of bronze dress pins, each a tapering shaft with narrow neck and large discoid head with repoussé image: on one a central human figure with a winged headdress and smaller figures around, on the other a tree with leaves and birds on its branches. Property of a North London collector; acquired in the 1970s. Cf. Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, items 309-12; see discussion of Elamite art in Aruz, J. Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003. 33 grams total, 16.5-17cm (6 1/2 - 6 3/4"). Fine condition, small loss to rim on one pin.
Lot 1588
2nd millennium BC. A pair of bronze dress pins, each a tapering shaft with narrow neck and large discoid head with repoussé image: on one a central roundel with radiating branches, leaves and fruit, and on the other a central rosette with wreath and radiating leaves. From a London, UK, collection; acquired 1970s. Cf. Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988 items 309-12; see discussion of Elamite art in Aruz, J. Art of the First Cities. The Third Millennium B.C. from the Mediterranean to the Indus, New York, 2003. 43 grams total, 17.5-18.5cm (7 - 7 1/4"). [2] Fine condition, one pin chipped at rim.
Lot 1668
2nd millennium BC. A bronze dress pin comprising a tapering shaft with flared neck and large discoid head with repoussé ornament of a central boss and ring with arcading outside, punched point detailing. Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK in the 1980s. Cf. Muscarella, O.W. Bronze and Iron. Ancient Near Eastern Artifacts in the Metropolitan Museum of Art, New York, 1988, items 309-12. 109 grams, 43cm (17"). Fine condition.
Lot 212
A gentleman's heavy 18 carat yellow gold Omega Dress Watch, the white dial signed Omega to the 12 o;clock position, the 3 o'clock position with date aperture and the 6 o'clock the signature constellation, with gold baton style markers within a bezel with Roman numerals, original integral Omega bracelet
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228188 item(s)/page