A NORTH EUROPEAN SMALL-SWORD WITH SILVER-ENCRUSTED HILT, CIRCA 1680. with tapering slender blade stamped `En Toledo`, steel hilt comprising double shell-guard with moulded brim, a pair of arms, globular quillon, knuckle-guard interrupted by a central moulding, and globular pommel, decorated throughout with scrolling flowers and foliage within beadwork frames, and ovals filled with figures in contemporary dress on the shell-guard and the front of the pommel (rubbed), and the grip with a later wire binding and `Turk`s heads`. 80.3cm; 31 5/8in blade. Provenance. Christie`s, 15th December 1982, lot 45
We found 228098 price guide item(s) matching your search
There are 228098 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
228098 item(s)/page
THE CASED COURT DRESS OF THE HONOURABLE GUY CHARTERIS (1886-1967), EARLY 20TH CENTURY. comprising court sword with cut steel hilt, in its scabbard, coatee, breeches, waistcoat, shoes with buckles en suite with the sword, cocked hat, and a pair of gloves: all contained in a black japanned tin case
A HIGHLAND DRESS POWDER HORN, 19TH CENTURY. of flattened cowhorn, with German silver fittings cast in low relief, comprising thistle-shaped finial, bulbous basal cap decorated with elaborate patterns of thistle flowers and foliage (loose), set with a foil-backed piece of glass in the base, and an additional foil-backed piece of glass in a scrollwork setting on the front, and retaining its German silver suspension chain. 33.5cm; 13 1/4in
Royal Horse Guards and 1st Dragoons officers khaki uniform jacket, brass buttons with `RHG 1stD`, medal ribbons above left breast pocket, purple cord through left shoulder running down to pocket, khaki ca and dress ca with gold foliate braid both probsbly for the same regiment, by Herbert Johnson, and a khaki side hat by Clement H. Sunderland of Liverpool,
A rare appliqued patchwork coverlet depicting the coronation of Queen Victoria, worked by H.C. Simmonds, English, circa 1838, cotton flap attached to one side crudely embroidered in red cotton ÒH.C. Simmonds, near the Mansion House at Weston near Bath, Somerset ShrÓ, the central section with a stylised church and Christ as a boy visiting the temple, the bordering scenes of the Flight into Egypt and the Nativity, often incorporating rather hairy angels, the upper edge with Coronation scene with large throne, three dimensional bishop, and courtiers and raisedwork royal cypher, the lower border with a large thatched cottage, bird in a cage, one of the figures with 1790s block printed cotton gown, the two side panels with scenes from country life including a church, Cross Keys public house, harvest scenes, animals, fine carriages, the outer border of ivy trails in green roller printed cotton, size 237 by 203cm, 93 by 78in. Stylistically the fine robes of the Coronation figures are more 1780s in style than 1830s which suggests that the embroideress was a little out of touch with contemporary fashions and probably didn`t see engravings of Queen`s Victoria`s actual coronation. The cottons are mainly roller-printed dress fabrics of the 1830s. Weston is a small village near Bath. The `Mansion House` may refer to Weston House, which stood in the High Street until demolished in the 1970s. It was built around 1700 and would have been the largest house in the village even in the mid 19th century. The Weston burial church registrar contains several children named Simmonds/Simmons in the 1830s but no earlier records of the name which suggests that the familly may only have been resident in Weston for a few years. We are indebted to Colin Johnstone of the Bath Record Office and Rosemary Harden of the Fashion Museum, Bath for their help in researching the provenance of this piece.
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.
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.
The Duke of Windsor`s cream silk jacket by Metzel, American, 1944, with tailor`s label dated 7/18/44 and bearing the Duke`s name, double breasted with plain mother of pearl buttons, chest 96cm, 38in; together with Hawes & Curtis grey and red checked bow tie, finely checked grey and white shirt with royal cypher; cotton dress shirt with wing collar, embroidered `E` to the label, a thistle shaped pique bow tie and matching waistcoat, (6). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2857, 2852, 2090
A group of Duke of Windsor Hawes & Curtis shirts and accessories circa 1940-53, comprising: soft beige cotton shirt, another of blue and white plaid, another woven with fine quatrefoils; a white dress shirt with fold-over collar, all with Duke`s cypher embroidered to the breast; together with five white pique waistcoats and a matching thistle shaped bow tie embroidered in red with Duke`s cypher; and a quantity of assorted collars and cuffs, average chest size 97cm, 38in (qty). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2852, 2900, 2924
A group of Duke of Windsor Hawes & Curtis shirts and accessories circa 1940-53, comprising: soft beige cotton shirt, another of fine window pane check, two white dress shirts with fold-over collars, all with royal cypher embroidered to the breast; two white pique waistcoats and two matching thistle shaped bow ties, average chest size 97cm, 38in, (qty). Provenance: Sotheby`s Duke & Duchess of Windsor Auction, September 11-19th, 1997, lot 2852, 2900, 2924.
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
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.
Yves Saint Laurent, 1970s, comprising: couture navy velvet cocktail dress, labelled and numbered 50281; black taffeta cocktail dress with tulle petticoats, labelled and numbered 46780; boutique silver sequined bodice; brocaded chiffon blouse; pleated chiffon cocktail dress with separate ruff collar, un-labelled, (qty)
Bill Gibb/Kaffe Fassett knitwear, Autumn-Winter 1977-8, comprising: terracotta wool smock dress with deep rolled collar, overall pine-cone and window pane check pattern; together with matching pair of leggings, beret; a roll neck sweater, a tartan skirt; a short jacket with box pleat to the back and blouson sweater with deep ribbed V-neck, sweater bust 97cm, 38in; together with xerox designs of the smock dress, blouson sweater and polo-neck sweater, (11). cf `Bill Gibb: Fashion & Fantasy` by Iain R.Webb p.77 for a contemporary fashion photograph of the smock dress ensemble
A Bill Gibb whitework and sequined ensemble for Kate Franklin, mid season, 1973 and matching sketch, un-labelled, comprising cream cheesecloth halter-neck dress with cream embroidery; the matching jacket embroidered in pink with green and silver sequins, jacket bust 97cm, 38in; the ink sketch with attached fabric swatch annotated `To my dearest Kate who I hope never suffers from anorexia looking at this jacket. In joke!! Fondest love always Billy x`, 25 by 20cm within frame and mount, (3)
An early John Galliano bias-cut cream wool dress, probably Autumn-Winter, 1985, un-labelled, of heavy woollen blanket material with curved sleeves cut very narrow at the shoulder, ties to front high waist, bust approx 86cm 34in. An identical dress was sold in these rooms as lot 243, December 4th, 2008
A group of black/steel-grey Azzedine Alaia garments, late 1980s-early 90s, comprising: black knitted dress with broad waistband; elastane body with narrow back-straps; knitted cross-over bodice; gored faggotted skirt; and a simple knitted viscose tunic dress, average size bust 86cm, 34in, M, S, MS; together with a photograph of Marie wearing the body, (5)
An Azzedine Alaia Prince of Wales checked jacket, late 1980s-early 1990s, the double-breasted jacket with trench-coat like panels; with almost identical skirt by David Chambers; and a pair of Joseph wide legged knitted silken trousers, chest 86cm, 34in; and a black scoop necked velvet dress with plunging back, size L, (4)
An early Stella McCartney bottle green and black lace bias-cut chemise dress, circa 1995, with simple school-style name tag to the interior and size 10;, together with a print by David Downton of Marie Helvin wearing the gown, bust 86cm, 34in (2). This gown was purchased from Stella`s graduation collection, from the small boutique Tokio.
A group of mainly black evening ensembles, 1980s-90s, including black lace corset-style Norma Kamali cocktail dress and a black jersey body with cross-over front; an unlabelled Georgio St Angelo stretch-velvet cocktail dress; a Gnuyki velvet gown with sequined skirt and a halter-neck of plain black jersey; an unlabelled Dolce & Gabbana cutwork `black widow` dress, and others, average size bust 86cm, 34in; together with a photo of Marie wearing the cutwork dress and the Kamali corset dress, (11)
Two Azzedine Alaia cocktail dresses, late 1980s, early 90s, comprising: a black knitted figure-hugging dress, labelled size S; together with a dark brown jersey halter-neck dress with draped bust panels, average size bust 86cm, 34in; together with a photograph of Marie wearing the black dress (3)
A group of letters and a telegram related to the betrothal of James Hanson and Audrey Hepburn dated September-November 1952, comprising: four letters from James Hanson to Tanja Star-Busmann relating to the postponement and finally cancellation of the planned wedding; a telegram from Audrey to Tanja dated August 3rd, 1952 sent from Ciampino airport asking her to be a bridesmaid on 30th September; a letter from Audrey dated 6 November sent from Chicago telling Tanja to wear the Òpink dress, (the bridesmaid dress)É I would love to think you`d wear it at some gay party.Ó (6). See lot 333 for Audrey`s wedding gown, designed for her by the Fontana sisters.
The Givenchy haute couture black chantilly lace cocktail dress, worn in ÒHow to Steal a MillionÓ, 1966, comprising: lace cocktail gown with wrap-over back, high neck with scalloped edge, side fastenings, the full skirt edged in a flounce stiffened with horsehair, narrow black patent belt, worn over a black silk petticoat, labelled and numbered 30.361, the matching jacket with narrow Givenchy label to the neck, bust 86cm, 34in, waist 61cm, 21in; together with a photograph of Audrey wearing the gown, (5). Audrey wears this ensemble in the Ritz bar scene of the film, where her character dons a matching lace face mask over glittery eye-makeup in order to disguise herself. Her attempt not to draw attention to herself in this stunning creation spectacularly failed! Hubert de Givenchy created a similar, though not identical, cocktail gown as part of the haute couture collection, Autumn-Winter 1966, model 432.
A Givenchy haute couture turquoise cloque silk cocktail gown, Autumn-Winter 1966, labelled and numbered 33517, edged in a tousled band of frayed floss silk, slit back opening with cord to neck, wide sash to waist, bust 86cm, 34in, waist 66cm, 26in; together with a portrait photograph of Audrey wearing the gown, (2). This gown was produced as part of Givenchy`s Winter 1966 collection, model no 461. Audrey wore this dress to promote the film `Two for the Road`, released in 1967.
-
228098 item(s)/page