There are 239713 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Chinese embroidered silk panel, 19th Century, the ivory ground panel, embroidered with polychrome threads, depicting four lines of prose, set within an embroidered border with Buddhistic motifs, and reserved against a ruyi design blue ground, 62cm x 47cm, framed and glazed. CONDITION REPORT: Lot 1112Noticeable creasing to the central panelMinor wear and discolouration to the embroidered charactersNoticeable hole damage, to all edges, and corners
1st-2nd century AD. A carved bone or ivory doll with articulated limbs in ten separate components: head and torso with detailed face and braided(?) hair, two upper arms pinned at the shoulder, two lower arms and hands pinned at the elbow, two thighs pinned at the hips, two lower legs and feet pinned at the knee, bronze pelletted circlet to the hair. See Soren, D. & N. A Roman Villa and a Late Roman Infant Cemetery Excavation at Poggio Gramagnano Lugnano in Teverina, Rome, 1999 for discussion of types. 65 grams, 15cm (6"). Property of a private collector, Bath, Avon, UK; acquired on the UK art market in the early 1980s; formerly acquired on the European art market circa 1970. Fine condition.
A CHINESE IVORY NECKLACE NOT SUITABLE FOR EXPORTcomposed of 79 round beads, 2 rose carved beads and a doctors lady, carved as a nude woman lying in recumbent position, supporting her head with her left arm, her right arm resting demurely on her body, wearing bangles, her black hair tied back in a knot the necklace approximately 57cm in length
A CHINESE IVORY CARVING OF A DOCTORS LADY NOT SUITABLE FOR EXPORTcarved as a nudewoman lying in recumbent position supporting her head with her left arm, her right arm resting demurely on her body, wearing bangles, earrings and embellished necklace, her black hair tied back in a knot, her face with delicate features, repair to foot37cm longIn traditional Chinese society, particularly among the upper classes, the separation of the sexes was strictly enforced, these prohibitions applied even to medical doctors who could not directly examine a female patient. Although the doctor might be granted permission to enter the woman’s quarters, it was unthinkable that the woman would expose any part of her body below her collar, above her wrists or her ankles. During the Ming Dynasty (1368-1644), the diagnostic figurine, or Doctors Lady, was developed to aid physicians.Ordinarily depicted as completely naked except for her shoes, the ‘’lady’’ reclines on her side or back, her upper leg crossed over her lower one, one arm supporting her head and the other casually draped across her chest. Created from a variety of different materials such as amber, resin, ivory, soapstone or gemstones – These figures catered to a range of social classes.The Physician would carry such a doll with him on his visits, and pass it through the curtains to the patient, who would mark the afflicted part with charcoal or India ink. A wealthy lady might have her own figurine, which she would send to the doctor, and thereby completely avoid the embarrassment of a physical examination.
A GEORGE IV SILVER THREE-PIECE TEA SERVICE, CHARLES GORDON, LONDON, 1829 comprising: a teapot, two-handled sugar basin and milk jug, of lobed, squat melon shape with acanthus-leaf rim, the lobes chased with various pairs of birds and a vacant cartouche on each side, leaf-capped scroll handle, teapot with detachable squirrel finial, handle with ivory fillets, gilt interior to milk jug and sugar basin, raised on four shell bracket feet, pins to teapot handle are loose, 1586g, teapot 14,5cm high (3) PROVENANCENOT SUITABLE FOR EXPORT
A GEORGE VI COMMEMORATIVE SILVER TROWEL, TURNER & SIMPSON LTD, BIRMINGHAM, 1938 (3) with an ivory handle, inscribed: Presented to Mrs D Macintyre by The Municipality of Bulawayo of the occasion of The Laying of the Foundation Stone of the "Gertrude Macintyre Native Girls' Hostel" Bulawayo on the 6th January 1944, 24,5cm long; And A George IV Silver Double Sovereign Case, Birmingham, 1938, the rounded rectangular body with an engine turned thumb piece, 38g, 3cm high, 6cm long, And An Elizabeth II Silver Cigarette Case, John Rose, Birmingham, 1960, rectangular with canted corners and overall engine-turned decoration, thumb piece, gilt interior, 146g, 10cm wide
An early 19th century tortoiseshell and ivory banded novelty needle packet case, in the form of a miniature George III style knife box, the sloping hinged cover enclosing a divided lined interior 3 x 4 x 5cm, and a Regency tortoiseshell pewter strung rectangular needle packet case, the domed hinged cover with a vacant cartouche on turned ivory feet, 6.5 x 3.7 x 4cm (2). Illustrated.
A fine embroidered decorative apron panel, English, circa 1730, the ivory silk ground couched and embroidered lavishly with gilt threads in varying patterns, exotic red, purple and blue flowers, trimmed and edged in gold bobbin lace, 99cm, 49in long CONDITION REPORT: Brightly coloured and lustrous embroidery, slight tarnishing to gold bobbin lace and wear lace on left side approx 3cm long at outer edge. Ivory silk ground has a series of vertical splits along edge of pink and gold flower on left side as you look at it and further down 2nd pink flower there is a cluster of small splits. Approx 1 x 2cm, 2 x 1cm splits just below waistband centre front. Occasional small breaks in the silk mainly along the edges of the floral motifs due to the weight of the embroidery - approx. 5. Approx 4 areas of fraying scattered in the silk ground. None of these faults are immediately noticeable due to the exuberance of the pattern. Lace 'pocket' edgings are unfinished at the top on left side.
A gentleman's Chinese embroidered crimson silk sleeved waistcoat, 1750-60, with densely embroidered front panels, pocket flaps and cuffs, upper lining of ivory linen, chest 92cm, 36in CONDITION REPORT: Sleeves have been shortened, probably for a woman to wear the piece as a jacket in the 19th century, Colour is good, silk is generally good
A rare pale blue silk 'bèrgere' hat, Engish, circa 1750-60, the straw disc covered in silk on both sides, edged and trimmed in ivory silk bobbin lace, with partially detached ribbon chin ties, 42cm, 16.5in diam CONDITION REPORT: Silk has faded generally, especially on the underside. The straw structure is revealed in the centre crown where the lining has worn. About a third of the silk lace rim edging has eroded, four black soil marks to the upper brim, faint brown discolorations in the silk. Numerous splits to the underside silk lining
A young man's lavender/pink changeant silk banyan/coat, 1770s-80s, with two hooks to fasten at the upper chest, short rounded fold-over collar, curved slim sleeves, deep pockets to the ivory silk front closure lining, adorned with frogging, chest approx 81cm, 32in; together with a pair of ivory silk breeches, with self-stripe and small fall (2) CONDITION REPORT: Banyan/coat: mesh covered buttons are complete, 2 pinholes on right front closure panel, slight soiling to cotton lining centre back, perspiration stains at the underarm. Apart from the perspiration stains, overall good condition; breeches - faint stain at front crotch upper leg area, light brown discoloration at top of left leg, 2 small holes rear right leg, fair condition
A rare richly embroidered gentleman's sleeved waistcoat, circa 1730, of figured zig-zag weave silk damask, the skirts cut low and wide at the front and shorter at the back, the ivory silk sleeves and back panels figured with feather motifs, with two functioning buttonholes at the neck and four from the waist down, but with metal wrapped buttons from neck to hem, buttons below each pocket flap also, embroidered in shades of pink, green and blue silk cord and metal thread with peaches and exotic blooms, zig-zag silver thread bands to front closure CONDITION REPORT: In need of conservation - the embroidered areas are good but there are tears in the silk to the side of the right pocket and above the left pocket, splits at high level on left and right chest but concealed by embroidery, another to the right side running vertically 14cm below neck into the upper chest area - again concealed by embroidery, slight wear to embroidery on rear cuff. Perspiration stains at underarms. Rouge mark to left chest.
A pale primrose damask satin robe à la Française, French, circa 1770, the closed-front bodice with hooks and eyes, sack-back, double engageants, the ruched robings gradually increase in width towards the hem, the fabric woven with berries, carnations and leaves; the skirt edges lined in pink silk; together with a British quilted ivory satin petticoat worked with thistles and roses (2) CONDITION REPORT: Dress: good clean, fresh appearance. Pink silk hem lining is stained along the lower edge. The sleeves have been narrowed and re-set. The front closure panels are made from robings applied to striped brown linen. Fabric is really clean and good. The ivory quilted silk petticoat is frayed in places, mainly around the hem, replaced linen waistband.
A robe à la Française, the silk 1730s, the construction French, 1750-60, woven with large-scale naturalistic flower-heads, the open robe with broad box pleats to the back, graduated robing panels which run from bodice to hem, single engageants, all edged with coloured silk fly braid; with near matching petticoat of ivory damask silk with deep floral border and stomacher made from matching silk (3) CONDITION REPORT: Dress: Most dresses of this period have suffered alterations to a degree. Fabric- generally good, some of the back 'branches' have eroded. Perspiration stains at underarms. The natural linen lining appears to be original- all of the stitches are made by hand, but I think the armholes and sleeves where they are attached have been cut and re-set, probably to remove stained areas. The 'tail' of the bodice lining has been cut, shortened, and folded back. The front bodice closure edges have been folded back and tacked inside to make the bodice narrower. Round lead weights from the cuffs have been removed. Engageants trimmed with fly braids are good but there are patched repairs to the ivory silk lining on both. Front skirt- both front hem edges show crease lines where it was folded over in the past and then unpicked and put back to original level. The front skirt has pleats which are tacked in place at intervals which are not original. Lower hem level robings have been added using the near similar petticoat silk- not immediately noticeable. The silk lining to the inside skirt opening edges has been re-done using matching 18th century silk. Back of the dress- box pleats are good and look unaltered with good symmetrical pattern, matching fabric is generally good. Two small spot stains at centre back pleats and another to right side of pleats (minor). The rear hem has an unusual horizontal seam- 18cm up from hem edge, however it is all hand sewn and may just be a frugal use of fabric. Black threads are heavily eroded over sleeves but generally good down the main body of the dress itself with just minor losses. Petticoat- Made of similar but not identical brocade. Colours are good. Fine splits in damask ground above front hem border. Occasional fine split in brocaded area, the largest 2.5cm long. Small hole in damask satin below waistband area. Petticoat has been shortened by folding over the silk at the top. I suspect is was originally wider also. Stomacher- has been formed from two joined panels of brocade that matched the petticoat. It is backed in coarse pale pink dyed linen. The silk is somewhat 'cockled'; it doesn't sit flat. Silk is slightly worn along creases. There are patched repairs on far left and right sides. I am unsure of the date of the construction of the stomacher.
A rare painted silk robe à la polonaise, English, 1770s, the ivory silk painted to shape in imitation of Chinese silk, with closed front bodice, the edges and front openings painted with foliate swags with delicate meandering buds and wild flowers over the ground, with cord polonaise ties and loops within the overskirt the petticoat painted to match and lined in wool (2) CONDITION REPORT: ·Bodice: darts added to front closure panels, baleen boning removed from bodice back, and the waistline has been raised. The original pointed waist is extant within the dress, a small panel of silk is missing from this area, possibly used to make a patch elsewhere. This waistline alteration could be reversed to put the dress back to the original shape. Sleeves have been narrowed, reset and the cuffs have been moved higher up. Perspiration stains and repairs at underarms. The skirt with a few fine splits in places on front opening edges. 4cm horizontal split concealed within pleat at top of left skirt panel near front opening. 2 small holes in front right skirt panel. Occasional fain scattered stains, occasional pinhead holes but nothing too obvious or serious. 2 vertical spits within 2 painted leaves centre back, the larger approx. 2cm. Silk hem lining has wear but painted silk is generally good. ·The petticoat with later added cotton waistband, the pocket slits are in place and there appears to be no loss of fabric. However, three stained areas across the skirt approx 10cm diam and the silk has perished within them. Another faint brown stained area approx 10cm diam but without perishing. 3cm hole in the hem edge and a faint brown stain to one side of it with a peppering of pinhead holes. The wool blanket lining has slight moth damage.
Two robes à la polonaise, American, 1770s, both with closed-front bodices, one of yellow silk damask with diaper pattern, the other of burgundy satin brocaded with ivory trailing blooms, together with a white cotton fichu woven with sprigs and a muslin petticoat (4)Provenance: purchased from the renowned US dealer Cora Ginsburg in the 1980s who confirmed the origins as American. CONDITION REPORT: Yellow dress: Matching fabric godets added at both underams , faint perspiration stains at underarms, front left bodice closure has a brown stain which looks like a glue residue from tape? A few small brown stains to other closure flap, otherwise the dress is generally clean and the colour is good.Satin brocade dress: front waistline has been altered, Front closure bodice has 18th century alterations, sleeves have been cut and reset at the armholes . Rear neck edging is altered - missing edging band
A rare brown silk padded and hooded cape, late 18th-early 19th century, with slits for arms, quilted collar and deep hood to cover a calèche with ribbon ties, lined in ivory silk CONDITION REPORT: Exterior is generally good, damp speckles overall to silk lining and stains above hem lining. Spot stains front right panel, below neck closure. Slight fraying at top right panel. Splits in silk all around the hem edge. Slight fraying inside edge of quilted collar. Exterior silk (apart from hem edge) is generally good condition. Large hood is good condition. Approx 5cm horizontal repair in silk below left arm slit.
Three pairs of garters, comprising: embroidered ivory silk pair with blue elastic embroidered with Napoleon and Josephine crowns and initials, c.1800-1810; painted velvet pair with lovebirds c.1830; and embroidered blue satin pair with gilt metal garter ribbons c.1880 (6) CONDITION REPORT: silk on bonaparte pair is discoloured and fabric has rubbed; Lovebirds pair - missing a metal loop fastener; Satin pair - one of the garter ribbon bands has a break
A fine and rare Liberty Aesthetic Movement copper satin tea gown, circa 1897, the waist stay stamped in gold 'Liberty & Co Ltd Artistic and Historic Costume Studio', in pseudo medieval style, the satin over-robe with pleated Watteau back and trained skirt, richly embroidered shaped collar, front robings, V-shaped waist belt, detached over-sleeves and closure buttons, worked in copper toned silk cord, studded with facetted amber coloured beads, with tightly gathered ivory chiffon front insert and flounced, gathered sleeves with fitted, beaded chemical lace lower sleeves, yoke and separate detachable choker collar; the inner dress of coral silk with boning at the back bodice only and gathered elasticated tapes over the breasts for comfort, bust approx 81cm, 32inIn 1884 Liberty's opened a dress department under the guidance of the designer E. W. Godwin. He was a member of the Aesthetic Movement, which favoured 'artistic' dress for women based on classical, medieval, Pre-Raphaelite and Renaissance clothing. CONDITION REPORT: Satin is generally good. Chiffon front insert in the bodice area is slightly soiled in appearance with a scattering of small holes and 4cm split in chiffon at waist closure area, chiffon is very soiled at hem with numerous splits. However there are large tears to the front right side above the hem. These are not apparent when the dress is mounted as they are concealed by the satin over-robe and the tight gathers of the chiffon. There is a darned repair to the ground fabric at the far left waist where the V shaped embroidered waist belt attaches. Small area of wear to edge of left robing/lapel at chest level and at right hem edge of robing. Dress is generally good condition. Inner silk bodice - the ivory ribbon edged at hook and eye closure and covered to elasticated chest bands have perished (minor). Silk inner bodice is generally clean and good. A piece of fabric has been added to inside waist area lining beneath the area where the exterior waist belt is fixed for extra strength (minor). Skirt hem edge is soiled, especially at rear train but the main body of the satin dress is good and fresh in appearance. Scuff and 2 small holes to front right skirt near hem. Satin underarms are clean and good. Chemical lace sleeves are good, chiffon over-sleeves with faint stains and holes. Chiffon backing to chemical lace collar has worn at edges. Overview: satin areas are good, chiffon front insert is very stained and fragile in hem area. Lace choker is good condition, chiffon lining is worn at closure ends. Detached over sleeves - seem complete beading and embroidery is good.
The Sudeley coverlet, Italian, circa 1720-30, the ivory satin ground richly embroidered in satin stitch with coloured silks, silver and gold threads, with a central vignette of Christopher Columbus landing on the island of Hispaniola in 1492 after a 1594 engraving by Theadore de Bry from his 'America' series, the centurion-like soldiers plant a cross in the ground surrounded by scantily clad natives with feather headresses and skirts - with native huts in the distance and just the prow of the galleon showing, within a strapwork cartouche worked in diapered gold threads interspersed with peonies and pomegranates in shades of pink silk, worked to the borders with large rose arbours enclosing embroidered scenes of a lion or wolf attacking a hound, a garlanded bull (Europa), a boar hunt and a stag hunt interspersed with vine clad ruined classical buildings, distant palaces, the corners with large single allegorical figures depicting exotic lands/continent, comprising: a warrior with breastplate and shield holding a falcon, taking shade under a parasol (Asia), a moustachioed figure under a palm tree with chained monkey (Africa), a female in draped robes with shepherd's crook and peacock headress and displaying peacock to one side (India/Asia) and a turbaned figure with a camel (Asia), lined in crimson silk and with ivory silk fringed edges, 273 by 254cm,107 1/2in by 100in excluding fringes The De Bry collection of around 600 copper engravings was to prove highly influential in this 'Age of Discovery' which was to inform how many Europeans viewed the world, especially in relation to America for which there had been no previous iconographic traditions. These prints were widely copied and in 1732 the Amsterdam-based Huguenot writer Bernard Picart, for his book entitled 'Ceremonies et Costumes Religieuses de Tous les Peuples du Monde', created a very similar illustration of the Columbus' landfall, which included a mother nursing her child as indeed this coverlet does.Property of Sudeley Castle. This coverlet was recently rediscovered when undertaking an inventory of the entire castle contents. CONDITION REPORT: ·Overview: Colours are bright and the metal threads are generally lustrous, slight tarnishing. The ivory satin ground is good, small splits in the satin to the very tips of three corners. Remarkably fresh condition·Some small areas of embroidery have eroded mainly in the ruined building motifs lower right, upper right side rather than the main focal points of the coverlet. ·Ruined building top right - slight wear to embroidery on columns (black silk threads), 2 splits at edge of motif 2x4cm. Top left ruined building - embroidery is good but 8cm split along the base of motif. Lower right vignette has 6 darned repairs, the longest is 7cm. 3 ruined buildings down left side and base are good condition. ·Corner motifs: Lower left figure with peacock in good condition. Figure with monkey is good condition, lower right corner has 4cm horizontal split, thinning to satin below purple tulips lower right edge approx. 2cm. Man with parasol and falcon, the black silks worn on shoes, otherwise good. Man and camel in good condition.·Border vignettes are good condition. Centre bottom (Europa the bull) very small areas of black silk have eroded on shoes, hair and hounds. Right border (lion hunt) in good condition, very slight erosion of silk to shoes, animals (minor). Top border (boar hunt), very slight erosion to black threads (minor). Left border (Stag hunt), good condition·Central medallion - good condition, very fresh, very, very slight erosion to darker silks in the rocks and mountains (minor)·Floral areas are generally good·Ivory satin ground - very clean overall, very faint discolouration top left and right upper fields, barely visible. ·The crimson silk lining is split in places.
Loading...
