A Chinese famille rose 'silver pheasant' cup and saucer, Yongzheng -- Dia.: 11,4 - 7,1 cm (the cup and saucer)Ê H 3,5 cm (the cup)Ê Literature:Ê George C. Williamson, The Book of Famille Rose, 1985, Torrington, pp. 68-69, pl. XXV.Ê -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
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A Chinese famille rose 'Flora and Zephyr' cup and saucer, Qianlong -- Dia.: 13,9 - 9 cm (the saucer and the cup)Ê H 6,1 cm (the cup) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Chinese famille rose cup and saucer after Cornelis Pronk, Qianlong -- Dia.: 11 cmÊ H 3,8 - Dia.: 7 cm (the cup)Ê References:Ê Christie's, New York, Jan. 23 2008, The Hodroff Collection, Lot 256, for a similar set. (link) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
Two Chinese famille rose 'European hunting scene' cups and a saucer, Qianlong -- Dia.: 11,6 cm (the saucer)Ê H 6,5 - 4 cm - Dia.: 6,9 - 5,9 cm -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A pair of Chinese famille rose export porcelain 'Cherry Pickers' plates, Qianlong -- Dia.: 23,4 - 23,3 cmÊ Compare:Ê A similar plate was sold at Christie's, New York, Sale 1958, Jan. 23, 2008, The Hodroff Collection, Lot 347 (link). -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Louis Hayward suit from The Man in the Iron MaskUnited Artists, 1939. Designed by William Bridgehouse. Two-piece costume comprising a charcoal gray long-sleeved collarless tunic with a lace-up front and a peplum-style waist, accompanied by a pair of matching knickers with lace-up closures at each hip, both bearing interior 'Western Costume Co.' labels, with the tunic inscribed, 'Louis Hayward / 23688' and the knickers inscribed, 'Louis Hayward / 23644,' both with 'Western Costume Co.' interior stamps and modern barcodes. This film was atypical for director James Whale, whose penchant for the macabre was a far cry from this adventure yarn which features Hayward in a dual role as twins who are separated at birth, one of which is unaware that he is of royal blood and is being raised by Musketeers. Accompanied by a photo of Hayward wearing the costume.
An Edward G. Robinson jacket from Silver DollarWarner Bros., 1931. Black double-breasted cutaway coat with forest green trim, size 42, bearing an interior black-lettered 'Western Costume Co. / Los Angeles' label inscribed, 'Ed Robinson' and a 'Western Costume Co.' stamp and label in the arm lining. Robinson plays Yates Martin in this rags-to-riches tale which costars Bebe Daniels and Aline MacMahon. Accompanied by a photo of Robinson wearing the suit in the film and a DVD of the film.
A Paul Henreid jacket from CasablancaWarner Bros., 1942. Light tweed suit coat with a chest pocket and two side pockets, bearing an interior green-lettered 'Warner Bros. Pictures' label inscribed, '3-25-42,' with a line on the label crossed out with black marker, with 'W-B' handwritten in black marker above the label, and modern 'TBS Wardrobe' stamp to inside sleeve. Paul Henreid did not want the role of Victor Laszlo, as he had just come off a wave of successful leading roles, particularly in Now Voyager (1942) with Bette Davis. He felt the less-important role of Victor was a step down. The Viennese actor finally agreed to appear in the picture provided he was given more screen time and co-star billing with Ingrid Bergman and Humphrey Bogart. The jacket is worn by Henreid at the end of the film at Rick's Cafe and then at the airport as he and Bergman say goodbye to Bogart and board the plane to freedom. Accompanied by a photo of Henreid wearing the coat.
Creature From the Black LagoonUniversal Pictures, 1954. A complete set of 8 U.S. lobby cards. Considered one of Universal's classic monsters, the Gill Man from this archetypal science fiction tale was so popular with the public that 2 more films were subsequently made. Julia Adams, Richard Carlson, Antonio Moreno, and Richard Denning star as a group of scientists who cross paths with a human-like amphibian who becomes deadly when faced with aggression. The monster suit was a marvel of construction with contributions from animators, makeup artists, and several others. The beautifully photographed underwater sequences were innovative and impressive, with two actors playing the Gill Man for both land and water scenes. Accompanied by a signed photo of Ben Chapman, who played the Gill Man on land. Provenance: the estate of Wes Shank. 11 x 14 in.
A pair of screen-worn black gloves from Star Wars: Episode IV–A New Hope, worn by Kermit Eller as Darth Vader in personal appearancesLucasfilm, 1977. Black leather gauntlet-style mid-length gloves with a stitched stripe quilted pattern that ends at the knuckle. Worn in the film and subsequently used by Eller from 1977-79 in appearances as Darth Vader; retained by him with permission when the old Vader suit was switched out for the new. With vintage photographs by Bill Malone of Eller in the original suit. In a simpler time when a film costume was not the valuable commodity that it is today, Bryce 'Kermit' Eller wore the original–and only–Darth Vader costume from the film to public appearances all over the country. His appearances as Darth Vader were not limited to charity events and shopping malls, however. As Vader, Eller stuck his boots in wet cement at Grauman's Chinese Theatre, was a presenter at the 1978 Academy Awards® (posing for photographs with Natalie Wood), posed for a best-selling poster, and performed with Paul Lynde in a Star Wars musical parody on The Donny and Marie Show, all while wearing the original suit and gloves that were used in the film. 7 x 13 in.
A Mitzi Gaynor sailor costume worn on stage, designed by Robert CarltonOne-piece cream-colored oversized sailor suit consisting of a sleeveless jumpsuit underlayer with tiered leg bottoms, attached by a zipper to a long-sleeved sailor top adorned with a long black tie. Ingeniously constructed and giving the illusion of being a 2-piece outfit, this costume was fashioned after the signature costume worn by Mitzi in South Pacific (1958) and was worn in her stage performances between 1961 and 1965. Forever associated with her Golden Globe®-nominated role as Ensign Nellie Forbush, Mitzi utilized the memorable Rodgers and Hammerstein songs from the film in her stage act. Accompanied by 2 photos and 2 souvenir vintage oversized postcards for Mitzi's Harrah's Tahoe performances in which she is wearing the costume.
A Mitzi Gaynor top hat and tails designed by Bob MackieRed leotard designed to look like a tuxedo including a faux tuxedo shirt decorated with a single rhinestone stud and a red bow tie, accompanied by a red tuxedo jacket with red bugle-beaded lapels (lacking top hat). Mitzi donned this ensemble in her 1983 stage show tour. Mitzi's love for performing live on stage has never diminished and she has entertained in this fashion for decades; she is known as the 'performers' performer' and to this day says that she feels most alive when entertaining a live audience. Accompanied by 2 publicity photos of Mitzi wearing the suit.
Original handwritten lyrics of Elton John's 'Bennie and the Jets'TAUPIN, BERNIE. Autograph Manuscript Initialed ('BJT'), 3 pp, 4to, [Chateau D'Hérouville, France], January 5, 1973, written in red felt-tip marker on typing paper, very mild toning, lower right corner of page 2 creased. With 'Bennie and the Jets' sheet music.Provenance: Collection of Maxine Taupin.'Bennie and the Jets' was the third single from the Goodbye Yellow Brick Road album, one that Elton John was reluctant to release because he feared it was too strange for the airways. A bit of a satire of the rock and roll industry, the song is written in the voice of a fan of the make-believe glam rock band, Bennie and the Jets. In a Rolling Stone interview, Taupin said, 'I saw Bennie and the Jets as a sort of proto-sci-fi punk band, fronted by an androgynous woman, who looks like something out of a Helmut Newton photograph.' This draft includes a second stanza about Candy and Ronnee thumbing a ride to the show that did not make it into the final song.I wish to now if you can shake it looseBennie and the JetsHey kids, shake it loose togetherthe spotlights hitting somethingthats been nown to change the weatherand we'll kill the fatted calf tonight so everbody you should stick aroundYour going to hear electric music Solid walls of sound.And there so wierd, Benny and the Jetsmusic mutationsSay Candy and Ronee have you seen them yetWow but there so spaced out Benny and the JetsAnd there so weird and wonderfuloh Bennie she's really keenShe got electric boots and a mohair suitI know it; I read it in a magazineDee da daCandy and Ronnee both thumbed down a Cadillacinquired if the driver could take them aways Maryhe was happy to help them but felt from there presencethere was something incredibly wrongand inside his head he heard a voice speakWhy not try to tune in the family faithlessthey'll never turn a blind eye some daythey won't be blindedHey kids, plug into the faithlessmaybe there blindedbut Bennie can make you seem agelessAnd music mutations, we shall survivelets bring take ourselves alongplay for the people under youWhere we fight our parents out in the streetsto prove whose right and whos wrong
A quantity of Lead Soldiers comprising 20 riflemen on ground, 21 soldiers with rifles slung on backs, three observers with binoculars, two seated with binoculars, five soldiers marching, five with rifles at their side, one in boxing stance, one standing, one officer in cap standing, five with arms at sides, three kneeling with gas masks, two crouched with gas masks, one in snow camouflage suit, four in brown uniform with right arms aloft, one in brown, 15 with rifles over left shoulders, two horse mounted soldiers, four German grenade throwers, five German riflemen on their right knees, two German with right hand aloft, one officer in cap standing, one officer with baton under left arm, two of troops in caps marching, one soldier seated, one machine gun (damaged), one with arms at side and one driver in khaki (seated).
Designer items to include; a black fine wool suit by Calvin Klein, size 10 (US 6) with a blue silk lining, metal buttons (as new); an Italian pure wool black jacket by Innacenti along with a ribbed skirt with white button detail on the jacket, size 10/12 by Givenchy; a designer suit, size 12, black ribbed wool, by Gianfranco Ferre, Italian, with a silk camisole and a straight ribbed skirt (3)
A vintage Bobby's Square box with a crinoline ladies design, containing a child's blue romper suit, a babies pink floral dress, a child's lemon yellow dress, a pink 1930's cotton dress, a knitted Matinee jacket, a black velvet hat and matching black dress (damaged) and pantaloons and jacket to match etc (1)
BUSTER KEATON (1895 - 1966) AUTOGRAPHED BLACK & WHITE PHOTO CARD the actor late in life wearing boater hat and suit, signed 'To Rose, Buster Keaton', 14 x 9cms Provenance: The Late John Williams, Swansea based antique dealer Auctioneer's Note: the autographs are being offered to auction in good faith and the provenance is, in our opinion, impeccable however the authenticity / originality of each signature cannot be guaranteed by the auctioneers or vendor, neither can we guarantee that every signature listed on the vendor's list is accurate
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910.Photograph Initialed ('SLC') and inscribed 'Oh, I could, couldn't, couldn't get a count out of this arrangement!' [month illegible] 7, 1908, gelatin silver print, approximately 11 x 14 inches, tipped to board and matted, depicting Clemens standing at his billiard table, inscription somewhat faint, two words traced over, a few stray marks.Clemens, dapper in his trademark white three-piece suit, studies the three balls on the billiard table, two long rows of books are visible on the shelf behind him. Clemens became obsessed with billiards late in his life when he received a table as a gift before his 71st birthday.
MANET EDOUARD: (1832-1883) French Painter. A.L.S., Ed. Manet, one page, 8vo, n.p., n.d., to a friend, in French. The artist informs his correspondent that between 9 and 11 will suit him perfectly, although adds 'but let us wait a little for the weather to pick up', and concludes 'Come and see me whenever you wish. I am at home all day and we'll have a session'. Some very light, extremely minor foxing and age wear, VG
A VICTORIAN SILVER MOUNTED SCENT BOTTLE AND OTHER COLLECTABLES the cylindrical scent bottle engraved with flowers, birds and leaves in Japanese style and with a hinged cover, mark of Sampson Mordan, London 1880, 5.5cm high (2 ¼ in); together with a German silver vesta/match case embossed with swirling flowers; a plated 'Book form' combined stamp-box and vesta case; a George VI silver jubilee commemorative 'coin' dish inset with a 1935 crown, mark of William Comyns and Sons Ltd (Richard Comyns), London 1935, 6.5cm diameter (2 ½ in); and a baby's EPNS rattle in the form of a boy in an egg suit, combined with a silver manicure implement handle adapted as a rattle
A rare pair of 20th Century Masonic leaded stained glass window panels being set to white wooden frames. One panel reading Ingenuity depicting a man in suit holding a building with Freemasons symbols and the other reading Prosperity depicting a lady in dress holding a bountiful basket of fruit. Purported to be from a local Masonic lodge. Glass measures 100cm x 30cm.
STONE (REYNOLDS)CLARK (KENNETH) The Other Side of the Alde, LIMITED TO 125 COPIES, PRESENTATION COPY INSCRIBED BY STONE TO JOHN CARTER 'Easter 68. the gift of Reynolds Stone' on front free endpaper, with additional note loosely inserted, publisher's wrappers, [Martino Mardersteig of the Stamperia Valdonega, Verona] for Litton Cheney Press, 1968--THOMAS (R.S.) The Mountains, ONE OF 110 COPIES SIGNED BY THE AUTHOR, ARTIST AND ENGRAVER, with an extra set of engravings (tipped-in as issued), from an overall edition of 350, 10 woodcut plates engraved by Stone after John Piper, publisher's half morocco, slipcase, New York, Chilmark Press, [1968]; idem, another copy, NUMBER 102 OF 240 COPIES, 10 woodcut plates, prospectus loosely inserted, publisher's cloth, slipcase [1968]--MURDOCH (IRIS) A Year of Birds. Poems, 2 vol., NUMBER 50 OF 50 COPIES, signed by author and illustrator Reynolds Stone, 12 plates, extra suit of plates, each initialled by Stone, loose in window-mounts within solander box, together in slipcase, Tisbury, Compton Press, 1978--HODGSON (RALPH) The Skylark, NUMBER 234 OF 350 COPIES, signed, publisher's cloth, Colin Fenton, 1958--Boxwood. 24 Engravings by Reynolds Stone, NUMBER 22 OF 75 COPIES, 24 woodcut illustrations on Japanese Hosho paper, each window-mounted, loose in publisher's solander box, Warren Editions, [1982]--HUDSON (W.H.) A Shepherd's Life, NUMBER 95 OF 100 COPIES, 10 wood-engraved illustrations by Stone, additional suite of 10 tipped-in proof plates, each signed and numbered in pencil, publisher's half morocco, slipcase, Tisbury, Compton Press, 1977, 8vo and small 4to: and 11 others, Reynolds Stone interest (18)This lot is subject to the following lot symbols: •
A vintage ladies' blue wool suit, a vintage Henderson's of Liverpool box containing an Edwardian children's white fur cape, a red vanity case, a green and brown vanity case and a small brown shoulder case with a Cunard Line label for the ship Sylvania, sailing June 18th 1965 from New York to Liverpool.
A LATE 20th CENTURY FULL-SIZED CARLOS V OF SPAIN EMBOSSED SUIT OF ARMOUR, hand crafted in steel and iron, the breast plate heavily embossed with lion mask to centre. Embossed lion mask to helm, pauldrons deltoid, couter and poleyn. Fleur de lis embossed detail to couter and fan plates .Etched floral engravings to pauldron side guards,gauntlets upper,visor,gorget and greeves, King Carlos head effigy and floral engravings surmount to side tassets. Armour standing upright on a wooden plinth with red gown, ostrich feathers to helmet and holding Arthurian sword, H 200 cm
A Shirin Guild burnt orange linen freeform jacket and trouser suit, the jacket in a size S, the trousers in a size M, together with an Ombre di Seta blue linen dress Shirin Guild clothes are at the top-end of the designer ready-to-wear market. While most garments are manufactured entirely in Britain, the label has found acclaim worldwide. The style is portrayed in the same context as that of Issey Miyake and Yohji Yamamoto.
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19303 item(s)/page