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Lot 728
* Embroidered Bedcover. A large coverlet, 1930s, hand-embroidered in coloured silk threads, in shades of pink, blue, green, yellow, and brown, worked in a variety of stitches, including stem, buttonhole, long and short, star, bullion, feather, etc., on a cream mixed linen/cotton ground, with all-over pattern of large floral and foliate sinous stems, with exotic birds perched in the branches, occasional light marks, mostly to edges, one bird with some loss of stitching, 259 x 228.5 cm (102 x 90 ins)QTY: (1)
Lot 714
Brass Rubbings. A set of seven brass rubbings on cotton, English, 1856, 7 large brass rubbings, black shoemaker's wax on glazed white cotton, all with annotations and/or pinned fabric labels in sepia ink or pencil, several dated 1856, each depicting rubbings from brass effigies on tombs in Suffolk and Cambridgeshire, comprising: Thomas Peyton flanked by his first and second wives, Margaret Bernard and Margaret Francis, the three standing above an inscription and beneath a triple Gothic canopy, 1484, Isleham Church, Cambridgeshire; Jankin and Marion Smith, circa 1480, above John Fynches, Archdeacon, St Mary's Church, Bury St Edmunds; Ann Butts flanked by armorial shields, 1609, Redgrave Church, Suffolk, below John and Elizabeth Garneys, 1524, Kenton Church, Suffolk; a man and a lady, Knodishall Church, Suffolk, above a number of rubbings from Yoxford Church, Suffolk, including Lady Johanna Brooke, 1618, Anthony Cooke, 1613, and a dog; Sir Roger de Trumpington wearing armour with a dog at his feet, 1289, SS. Mary and Michael, Trumpington, Cambridgeshire, 1289; William Malster, priest in Cope, 1492, and William Stevyn, priest in Cope, 1497, Girton Church, Cambridgeshire; a lady and man, with fabric tag in brown ink 'Strettham', selvedges to left and right, raw edges top and bottom, some light toning, marks, and stains, Girton torn along right-hand edge, largest 4.79 m x 81.5 cm (15 ft 7 ins x 32 ins), smallest 2.1 m x 80 cm (6 ft 9 ins x 31.5 ins)QTY: (7)NOTE:A collection of early brass rubbings, unusually executed on fabric, rather than on paper. The practice of recording ecclesiastical monumental brasses through a process of rubbing originates from the Victorian Gothic Revival, which was flourishing in England by the middle of the 19th century. An early method of pouring printer’s ink into engraved lines and then placing damp tissue paper over the brass was replaced around the mid-nineteenth century with the more effective technique of using black shoemaker’s wax, known as heel ball.
Lot 727
* Cut-out Figures. Two framed painted cut-out full-length portraits of 18th century ladies, including Augusta Smith, wife of Richard Smith, Surgeon, circa 1785, the first with full-length scissor cuts of 4 ladies in profile, the details of features and dress painted in watercolour and gouache, some toning and staining, three annotated to hem of skirts in contemporary brown ink: 'Miss Archer 1785'; 'Mrs. Augusta - wife of Mr. Richard Smith, Surgeon AD 1785'; and 'Mrs Bertha Catcott', the fourth figure that of Mrs Smith's maid, largest figure 30.5 x 17.5 cm (12 x 7 ins), mounted on gold satin, framed and glazed (42.5 x 84 cm), the second with a repeat of three of the figures (without Miss Archer), a little light toning and foxing, mounted on red velvet, framed and glazed (42.5 x 63.5 ins), annotated with figures' names on backboard QTY: (2)NOTE:Provenance: By descent from Augusta and Richard Smith to the great great granddaughter of their son Henry Smith, the current owner. Augusta, daughter of the Reverend Alexander Stopford Catcott, married Richard Smith of Bristol on September 23rd, 1771. Richard Smith was a master at the Free Grammer School in Bristol, and on December 6th, 1774, he was elected Surgeon to the Infirmary there. In 1783 the couple were known to be living in Queen Charlotte Street, Queen Square, Bristol, but in December, 1785, the Smiths left Queen Square and took a house by College Green, opposite the Church of St. Augustine the Less, near to Bristol Cathedral. Augusta and Richard had two sons, Richard and Henry, both of whom are remembered for their involvement in an unfortunate death. Henry Smith (1774-1840), a Bristol attorney-at-law and amateur artist, was forced to flee the country in 1809 after fighting a duel in which his opponent later died from loss of blood, having been shot in the leg. His subsequent travels around Scotland, and later Spain and Portugal during the Peninsula War, where he served in the army under Wellington, were recorded in a diary (1809-1810) which is now kept at the University of Kansas. He subsequently returned to England for trial, but was exonerated. Richard Smith (1772-1843) was, like his father, a surgeon at Bristol Infirmary. Amongst other things, he is known for his anatomisation of executed criminals, and in particular his association with John Horwood, aged 18, who was publicly hanged for the murder of Eliza Balsum, an older girl with whom he was infatuated. When Eliza rejected his advances, he threw a stone at her, striking her on the head as she crossed a stream. She died a month later, after Richard Smith had performed the risky operation of trepanning on her (drilling a hole in her skull to relieve pressure). At that time anatomisation was part of the punishment for murder, and the convict's body was given over to Smith at the Bristol Infirmary for his anatomy class. Gruesomely, the surgeon had Horwood’s skin preserved and tanned, and then used it to bind into a volume the notes he had collected on the trial, including sketches of Horwood.
Lot 684
* Cothing. A mid 19th century silk bodice and matching skirt, hand-stitched, the cream silk fitted bodice with wide neckline, v-shaped waist, short puffed sleeves with lace flounce, and eyelets for lacing, the neck and sleeves of cream silk with geometric floral borders in black, pink, and green, on a pale turquoise stripe, skirt composed of 3 tiers of the same striped silk, bodice and skirt edged with cream, black, pink, and green fringe, organza underskirt, some light staining and marks (underarms stained and perishing), a few small holes and tears, 1 layer of skirt with loss of stitching at seam, bodice: bust 78 cm (30 ins), sleeves 21.5 cm (8.5 ins), skirt: waist 66 cm (26 ins), length 91.5 cm (36 ins), together with 2 ostrich feather and tortoiseshell fans, one blue, and the other red and cream, each 66 cm (26 ins) QTY: (4)NOTE:Provenance: Collection of Peta Smyth
Lot 779
* Theatre Costume. An embroidered brocade frock coat, worn at the ballet 'Louis XV', Monte Carlo, 1922, handmade coat in cream and gold brocade, hand-embroidered to front, back, cuffs, and pocket flaps, with pattern of large meandering rose stems, worked in chain stitch, bullion stitch, and couching, in shades of pink, green, and yellow, incorporating gold metallised thread, and tiny spangles, ornamental buttons to front, cuffs, and pocket flaps, of metallised thread and spangles, sleeves with double frill of hand-made needle lace, one with initials 'SB' in red cross-stitch concealed within sleeve, lined with cream and white cotton, some wear, especially to underarms and cuffs, some loss of threadwork (in places revealing ink design beneath), occasional discolouration and light marks, with 2 inked fabric labels detached 'Cremonin' and 'Marini', chest 98 cm (38.5 ins), sleeves 56 cm (22 ins), length 92.5 cm (36.5 ins), together with 2 other brocade frock coats similar: the first of maroon velvet, lined with pale blue satin (with some staining), embellished with gold metallised lace (worn in places), and gold coloured buttons embossed with flowers and leaves, nape with inked fabric labels 'Penderie No. 9', 'M. Pigerre', and 'Vezzani'; the second of blue and gold brocade, with silk inserts in split sleeves, organza frill at cuffs, and embellished with gold metallised braid and edgings, somewhat worn, nape with indistinct circular ink stamp and inked fabric labels 'Otello', 'M. Modeste', and 'Trovatore 1er Acte 2me Acte, 2me Tableau'QTY: (3)NOTE:Provenance: The first and second items were sold at 'Costumes from the Monte Carlo Opera House sold by order of The Societé des Bains de Mer', Sotheby's, The Duke of York's Theatre, St. Martin's Lane, 16th November 1980, lots 81 and 54 respectively (the first item was worn for the perfomance of extracts from various ballets, titled Louis XV, first performed in Monte Carlo on 25th November 1922, and the second at the operetta Chérubin, first performed in Monte Carlo on 16th February 1905.
Lot 744
* Infants' Items. An embroidery commemorating births and baptisms in the Cuddon-Fletcher family, 1870s, fine cream lawn panel, hand-stitched in tambour work in cream thread with details of the birth and baptism dates of 6 children of the Cuddon-Fletcher family between 1870 and 1877: Bernard, Harriet, Margaret, Angus, James, and Gwendolyn, some light brown marks, edged with cream lace, 80 x 106.5 cm (31.5 x 42 ins), together with a few other embroidered items, including a square linen sampler, with large initial 'M' in centre in padded satin stitch, squares of sample embroidery stitches at corners, and 'March. K.Brooke. 1906.' in red cross-stitch at foot, and a quantity of 19th and early 20th century children's clothes, including: 3 white cotton baby shirts, 2 inked with the name 'R.I. Bartram' and dated '4.64', and the other inked 'Bartram b. 1859'; a baby's lace-trimmed silk and cotton bib; 4 white cotton christening gowns; a cream lace dress; a cream net and ribbon bonnet; a cream silk christening gown with lace overlay and petticoat; an embroidered white muslin dress; and a number of other shirts, vests, and petticoats, etc., various condition and sizesQTY: (a carton)NOTE:The six Cuddon-Fletcher children commemorated in the embroidery were the offspring of Harriet and Bernard Cuddon-Fletcher of Dunans Castle in Glendaruel, on the Cowal Peninsula, Argyll and Bute, Scotland.
Lot 758
* Lace. A large veil, & other hand-made lace items, 19th or early 20th century, a large cream needle lace wedding veil, hand-worked on machine net, and backed with net, patterned with scattered small trefoil sprigs and roundels, and with a wide border of floral garlands and flower sprays all round, scattered small holes (a couple of crude mends) and occasional small marks, 10 cm tear in backing net, 201 x 192 cm (79 x 75.5 ins), together with 7 other items of hand-made lace, including a white Dresden work fichu (1 or 2 small holes), a half veil with wide floral border, labelled 'Run work, probably Brussels, mid 19 c.', scattered small holes and light marks, and some light discolouration at edges, a needle lace cream stole with scalloped edge, and a white appliqué net stole depicting tiger lilies, various condition and sizesQTY: (8)
Lot 740
* Garments. A Victorian child's bonnet, hand-made cream silk bonnet, with deep double neck frill, elaborately worked overall with soutache embroidery, incorporating pleated decoration, an edging of lace, two rosettes to left-hand side, and tassels, cream silk lining and ribbon ties, front of bonnet with some light soiling, a small hole, and lace becoming detached, 34 x 29 cm (13.5 x 11.5 ins), together with other lace-trimmed and/or embroidered garments, comprising: a hand-made Edwardian blouse trimmed with Bedfordshire lace and Irish crochet (apparently unworn); 3 women's cotton bonnets; a finely gathered and embroidered whitework baby bonnet; a mob cap; a collar; a fichu; and a cream christening gown, plus a straw work bonnet lined with blue silk, various condition and sizesQTY: (11)
Lot 737
* Printed cotton fabrics, mid-century, a collection, comprising: Heals "Treasure Chest", designed by Maggie Walker, red and brown colourways, unused, 143.5 x 129 cm (56.5 x 50.75 ins); Heptad, designed by Craven, olive green, brown, and black colourways, unused, 129 x 508 cm (50.75 x 200 ins); "Mosaic" by Monica Lorentzen, green and light grey/purple colourways, 2 widths joined to form a large panel, machine-stitched hem all round, occasional light marks, 249 x 220 cm (98 x 86.75 ins); Cosmos by Clarke & Clarke, unused, 208 x 144cm (82 x 56.75 ins); a piece of fabric patterned with poppies and other wild flowers, by David Whitehead, unused, 91 x 124 cm (35.75 x 48.75 ins); and "Dayspring", a Francis Price Screen Print, machine-hemmed all round, 141.5 x 119.5 cm (55.75 x 47 ins), and others, including 2 pieces of bark cloth, one patterned with kitchenalia, the other with wine bottlesQTY: (14)
Lot 476
* Rings. A ladies 14ct gold dress ring, set with a blue stone cabochon surrounded by 8 pearls, stamped '14K', size J, gross weight 8.5g, together with three 9ct gold dress rings including a 9ct gold dress ring, set with 5 CZ stones, stamped '375', size N, gross weight, 2.6g plus a 9ct gold drop pendant necklace, set with two facet light blue stone, the catch stamped 9ct, 26 cm long and a 9ct gold leaf brooch set with three purple stones, 35 mm longQTY: (6)
Lot 776
* Shawl. A Varanasi silk brocade stole, North India, late 19th/early 20th century, finely hand-woven in pink and lilac thread and gold metallic thread on a shot purple ground, with a repeated pattern of sinuous flower and leaf stems, with floral border to long sides, wide foliate border to short ends, and gold metallic fringe to each short end (mostly intact), a few small holes, 2 closed tears in one end (one held with a few consolidating stitches), 56 x 227 cm (22 x 89.5 ins) excluding fringe, together with:An Ottoman embroidered stole, early 20th century, cream organza stole, embroidered with a wide border of mauve and white lilac flowers on branching stems, the flowers worked in silk threads, the stems and leaves in green silk thread and gold metallised thread, short ends with large emblem incorporating a foliate spray worked in gold metallised thread, hems bound with the latter, occasional small light marks, 53 x 254.5 cm (20.75 x 100 ins), plus 2 gold stoles, both circa 1910s/20sQTY: (4)NOTE:A beautiful Varanasi stole in good condition. The V&A has a sari woven in Varanasi at a slightly later date, using the same technique (accession number IS.50-1998).Accompanied by two later manuscript notes, both giving similar information regarding provenance, the first reading: "Grandad Greensmith bought this stole on one of his many trips to India, to buy cotton for the Mill - early 1900".
Lot 798
* Silhouette Fan. A hand-painted Regency silhouette fan, circa 1810-1820, brown cardboard handscreen fan with pedimented and voluted upper edge, painted in black with numerous small full-length silhouettes of ladies and gentlemen seated or standing in groups conversing, some playing cards, a number of the ladies carrying fans, and the gentlemen each carrying a chapeau bras, with Empire style crystal ballroom chandelier hanging above and tasselled drapes either side within shaped upper edge, a few light marks, reverse lined with brown morocco-grain paper (some small losses to lower edge), both sides with narrow border of gold paper (missing in places), turned wooden handle, 38.5 x 26.5 cm (15.25 x 10.5 ins)QTY: (1)NOTE:A unique fan, surviving in very good condition. The figures have something of the air of caricature about them, with their pointed chins and noses; especially so the gentlemen who strut around and, rather comically, each carry a chapeau bras, or arm hat, the collapsible bicorne hat which was part of a Regency gentleman's evening ensemble, designed to be carried under the arm, rather than worn.
Lot 509
AR * Batterham (Richard, 1936-2021). A beaten stoneware caddy and cover, covered in an ash glaze, with incised diagonal lines to each side, unsigned, '14' glaze code in black to base, 17.2 cm high, with a handwritten note detailing original purchase 'Oxford Gallery c. 1981' and a cutting from The Telegraph Weekend Magazine of an article on Richard Batterham's work, together with a small stoneware dessert bowl by the same potter, circa 2009, covered in a light green ash glaze, chatter band to exterior, unsigned, attribution and purchase date label to base, 13.5 cm in diameter, 6 cm highQTY: (2)NOTE:Caddy and cover purchased from Oxford Gallery, circa 1981.Literature: a similar dessert bowl (No. 33) is listed in Richard Batterham, Studio Potter by Tanya Harrod and Sarah Griffin, V&A Publishing (2022).
Lot 719
* Clothing. 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 in 2022, when the contents – an impressive array of antiques and historical pieces - were sold.
Lot 743
* Indian Palampore. A large Tree of Life panel, Coromandal Coast, South-East India, circa 1770, cotton tabby, painted resist and mordant-dyed, in shades of pink, blue, and brown, on a cream vermicelli ground, with a large bamboo tree on a rocky outcrop flanked by cockerels, its branches entwined with a multitude of foliate stems bearing peonies and other flowers, as well as cashew nuts, enclosed by a wide border of scrolling bamboo branches entwined with floral and foliate sprays and tendrils, toned, scattered wear with losses, expertly consolidated with stitching on a backing of cream twill, 2.93 x 2.18 m (9 ft 6 ins x 7 ft 1 in) QTY: (1)NOTE: A rare Tree of Life palampore, made in India in the 18th century for the European export market. For similar examples see the V&A (e.g. accession numbers IM.226-1921 and 341-1898), and the collection of palampores in the Royal Ontario Museum, Canada.Palampores were in great demand and high-prized in the West during the 18th century. Northern European countries particularly, and especially Britain, imported such textiles which were used as bed covers or curtains and wall hangings, sometimes covering whole walls, rather like wallpaper. The Tree of Life design was a popular one, with its myriad symbolic meanings and expressive possibilities of form and colour, although the style and decorative vocabulary used in palampores drew on a wide variety of sources, including local south Asian textile traditions, Dutch floral designs, Persian iconography, English and European patterns, and, particularly, Chinese influences (as here), to produce a blend of Oriental exotica particularly dovetailed to European tastes. The present example depicts cockerels, a symbol in both Indian and Chinese cultures, with a host of associations (herald of the light, courageous, protector, etc.). Also depicted - much more unusually - are cashew nuts, which were revered for their unique shape and structure, their crescent shape echoing the moon and symbolising fertility, abundance, and prosperity.
Lot 247
ERROR: Bank of England, John B. Page, £1, 1970, serial number ET20 840595, with significant misguillotining error, light orange stroke across face of note, about uncirculated EPM B322 £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Lot 803
States of Jersey, a full set of replacements from the 1989 issue, comprising £1, £5, £10, £20 and £50, serial numbers CZ000340, CZ005103, CZ004097, CZ001095 and CZ000164, May signatures, last note lightly pressed, extremely fine, £10 one light handling crease, otherwise all uncirculated, some very scarce (5 notes) BNYB JE13r, JE23r, JE33r, JE41r, JE51r, BNB B115az-B119az £150-£200
Lot 286
Bank of England, David H. F. Somerset, £50, 20 March 1981, serial number A15 799639, fresh and original, light handling about uncirculated to uncirculated EPM B352 £80-£120 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Lot 453
Northern Bank Limited, £100, 1 July 1970, serial number H0007592, Wilson signature, completely original, free from usual graffiti, light corner bend and one left fold at left, about uncirculated, a lovely example PMI NR 108, Pick 192a £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Lot 2137
A mid-century Italian Murano glass wall light fitting in the manner of Pia Guidetti Crippa. Overall drop 104cm.Four tiers of pendants; lengths 49cm, 34cm, 29cm and 14cm. One of the 49cm drops has a sheared pin currently preventing safe attachment. One of the screw bulb fittings is broken and currently held with tape. Will need re-wiring.
Lot 3159
A rare 19th century Victorian truncheon, with ebonised finish, and painted with the arms of the ‘Manor of Uplyme’ in the county of Devon. Gilt and red shield with lion rampant motif, along with gilt painted lettering. Hole pierced through the truncheon where the handle meets the shaft, likely for a leather wrist strip. Approximately 41cm length. Condition: generally very good. Some painted loss to the painted decoration, plus normal light knocks and contact marks commensurate with age and use.
Lot 2210
Designer Fashion/ Suzie Turner: A large collection of clothing by Suzie Turner / Turner’s, including; a two piece suit, comprising waistcoat and trousers in brown/ grey/ pink checked fabric; a two piece suit comprising waistcoat and trousers in blue denim type fabric; a two piece suit, comprising waistcoat and trousers in beige herringbone wool; five pencil skirts, in cream, beige, brown, navy and light khaki; a vintage inspired shirt dress, in floral patterned fabric, with matching belt; a pale pink silk sleeveless dress; five silk blouses, each with round collar, on embroidered ‘Miss B’, three pink shades, one cream one blue; three patterned cotton shirts; two pairs of capri pants, one brown silk, the other cream coloured; together with three wide belts, in black, cream and brown (qty)
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