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Click here to subscribeLIBERTY; a large Glossop design fine wool paisley square scarf with two fringe sides, a Raey 100% cashmere pink long scarf with fringed ends, a Set 100% cotton pink scarf with stars and an N.Peal long grey 100% cashmere wool scarf (4). Additional InformationAll four scarves are in good condition with no signs of wear.
UNMADE; a grey 100% wool long scarf shot with gold trim to the edge, with fringed edges, a red pashmina and silk long scarf with fringing to two sides, a 100% cashmere red and orange scarf and a red herring bone long scarf with fringed edges (4). Additional InformationThe grey scarf has a hole to one end.
LORO PIANA; a yellow 100% flax long scarf with fringed ends, an Eileen Fisher white, gold and cream 100% cotton scarf, an Eileen Fisher bright yellow scarf with pompoms to two sides and a gold coloured 100% cashmere long scarf (4). Additional InformationAll scarves are in a good condition, although the gold coloured scarf has a small stain to the centre on one side.
BERGDORF GOODMAN; a 100% wool woven scarf with fringe ends and a Donna Karan signature 100% cashmere brown woven large rectangular scarf with fringed ends (2).Additional InformationBoth scarves are in very good condition, the grey one has no signs of use, the brown scarf has a few small snags in the cloth but otherwise in very good clean condition.
GIORDAMO; a 100% silk green, white and navy vintage scarf, a silk square depicting scenes of Buckingham Palace and London sights, and ten further mixed mostly silk vintage scarves, two of the scarves are large 90 x 90cm silk multi-coloured square with rolled edges (12).Additional InformationAll of the scarves are in good vintage condition, one of the square has some staining (perfume bottles), but otherwise all are in good condition.
HERMES; a 100% silk red and multi-coloured scarf depicting 'Splendeurs des Maharajas', designed originally by Catherine Baschet in 1996, the scarf bordered in red with a handrolled stitched hem, signed, with original 'Made in France' label to corner, 90 x 90cm, in original authentic Hermes box.Additional InformationThe scarf is in excellent unused condition with no staining, snags or pulls to the silk and the colours are vibrant as if they were original.
HERMÈS; a 100% silk 'Tout Cuir (All Leather)' scarf, signed by Cathy Latham, 2002, edged with a blue border and coloured brown, red and blue and marked 'Hermès', 90 x 90cm.Additional InformationThe scarf is in excellent, unused condition, with no pulls to the silk or any snags to the outside edge.
HERMÈS; a 100% silk 'Terres Precieuses' scarf designed by Annie Faivre, 2002, depicting gems and jewellery from different cultutres, with a balck border in red, orange and gold, signed 'Hermès', 90 x 90cm.Additional InformationThe scarf is in an excellent, unused condition, with no staining or snagging to the silk.
TWO JAPANESE MEIJI PERIOD IVORY OKIMONO, carved as a carpenter at work and the other a street food vendor, both inset with red signature plaques to the bases, heights 8cm and 6.5cm respectively, both with a hardwood stand (4) (Condition report: carpenter has a broken section of mallet taped to the wheel, head wobbles slightly, small chip to the back of the head scarf ties, the cylindrical jar at the front has several splits, the food vendor has two small pegged in sections which wobble in the joint, both have light yellowing to the backs)
A LATE VICTORIAN GOLD, DIAMOND AND RUBY SCARF CLIP, of buckle design, set with an old cut diamond and a circular and oval cut ruby, with safety chain attached, length 26mm, approximate weight 4.5 grams (condition report: overall good condition, general light wear, the rubies have some minor nibbles, the scarf clip doesn't open it has been soldered together)
A German Prisoner of War letter, dated 21 November 1917, and a 1939 German Cross, missing its loopTranslationTranslation of letter, written in German, from Grenadier (Otto?) Schmidt, detained in an English prisoner of war camp, to his brother Willi Schmidt in Baden, Germany.Dear Brother, Thank you for your letter, which I received on the 9th of September. Thanks also to Messrs P. for their greetings and best wishes, I send them the same. I am well. It is all going fine here, you may rest easy in the certain knowledge that very few diseases occur (today, for example, only one out of 150 men is actually ill). The weather is pleasant, and until today it had been mostly hot and mild. Our treatment by our English guards is, so far, quite good. I have absolutely no cause for complaint, so be reassured in this area as well.On the 16th of November, I received Elsa’s parcel, with a scarf, vest, shoes, soles, cheese, sugar, peppermint, jam, peaches, and bouillon cubes, for which I send thanks. The potatoes you sent tasted excellent; they have grown very well this year. I am still waiting for any spare shoe brushes to clean and grease, as well as washing brushes, small hand mirrors, a new calendar, a lead pencil with a cap, needles, safety needles, and white and grey thread. Please write more often. I send friendly greetings to Mrs Kangelsdorf, and to Kurt and all our acquaintances and relatives.Heartfelt greetings and best wishes for everyone, (signature)
A BLACK COTTON HITLER YOUTH SCARF (Neckerchief) & BROWN LEATHER KNOT,(woggle), bring back souvenirs after WWII, together with a nice Hitler Jugend enamel badge, correctly marked to reverse with circular RZM logo and M1/159 indicating the maker to be Hans Dopplar, Vienna, Austria, very minor damage to the enamel, but very nice condition
Brian Shields 'Braaq' FBA (1951-1997) - standing elderly gentleman holding a walking stick in his right hand wearing a brown coat, hat and white scarf; together with a smaller example depicting a gentleman and a small child, both signed Braaq, oils on board, 7.5" x 5.5" and 6.5"x 5" respectively (2)-** These are early examples by the Liverpool born Brian Shields as neither is inscribed with his deceased sister's name Ann-** The artist was born in Liverpool and is best known for his painting of industrial scenes of Northern Britain. He acquired the nickname 'Braaq' in his school days on account of his artistic talent, he was named after the French artist Georges Braque. The artist's first exhibition was held in 1974. -** Provenance - ex. collection the artist's southern based picture agent who lived in Surrey and ran The King street Galleries, St. James's, London in the early and mid 1970s
William Orpen, RA, RI, RHA (1878-1931) "Portrait of the Artist's Wife, Grace Knewstub,1912," O.O.C., 58 x 36cms (23" x 14"). Signed and dated 'Orpen Dublin 1912' Depicting the head and shoulders of a young woman?almost certainly the artist's wife Grace Knewstub this portrait by William Orpen, painted in Dublin in 1912, dates from a time when significant events were taking place in their lives together. While the head is well-finished, Orpen blocked out the area of the dress with broad brushstrokes of brown and black, evidently with the intention of finishing the portrait at a later date. However Grace?s eyes are downcast, and she appears to have been a reluctant sitter. Her hair is not combed, nor is she wearing the fashionable clothes and jewellery that adorned so many of Orpen's sitters. Nonetheless, the portrait shows the artist's brilliance in capturing not only a likeness, but also a sense of life, a gift he shared with his contemporary Augustus John. This is no formulaic society portrait; Grace is instantly recognisable as an individual, with a strong personality. That the painting remained unfinished is no surprise. That same year Orpen painted one of his finest society portraits, that of his long-term lover, the wealthy American Mrs. Evelyn St. George. In January of that year St. George had given birth to their child, Vivien. This would have caused scandal in the middle-class Dublin milieu in which Orpen had grown up, and immense upset to his wife Grace, with whom he had two children. The ramifications would have spread to England, where Grace?s sister was married to the artist William Rothenstein. Also dating from 1912 are Orpen's Portrait of Gardenia with a Riding Whip, depicting the teenage daughter of Evelyn St. George, and several portraits of another American, Vera Brewster, who had married the Irish writer Joseph Hone and lived next door to the Orpens. The artist was clearly fascinated by Vera, who sat for him on several occasions that year: in The Angler, she holds a fishing rod, while in The Blue Hat, she is wearing fashionable headgear. In 1912 also, his portrait of Vera, The Chinese Shawl, was exhibited at the New English Art Club and later purchased by the National Gallery of Victoria in Melbourne. Other portraits from that summer include Portrait of Kit, his daughter, a cheerful young girl sitting with her arms folded and wearing a white knitted hat and scarf. Nevertheless, amidst all these coquettish poses, arch expressions and fashionable accessories, the portrait of his wife Grace stands out for its down-to-earth directness and honesty. Born in Stillorgan, Co. Dublin, William Orpen was the son of a solicitor, while his mother Anne was the eldest daughter of the Rev. Charles Caulfeild, Bishop of Nassau. After attending the Metropolitan School of Art, he went on to the Slade School of Art in London, winning the composition prize of 1899 with The Play Scene from Hamlet (Houghton Hall, Norfolk). From the outset, Orpen eschewed experimentation and flirtations with Modernism. He revered seventeenth-century painters such as Rembrandt, Velasquez and Chardin, and sought to emulate their Realist style. In terms of his own peers, he admired the work of Augustus John, and joined the New English Art Club. His Homage to Manet depicts members of the NEAC, sitting below Manet?s portrait of Eva Gonzalès. In 1902, in cooperation with John, he opened an art school in Chelsea and also began to teach at the Metropolitan School in Dublin, a position he held until 1914. He was a friend of the collector Hugh Lane, with whom he travelled to Paris and Madrid in 1905. Three years later he began to exhibit regularly at the Royal Academy in London. Elected a member of the Royal Hibernian Academy, he rapidly became one of the most successful portrait painters in London and Dublin, being overwhelmed with commissions. Many of Orpen's portraits are painted in his characteristic bravura style, and yet he seems to have grown to dislike the elite social circles in which he moved. On the outbreak of World War I, he was appointed an Official War Artist and was given the rank of Major in the British Army. Some of his best paintings were done as a war artist, and his images of the Somme, of injured soldiers and ruined cities, remain today amongst the most powerful works of art depicting that conflict, while his portraits of key negotiators at the Treaty of Versailles are a valuable record, reflecting also his privately-held views on the politics of the time. After the war ended in 1918, Open resumed his successful portrait practice. Although he did not return to Ireland after 1915, his artistic legacy at the Metropolitan School of Art continued for many years. Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin. Dr. Peter Murray, 2022
A modern musical cabinet jewellery box, silver and costume jewellery, a 9 carat yellow gold tie stud, a pair of small emerald and diamond earstuds, two powder compacts.; Guinness cufflinks; Pierre Cardin five pair earring caddy; gold-plated cased pen and cufflink set, costume jewellery necklaces, brooches, scarf clips.
A pair of Meissen bouquetiere figures, circa 1765, modelled by J.J. Kändler, holding oval two-handled baskets, the tops pierced for flowers, he in green cap and turquoise breeches, she in black scarf, pink bodice and purple skirt, his jacket and her apron with indianische Blumen 20cm high Provenance: Sale; Christie's London, The Jorg Nelte Collection of Meissen Porcelain, 1995, lot 23Condition report: One of the handles to her basket has been restored, possible restoration to one of her feet. The flower in his hat has been restoredSlight wear to gilding
Mikimoto ruby and diamond pearl enhancer, openwork design in the style of a scarf, set with round cut rubies and round brilliant cut diamonds, in yellow gold stamped 18 ct, estimated total diamond weight 0.41 carat, length 4cmCondition Report: Gross weight 10.6 gramsGood condition, minor surface scratches
Ten Beatrix Potter figures, comprising: Pickles, model No. 2334, 12cm high, Pigling Bland (first variation: deep maroon jacket), model No. 1365/1, 10.5cm high, Jemima Puddleduck (first version: small size; first variation: gloss finish, yellow scarf clip), model No. 1092/1, 11cm high, Amiable Guinea Pig (style one), model No. 2061, 10.5cm high, Aunt Pettitoes, model No. 2276, 9.5cm high, Tommy Brock (first version: spade handle out; first variation: variable size eye patch), model No. 1348/1, 9cm high, Mr Jeremy Fisher (first version: small size; first variation: spotted legs), model No. 1157/1, 7.5cm high, Foxy Whiskered Gentleman (first version: small; first variation: gloss finish), model No. 1277/1, 13cm high, Mrs Tiggy-Winkle (first version: small size; second variation: gloss finish, plaid), model No. 1107/2, 8.5cm high, and Little Pig Robinson (first variation: blue striped dress), model No. 1104/1, 10cm high, all with BP-2a back stamp (10)
English School, early 17th centuryPortrait of Dudley North, 3rd Baron North, attired for an Accession Day Tilt with a favour, traditionally bestowed by the Queen, tied around his left arm, c.1595-1600inscribed 'A Scarf put on by Q Elizabeth after Tournament' c.r., oil on canvas218 x 134cm, unframedLiterature: Roy Strong, ‘The Elizabethan Image’, page 131-132, figure 131.Condition report: The canvas has been lined. The canvas has been extended on all four sides. there is a tear at the upper right quadrant. the canvas tension has undulations across the surface. The original paint layers are very worn with extensive losses. Historic losses have been overpainted. The paint layer is stable overall although there are a few areas of paint with raised edges. There is overpaint across the surface. The varnish is matte and uneven. There are glossy accretions and scuffs to the surface.
Eastern brocade shawl woven with black, metallic gold and red threads, with fringing to borders, approx. 140cm x 125cm; another similar shawl, a.f., 125cm x 115cm; a fringed cream scarf with embroidered borders in gold thread, approx. 152cm x 55cm and a fringed floral brocade panel, a.f., approx. 112cm square. (4).
An Alpaca woollen poncho with tie front, matching scarf, fur trim and an appliqued alpaca onto the scarf, a blue Alessio Bardelle boucle wool tunic, a Jaeger camel short-sleeved cardigan with cowl neck and large black button fastening, a polo-neck camel woollen jumper by Malene Birger, a Birger and Mikkelsen grey jumper with a deep cowl neck and three-quarter length sleeves and a Max Mara Weekend wool waistcoat, a Max Mara black jumper with bobble detail to the hem, a Moss Copenhagen woollen polo-neck jumper, a Ralph Lauren blue cotton cardigan and a White Company cashmere polo tunic (10)
Vintage grey wool dress, bat-wing sleeves, drop waist, ballerina skirt, labelled Stirling Cooper, size 1, with three little bobbles on the shoulder, a silver lurex mini dress, trimmed in black labelled G:21, two crochet tops and cardigan, a fine knit cotton top, a blue mini skirt, a full-length evening dress in cream, cobweb lace over a slip labelled Pepa Bonet, a grey and black spotted velvet shift dress labelled Moschino Jeans, a blue cotton jumpsuit with a scarf, and a chiffon and embroidered evening dress with matching shawl and bag labelled Nomads Clothing (9)
After Utagawa Kuniyoshi (1797-1861) Detail from a triptych print, The Saving of the Scarf, from the series Crossing on the Sumida River, woodblock print, 34cm x 23.5cm and a detail from another triptych from the series, A Popular Romance of the Three Kingdoms, woodblock print, 37cm x 25cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
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