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1947117 item(s)/page
Sydney S. Morrish (1836-1894, British) An elegant lady wearing a white silk dress and gloves, a bonnet with a pink parasol holding a Manchester terrier puppy, oil on canvas, framed, signed lower left and dated 1870, 55 x 40cmThis lively, spirited dog breed is a true terrier. Bred in Manchester, England, for the common man's sports of rat killing and rabbit coursing, he's got game and he loves to show it. The Gentleman's Terrier (as he is known in Victorian England) is not a sparring dog but loves a good chase, making him a flyball and agility expert.Though his looks suggest a miniature Doberman Pinscher or a large Miniature Pinscher, the Manchester Terrier is his own canine. A wee dog with a strong bark, he's got personality to burn: loyal, hearty, and a terrific watchdog who adores hanging out with his people. Among terriers, the Manchester is known to be one of the more well-mannered and responsive breeds and today spends his time as a terrific companion who can hold up his end of the conversation.The history of sunshades goes back thousands of years, but it was during the Italian Renaissance of the 16th century that umbrellas and parasols were introduced to Europe. At first the items were large, used interchangeably, and generally carried by a servant to protect the wealthy from the elements and sun. Some were heavy (made of leather) but silk, paper, and cotton grew in popularity. During the 1700s parasols had already evolved into a woman's fashion item, designed and decorated to match each promenade dress or walking suit, and was clearly defined as a sunshade; not for rain and snow. To make them collapsible developed around 1800, but ribs would break, paper tear, and the materials mildew if left damp. By the early Victorian era metallurgy had improved and alloy ribs were being used, nickel silver particularly popular. This type of thin strong metal was developed in Germany by craftsmen in an attempt to imitate the Chinese combination of copper, nickel and zinc, known as paktong.At the beginning of Queen Victoria's reign the parasols were quite plain, but by about 1850 tassels and frills grew in popularity. In each ensuing year the adornments became more ostentatious. If a dress had bows or flounces, the parasol could be adorned with the same decoration. This was a matter of taste, and ladies selected modest or extravagant versions for different circumstances, and based on what their income would allow. Of course it was only the wealthy who used parasols as a day-to-day accoutrement. A poor girl might have a simple parasol for church, or a Sunday afternoon stroll. It was during the 1850s the marquise parasol was developed, a style that tipped at the top, so a lady could hold the shaft straight and still shade her face well no matter the angle of the sun.During this time many houses featured racks (two horizontal parallel arms) for placing open parasols and umbrellas high overhead in front and back halls; ideal for implements that didn't close, could be damaged by constant opening and closing, or damp items. Parasol handles were usually straight, but some hooked examples exist. A plain parasol might have a wooden or metal pole with a bone handle, while the most expensive choices were of carved ivory shafts, decorated with inlaid jewels and gold banding. An in between version could be with carved horn and silver filigree accents. Throughout the Victorian era the handles grew longer, so "carriage" parasols were designed with a hinge in the middle to allow breakdown and ease of movement in tight spots.
Green silk full length caftan with gold brocade at the neck and zip down the back, lined in purple, probably made in the late 1960s and a green caftan trouser suit from the same era, made of a heavy slubby silk, the neck line embroidered with gold thread and green silk in rows of leaves and curlicues. Fully lined in green silk, the trousers have a band of embroidery at the knee, below which the trousers flare gently (size 8 approx).
A very soft brown leather handbag by Bill Amberg, curved shape and circular hand straps. Brown satin lining with four pockets. Small chestnut leather shoulder bag , zipped pockets to interior and exterior with green satin lining. Neat 1960s handbag by Eros, tidy moire inside with gold leather trim. Lovely rolled leather hand strap attaching to the bag with gold coloured nautical hinges. The back closes with an ingenious patented mechanism. And another soft brown leather bag with brown velvet lining, two compartments and a zipped pocket by Astra.(4)
Vintage evening purse of gold brocade with diamante, mother of pearl and gilt clasp, and diamante and gilt fittings to strap, evening purse with gilt metal top bar and clasp, embroidered with flowers, black grosgrain evening purse, vintage chrome powder compact in green and cream enamel, with bright decoration, small grosgrain evening purse with pink grosgrain interior, very well made with coin purse and bevilled make up mirror in a box marked EIN Golden Seal and gold coloured propelling pencil from Conway Stewart, together with gold brocade evening purse (1970s /80s), and 1970s gold specs purse. Also an elasticated belt of overlapping gold coloured metal fishscales.(9))
Deco beaded evening bag, entirely covered in white glass beads sewn around a looping pattern formed from gold and silver bugle beads, fair vintage condition, together with a deco rhomboid shaped evening purse, decorated with winding strails of white glass beads, between teardrops and zigzag drawn in gold and pink bugle beads. Also vintage satin evening purse with silver metal top bar and clasp, with silver and eau di nil glass beads forming a cartouche round hand-painted bouquet. (3)
Box of furnishing trims, including Fringe Perle 6 metres in red and gold and 2 metres of rose , with approx 10 metres of 'cord cordonetto' in red and gold from Siola Alois of Caserta; various other trims and weights for curtains and a length of embroidered ribbon 115x13.5 cm festoon of wheatears, cornflowers and poppies
Indian embroidered black wool textile, 124cm square, border and central medallion tightly worked with silk flowers in pink and lilac, russet and pale blue leaves all described with gold thread on ivory silk, Gold fringe border. A couple of spots of damage to the black wool ground and discreet stain to parts of the ivory silk.
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1947117 item(s)/page