We found 22395 price guide item(s) matching your search

Vittorio Accornero de Testa (1896-1982) for Gucci - a 'Flora' pattern silk scarf, decorated with insects and bouquets of wildflowers, from a design originally created for Princess Grace Kelly of Monaco in 1966, signed within the print and further signed 'Gucci' lower right, 85 x 85cm

AN HERMES AU FIL DU CARRE SILK SCARF designed by Anne Faivre circa 2011, approx 87 x 87cm, together with a Versace scarf, approx 114 x 114cm (2) Condition Report:Available upon request

AN HERMES LES RUBANS DU CHEVAL SILK SCARF designed by Joachim Metz circa 1993, approx 87 x 87cm, with two scarf boxes, an accessories box, two bags and a dust bag (7) Condition Report:Good condition - a line of dust which would come off. No bad smells

Limited Edition hand painted garden bench mini box. A garden hat and matching scarf lay atop the bench with flowers and greenery all around. A double loop gilded bow at hinge opens to white interior. Peint Main Limoges France SP MB 1 of 11 1998 backstamp. Artist: MBIssued: 20th c.Dimensions: 2.25"L x 1"W x 2"HEdition Number: 1 Country of Origin: FranceCondition: Age related wear.

Part of the When We Were Young theme group. Crystal bear is wearing a green and red ribbon scarf around his neck wearing rhodium metal skis. Swarovski backstamp. 7637 000 002. This item has its original box: 4"H x 3.25" dia. Artist: Martin ZendronIssued: 1995 - 2001Dimensions: 1.5"L x 1"W x 2.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

Tammy doll (Ideal Toys, 1964)Marked to rear of head BS-12In teal dress with black netted scarf, black hair bow and black shoes

A collection comprising: an engine-turned early 1950s compact; an Edwardian cream/mushroom feather boa, 1940; baby brush; 1920s/30s ebony hairbrush; 7 boxes of handkerchiefs; embroidered tray cloth; luxury umbrella and water repellant scarf set; vintage bag (tear).

FEATHER/DOWN EVENING STOLE, APPROX 2m, ALSO EMBROIDERED SCARF

4 + 2 Musikanten einer Türkenkapelle. Höchst. Radmarke, 2. H. 20. Jh. 2x polychrom bemalt und goldstaffiert, 4x weiß. H 16-18 cm. 6 orientalisch gekleidete Kinder mit Turban, ein Instrument spielend: Beckenschläger, 2 Trommler, 1 Fagottspieler, 1 Querflötist und 1 Trompeter. Trompete geklebt, 2x Trommelstock in der rechten Hand bestoßen, Fagott und Hüfttuch bestoßen. Aufrufzeit 14. | Juni 2024 | voraussichtlich 14:39 Uhr (CET)4 + 2 musicians from a Turkish band. Highest. Wheel mark, 2nd half 20th century 2x polychrome painted and gilt, 4x white. H 16-18 cm. 6 oriental dressed children with turban, playing an instrument: cymbal beater, 2 drummers, 1 bassoon player, 1 flute player and 1 trumpeter. Trumpet glued, 2x drumstick bumped in the right hand, bassoon and hip scarf bumped. Call time 14 | June 2024 | probably 14:39 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Puppendame mit altrosa Kleid und Fellschal. Baehr & Proeschild. Kopfmarke: 448 11. Um 1905. Biskuitporzellan, Masse. L 60 cm. Kurbelkopf, blaue Schlafaugen, 1 Ohrring, dunkelbraune Echthaarperücke. 15-teiliger Gliederkörper, unter den Füßen rot gestempelt in kyrillischer Schrift. Kleid aus Wildseide mit Perlenbesatz, passende Haube, weißer Schal, Handtäschchen und weiße Wachstuchschuhe. Kopf durchleuchtet: ohne Defekte, lediglich kleine Chips an den Ohrlöchern. Körper mit Farbdefekten, Hände und Füße mit Reparaturen/Übermalungen. Aufrufzeit 13. | Juni 2024 | voraussichtlich 10:09 Uhr (CET)Doll lady with dusky pink dress and fur scarf. Baehr & Proeschild. Head mark: 448 11. c. 1905. Biscuit porcelain, mass. L 60 cm. Cranked head, blue sleeping eyes, 1 earring, dark brown real hair wig. 15-part articulated body, stamped red in Cyrillic script under the feet. Dress of wild silk with pearl trimming, matching hood, white shawl, small handbag and white oilcloth shoes. Head x-rayed: without defects, only small chips at the ear holes. Body with color defects, hands and feet with repairs/repainting. Call time 13 | June 2024 | probably 10:09 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Königin Luise. Triebner, Ens & Co. Blaumarke, ab ca. 1894. Modell-Nr.: 11. Biskuit, farb- und goldstaffiert. H 35 cm. Biskuit-Figur der preußischen Königin Luise, nach einem Gemälde von Gustav Karl Ludwig Richter (1823-1884). Sockelrand minimal bestoßen, Gürtelband und Halstuch bestoßen bzw. restauriert. Aufrufzeit 14. | Juni 2024 | voraussichtlich 10:51 Uhr (CET)Queen Luise. Triebner, Ens & Co.Blue mark, from ca. 1894. model no.: 11. Biscuit, decorated with color and gold. H 35 cm. Biscuit figure of the Prussian Queen Luise, after a painting by Gustav Karl Ludwig Richter (1823-1884). Base edge minimally chipped, belt band and scarf chipped or restored. Call time 14 | June 2024 | probably 10:51 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

David Hockney (b.1937)A Bigger Splashsilk scarf in the original box90 x 90cm.

A meeschaum pipe, the bowl as a lady wearing a head scarf, the amber stem carved with flowers, 20cm long, late 19th/early 20th century

A 9ct gold thimble set with agate (2.7g), Russian Fabergé style silver and enamel spoon, silver scarf ring and a silver gilt Art Deco bracelet set with shagreen 

STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 20418 42.5 cm (16 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHARANEPAL, EARLY MALLA PERIOD, 14TH CENTURY PublishedMeinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 336, no. 141. ExhibitedBuddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. ProvenancePrivate German CollectionChristie's, New York, 22 March 2000, lot 73 The Diamond Vehicle of Nepal Vajrayāna (the Diamond Vehicle), a practice developed during the later stages of Buddhism, sees the proliferation of deities subject to the religious school or, at times, even the monastery. In addition to a rich pantheon inherited from the Indian tradition are countless entities characterised by iconographies of varying complexity. These are evoked during rituals that are sometimes esoteric, carrying moral or philosophical significance. Although the relative importance as well as the hierarchy of these deities diverge from one religious order to another, above them is a supreme Buddha, whose essence embodies the essence of all buddhas. Depicted here is Vajradhara, who presides over the monks of the Sakya order, amongst others. With both palms crossed over the chest, he holds his two characteristic attributes, the vajra (thunderbolt-diamond) and the ghanta (bell). The shape of the vajra is reminiscent of a diamond sceptre. The purity, clarity, and indestructible nature of this gemstone demonstrate the reason it became an object of much fascination in tantric Buddhism. The deity's feet are tightly crossed, akin to a yoga pose. The immaculate craftmanship of the jewellery adorning the figure is borrowed from stylistic forms that were initially developed in Northern India. Notably, two ascending floral peduncles surround the centre of the floret tiara sitting above the forehead. This fashion of ornamentation is characteristic of Nepalese sculptures as well as those influenced by the Newar artistic tradition from around the 13th century onwards. On the base of the tiara is a sneering kīrtimukha mask. The knotted ribbons which snake around both sides of the head maintain the tiara in place. A pair of elegant armbands is illustrated on either arm with a large floret replicating those on the tiara. The deity wears three necklaces, each of varying shape and size. The length of the second necklace ends at the pectoral region and is largely hidden from view behind the vajra and the ghanta. A scarf, reduced to the form of a simple ribbon with intricate blossom motifs, encircles the arms, and billows around both shoulders in an elegant swirl, emphasised by a pair of turquoise gems. Small floral pendants hang from the sash around his waist. At the front, a fall of pleats interwoven around the crossed ankles opens out at calf level. The slight inclination of his head to the right suggests that the deity had once been accompanied by another statue, that of his consort, the goddess Vajradhātvīśvarī. His facial features are characteristic of Nepalese sculptures. As described in canonical texts, these youthful traits are those of an adolescent, including the 'beauty folds' marking the neck. A small dimple indents the chin and the lips curve up in a slight smile. Wide arched eyebrows frame his small almond-shaped eyes. On his forehead, the ūrṇā is represented by a rectangular turquoise, accentuating the precious value of the deity. The monumental size of the figure implies the likelihood of its veneration in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. The abundance of copper mineral along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry, including in the city of Patan. Despite being part of a Buddhist sub-caste, bronze artisans in Newar society accommodated the different religious and iconographic prescriptions of their clients. Their excellent craftmanship warrants the exceptional popularity and influence their works gained in Tibet or abroad–reaching Beijing from the 13th century onwards. The impeccable gilding that is achieved using an amalgam of mercury, as well as the frequent use of inlaid fine stones, gave the statues an esteemed presence. One may only imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces. Gilles BéguinJanuary 2024銅鎏金金剛總持像尼泊爾 馬拉王朝早期 十四世紀著錄Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁336，編號 141展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源德國私人珍藏佳士得，紐約，2000年3月22日，拍品73尼泊爾之金剛乘金剛乘（Vajrayāna）作為佛教發展的最終階段，根據不同的宗派，有時甚至根據不同的寺廟，創造了眾多神祇。在其所繼承之印度傳統之萬神殿外，亦有諸多神祇或其他形象為後加，標識以種種複雜而多變之圖像學特徵。這些形象出現於神秘儀式之中，並承載著道德或哲學意義。儘管神祇們之相對重要性與上下傳承之位階，時而因不同宗教派別而異，然而，在他們的頂端，有一位至高無上的佛，其本質為所有佛之本質。此處所呈現之形象為金剛總持，居薩迦以及諸派之眾僧侶之上。其雙手交叉於胸前，握持兩件此神祇之象徵性法器：金剛杵與金剛鈴。前者為形似金剛石般的權杖。此寶石具純淨、閃光與不可腐蝕之特質，密宗佛教對其之熱衷之原因不言而喻。神祇的雙腿緊密交叉，猶如瑜珈姿勢。此造像之珠寶設計細緻無瑕，借鑒自起源於印度北部之古老樣式。其華冠便引人注目，兩朵花莖向上延伸，烘托著中央盛開的優美花盤。此種裝飾風格為尼泊爾造像以及那些十三世紀以來受尼泊爾造像影響而出現之造像之標誌性特徵。寶冠下緣中央見一張齜牙咧嘴的怪獸面具，即「天福之面」。寶冠以繒帶固定，兩端盤結於頭部兩側，如風中飄揚。優雅的臂釧上見一碩大花朵，形制與寶冠中央一致。神祇配戴三串項鍊，大小不一、樣式各異。第二串項鍊長度及頸下，大部分被其手中所持鈴杵遮擋。圍巾之樣式則簡明為細帶，刻以細密相連之花紋圖案，自然纏繞雙臂，再於肘部向上翻飛，呈現出優美的弧度，突出末端所托舉的綠松石點綴。腰帶上則懸掛下一枚枚小巧的花朵墜飾。視線落至神祇身前，層層衣褶從交叉的腳踝間流出，於小腿處形成一簇扇形。神祇的頭部微微向其右傾斜，暗示著其身旁曾另有一尊其明妃金剛界自在母造像相伴。神祇的面部體現尼泊爾造像的特徵。正如經文所描述，其面部年輕俊美，特徵正為少年人，包括環繞其脖頸的幾道細線所表示的「美麗褶皺」。下巴中央見一道淺痕，嘴角微微上揚，蘊含笑意。雙眉為大弧線，流暢舒朗，下方為小巧的杏眼。前額之白毫為一塊長方形的綠松石，烘托神祇之尊貴。鑑於其碩大的體量，此像可能曾供奉於一座小型廟堂。在加德滿都河谷之中，這一類廟堂通常位於寺院庭院的盡頭。豐富的銅礦資源沿河谷蘊藏，數個世紀以來造就了多樣的金屬手工藝的發展，帕坦市幾包含其中。儘管屬於佛教這一次支，銅藝匠人們卻能夠滿足眾多供養人之不同宗教以及圖像要求。他們精湛非凡的技藝，造就了作品之風靡，其深遠影響遠至西藏，甚至自十三世紀起，達至北京。其無可挑剔的以水銀合金而鎏金的工藝、頻繁而熟練的寶石鑲嵌，給予其作品他們的作品壯觀而輝煌之觀感。今人則僅可遙想，這些造像如何置於寺廟與佛堂的酥油燈的閃爍光線下，熠熠生輝，莊嚴著彼時的空間。Gilles Béguin2024年1月This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE D'AKSHOBHYA EN LAITON AVEC INCRUSTATION DE CUIVRETIBET CENTRAL, VERS XIIIE SIÈCLE Himalayan Art Resources item no. 1809 40 cm (15 3/4 in.) high  Footnotes:A COPPER INLAID BRASS FIGURE OF AKSHOBHYA  CENTRAL TIBET, CIRCA 13TH CENTURY  Published  Marcel Nies, Window of the Sacred World: Art of India, the Himalayan regions and Southeast Asia, Antwerp, 2002, no. 24.  Jan van Alphen, Cast for Eternity: Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections, Antwerp, 2005, p. 163, no. 49.  Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 409, no. 177.  Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  Provenance  Marcel Nies Oriental Art, Belgium  Cast with a sweet and serene expression, this handsome figure represents the crowned emanation of Akshobya, the Immovable One, as one of the Five Tathagatas. Known as the Cosmic Buddhas, these deities belong to a preeminent subset of the yoga tantras. To the Sarma, or new schools of Tibetan Buddhism, they represent the belief that the world is composed of five elements, with each Buddha embodying an aspect of wisdom with a corresponding color, Buddha family, cardinal direction, and hand gesture. Blue in complexion and motioning his right hand forward in the earth-witnessing gesture (bhumisparsha mudra), Akshobya presides over the Vajra family of Buddhas within the eastern quadrant of a mandala. His invocation serves as an antidote to anger and hatred, with his mirror-like wisdom reflecting a world free of illusory distortions warped by the human ego. Since his true existence is empty and therefore ineffable to the unenlightened mind, Akshobya is depicted here in a blissful, 'reward body' (sambhogakaya) at the threshold of dissolving into his dharmakaya form. The artist has imbued his creation with an arresting calm, drawing the viewer closer to inspect the copper inlays applied to the fingernails of the right hand, the band of the crown, and the figure's ample lips. This bronze ranks among finer examples of early non-gilt sculpture in Tibet from the 13th and 14th centuries. Stylistically, it pays homage to the two Indian aesthetic traditions of the preceding centuries that had greatest influence on Tibetan Buddhist art in the formative period. The first being that of Kashmir, wherefrom works were transmitted to West Tibet, echoed in the sculpture's wide lotus petals and the technique of using casting struts to bridge the figure's crown and scarf. The second being that of Pala northeastern India, wherefrom sculptures were brought to Central Tibet. Pala borrowings include the figure's lozenge-shaped jewellery, tall chignon, and gentle dip to the eyelids. Differences in figural modelling, however, indicate the bronze's creation in Tibet, paralleling the casting quality and facial type of a seated Buddha published in von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1173, no. 313D, and a figure of Ratnasambhava in the Tibet Museum, Gruyères (ABS 032; HAR 200457).錯紅銅阿閦佛銅像藏中 約十三世紀 著錄 Marcel Nies，《Window of the Sacred World: Art of India, the Himalayan regions and Southeast Asia》，安特衛普，2002年，編號24Jan van Alphen，《Cast for Eternity: Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections》，安特衛普，2005年，頁163，編號49Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁409，編號177展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 來源 Marcel Nies Oriental Art，比利時 此尊造像英俊非凡，神情恬靜安詳，為阿閦佛之寶冠形象，即不動尊，為五方如來之一。五方如來又稱五方佛，屬瑜伽密續最重要一組神明。對藏傳佛教新派來而言，五佛即代表世界由五大元素構成這一信仰，由每位佛陀象徵五種智慧之一，並各有不同顏色、佛部、方位以及手印。阿閦佛膚藍，右手向前伸出結觸地印，掌管曼荼羅東方之金剛界。祈求大日如來以抵抗怒與憎，其大圓鏡智不妄不愚，展現出一個沒有人性曲解幻想之世界。由於其真實存在為空，無法言說於未開悟的心智，故此處阿閦佛呈現圓滿色身的「報身」，處於解脫為「法身」之邊緣。藝術家賦予造象引人入勝的平靜，引導觀者細細查看其微妙細節，如其右手指甲、冠冕帶及豐滿唇上所錯紅銅。 此尊銅像堪稱為十三及十四世紀西藏早期非鎏金銅像中的傑作。其風格上向對後來西藏佛教藝術形成影響巨大的兩個早期印度藝術傳統致敬。首先，其呼應了傳入西藏西部的克什米爾藝術風格，如其寬大的蓮花瓣、寶冠葉片之間的連接以及披巾下的支撐技法。其次，此造像亦參照印度東北部之帕拉美學，其傳入地則為西藏中部地區。借鑒之元素包括菱形珠寶裝飾、高髮髻，以及柔和下垂的眼瞼。而佛像本身身形之差異，則表明此阿閦佛造於西藏，其品質與面部風格與一尊坐佛像（見von Schroeder，《Buddhist Sculptures in Tibet》，卷二，2001年，頁1173，編號313D），以及格呂耶爾西藏博物館所藏一尊寶生佛（ABS 032，喜馬拉雅藝術資源網200457號）如出一轍。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

WW2 British RAF Caterpillar Club PoW Medal Group to 810100 Sgt. Stephen Biggs RAFVR, Flight Engineer 103 Squadron RAF comprising of : 1939-45 Star, Air Crew Europe Star, War Medal and Air Efficiency Award all mounted on a bar, together with Medal Award Slip, named Caterpillar Club Membership badge in box of issue with award slip dated August 1943 and second letter from Irving dated 1945, AAF Lapel Badge, Silver RAF Sweetheart Ring Jerusalem Palestine, Flight Engineers Brevet, Warrant Officers Rank badges, WO's Field Service Cap dated 1944, Post War Unofficial Bomber Command Medal is box of issue, reprint photo of him in uniform, medal award correspondence, letters to his Mother from crew mates families, RAF Large Note book with technical notes, Caterpillar Club ties x 2, RAF PoW Association tie and other RAF ties, RR tie and lapel badges, RAF scarf, Water colour picture of PoW Camp, Book of PoW Cartoons, photos, etc.https://www.northlincsweb.net/103Sqn/html/p-o_james_o_b_mooney_103_squadron.html

A boxed Steiff limited edition 654817 Winter Bear with wooden sledge, the articulated white mohair bear with plastic eyes, stitched nose and mouth, gold coloured button and white tag to ear, wearing green trousers and hat and tartan scarf, numbered 735 of 4000, with certificate, bear approx. 20cm tall

G. McGilvray (Scottish, 19th Century) Portrait of George Scott of Dundee with grandson, the grandson with a plaid scarf holding a book, three-quarter length Signed and dated 1840, oil on canvas, 117cm x 87cm.CONDITION REPORT: Small paint losses to the top left area of the canvas.  Visible age-related crackling to the oil also.

Victorian gold scarf pin modelled as a bear gripping an old-cut diamond, probably 15ct, 5.2g gross.CONDITION REPORT: Good condition.  Nice, white diamond.  Bear is 9.5mm over arms. 

Tiger's eye brooch in unmarked gold, 8.6g gross, a pearl ring, 'K15', 1.7g gross, and an unmarked scarf pin set with a citrine-type stone.

Hermes Orange box (25.5 x 32.5 cms approximately) containing silk scarves, including Balenciaga, Mantero Toucan design and Mantero Liberty, Liberty, Ines de la Fressange, Oscar de la Renta Salute to Freedom, Lariosete, Leonard Paris silk chiffon and extra large Dolce Gabbana silk twill scarf classical design

Gucci large scarf / wrap, toucans, parrots, orchids and palms. 115 x 115 cms approximatelyThis is a cotton voile scarf/wrap . Very good condition no flaws .

HERMÈS; a 100% silk scarf, a Burberry silk square scarf and a pair of Christian Dior stockings (3).

A set of three Victorian gold dress studs, 9mm diam, unmarked, maroon morocco case, 3g, a pair of gold cufflinks marked NCT and a gold scarf ring, 9.2g, a pair of gold coloured metal and enamel armorial cufflinks, 5.5g, an 18ct gold dress stud and another pair marked 18ct, 2.8g, a pair of gold cufflinks and a stickpin, both marked 15ct, 7.5g, an enamelled shilling and a base metal locket (case and 13) The lot in good condition

An extremely large Charlie Bears jointed teddy bear, Nicholas. Exclusively designed by Isabella Lee. With scarf and cardboard swing tags. CB194574. Height: 75cm. Some splash marks to the scarf.

A tray of assorted costume jewellery, to include beaded necklaces, scarf clips, earrings, Rotary Rotaflex watch head, brooches and cufflinks.

A tray containing a good collection of costume jewellery. To include beaded necklaces, earrings, brooches, scarf clips, simulated pearls etc.

A limited edition Charlie Bears jointed teddy bear, Jonah, from the Isabella Collection. Number 165/350. With scarf and cardboard swing tags. Sat height: 32cm. With burgundy Charlie Bears bag. Some hair loss on nose.

HERMÈS Seidencarré "ASTRES ET SOLEILS", by Annie Faivre, Entwurf erstmals erschienen 1994. Akt. NP.: 495,-€. 100% Seide. Maya- und Aztekenzivilisationen inspiriert ist, deren Mythologie eine Erde beschreibt, die zwischen 13 Himmeln und 9 Göttern gefangen ist und von den vier Kindern eines ursprünglichen Schöpferpaares regiert wird. 90 x 90 cm. Handrollierte Säume. Sehr guter Zustand. | HERMÈS silk scarf "ASTRES ET SOLEILS", by Annie Faivre, design first published in 1994. Retail price: 495,-€. 100% silk. Inspired by Mayan and Aztec civilisations whose mythology describes an earth trapped between 13 heavens and 9 gods and ruled by the four children of an original creator couple. 90 x 90 cm. Hand rolled hems. Very good condition.

HERMÈS 140 Schal "WASHINGTON CARRIAGE", by Caty Latham, Entwurf erstmals erschienen 1979. Akt. NP.: 1.180,-€. Kaschmir- und Seidengemisch. Inspiration für dieses Motiv stammt von einem Werk von J. Robert Hart, ein Aquarell aus dem Jahr 1792 stellt in der Art eines Karosseriebauers einen "Schnitt aus George Washingtons in London hergestelltem Wagen" dar. 1789, fuhr der erste Präsident der Vereinigten Staaten von Amerika in diesem Coupé von New Yorker Federal Hall, wo er seinen Amtseid ablegte. Handrollierte Säume. 140 x 140 cm. Dezente Tragespuren vorhanden. | HERMÈS 140 scarf "WASHINGTON CARRIAGE", by Caty Latham, design first published in 1979. Retail price: 1.180,-€. Cashmere and silk blend. The inspiration for this motif comes from a work by J. Robert Hart, a watercolour from 1792 depicting a "section of George Washington's carriage made in London" in the style of a coachbuilder. In 1789, the first President of the United States of America rode in this coupé from New York's Federal Hall, where he took the oath of office. Hand rolled hems. 140 x 140 cm. Discreet signs of wear present.

HERMÈS Seidencarré "CARPE DIEM", by Joachim Metz, Entwurf erstmals erschienen 1994. Akt. NP.: 495,-€. 100% Seide. Zu Ehren der Sonnenuhren an Kirchen, dann an Palästen und schließlich an öffentlichen Gebäuden. 90 x 90 cm. Handrollierte Säume. Sehr guter Zustand. | HERMÈS silk scarf "CARPE DIEM", by Joachim Metz, design first published in 1994. NP.: 495,-€. 100% silk. In honour of the sundials on churches, then on palaces and finally on public buildings. 90 x 90 cm. Hand rolled hems. Very good condition.

HERMÈS Seidencarré "KACHINAS", by Olivier Kermit, Entwurf erstmals erschienen 1992. Akt. NP.: 495,-€. 100% Seide. Kachinas sind rituelle Puppen für die Kinder der Hopi, des westlichsten Volkes der Pueblo-Indianer, die im Südwesten der USA leben. Handrollierte Säume. 90 x 90 cm. Flecken vorhanden.| HERMÈS silk scarf "KACHINAS", by Olivier Kermit, design first published in 1992. Retail price: 495,-€. 100% silk. Kachinas are ritual dolls for the children of the Hopi, the westernmost people of the Pueblo Indians who live in the south-west of the USA. Hand-rolled hems. 90 x 90 cm. Stains present.

HERMÈS Seidencarré "BELLES DU MEXIQUE". by Virginie Jamin, Entwurf erstmals erschienen 2007. Akt. NP.: 495,-€. 100% Seide. Multicolor Design mit Tänzerinnen-Motiv. Handrollierte Säume. 90 x 90 cm. Guter Zustand. Box anbei.| HERMÈS silk scarf "BELLES DU MEXIQUE", by Virginie Jamin, design first published 2007. Retail price: 495,-€. 100% silk. Multicolour design with dancer motif. Handrolled hems. 90 x 90 cm. Good condition. With box.

HERMÈS Seidencarré "LE PARADIS DU ROY", by Annie Faivre, Entwurf erstmals erschienen 1989. Akt. NP.: 495,-€. 100% Seide. Der absolute Monarch brauchte einen Palast, der die Welt in Erstaunen versetzte. Das war Versailles, ein Märchen aus Buchsbäumen und Wasserfontänen. 90 x 90 cm. Handrollierte Säume. Sehr guter Zustand. | HERMÈS silk scarf "LE PARADIS DU ROY", by Annie Faivre, design first published in 1989. Retail price: 495,-€. 100% silk. The absolute monarch needed a palace that would amaze the world. This was Versailles, a fairytale of box trees and water fountains. 90 x 90 cm. Hand rolled hems. Very good condition.

HERMÈS Seidencarré "LES FETES DU ROI SOLEIL", by Michel Duchène, erstmals 1995 erschienen. Akt. NP.: 495,-€. 100% Seide. Brokatseide in Rot mit Reitern in prunkvoller Kleidung. Handrollierte Säume. 90 x 90 cm. Box anbei. Tragespuren vorhanden, Flecken.| HERMÈS silk scarf "LES FETES DU ROI SOLEIL", by Michel Duchène, first published in 1995. Retail price: 495,-€. 100% silk. Brocade silk in red with riders in splendid clothing. Hand rolled hems. 90 x 90 cm. Box enclosed. Signs of wear present, stains.

Fotoprint/PigmentdruckBert Stern 1929 Brooklyn - 2013 Manhattan "Marilyn in Chenille Scarf" 1962 u. re. sign. Stern Exemplar 31/72, 48 x 33 cm (Blattmaß), o. R. Aus der Edition von 2011. Mit dem handsignierten und nummerierten "Certificate of Authenticity" des Photographen von 2011.

Fotoprint/PigmentdruckBert Stern 1929 Brooklyn - 2013 Manhattan "Marilyn in Fuchsia Scarf" 1962 u. re. sign. Bert Stern Exemplar 33/100, 25,1 x 24,8 cm (Darstellung) Aus der Edition von 2012. Mit dem handsignierten und nummerierten "Certificate of Authenticity" des Photographen von 2012.

Two cut glass decanters, together with a faceted red glass bottle, cut glass sugar caster with pierced star cover, silver plated stirrup cup, chainmail scarf, plaster ships plaque and a walnut box with mother of pearl cartouche

A new with tags Burberry 100% lambs wool pink long scarf with double tassels 150 x 37cm

A new with tags Burberry 100% lambs wool pink long scarf with double tassels 150 x 37cm

A new with tags Burberry 100% lambs wool pink long scarf with double tassels 150 x 37cm

A new with tags Burberry 100% lambs wool pink long scarf with double tassels 150 x 37cm

A new with tags Burberry 100% lambs wool pink long scarf with double tassels 150 x 37cm

A collection of clothing items to include Lincoln Bennett & co top hat and tails jacket with waistcoat, gloves, scarf, Fire Service Jacket, army jacket and RAF jacket (1 tray)

A Small Quantity of Jewellery, comprising of a single cufflink; a tie pin stamped '15CT'; a 9 carat gold split pearl scarf clip; and another scarf clipCufflink - 5.1 grams. Pin - 2.0 grams. 9 carat gold scarf clip - 4.5 grams. Other scarf clip - 4.9 grams.

Gucci Silk Scarf, White Ground Printed with Vases, and a scrolling border with animals and cherubs, in original card box, 88cm by 88cm

Hermés Silk Scarf L'Ombrelle Magique Designed by Pierre Marie, who was inspired by nature, history, and folklore, this tells the story of the magic pheasant mounted umbrella and a young prince searching to release his intended from a curse, on a green background and orange rolled hem, 90cm square, boxedSome very small slight pulls in the fabric. Small dent and general wear to the box.

Emporio Armani Modern Costume and Accessories comprising a messenger bag in green fabric, black leather mounts with matching purse, black canvas tote bag with leather mounts, a purple silk mix short sleeve jumper with slash neck (size 46), and an Armani Jeans black mohair polo neck jumper woven with diamonds and sequin appliqués (size 12), Pair of Sergio Rossi Black Leather Long Flat Boots with elasticated sides, pewter-tone buckles (size 38.5),Large Liberty Wool Scarf in floral design in purple, reds, greens and blue, 130cm square, (6)

Dooney & Bourke Tan Leather and Canvas Bag, with gilt tone hardware, two handles and a detachable shoulder strap, zip fastening, black fabric lining, internal pocket on tabs, with attached ID tag 'DOONEY & BOURKE No 21831, Fine American Leathergoods', with dust bag, 39cm by 30cm by 12cm, together with a Gucci silk scarf with floral print on white ground and a dark green border, 67cm by 67cm, a pair of yellow/orange John Lewis fleece lined leather gloves (size M/L) and a pair of Fownes London chocolate brown leather gloves(4)Some scratches and general wear to the leather of the bag, scuffs to the base. Both pairs of gloves attached at the wrist. Scarf with a small stain and slight pulls to the fabric.Base does not have stud feet.

Charlotte "Toty" Fauchet (20th Century) Lavoir Signed, oil on canvas, together with a further early late 19th/ early 20th century, probably Italian, head study of a lady in profile wearing a white lace head scarf, 52cm by 63.5cm and 34.5cm by 29.5cm respectively (2)Provenance: A Private Collection

Emporio Armani Red Cotton Short Sleeve Top with round neck, notch neck and ribbon fastening (size 44), Burberry London Red and White Cotton Floral Skirt, pockets to the waist, with matching silk gathered scarf (size 14),Another Similar Style Burberry Skirt in white printed with pink, orange and green checked trellis designs (size 14),Brora Red Linen Jeans Style Jacket with white overstitching (size 12) original tags, Emporio Armani White Linen Loose Fitting Jacket with internal drawstring waist, button fastening, long sleeves (size 46), Paul Smith 'Black Label' Red Fine Wool Cardigan with long sleeves and double breasted brass buttons (size L),(7)

Hermès Silk Scarf La Rosee Designed by Anne Gavarni, depicting rose heads on a coral ground within a darker coral border, 90cm square, boxedSome spot staining, general wear to the box

Lanvin Silk Scarf in red, green and blue depicting two stylised birds within a red trim, on figured silk self woven with birds in flight and nesting, 85cm square, boxed, and a Hermés Silk Twilly in Epaulettes de Gala Design, with original paper tag, cylindrical box and cover,(2)

Gucci Silk Scarf printed with snaffle bits, stirrups within a chain link, leather and buckle link and Gucci lettered border, on a red ground, 88cm square,Longchamp Le Pilage Black Nylon Folding Rucksack, with brown canvas straps, leather mount and strap handle, press stud fastenings, 32cm by 32cm, Longchamp Black Leather Shoulder Bag, gilt-tone hardware, leather lining with attached leather label printed to the reverse '28574' 'JAFC', leather shoulder strap, 26cm by 18cm, (3)Gucci scarf - very little wear and no stains.Longchamp rucksack - unwornLongchamp bag - some slight wear overall.

Character teapot depicting Sam Weller with a smiley expression, features a green hat lid with yellow hold, brown handle and yellow-orange dotted scarf. Beswick backstamp. Issued: 1955 - 1973Dimensions: 4.5''L x 7''W x 6.5''HManufacturer: BeswickCountry of Origin: EnglandCondition: Age related wear.

Limited Edition hand painted garden bench mini box. A garden hat and matching scarf lay atop the bench with flowers and greenery all around. A double loop gilded bow at hinge opens to white interior. Peint Main Limoges France MB 1 of 59 1998 backstamp. Artist: MBIssued: 20th c.Dimensions: 2.25"L x 1"W x 2"HEdition Number: 1 Country of Origin: FranceCondition: Age related wear.

A BRASS FIGURE OF A KANDYAN NOBLEMAN, NEGOMBO, SRI LANKA, CIRCA 1900 wearing pointed shoes and long scarf, on square base, 14.5cmThis figure is stamped V. Vallipuram and Sons of Negombo. See 11 May 2022, lot 154 for other examples sold in these rooms.

Horse Racing Interest: Welch, Margetson & Co. Ltd London, a silk scarf depicting Winners of the Derby from the Commencement in 1780, with a depiction of the 1950 winner Galcadoe ridden by W. Johnstone, surrounded by details of all previous winners Condition Report:Available upon request

*** to be REOFFERED June antiques sale 2024 toy section*** Artist large teddy bear fine group to include Merrythought, Deans Sampson’s of Piccadilly check scarf teddy bear special issue and other vintage bears to include an Artist teddy bear in his check traditional pyjamas and belted wool dressing gown and others. All beautiful Vintage condition and excellent selection.( quantity across various sizes)