We found 228188 price guide item(s) matching your search
There are 228188 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
228188 item(s)/page
Lot 452
* Africa. An Ashanti or Ewe kente cloth, Ghana, early 20th century, composed of woven cotton rectangles, of geometric patterns, and 2 with the form of a hand, in red, yellow, blue, and green, hand-stitched together to form a cloth of 17 strips, small hole with stitched repair to one corner, width 122 cm (48 ins), length 193 cm (76 ins), together with 3 other textile items, including another hand-stitched kente cloth of 17 strips, probably slightly later, woven in maroon, orange, yellow, blue, and green, 12 cm section of one seam unstitched, small hole and stitched repair to one edge, width 180 (71 ins), length 246 cm (97 ins), and a kente-style large thick cotton cloth, woven with rectangles and bars in red, yellow, green, orange, and white, on a ground of wide brown stripes and narrow pale stripes, fringed to long sides, width 167.5 cm (66 ins), length 251.5 cm (99 ins) QTY: (4)NOTE:Provenance: Collection of Romy Rey.The kente cloth is a wrap dress worn by both men and women of the Ashanti and the Ewe peoples in Ghana. Traditionally used for special social or sacred functions, the kente cloth is worn like a toga wrapped around the body and draped over one shoulder, or sometimes around the waist. Legend has it that during the reign of Oti Akenten (1630-1660), the chief of Ghana’s Ashanti people, two brothers from the Ashanti village of Bonwire learned how to craft kente cloth by watching a spider weaving a web. The arrangement of the colours and patterns used would correspond to a name, phrase or idea, and thus the textile could speak a story or represent a symbol which could be interpreted and reinterpreted.
Lot 456
* India. A Chang Naga warrior ceremonial cowrie shell body cloth, early 20th century, thick woven cotton cloth, with orange squares on a brown ground (slight loss of the orange in places), composed of 3 hand-stitched strips, stitched with cowrie shell circles arranged in 3 rows of 5, 4 circles missing to one strip, 4 x 4.5 cm hole patched on verso, and a number of small darns, edges sometime trimmed and overlocked, 82 x 137 cm (32.25 x 54 ins), together with 7 other textile items, mostly Asian in origin, including: a mid 20th century hand-stitched Turkmenistan triangular crimson silk shawl, 2 sides with hand-woven wide border of geometric patterned stripes in red, yellow, and black, and twisted fringing in red and black, sides with border 183 cm (72 ins), remaining side 182 cm (111 ins); a Pua Kumba wall hanging, Sarawak, Borneo, hand-woven in pink, cream, and purple, depicting 2 figures in traditional dress, short ends fringed, 76 x 49.5 cm (30 x 19.5 ins); and a Javanese batik wall hanging with wayang figures within a floral border, printed in brown, cream, and gold, on a black cotton ground, a few small marks, 52 x 205 cm (20.5 x 80.75 ins)QTY: (8)NOTE:Provenance: Collection of Romy Rey.
Lot 458
* Pakistan/Afghanistan. A collection of 5 beaded jumlo tops, late 19th-mid 20th century, each composed of black cotton, hand-stitched to form a tunic with wide sleeves and multi-gored skirt, each heavily encrusted to bodice and sleeves with various embellishments, including woven fabric strips and embroidery, buttons and press studs, coins and medallions, beads, jewelled metal pendants, etc., 2 with lead weights to sleeves, 1 with metal zip feature, some minor wear in places, various sizesQTY: (5)NOTE:Provenance: Collection of Romy Rey.The jumlo is one of the most lavishly embroidered and embellished garments in South Asia, worn by Muslim women in remote Kohistan. Each jumlo is unique, typically handstitched by the woman who wears it. The skirt of the dress is formed from triangular gussets - some examples have as many as 600 - and the garment was worn with trousers and an embroidered shawl.
Lot 459
* South America. A ceremonial double-sided reversible huipil, mid 20th century, hand-made tunic composed of 2 layers of heavy cream cotton, elaborately embroidered to front and back in polychrome cotton threads with a design of 3 stars surrounded by geometric borders, with floral stems to lower edge between 2 pairs of birds in flight, some foxing, but overall in good condition, width 120 cm (47.25 ins), length 84 cm (33 ins) QTY: (1)NOTE:Provenance: Collection of Romy Rey.An unusual huipil made from two layers of fabric, presumably for extra warmth. The embroidery is so skilled that the reverse is almost as neat as the front, and the piece could certainly be worn inside out. Ceremonial huipils are the most elaborate of the traditional garments of South America. Such items could take as long as a year to make, and were reserved for weddings, burials, and women of high rank, and even used to dress the statues of saints.
Lot 462
* Yemen. A collection of 8 garments (qamis), 19th/early 20th century, each composed of black cotton, hand-stitched to form an unstructured tunic, loosely cut with wide sleeves, and heavily embellished with silver threadwork (talli) in varying degrees to front and back, all with some wear, various sizes QTY: (8)NOTE:Provenance: Collection of Romy Rey.The qamis was apparently often worn inside out, both to keep the ornamentation clean and to prevent the prying eyes of strangers seeing the intricacy of the handwork, which was considered bad luck to the owner and wearer of the dress. Older qamis are much more intricately adorned than later ones.
Lot 577
* Burma. A hand-painted folding fan, circa 1900, a large folding cream silk fan, the leaf hand-painted all over in colours and highlighted with gold, depicting numerous male and female figures in Burmese dress, elephants, horses, palm trees and blossom trees, and a pagoda in the centre, some small water-stains on verso, lightly rubbed to folds, occasional marks, slightly edge-frayed in places, mounted on bone sticks (with expert repair to upper guardstick), 43 cm (17 ins)QTY: (1)
Lot 594
* Children's clothes. A Regency boy's linen skeleton suit, late 18th/early 19th century, hand-stitched cream linen skeleton suit, comprising a long-sleeved shirt with stand-up collar of fine white linen, front with 2 tucks either side of opening, latter with 3 (of 4) metal button closures stamped '1' within a wreath and lettered 'United States of America' around edge, back of shirt with 6 tucks, lower edge of shirt with 8 further buttons, matching, for attaching the trousers, latter with front pockets, and cuffed at ankles, with button closure (buttons replaced), several very small holes (largest 5 x 5 mm), waist with a few rust marks (from buttons), chest 74 cm (28 ins), sleeves 25 cm (9.75 ins), waist 30 cm (11.75 ins), length of trousers 56.5 cm (22.25 ins), overall length 84 cm (33 ins), together with:A Victorian boy's velvet dress, hand and machine-stitched all-in-one ensemble comprising conjoined waistcoat, jacket, and skirt: maroon grosgrain taffeta waistcoat with collar, and front closure with a metal hook and stitched loop and 7 mother of pearl buttons (1 or more replaced?); waistcoat sewn into a wine-coloured velvet jacket edged with maroon taffeta and lined with cotton twill, with flap pockets, long sleeves, embellished with scalloped cuffs and mother of pearl buttons, and 11 long laps at rear, closure below collar with button missing; matching velvet skirt with wide taffeta trim, attached to waistcoat with stitching at waist, front closure with 4 buttons as before, 7 metal hooks and corresponding loops on inside, overall some small light marks, and 1 or 2 tiny holes, chest 66 cm (26 ins), sleeves 39.5 cm (15.5 ins), waist 64 cm (25 ins), overall length 68 cm (26.75 ins), plus 3 19th century christening gowns, generally in good conditionQTY: (5)NOTE:Provenance: Second item from a collection which came from the family of Thomas Crewe Dod (1754-1827) of Edge Hall, Malpas, Cheshire.First item: a rare survival of a boy's outfit made during a period of great transformation in the history of children's clothing. Prior to the 1780s boys had been attired in tailcoats and breeches in imitation of those worn by men. The last two decades of the 18th century saw the introduction of the infinitely more practical and comfortable skeleton suit, typically composed of a jacket or shirt and long trousers which buttoned together as here. This suit of cool linen is finer and less structured than the formal suits generally seen in family portraits, and was likely made for hot summer days, with the comfort of the child in mind, though perhaps not intended for boisterous play. Children's, and particularly boys', clothing is incredibly scarce, and the survival of a cream lightweight skeleton suit in such good condition is highly unusual.
Lot 595
* Clothing. A 1930s wedding or court dress, full length fitted cream lamé gown with train, handmade, patterned with leaves and fully lined with cream sillk, with round neck, long sleeves (padded on shoulders and buttoned at cuffs), and metal eye and stitched hook closure to side, a few pulled threads, staining to underarms, lining of train marked, bust 90 cm (35.5 ins), waist 74 cm (29 ins), sleeves 63 cm (24.75 ins), length 139 cm (109.5 ins), length including train 213 cm (84 ins), together with 6 items of 1920s clothing, comprising: a rare girls' robe de style dress of gold lace over silk, with ribbon straps, metal stud closures at back, flower trim at neck and around waist and stiffened panniers, and a corsage of grapes at waist, somewhat damaged, with losses, bust 66 cm (26 ins), waist 62 cm (24.5 ins), length 61 cm (24 ins); a gold lamé dress with foliate pattern, with lined and boned fitted bodice, padded bust, metal zip closure at back, narrow self straps, and a flared skirt with gathers at rear, occasional light marks, bust 82 cm (32 ins), waist 66 cm (26 ins), length 97 cm (38 ins); a pink and silver lamé unstructured jacket, with 3/4 length sleeves, silk-lined patch pockets at front, and 3 short slits in hem at rear, bust 117 cm (46 ins), sleeves 39.5 cm (15.5 ins), length 61.5 cm (24.25 ins); a gold lace overdress, with pattern of stylised roses, round neck (self button at rear), petal sleeves of net (one with loss of gather stitching), and short train at rear, bust 84 cm (39 ins), waist 60 cm (23.5 ins), sleeves 19.5 cm (7.75 ins), length 107 cm (42 ins); a full-length bias-cut lamé flapper dress, sleeveless, with floral pattern in orange and yellow, and self pendant to neck, small hole to left shoulder, v-neck at rear slightly torn, short tear in hem, bust 90 cm (35.5 ins), waist 80 cm (31.5 ins), length 140 cm (55 ins); and a sleeveless cutwork black overdress with cream stitching, bust 83 cm (33.5 ins), waist 86 cm (34 ins), length 113 cm (89 ins), plus a 1940s full-length chiffon and embroidered net gown (some damage), and a 1950s full-length blue taffeta evening dress with ruched bodiceQTY: (9)
Lot 596
* Clothing. A beaded and metalwork Victorian bodice, by Power, Sloane Street, London, circa 1870s, cream satin silk boned sleeveless bodice, hand and machine-stitched, and elaborately hand-beaded and embroidered all over with oak leaves and acorns, using simulated seed pearls, paste stones, seed beads, spangles, cream silk thread, and heavy metal threads worked in stem stitch and bullion stitch, incorporating a wide ruched band of cream chiffon above the waist, metal hook and eye closures to rear, lined with cream silk, woven waist band fastener to lining with maker's name 'Power 132 Sloane Street S.W.', worn, with fabric perishing in places and some losses to embellishments, bust 76 cm (30 ins), waist 46 cm (18 ins), length 46 cm (18 ins), together with a cream silk satin short-sleeved wedding dress with short train, circa 1910, overlaid with elaborately embroidered and beaded chiffon, faux flower posy at waist and 2 more to bow detail of train, woven waist band fastener to lining with maker's name 'Osborn 31 & 32 Sussex Place S.W.', worn, and a late Victorian bodice and skirt of cream silk satin and lace, the skirt with short train, 4 cm tear to right-hand side of bodice, skirt foxed and spottedQTY: (4)NOTE:A beautiful bodice embellished with that symbol of prosperity and good fortune, the acorn, most likely made for a wedding or perhaps a court occasion, by Power who were court dressmakers in Sloane Street, London.
Lot 646
* Spitalfields. A bodice and deconstructed skirt of silk damask, probably Spitalfields, circa 1745-50, boned and fitted bodice of blue silk damask with large pattern of flowers and leaves, of later construction, stitched by hand and machine, probably intended for fancy dress, with elbow length sleeves trimmed with wide lace flounces, matching lace to neck and front, v-shape to waist front and back, and eyelets with lacing to back, sleeves coming unstitched slightly in a couple of places, bust 64 cm (25 ins), waist 48 cm (19 ins), sleeves 40.5 cm (16 ins), length 45 cm (17.75 ins), matching skirt with ungathered waist and hand-stitched hem, some light discolouration to bodice and skirt in places, width between pink-striped selvedges 56 cm (22 ins), length 98 cm (38.5 ins), entire width of hem (i.e. if side seam was unstitched) 188 cm (74 ins) QTY: (2)NOTE:Provenance: The Haslett family, Shakespear House, Adelaide Park, Belfast, Northern Ireland.Shakespear House was built in 1891 by Joseph Frederick Warden, who commissioned the construction of the Grand Opera House in Belfast in 1895. In 1918 Shakespear House was sold to John Haslett, a surgeon in the Royal Army Medical Corps, passing down three generations of the Haslett family until its sale last year, when the contents – an impressive array of antiques and historical pieces - were sold.” See the V&A for a green banyan woven in a similar silk damask featuring a large pattern of leaves and flowers "woven in the style of Anna Maria Garthwaite" (accession number T.92-2003).
Lot 649
* Val St Cyr (b. Arthur Andrews Hilder, 1890-1967). A small archive of original drawings and ephemera belonging to art student and designer Edna Timson, 1920s-1930s, including: a full-length pen & ink design, with blue watercolour, on artist's board, of a woman wearing a cocktail dress and hat, and carrying a fur-lined wrap, signed by Val St Cyr to right-hand side, toned, chipped to top edge, sheet size 45.5 x 29.8 cm (18 x 11.75 ins); a large pen & ink design, with green watercolour, on artist's board, of a lady in a crinoline and wig beside a tree, calligraphic signature of Val St Cyr lower left, image size 40.5 x 30 cm (16 x 12 ins), and a copy of the 1931 calender for which it was drawn (toned and marked, with slight wear to extremities); 2 monochrome watercolours on artist's board, half-length designs, each of a woman wearing a dress and hat, lightly toned and marked in places, sheet size 29.8 x 23.3 cm (11.75 x 9.25 ins); a pen & ink fashion design and a pen, ink, and watercolour Christmas card by Edna Timson, both signed; a sketchbook belonging to Edna Timson, containing 58 pencilled fashion designs on rectos and versos of 29 leaves, some with annotations; 20 signed letters on headed paper, mostly typed, to Edna Timson from Val St Cyr, the paper headed variously '53, New Cavendish Street, Portland Place, W.1.', 'Baroque, Ltd., 97, New Bond Street, London. W.1.' and '7, Nottingham Place, W.1.'; 32 headed correspondence cards, written in ink, from Val St Cyr to Edna Timson; and a scrapbook of newspaper cuttings, mostly 1930s fashion designs by Edna Timson QTY: (a folder)NOTE:Innovative fashion designer Val St Cyr was a major force on the London stage of fashion design during the first half of the 20th century. He developed an interest in drawing and, in particular, fashion design, from an early age, knowing by the age of 15 what his chosen career would be. To that end he went to Paris in order to study cutting and draping, and it was not long before St Cyr was designing for such well-known names as Madame Elizabeth Handley-Seymour, one of the major society dressmakers in London, as well as for film and theatre productions. In 1921 Val St Cyr set up his own business with a friend, Ernest Pacey Sands, calling it the House of Baroque. In a Baroque promotional brochure, the designer was declared to be "at once original, daring and artistic", a claim which was certainly borne out by his work. St Cyr emphasised individuality, and stated that a woman's clothes should reflect her personality, rather than conform to the standard modes of the age, and he often took known forms and motifs and re-interpreted them in his own idiosyncratic way. The company eventually employed around 100 people, and their work was shown at various exhibitions. At the height of his success St Cyr was hailed by 'The People' newspaper as "the most successful English dress designer now living". The V&A has around 40 designs by Val St Cyr from his early days with Mrs Handley-Seymour, dated 1916-1918.This archive sheds a fascinating light on Val St Cyr's work as a tutor of art and design, as well as giving a sense of the person he was.
Lot 651
* Wedding dress. A 1940s wedding gown, handmade cream rayon dress, with fitted bodice and round neck, narrow sleeves terminating in pointed lace cuffs with press stud fasteners (some small breaks in lace), 11 self buttons with corresponding loops to back of bodice, inner sleeveless bodice with zip closure to rear, close-gathered long skirt (short section unstitched at waist) with long frill-trimmed train, several small brown spots to bodice, some other marks to skirt and train, and small hole towards lower edge of skirt at front, bust 72 cm (28 ins), waist 51 cm (20 ins), sleeves to point 61 cm (24 ins), length 145 cm (57 ins), length including train 293 cm (115 ins)QTY: (1)
Lot 653
* Worth (House of). A 1930s cocktail dress, dark blue silk georgette(?) dress, with square neckline to front and v-shape to back, pleated bodice with knot detail, ruched short sleeves, and 3/4 length skirt, metal zip closure to back, fully lined, woven label 'Boutique Worth Paris', a few small marks, but overall in good condition, bust 76 cm (30 ins), waist 60 cm (23.5 ins), sleeves 18 cm (7 ins), length 108 cm (42.5 ins), together with 10 other early-mid 20th century garments, including: a moss green satin cocktail dress with strapless ruched crepe bodice, with Harrods label (size 34); a 1950s 3/4 length moss green taffeta dress with cap sleeves (latter a little worn at edges), and large ruched border to skirt terminating in an over-sized bow to rear; a puce pink satin cocktail dress with straps, with woven label 'Suzy Perette New York'; a pale grey silk 3/4 length coat, with peach lining, 3/4 length sleeves with upturned cuffs, and large pocket flaps with Turk's head buttons; a fitted sleeveless brown cocktail dress with gored skirt, woven label to waist 'Jacques Heim Paris Cannes Biarritz', various sizes and condition (mostly in good condition), plus 9 20th century hats, including 2 with Bergdorf Goodman label, and 2 Harrow school caps, one with 'W.A. Stimson Ltd' labelQTY: (22)
Lot 365
FIVE PLUSH TEDDY BEARScomprising one in a gingham dress, 48cm high, Herrman limited edition 398/500 with jointed limbs, 35cm high, Bearington collection Marietta in a brown floral dress, 32cm high, Pierre Cardin Canterbury with jointed limbs, 26cm high and a Merrythought London 2012 Olympic Games limited edition 783/2012, boxed (5)
Lot 412
LEONARDO COLLECTION PORCELAIN DOLLScomprising Ilana in a blue velvet dress, coat and hat, baby Oula in pale blue trousers and hooded jacket, baby Oula Jaaskelaine in a pale blue towelling suit and cord jacket and hat, baby Georgia in a pink romper suit with hat and socks and another baby in a white romper suit, together with four baby mats
Lot 207
007 James Bond girl Madeline Smith signed Live and Let Die 8x10 photo, she has also added her line from her bedroom scene with James Bond, 'Such a delicate touch' as he unzipped her dress with a magnetic watch, which was only done on 10 photos so this is quite scarce and desirable!. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 186
Circle of Mary Beale (1632-1697/99)Portrait of a lady wearing a brown dress and blue cape in a landscape setting, oil on canvas, 127 x 104cm, unframed * Possibly a lady from the Fairfax family in YorkA Cotswold Estate Has been lined, cleaned and restored. Fine cracking to the paint throughout. Minor losses to the edges of original canvas, with scuffing and retouched paint loss. Surface dirt and discolouration to the varnish. Not examined under UV light.
Loading...-
228188 item(s)/page