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Lot 1243
DIAMOND 'CONCORDE' RING modelled with a raised panel in the form of the aircraft Concorde, encrusted with small round brilliant cut stones, with a further diamond to each shoulder, marked 18K and 750, shank misshapenQty: 5gThe ring is not official Concorde merchandise. A Glasgow manufacturing jeweller was commissioned by the current owner to make this ring following a trip on the iconic aircraft.
Lot 631
* Clothing. A silk Edwardian day dress, circa 1915, oyster silk full-length gown, with v-neck front and back filled with cream tucked and ruched muslin modesty panel, and asymmetric collar front and back trimmed with delicate tape lace (silk lining of collar perishing), one side of bodice caught up with a grey rosette, bodice lined and lightly boned, and with metal hooks and stiff buttonhole eyes, elbow-length sleeves with tucked muslin edging and embellished with lace as before, shoulders ornamented with hand-worked bullion stitches, tucked waistband terminating at rear with a bow, tails of bow ornamented with self silk pom-poms, skirt with 2 vertical tucks to front and 4 large ornamental buttons between, the tucks and buttons with bullion stitch detail, the tucks terminating in a 'v' with ruched detail held by a grey rosette, back of skirt with 36 small ornamental buttons embellished with bullion stitches as before, skirt with short train, and lined with cream silk, a few fox spots and marks, occasional small holes, bust 74 cm (29 ins), waist 62 cm (24.5 ins), sleeves 37 cm (14.5 ins), length at front 134.5 cm (53 ins), length at back 155 cm (61ins), together with 9 other items of ladies' clothing, including: a 1920s cream silk dress with dropped waist and green collar and bow; a 1930s full-length evening gown of embroidered heavy cream satin, with straps and sweetheart neckline; a 1950s 3-piece in turquoise silk comprising dress, short jacket, and coat; and a 1950s full-length evening gown and matching cocktail dress made of Brockenhurst silk, with wide detachable waistband and bow in cerise satin, various sizes and condition QTY: (10)
Lot 678
* Quilt. A large floral Welsh quilt, mid-late 19th century, chintz quilt of pink, yellow, and green floral motifs, on a ground of alternating cream and light brown stripes, with large (earlier, circa 1800?) central appliqué panel depicting a flower urn surrounded by exotic birds and butterflies, 53 x 55.5 cm (21 x 22 ins), backed with cream cotton, and with hand-sewn butted hems, quilted overall in pale thread forming various patterns, including helix, flowers, leaves, spirals, lattice, trefoils, etc., generally toned, reverse with scattered foxing, with recent manuscript label attached "Belonged to RGB's grandmother, who died in the 1920s ... ", 244.5 x 231 cm (96.25 x 91 ins) QTY: (1)
Lot 692
* Toile de Jouy. A pair of pelmets, Rouen, France, circa 1820, 2 scalloped pelmets composed of Les Martyrs, printed in purple on a white cotton ground, depicting classical Roman scenes of Eudora and Cymodocea, a few small holes and marks, backed with white twilled cotton, edges bound with white tape, 26.5 x 161 cm (10.5 x 63.5 ins), together with a pair of larger scalloped Toile de Jouy pelmets made of L' Heureuse Famille ou Dits Merci, Beautiran, France, Jean-Pierre Meillier et Cie, circa 1800, printed in raspberry on a white cotton ground, depicting pastoral scenes, family groups, children at play, picturesque landscapes, etc., backed with linen and hand-quilted overall in pale thread, edges bound with white tape (becoming detached in 1 or 2 places), one pelmet faded and worn (and with top edge raw), the other with a little light dust-soiling, 57 x 188 cm (22.5 x 74 ins), plus a Toile de Jouy panel made of Le Char d'Aurore (Dawn's Chariot), Nantes, France, Petitpierre et Cie, circa 1785, printed in raspberry on a white cotton ground, with a design inspired by Guido Reni's fresco of Aurora in the Palazzo Pallavicini-Rospigliosi in Rome, backed with light beige linen, hand-quilted overall in pale thread, sides and lower scalloped edge self bound, top edge raw, and with a large brass curtain ring at each corner, 137 x 58.5 cm (54 x 23 ins) QTY: (5)
Lot 674
* Passementerie. A group of tasselled tie-backs, 18th & 19th century, comprising: a pink double tassel tie-back with long double twisted cord (lacking the loops to go around a curtain), each tassel set with Tudor roses, and embellished with metallised spirals and garlands of silk thread flowers, each tassel 16 cm (6.26 ins), overall length 247.5 cm (97.5 ins); a scarlet double tassel tie-back, each tassel 26 cm (10.25 ins), overall length 26 cm (26.75 ins); a gold and brown double tassel tie-back, a little worn and with a few worm holes, each tassel 26 cm (10.25 ins), overall length 71 cm (28 ins); a green single tassel tie-back, worn, tassel 23 cm (9 ins), overall length 72.5 cm (28.5 ins); and a pair of green tassels composed of multiple small tassels, joined by a short plaited cord, each tassel 13.5 cm (5.25 ins), overall length 63 cm (24.75 ins), together with:Embroidered. A large embroidered and appliqué panel, possibly Italian, late 16th/early 17th century, large panel, decorated overall with red silk appliqués in a repeated pattern of 3 flower stems held by a bow within a foliate scrollwork border, outlined with gold metal threads on a beige ground, heavily worn and with old stitched repairs, edged with metallic braid, pink linen backing (some staining and small holes), brass curtain rings sewn to one edge, 244 x 146 cm (96 x 57.5 ins), together with 3 other panels similar, all worn, 21 x 53 cm (8.25 x 21 ins), 26 x 118 cm (10.25 x 46.5 ins), and 52 x 132 cm (20.5 x 52 ins), and 5 red velvet priests' stoles, second half 17th century, variously embellished with metallised lace, fringed edgings, etc. QTY: (14)
Lot 676
* Patchwork. A finely embroidered patchwork panel, Lincoln, 1895, a large linen panel composed of hexagons in alternating colours of ivory and sage green, with small ivory squares between, each patch expertly embroidered in yellow and pale grey silk threads, using a variety of stitches, including satin, long and short, stem, bullion, French knots, buttonhole, feather, chain, each hexagon or square with initials, monogram, lettering, symbol, or illustration, e.g., a large pomegranate, children at play, flowers, birds, and insects, a sailing boat, 'Crowland Abbey', a pair of handscreen fans, 'Yacht Lorna Doone. N. &. S.YC.', a spider in a web, 'S.S. Mary and Nicolas', the lamb of God, an Oriental gentleman, a cat licking its paw, an elaborate Tudor rose, etc., one panel lettered 'In aid of the National Schools', 2 panels with earl's coronet lettered 'Winchilsea' and 'Edith Winchilsea' respectively, central panel with embroidered shield (becoming detached) topped by a mitre and cross within a circular frame incorporating the words 'Diocesis Lincolnienis', with the lettering 'Spalding 1895' above and 'Edward Lincoln' below, bordered all round with cream cotton (originally the backing to a silk border now perished), very occasional minor loss of stitching, a few small marks, and some light discolouration to border, backed with dark cream cotton (left and right-hand sides not stitched together), 165 x 240.5 cm (65 x 94.75 ins)QTY: (1)NOTE:A beautifully-made panel surviving in very good condition, evidently made in Lincoln to raise money for the National Schools which were established in the 19th century by the Church of England to provide an education for children of the poor. Edward King (1829-1910) was the Bishop of Lincoln from 1885 to 1910, hence his mention at the centre of the panel. He devoted himself to pastoral work, particularly amongst the poor, so this cause would presumably have been close to his heart. The Winchilsea name is prominent and therefore it seems likely that Edith Finch-Hatton, Countess of Winchilsea (1855-1944), was instrumental in organising the project. Unlike the usual 'friendship' quilts in which many different hands participate with varying results, this piece appears to have been made by a small number of highly competent hands. This leads us to speculate that members of a local embroidery guild executed the stitching, with individuals paying for a patch to be embroidered with their name, initials or chosen symbol; the finished piece may then have been displayed, or auctioned to the highest bidder.
Lot 565
* Duke Of Wellington. A Regency period carved oak panel of the Duke of Wellington, circa 1820, the duke facing left, with carved foliate border, 22.5 cm x 40.5 cm, together with two others including a carved oak circular panel of the side profile of the Duke of Wellington 20.5 cm diameter and a Duke of Wellington side profile with a handwritten label to reverse 'Duke of Wellington" 22 cm highQTY: (3)
Lot 593
* Marriage Chest. A 17th century walnut cassone, the gadrooned top above a panel carved with a river god, scrolls, festoons, flanked by satyrs on a later stand with sphinx supports (the front flap adapted), 114 cm high x 145 cm wide x 50 cm deepQTY: (1)NOTE:Provenance: Downside Abbey, Somerset, UK.
Lot 625
* Burma. An embroidered Kalaga panel, early 20th century, elaborately embroidered in relief with metallised and coloured threads, and heavily encrusted with a variety of sequins, beads, and glass ornaments, depicting a figure riding a lion, within a circular inner border, and square outer border, on a brown cotton ground, 54.5 x 53 cm (21.5 x 21 ins), together with 7 embroidered/mirrorwork items from Central or Southern Asia, various sizes, including 2 large pelmets, plus a large fragment of early 20th century English crewelwork hand-worked in polychrome wools in an 18th century style, depicting a lady and a gentleman beside an apple tree amongst flowers and birds, and one side of a 19th century embroidered chasuble, hand-worked in white thread with 'IHS' sunburst emblem within a wreath of grape vines, wheat, and roses, on a purple velvet ground, fringed edging, 63.5 x 57 cm (25 x 22.5 ins)QTY: (10)
Lot 677
* Persia. A velvet ikat panel, 19th century, woven with pattern of green and cream botehs on a red ground, with wide border of slightly larger botehs to long sides in orange on a black ground, lightly faded overall, worn in places (mostly closed tears and fraying to edges), 153.5 x 122 cm (60.5 x 48 ins)QTY: (1)
Lot 579
* Bookcase. A substantial Regency revival "exhibition standard" walnut and ebonised giltwood breakfront bookcase circa 1860, large broken pediment above twin glazed central section flanked by a further glazed section each enclosing shelves, the lower section with four panel doors each enclosing shelves, the lower rear section cut to compensate for skirting board (perhaps), 370 cm high x 279 cm wide x 57 cm deepQTY: (1)
Lot 671
* O'Connell (Michael, 1898-1976). Design Motifs, large panel composed of 2 widths with central vertical join, paste resist on cotton, with striking design of abstract motifs, in red, blue, orange, yellow, and green, on a cream ground, selvedges to sides, top and bottom edges machine-hemmed, a few small marks and holes (largest 2.5 x 2.5 cm), 185 x 149 cm (72.75 x 98 ins) QTY: (1)NOTE:English Modernist artist Michael O'Connell emigrated to Australia where he worked during the interwar years, before returning to England in 1937. He is best-known as a textile artist, and a number of major institutions hold examples of his work, notably the V&A, National Museum of Scotland, National Gallery of Australia in Canberra and the National Gallery of Victoria in Melbourne. On permanent display in the Museum of English Rural Life in Reading is O'Connell's enormous wall hanging (4 metres high by 56 metres long) executed for the 1951 Festival of Britain, titled 'Diversity of British Farming'. Between 1924 and 1925 O'Connell built his own house in Beaumaris, Melbourne, using concrete blocks made from the sand there, and embellished with furniture and soft furnishings that he had made. It was named 'Barbizon' after the French school of art of the same name, and it became his studio and a gathering place for fellow artists. The building of 'Barbizon' led on to the design and production of garden furniture and sculpture - often to commission - using concrete as a medium. O'Connell also experimented with the production of linocuts, and he exhibited his paintings in Melbourne, where they were well-received; he became a member of The Arts and Crafts Society there. O'Connell was innovative and always researching new methods of creating, especially when printing onto fabric. After WWII he experimented with complex dying techniques, becoming enormously knowledgeable on the subject. Heal & Sons, Harrods, and the Edinburgh Weavers were amongst those who commissioned designs from him. His fabric designs evolved through a variety of styles and motifs, reflecting the artist's travels, interests, and the commissions he received, but without exception they are striking in colour and form.
Lot 451
* Religious Panels. A religious glass miniature probably 18th century, the engraved intaglio circular panel showing the crucifixion, presented in a white metal mount 6.5 cm diameter, together with two similar, one showing the lamb of god and inscribed Ecce Agnus Dei, 6.5 cm diameter, the other a cross with IHS beneath, both with white metal frame, plus a 19th century tortoiseshell veneered heart shape box, inset with two religious miniatures, 5.5 cm high x 9 cm wide QTY: (4)NOTE:Provenance: Downside Abbey, Somerset, UK.
![A 17th century cast iron panel depicting Neptune on a chariot being pulled by seahorses. Dated 1697. 'NEPTVNUS' [68.5X46CM]](https://cdn.globalauctionplatform.com/9911fece-a01f-46c6-a588-b03f00b77271/aa5d18e1-bff1-432e-a882-b03f011da27d/468x382.jpg)
![A Large 20th century blue and white panel painted planter. [29.5cm high, 45.5cm diameter]](https://cdn.globalauctionplatform.com/9911fece-a01f-46c6-a588-b03f00b77271/97de384b-f488-4ffb-93d1-b03f011814b2/468x382.jpg)
![20th century Indian Rose wood four panel screen. Detailed with brass inlays. [Each panel-180x45cm]](https://cdn.globalauctionplatform.com/9911fece-a01f-46c6-a588-b03f00b77271/2da67728-5eb0-4e8d-9dbe-b03f011a2f53/468x382.jpg)
![Large 19th century floor standing four panel screen. Leather panels- some as found [200cm high]](https://cdn.globalauctionplatform.com/9911fece-a01f-46c6-a588-b03f00b77271/23577cf3-71ea-4f59-a60f-b03f010119c9/468x382.jpg)
Lot 326
Three late 19th / early 20th century bar brooches comprising 9ct rose gold marquise brooch with cast quatrefoil and circular rope twist surround, hallmarked Birmingham 1897, length approx 4cm; a 9ct yellow gold brooch with glazed panel verso, steel pin and a 9ct bar brooch with seed pearl set letter 'B' (one pearl deficient) (3)
Lot 368
Three Pairs of Stella McCartney Shoes, comprising a pair of plum patent heeled slingbacks (size 40.5), pair of wooden platform sandals with blue patent buckle to the toes and ankle strap, pair of black wooden heeled shoes with open toes, fabric lace up panel with open heel (size 41)Pair of Miu Miu Black and White Canvas Sandals with double buckle straps and rubber mounted toes (size 40.5)(four pairs)
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360406 item(s)/page