1930s/40s fashion to include a later 1940s evening gown by Marjon Couture, a 1940s rayon lounge robe with reverse carved buttons featuring birds, and a late 1930s evening gown in a green damask (3)the robe and green gown have fade across the shoulders/sleeves, the fade is pretty strong on the robe, but the stripe narrow, so not conspicuous when worn. there are a couple of small marks, again, not obvious, length of robe 56 inches/ 143 cm nape to hemsome colour variation on the green dress, although it looks worse in the photos than it is- length is 57 inches/144cm nape to hemblack gown is in great condition, lovely quality. underarm to hem 50.5 inches/ 127 cm
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3 vintage dresses to include a late 40s cocktail dress with caped collar and draped skirt with hips swag, a 1950s Paris label moire dress with pencil skirt, horizontal pleats and pannier style drape and an early 1960s cocktail dress n a vibrant coral red nylon chiffon with criss crossing ruched waist and trailing shoulders. generally good condition, there is an open horizontal seam on the back of the nylon chiffon dress, but the fabric isn't damaged, and the bottom of the side seam is open on the moire dress
mostly 1950s clothing to full length 1940s dress in a broderie anglaise type voile with a pink lining, a 50s bombshell dress with shelf bust and back drape in black and gold, a black velvet dress with wide v neck and ivory yoke, a deep cream strappy lace wiggle dress with silk lining by Mary Louise of Cleveland and a short sleeved ivory silk damask dress with inverted pleat (5)
A later 1950s frank usher dress in a silk brocade with metallic threads, an internal petticoat with hooped hem and boned waist, along with a 1950s peachy coral satin cocktail gown with beading and sequins and an integral hooped underskirt (2)frank usher good, coral dress strong but a bit grubby. straps have been shortened, but the fabric is still there
4 vintage 1950s and 60s dresses to nclude a rayon jersey dress by Jeannie Brand Jersey, a carnagie dress wth ruched central panel and faux wrap bodice, a brown lace dress with long sleeves, pencil style and a spotted Frank Usher dress with ruched shelf bust (4)tiny holes and a split on the shoulder of jersey dresscarnegie dress goodfrank usher dress goodlace dress good, small break at wrist, a few loose threads
6 1950s dresses to include a striped voile dress (looks unworn), a fitted dress with shelf bust in navy blue, an ice blue brocade halter neck prom dress, a 40s/50s blue cotton two piece with coloured spots in blue, pink, green, white and yellow, a subtle floral dress with belt and a spotted day dress with wide belt (6)
A late 40s/ 50s dress in magnolia with gold embroidery, a cocktail length 1960s fishtail gown, a 1960s Peck & Peck of Fifth avenue dress with cut out detail, a fit and flare 50s dress by Natlynn, New York, which looks to be unworn, and a 50s novelty print dress in green and white (5)These are in good condition, minor wear, the natlynn dress is excellent
A red velvet 1950s dress with grosgrain bow, a strappy red wiggle dress with bow back, a red gold and black brocade fit and flare party dress with bow detail (replacement zipper), a black taffeta dress with beading and pearls around the yoke and a fitted shift in black with beaded cut out yoke (5)generally good condition, the wool brocade dress is excellent, there's a popped outer seam on the arm of the taffeta dress, the seam is still closed as there's two rows of stitching, a couple of marks on the skirt of the satin dress, a few loose beads on the yoke of the black dress
Antique Baby doll Christening dress and frilled wool elaborate cape, cotton barracoat petticoat and a baby layer vest. Together with 3 Baby true coral Antique necklaces ; 2 for a girl and one tiny one for a boy which will suit antique dolls ( quantity as shown), All Items may have age flaws and are best suited as antique doll dressing pieces.
Vintage 1950s dolls and toys collection to include Bonomi large composition glass eyed dolll, a teen fashion doll in original dress stockings and shoes etc and others as shown and some hand puppets ,inc a good white green eyed cat hand puppet soft plush glass eyed dog all 1958-1961-all playworn and owned from new. In addition there is a box( not shown of accompanying costume dolls of same period 30+ in original boxes/tubes etc in mixed original order ( quantity)( costume dolls not photographed)
Trendon Sasha doll Baby 1978 sundress England ; 12” Baby doll girl Blonde sundress boxed doll 502 Model; The doll has only been displayed out of its styrofoam cradle but it has 2 teeny marks to the front of the dress. Complete with box all labelled and inner liner. Fresh excellent condition (1)
Vintage 1960s Sindy doll Pedigree boxed Dining table and chairs x 4 set with accessories( not checked for completeness) together with a Palitoy Tressy 1960s Mary Makeup doll and outfit and has original jersey dress)( selection as shown ) conditions vary but generally good playworn condition.
A group of mostly 1920s and 30s accessories to include 3 pairs of shoes, 3 hats and a veiled headpiece with ostrich feathers, 2 silk shawls, another in silk crepe mousseline with whitework, 2 pairs of silk stockings and a pair of seamed nylons, 1920s women's gaiters, a belt with paste and celluloid buckle plus a large 30s enamelled buckle in the art nouveau style, a 1940s evening dress in blue with matching Dorothy bag and others (qty)mixed condition. the hand painted shawl has foxing and an area of shred, the pink shawl has a small tear next to the edge, the cream wool shawl has foxing.early 20s silk shoes are unworn, one buckle is loose. 30s shoes by Rayne need new buckles, silk has worn where the strap threads through the buckle on the 30s evening shoespink head piece has a tatty veilgrapevine damask tap pants have a couple of stainsfolding slippers show wear stockings are unworndress is crumpled and marked
a white linen 1920s dress along with a pistachio green 1930s nightgown, a peach piano shawl, girdles, and other items of lingerie and nightwear (one box)generally good condition, one girdle is overstretched, there is some foxing on them. larger nightgown has lost its shirring, some dye marks on bed jacket, small hole on black slip
A rare 1810s-1820s silk evening gown. This Georgian or regency period dress is complete, but deconstructed. The skirt of the dress turned into a skirt and the bodice unpicked. The upper part of the dress, from waist to under bust has not been cut away, it has been folded inside and a waistband hand stitched into position. The silk is in good, strong condition.
Midnight blue velvet victorian jacket C1870s and a very early Edwardian two piece dress in a fine cream wool cloth, pouter or pigeon chest with puff shoulders and high neck. The bodice is boned and lined with a cotton sateen, the skirt too is lined. (c1900/1901)(2)The jacket is missing a button, it is double lined for warmth and the quilted silk outer is shattering. there are seam separations in the velvet at the shoulders, and splits at the upper back sleeve, top button and a couple at the side. The two piece is generally strong, but it has scattered moth damage, small tear in the fabric that is concealed when the skirt is fastened at the back, and a small tear at the back waist on the bodice.
Antique clothing and accessories to include a c1914 dress with wired collar(a/f), an Edwardian/10s faux fur muff purse, a silk evening scarf, deco blouse in a black and white stripe and a silk pyjama case (one box)scarf has foxing on white sidepin hole in blouse and perished elastic, grubbydress stained, outer fabric torn down back shoulders, generally badly aged
A 1940s wedding dress in a faux damask print satin with a wax flower headdress, unlabelled but in a Gay Fashion House box, along with a bridesmaids dress, slip, pink rice paper flower headdress and a little corsage with pink bow (box and bag) headdresses both in good condition, there are a couple of small breaks to the petals on the wax, but not at all obviouswedding dress in good condition with some foxingbridesmaid dress good, slip has some damage
A box containing 1930s bolero, 1930s blouse, a black lace dress, yellow silk piano shawl, a 1920s nightgown in rayon charmeuse, 1930s underdress. 1940s/50s underdress or slip with side metal zip.Mixed condition, the bodice of the dress is in poor condition, lame bolero has underarm staining, the lame lace blouse has some dye patches, yellow shawl has a tear and a couple of repairs
A mixed lot of fabrics, embroideries, laces etc held in an antique metal hat box. items to include Chinese silk embroideries and screen prints, lace trim and collars, a brussels lace applique wedding veil (a/f), a late 1920s or early 30s voile dress with blue bird print, two boxes of buttons, child's coat and dress, fur collars, and an early 20th embroidered piano shawl (a/f), (box and bag)the wedding veil has a large hole at one end, the piano shawl has colour run, the dress is missing the waist panel front and back
vintage evening wear to include a 1940s swiss dot lawn gown with blue floral print, a 1940s blush pink gown with heavily soutached bodice and a tulle half peplum, a shot taffeta prom dress, a Wallis shot taffeta two piece with embroidered detail and a cream dress with embroidered voile overlay (5)
A 1957 going away dress and mother of the bride dress. The mother of the bride dress is navy blue lace with a shelf bust, and the going away dress is a floral cotton in a similar shape by Rembrandt Originals, it comes with yellow gloves and headpiece and a photo pf them being worn (4)all in good condition, dresses could do with a wash to freshen up
Oscar Glatz (Hungarian, 1872-1958). Oil on canvas depicting two young girls in traditional dress. The older child plays with a doll while the younger watches from her perch beside her older sister. Signed along the lower right.Unframed; height: 25 in x width: 20 in. Framed; height: 30 1/4 in x width: 26 1/4 in.
Venetian School, c. 1620 Ottoman Honey Merchant Oil on unlined canvas Dimensions: 77 (H) x 103 cm. (L)  (30 3/8 x 40 ½ inches) This incredibly rare early depiction of an Eastern Mediterranean or North African honey merchant is thought have been painted circa 1620. It predates the Flemish-French painter Jean Baptiste Vanmour (1671-1737) by around 100 years. Vanmour has been considered, until the emergence of this painting, to be the earliest and most refined recorder of Ottoman secular life. In the present painting, the honey merchant sits in his carpeted tent in obvious control of the trade around him. His accountant sits in deference whilst the apiarists and their workers present their straw skeps, or hives. This fascinating scene of everyday life in the Ottoman world, an Empire which included the Eastern Mediterranean and North Africa, illustrates much more than at first glance. Such an early depiction executed in oil on canvas is exceptional. Aside from the two iconic painters Gentile Bellini (active about 1460; died 1507), with his portrait of the Sultan Mehmet II of 1480 in the National Gallery, London and the aforementioned Van Mour, there are scarce western depictions of Ottoman or North African existence.  The artist of Ottoman Honey Merchant was probably Venetian both on stylistic and cultural grounds. The artist seems to be aware of the Bassano family of artists, reflecting their same blocky figures. The book-keeper turned away from the viewer is also familiar stylistically tothe Bassano dynasty. Certainly the strong and particular narrative content suggests therecording of a first-hand experience, although the potential name of this itinerant artist is not currently known.  Venetians were still the largest foreign community in Istanbul during the sixteenth century and remained the Ottomans’ most important international trading partners well into the seventeenth century. This mutually beneficial relationship provided each partner with access to key ports and valuable goods. Though territorial wars intermittently interrupted their relationship, both empires relied on trade for their economic well-being. As a Venetian ambassador expressed, ‘being merchants, we cannot live without them.’  The Ottomans sold wheat, spices, raw silk, cotton and ash (for glass making) to the Venetians, while Venice provided the Ottomans with finished goods such as soap, paper and textiles. The same ships that transported these everyday goods and raw materials also carried luxury objects such as carpets, inlaid metalwork, illustrated manuscripts and glass.  Honey was a highly significant commodity in Ottoman Empire during the period 1200 to 1700.  It was produced in huge quantities in almost every non-arid coastal region, from the Black Sea all the way to modern day Morocco, although it was most abundantly harvested in Attica and Turkey. The honey was used as a sweetener but also as a preservative for fruitsand fresh produce like meat, the wax from the bees was a pleasant-smelling core source of lighting and the honey could also be used medicinally as a natural antiseptic. Unsurprisingly, the Ottoman rulers had their own tax code for honey, with the duty collected being one akcËeor two akcËes from each beehive, depending on the locality and custom. The painting is redolent with period detail:  the merchant sits on a flat weave rug; in front of him is a painted tray (possibly either metal or papier maché) with a brass coffee pot and a white, glazed cup and saucer.  He wears prayer beads on his wrist.  The blue and white tent has been erected close to a town gateway which can bee seen beyond.  The book-keeper wears what appears to be a black burnous with a white hood;  this garment derives from the Berber Nomadic tribes and therefore strongly suggests that the scene could be identified as being North African.  To the right are three black men, almost certainly enslaved (the middle of the three being heavily disguised in a dark hood).  There was an ancient slave trade across the Sahara to the Mediterranean coast and also up the East coast of Africa and the Red Sea As there were restrictions on the enslavement of Muslims, “pagan†areas further to the South became an important source of enslaved people.  Ottoman areas of Anatolia and Attica tended to enslave Christians from the Black Sea and the Balkans, often prisoners of war.  Therefore the existence of the three figures to the right emphasises the likely location of this picture as being North Africa.  A secular painting of such antiquity of any trade is profoundly rare.  But the fact that the trade illustrated is the buying and selling of honey and beeswax is even more enthralling, it being one of the most universal and ancient of foods, sources of light and medicine.  There is evidence of human harvesting of honey from over 8,000 years ago.  And the honeybee itself has become a symbol of the natural health of the planet: bees are vital for the preservation of ecological balance and biodiversity in nature. They provide one of the most recognisable ecosystem services, that being pollination, which makes production of food possible. By doing so, bees protect and maintain ecosystems as well as animal and plant species, and contribute to genetic and biotic diversity.  Bees also act as indicators of the state of the environment. Their presence, absence or quantity tells us when something is happening with the environment and when appropriate action is needed. Therefore, this painting is a uniquely complex and layered object, addressing the history of art, trade, culture, race, dress, custom, food and natural sciences.
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