Paramount Studios late 19th century Belle Epoque style two-piece (jacket, skirt) wool ensemble, unknown production. Late 19th century style Belle Époque two-piece costume ensemble with classic s-curve silhouette. The ensemble is composed of a jacket and skirt both a light taupe wool: the fitted jacket has a shawl collar and voluminous mutton sleeves with bobbin lace applique on the sleeves and opening, the skirt is floor-length with lace applique, and triangle pleats at the hem. On the interior collar their is written with marker, "MPCC." There are two paper tags by the interior center back seam and at the interior right panel marked, "285." The skirt is marked "MPCC," as well with an embroidered Paramount, and a paper tag marked "PAR, SP, 15727." The garment has moderate discoloration and stains, structurally the garment is in-tact. The costume features classic style traits of the Belle Époque period with an s-curve silhouette, where a women's waist was tightly corset. The era was known for it's gaiety, frivolity, and elaborate and heavily decorated hats.
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Two original costume designs by Edith Head for Olivia De Havilland in her Oscar-winning role as Jody Norris in the film production To Each His Own (Paramount 1946). A set of two mixed medium costume designs by Edith Head, illustration likely by sketch artist Walter Angelo, who was credited for the film's wardrobe. Both sketches feature a full-length female figure in 20s period costumes, one sketch features the character Jody in a three-piece 20's ensemble, a black jacket with shawl lapel, a black pencil skirt, tan blouse with embroidery detail, tan gloves, a black cloche with a feather accent, necklace and earrings, complete with black mules. There are pencil notations at the bottom of the sketch reading, "Aug-1920, Corinnes Apt 13, #13-Sept. 1924 Seq F26-33-INT. Corinnes Apt." The second illustration features Jody in a sophisticated day ensemble, a cropped bolero jacket with a fold-over collar and surface design (likely embroidery), a draped tulip high-waisted skirt with a center front slit, and embroidered detail at the pockets, a white blouse, white gloves, topped with a hat with a large bow. There are no signatures present on either sketch. Olivia de Havilland starred in this period drama playing Jody Norris, who has a baby out of wedlock with a soldier before he is sent off to fight in the First World War. The plot revolves around Jody's struggle to regain custody of her son in this heart-wrenching period drama. DIMENSIONS:SKETCHES 14.5 X 23 INCHES MOUNT 34.5 X 28 INCHES
A costume design by Edith Head for Audrey Hepburn as the title character Sabrina (Paramount 1954). A mixed medium costume design for Audrey Hepburn, likely illustrated by sketch artist Grace Sprague. The sketch features a full-length female figure in a chic charcoal-colored skirt-suit ensemble, The design is comprised of a double-breasted off-the-shoulder jacket with a shawl lapel, a mock-turtleneck top, fitted pencil skirt that narrows below the hips to below the knee. Accessorized with matching elbow-length gloves, a hat with a white veil, pointed black pumps, a top-handle bag, completed with a cigarette holder and lit cigarette. There is no signature present. This sketch was likely a preliminary sketch for the production. Audrey was asked by the film's director Billy Wyler to get a French designer wardrobe for the character's return home from her time abroad in Paris, where Sabrina trains to become a chef. Hepburn before filming made an appointment with the French couturier Hubert de Givenchy. The designer thought he was meeting with Katherine Hepburn, so he advised Audrey when she came into the salon to look at some of his previous season's patrons unaware that she was the one who made the appointment. Both laughed about the mix-up and became the most popular pairing of a designer and muse in fashion history. Givenchy was not credited for Audrey's wardrobe in Sabrina, Edith Head was credited since she was the costume designer who oversaw the production. Givenchy did receive proper credit when he designed Audrey's wardrobe for Breakfast at Tiffany's, whose looks were so iconic and timeless they still set hearts a-flutter today. DIMENSIONS:SKETCH 13.75 X 16.75 INCHES MOUNT 18 X 24.5 INCHES
18th-19th century A.D. The central spoon-shaped section, the bowl decorated with a punched floral design framed by crescents, tapering stem, two spoon-shaped shoulders with loops. Cf. the Museo Central, Banco Central de Reserva del Perú, for similar; for further insight on the use and prevalence of these objects in ancient Peruvian society see The Metropolitan Museum of Art, accession no.1987.394.546. 18.6 grams, 15 cm (6 in.). Private U.K. family collection formed in the early 1970s. The property of Mr and Mrs P.R. of East Sussex. Thence by descent to family members. For a shawl or mantel. [No Reserve]
SIDNEY KEATS COPE - a pair of slip cast pottery figures in the style of Charles Vyse, modelled as young women, one with flowers in her hair holding a bowl of flowers in her hands and wearing a yellow and green gown, the other wearing a plaid shawl over her head and holding a large swathe of flowers in her left arm, a basket over her right and with a pair of mallards at her feet, one impressed S K Cope and dated 19 ?, one signed S K Cope, 10" and 11" high (Est. plus 24% premium inc. VAT)Condition Report: Both have been fixed on to bases, one metal, one wood, but now taken off for cataloguing etc. Girl with bowl of flowers lacks quite a bit of base and rocks a little. Girl with ducks lacks a flower(?) in her right hand and tip of mallard's wing missing, both have crazing to glaze
9th-8th century B.C. The left side of a trapping for a horse pulling a chariot, comprising two hammered elements with a hinge; rectangular upper section with a loop to one end, decorated with an eagle-headed genius-demon, wearing a tunic and a fringed kilt, a shawl wrapped around the body, hanging down on the back, carrying a bucket of purifying water in his right hand and a conical pot of incense in his left hand, bracelets to arms, two rows of lotus buds above; the discoid lower section divided in two registers, each with a winged genii in combat with winged bulls; the dividing raised band with fish motifs similar to the border formed of fish; the edges of both elements with punched edges for the attachment of leather lining; Neo-Assyrian or Urartian; mounted on a custom-made display stand. Cf. Born, H., Seidl, U., Schutzwaffen aus Assyrien und Urartu, Sammlung Axel Guttmann, Mainz, 1995; Brereton, G., 'I am Ashurbanipal, king of the world, king of Assyria', catalogue of the exhibition, London, 2018, p.146, no.155; for an example of the presence of a bucket in Urartian decorative arts and a similar depiction of Assyrian eagle-headed demon, see Aruz, J., Graff S. B. and Rakic Y. (eds.), Assyria to Iberia at the Dawn of the Classical Age, New York, 2014, pp.89, 91-92 fig.2.17, cat.no.35a; for examples of the similarities between the Assyrian apkallu and Urartian spirits and deities, see two wall reliefs from Nimrud at the British Museum (inv. nos. 124561 & 102487). 3.75 kg total, 59 cm including stand (33 1/4 in.). Acquired in the 1960s.Ex private collection, Switzerland, thence by descent in 1996.Accompanied by an academic report by Dr Raffaele D'Amato.This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11780-205646. These pieces of horse armour, destined to be the lateral protection for horses, were usually fixed at the four corners of the yoke (Connolly, 1986, p.17). Sometimes these side pendants provided protection for the upper part of horse's legs. Drawings and reconstructions of an Urartian chariot compiled from archaeological evidence shows the likely positioning on the shoulder of the horse (Gorelik, 1995, p.4). They served to protect the horse and also as symbols of divine protection. Similar pieces are visible on Assyrian reliefs (Born-Seidl, 1995, figs.53-54, relief from Nimrod; 62, from Assur; Curtis, 2013, pl.LXXV; Dezs?, 2012, pl.12-13).
Large Chinese cream silk shawl with cream embroidery. Small selection of silk scarves including Jim Thompson, Hardy Amies, Peter Jones. Black mock croc handbag plus some covered coat hangers.This shawl is in fair condition with small marks, stains and some holes. Additional photographs now online. The fringe is 25 cms approximately, shawl is 75 x 75 cms approximately.
Rare glaze finish earthenware figure modeled as a flower girl seated, wearing a plaid shawl selling colorful flowers.C. Vyse Chelsea impressed to right side of base. Issued: 1928Dimensions: 5.5"L x 3.75"W x 8.5"HManufacturer: Charles Vyse PotteryCountry of Origin: EnglandProvenance: Collection of Edward Flower Condition: Age related wear.
HARRINGTON MANN (1864-1937),. PORTRAIT OF A LADY STANDING, A WHITE LACE SHAWL OVER THE SHOULDERS OF HER BLACK DRESS, OIL ON CANVAS, SIGNED LOWER LEFT AND DATED 1900. 197 x 89cms. Condition of lots is NOT referred to in the lot descriptions.The absence of a condition report does NOT indicate that the lot if free from damage.Detailed condition reports and additional images are available on all lots upon request, please use the “ask a question” button against the lot you have an interest in. We strongly advise that unless you are able to view the lots in person that you request all of the details you feel may be pertinent to your intention to bid.
Lilie Langtry (1853-1929) 'The Jersey Lily'. A late Victorian cream silk embroidered shawl formerly belonging to Lillie Langtry with floral embroidered decoration and tassel fringe.Note - Emille Charlotte Le Breton (Lillie Langtry) was born in St. Saviour Jersey in 1853. Upon marrying, she moved to London in 1876 and became a darling of British Social society, being painted by many Aesthetic movement artists, she became the poster girl for Pear's Soap. In 1881 she made her debut on stage in 'She Stoops to Conquer' and continued a successful stage career.
A Woman of Mystery is a large hand-embellished giclee on canvas by Contemporary Realist artist Pino. A woman dressed in a sleeveless white dress sits on a sofa where a peach color shawl falls by her side. Pino used precision for her features and sweeping brushstroke with areas of thick impasto, washes, and drips to enliven this Realist full-length portrait. Signature in pigment of lower left: Pino. From the numbered edition of 195. Housed in an elaborate gilded and black frame with off-white mat and black border. Sight size: 33.50"L x 33.50"H. Frame size: 44.50"L x 44.50"H x 2.50"W. Certificate of Authenticity included. Artist: Pino (Giuseppe Dangelico)Issued: 2009Country of Origin: ItalyCondition: Age related wear.
Imposing bronze cast sculpture with patinated areas that depicts a seated woman with braided hair and a wrapped shawl in a style borrowed from Francisco Zuniga's series of women seated on the ground.This large sculpture inscribed Zuniga, numbered II/X and dated 1975 on the lower left side in the back remains an artwork based on an original by Zuniga. Issued: c. 20th centuryDimensions: 15.25"L x 16"W x 18"HCondition: Age related wear.
Early 20th Century Dresses and Coats, comprising a floral short sleeved day dress, with a scalloped neckline and waist, blue and pink floral day dress with elbow length sleeves, heart shaped neckline and fabric ties to the waist, another on a pale pink ground decorated with dancing figures and flowers, short sleeves, three bows to the bodice, a purple floral long sleeved dress with scooped neckline, shawl type collar with ruffle trim, gathered details also to the hem, S Gould Liverpool navy blue wool coat with long sleeves, double button fastening and pockets to the front, navy blue long sleeved coat with stylised quilted flower heads to the front, back and cuffs,(6)Floral short sleeved day dress - 36" bust, 30" waist, small hole to the shoulder seam, some small areas of wear to the back of the neck, belt missing, slight discolouration and part of the seam open under one arm.Blue and Pink floral dress - 36" bust, 34" waist, slight staining under both arms, loose seams to one underarm and stitched repairs to the other, fading and some discolouration around the collar.Dancing figures on pink dress - 36" bust, 28" waist, staining under both arms and discolouration overall, especially to the shoulders and back of the dress, original zip opening has been stitched up.Purple long sleeve dress - 30" bust, 28" waist, later belt loops, no belt, staining to the underarms and to both sleeves, and hem, slight wear overall.S Gould navy coat - 33" bust, 34" waist, some fading and wear to the lining and to the wool, especialy the shoulders.Navy blue coat with floral quilting - 33" bust, 34" waist, some fading and wear to the lining and to the wool especialy the shoulders
Circa 1950s and Later Evening Wear, comprising a Frank Usher full length blue and black floral brocade evening dress with full skirt, detail to the hips, v-neckline (labelled size 34), Romney Model gold and peach striped full length evening dress with spaghetti straps, waist ties to the reverse, a pink chiffon type mounted evening dress decorated with tiny gold stars, sweet heart neckline and shawl style shoulder straps, a pale pink halter neck dress with ruched panel to the front and wriggle work embroidery overall,Christian Dior Paris black grosgrain long sleeved evening coat, with collar, button fastening and large patch pockets, (5)Frank Usher dress - shoulder straps have been repaired, couple of marks towards the hem slight wear, 30" bust and 24" waist.Romney Model dress - some slight rubbing and wear overall, 34" bust, 34" waist.Pink chiffon dress - 30" bust, 24" waist, slight wear.Pink halter neck dress - 28" bust, 24" waist, some discolouration and slight wear.Christian Dior coat - slight fading around the collar, 42" bust, some general rubbing and wear.
Early Eastern European and Ottoman Costume Accessories comprising a woven head piece with multi pleated semi circular mount to the front, decorated with woven and beaded trims, on a black velvet padded band,a cotton cap with gilt metal thread embroidery,Japanese blue silk embroidered Obi and another,a pair of leather sandals with green wool embroidery and impressed decoration, another pair, a pair of red felt slippers with cream silk embroidery, a pair of white woven cotton flat shoes,a golden lame and orange silk embroidered modesty panel, a bead work pelmet/trim,a cream silk shawl with floral woven trim, and another with tassel fringing to three sides,(one box)
Circa 1865 Paisley Shawl, woven in wool with a black square to the centre, 180cm by 183cm,and a Circa 1870 Paisley Shawl woven in wool, with a black centre bearing a woven signature, 160cm by 330cm,(2)Shawl with black centre - hole/split near to the edge, and some small holes to the black centre. slight wear overall.2nd paisley - small holes around the black centre, stitched repairs to the ends. slight wear overall.
Modern Ladies Costume comprising four items of Voyage including a long sleeved silk mix top with scooped neckline printed with seated monkeys in a jungle landscape, bright pink piping, bead appliqués (size M), Voyage Passion red silk loose fitting trousers with Chinese brocade style waistband, drawstring waist (size 12), mauve body-con one shoulder dress with sheer circular panels overall, printed with black and ochre designs, blue chambray full length long sleeve dress with shawl neckline, single button fastening, cuffs trimmed with ochre velvet,Prada black satin pleated skirt (size 44), D&G sheer long sleeved chiffon blouse in black and leaf print, pussy bow neck tie (size XS),Stella McCartney sheer strappy top with metallic print and gilt beads, Etro silk mini skirt (size 44), Phool navy beaded evening dress (size S), other items including Ghost, Soft Core, Antoni and Alison, Laura Ashley,pair of Gucci Gold Platform Heels with ankle straps (size 37.5),
Circa 1950s and Later Cotton Printed Day Dresses, comprising a Peggy Page sleeveless dress printed with classical architecture and purple/pink flowers, Dalewear blue floral sleeveless dress with deep shawl collar and bow detail, pleated skirt,Blanes orange and green geometric patterned short sleeve dress, with collar and buttons to the bust, pleated detail to the back, Kenrose Ireland yellow striped and floral short sleeve dress, collar, buttons to the bodice and pleated skirt, Victor Josselyn grey, blue and yellow floral sleeveless dress,three sleeveless cotton dresses in floral and geometric designs, four short sleeved dresses in floral cottons, (12)Peggy Page dress - stitched repairs under both arms and a patch, belt missing, 36" bust, 28" waist, slight fading and wear.Dalewear dress - missing belt, slight wear, 36" bust, 30" waist.Blanes dress - belt missing, small part open seam under one arm, and slight wear.Kenrose Ireland dress - belt missing, slight wear, 36" bust, 30" waist.Victor Josselyn dress - 36"b, 26"w, slight wear.Three sleeveless dresses - one with belt missing, slight wear to all, sizes approx 36" bust by 30" waist.Four short sleeved dresses - three with belts missing, two with patch pockets, sizes approx 36" bust, 30" waist, slight wear.
Circa 1930s and Later Long Evening Dresses, comprising a floral satin short sleeve dress with shaped neckline, zig zag shaped waist band to the front, gathered skirt fabric and fabric ties to the waist, another with short sleeves in a floral print with v-neckline, pleated skirt and waist tie, a pink and mauve floral printed satin sleeveless dress with sweetheart neckline, shoulder straps, zig zag shaped waistband, a similar style in green satin with pleated shoulder straps and panelled skirt, a blue and peach floral silk dress with spaghetti straps and full panelled skirt,a red and cream dress printed with large flower heads, shawl style mount to the shoulders, a purple and pink floral dress with a gathered and piped bodice, (7)Floral satin dress - 34" bust, 30" waist, staining to the covered buttons, slight disoclouration to the collar and slight wear overall.V-neck floral dress - 36" bust, 30" waist, slight discolouration to the back and slight wear overall.Pink and mauve dress - 40" bust, 34" waist, slight discolouration under the arms, shoulder straps re-stitched, slight wear.Green satin dress - 32" bust, 25" waist, slight rubbing to the fabric and slight wear overall.Blue and peach dress - 32" bust, 26" waist, replacement blue velvet straps, very slight staining around the arms, and rubbing and wear to the silk.Red and cream dress - 34" bust, 28" waist, some discolouration to the skirt and under the arms, general wear.Purple and pink dress - 34" bust, 26" waist, slight discolouration in areas, seam is loose to the zip, repairs to the waist band, slight wear.
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16568 item(s)/page