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A black heavy crepe ladies coat with foliage couching embroidery, singular button closure, approx 39" chest

Collection of books relating to Japanese, Chinese and other Asian architecture, relics, art, etc. to inc. Painted Buddhas of Xinjiang, Selections from the Chinese Collection of the San Diego Museum of Art, The Art of Oriental Embroidery, Great National Treasures of China, Ancient Treasures of Luoyang, Summit of Treasures Buddhist Cave Art of Dazu, etc.Shipping £48.00 plus vat (UK Only)

Lace Trimmed Linen Sheets, Damask tablecloths, embroidered, crochet clothes and mats, a quantity of embroidery silks:- Two Boxes.

Gregorio Vázquez de Arce (Santa Fe, New Granada, 1638 - 1711)"The Holy Family in Saint Joseph's workshop"Oil on copper.62,5 x 47,5 cm.The lower margin of the copper plate is slightly damaged.The attribution of this work relates to the style and technique that characterize Vázquez: balanced compositions, soft tonalities and detail in the treatment of figures, elements and style that we observe in other paintings that have been signed by the artist and that allow us to affirm that this painting is by Vásquez. We refer, for example, to the paintings in his "Retablo de las Reliquias" or his “Saint Gertrude with the Christ Child” kept in the Santa Clara Church Museum in Bogota, in which similarities with this painting can be observed in the idealized representation of the faces, the delicate handling of light and the tonal palette dominated by warm and earthy colors.The choice of the thick copper support, usual in Vásquez de Arce's small format works, denotes an interest in guaranteeing durability and a luminous finish, something common in works destined for altars or private devotional spaces, as would be the case here.This painting comes from a time when New Granada was experiencing a boom in religious artistic production, driven by orders such as the Jesuits and Dominicans, who promoted artworks that were both didactic and devotional at the same time.Gregorio Vásquez de Arce was an influential Colombian painter, the most important painter from 17th century New Granada. He was endowed with technical and stylistic mastery as reflected in cycles such as the "Retablo de las Reliquias" in the Church of San Ignacio in Bogota. With a prolific career that spanned much of his life, Vasquez left a legacy of religious artworks that significantly influenced the artistic development of the region. His style combines elements of European baroque with a sensitivity and devotion typical of the Latin American context of the 17th century. Vásquez, in fact, through his work, was a central figure in the consolidation of the Baroque in New Granada and his influence extended to later generations of artists in the region. Later painters took his style and adapted it to local needs, making his work a fundamental point of reference in the history of viceregal art. Marta Fajardo de Rueda, in an interesting article in the National University of Colombia magazine HiSTOReLo, affirms, in relation to the importance of the painter, that “with the work of Gregorio Vásquez and some of his followers, the existence of a Santa Fe school of painting can be identified. They had a similar interpretation of the engravings from which they assimilated the fundamentals of baroque painting. They are characterized by an attenuated use of color, which differentiates them from painters from other parts of Latin America. Undoubtedly, Vasquez stands out among them all for his mastery of drawing and balanced composition. With the training he received in the Figueroas' workshop and the skills he acquired through the continuous exercise of his work, he consolidated his own characteristic style.” The importance of Gregorio Vásquez de Arce y Ceballos in the panorama of viceregal art is undeniable. Despite having produced a vast amount of paintings, his technical skill and the spiritual depth of his paintings continue to be admired and studied by scholars, collectors and museums around the world. The artist, of whom many biographies have been written, such as those by José Manuel Groot, Alberto Urdaneta and Roberto Pizano, has a large body of work that can still be found today in churches, convents and museums such as the Museo de Arte Colonial de Bogotá, which houses numerous canvases, some miniatures, and one hundred and five drawings: the largest collection of the painter's work. The scene depicts the Holy Family in an intimate, everyday environment, a typical Christian baroque theme that seeks to emphasize the humanity of sacred figures.  Just like any family, the patient Virgin Mary is doing embroidery while “meditating everything in her heart”; the chaste St. Joseph, focusing one of the essential virtues he possesses, is working in silence at carpentry, planing wood. The thrice saintly Jesus, as Son, is learning from his father and imitates him at woodworking, and appears as “building his future destiny”, preparing the stipe of his cross. The painting, with its colors, shows a model of all the virtues: humility, chastity, obedience, poverty, love of work and silence; in a word, the total practice of these virtues reflected and lived through by this family. The theme of the Holy Family became popular in art from the 1490s, but the veneration of the Holy Family formally began in the 17th century due to St. Francis de Laval, the first bishop of New France, who founded a confraternity with this name. The family is depicted as being all on the same level, on the same compositional plane, on the same floor, there is no one that predominates or stands out above the other. It is what is called the earthly Holy Trinity and although Saint Joseph had an almost caricatured secondary role in the iconography, from the Renaissance and the Baroque, he becomes very important, since the progressive humanization of the portrayals of Jesus and Mary would make this adoptive father gain presence, he is given increasingly friendly treatment and is portrayed in art as a loving and attentive father.In this regard, as we read in the fascinating article by Juan Pablo Cruz Medina (2014) “The Painting of the Holy Family: A Manual of Family Relations in the World of 17th Century Santafé”, the family, configured as the nucleus of the social body within the structure devised by Spain for the New World, early on became a concern for both the Church and the bureaucracy established in Latin America. From this, the Church developed a series of discursive structures aimed at establishing models of family life that would serve as examples of ideal behaviour throughout the 17th century. This ensured not only the maintenance of an "ecclesial" order in society but also the submission of society to the civil power established by the Spanish monarch in the new lands.Medina highlights the artistic production developed by the Church in relation to the family. “One of the most significant pictorial sets within the visual corpus of the 17th century is that of the Holy Family,” which would continue to be represented ceaselessly thereafter. This ecclesiastical need also responds to the “emergence of the nuclear family model in Europe, which changed the conception of the extended family typical of the Middle Ages,” while in colonial Latin America it was of interest to “establish examples that would help shape a society governed by religious norms.”Reference bibliography: - Cruz Medina, Juan Pablo. (2014). «La pintura de la Sagrada Familia. Un manual de relaciones familiares en el mundo de la Santafé del siglo XVII». Memoria y sociedad 18, n.° 36: 100-117. https://dx.doi.org/10.11144/Javeriana.MYS18-36.psfm- Fajardo, Marta. (2014). Grabados europeos y pintura en el Nuevo Reino de Granada. “HiSTOReLo” Vol. 6, Nº 11, 68-125. - Fajardo, Marta. (n.d.). “Gregorio Vásquez de Arce y Ceballos”. Real Academia de la Historia. https://dbe.rah.es/biografias/21372/gregorio-vasquez-de-arce-y-ceballos - Pizano, Roberto. (1985). "Gregorio Vásquez: Vida y obra". Banco de la República, Bogotá.- Sebastián, Santiago. (1985). "Gregorio Vásquez: la vida y obra del pintor más importante del Nuevo Reino de Granada". - Tovar, Gil. (1995). "El barroco en la Nueva Granada: Gregorio Vásquez de Arce y Ceballos. Ediciones Nueva América, Bogotá.

Baltasar de Echave Ibia (Mexico City, New Spain, ¿1583-84? - 1644)"Coronation of the Virgin"Oil on copper.24,5 x 18,3 cm.Baltasar de Echave Ibía was a prominent painter of the early Baroque in New Spain. Ibía, heir to the Mannerist style of his father Baltasar de Echave Orio, is distinguished by his use of a palette rich in blue tones, which earned him the nickname “El Echave de los Azules” (Echave of the Blues).  This painting shares similarities with other works by Baltasar de Echave Ibía, as well as with the Seville school, from which the Echave family drew references through engravings by artists such as Francisco Pacheco and Murillo. The balanced composition, supernatural lighting, and detailed treatment of faces reinforce the idea that this work can be attributed to Echave Ibía.  One of the most distinctive aspects of Echave Ibía’s style is his chromatic palette, dominated by deep blue tones, especially in the garments of the Virgin Mary. In this painting, the choice of a vibrant blue mantle with golden embroidery is one of the keys to its attribution to this artist.  The use of blue in Echave Ibía’s work is both symbolic and aesthetic. From a theological perspective, blue has been associated with the Virgin Mary as a symbol of her purity and divinity. In pictorial terms, Echave Ibía used this tone exceptionally to create contrasts with golden backgrounds or the warm tones of angels and celestial figures.  This characteristic feature found in the painting can also be observed in *The Immaculate Conception*, dated 1620, kept in the National Museum of Mexico, where the blue of the Virgin’s mantle stands out against a luminous background of golden radiance. Both paintings share other similarities, such as iconographic elements, enveloping light, and the rich ornamentation of the mantle.  Moreover, Echave Ibía’s painting *Saint Paul and Saint Anthony the Hermit*, also kept in the aforementioned museum, shares the treatment given to the background landscape with this one, a background dominated by bluish tones that create a mystical and enveloping atmosphere.  Finally, the similarity between the palettes of those paintings and the one we have here reinforces the hypothesis of its attribution to Echave Ibía.  This marvelous copper piece shows a masterful use of chiaroscuro, with a light source emanating from the Virgin and Child, who are surrounded by a celestial glow. This light technique is characteristic of New Spanish painting of the 17th century and is particularly visible in the work of Echave Ibía.  The modeling of the faces is delicate and detailed, with a tendency toward oval and gentle features, especially in the Virgin Mary and the angels, a hallmark of the artist, contrasting with the robustness and drama characteristic of other New Spanish painters such as Sebastián López de Arteaga.  The painting represents a classical iconography of the Coronation of the Virgin, where Mary is depicted ascending to heaven, surrounded by angels, holding the Christ Child in her arms, and crowned in glory. This scene not only reinforces Marian doctrine but also emphasizes the Virgin Mary’s celestial hierarchy as intercessor and Queen of Heaven, a theme highly recurrent during the Counter-Reformation.  Marian devotion was venerated by the Franciscans since the 13th century, being of great importance to the order.  We can identify the iconographic type adopted by the fathers for the portrayal of the Virgin of the Angels, an image that presided over the church of the convent, known as the Convent of the Discalced.  The Virgin of the Angels is a variation of a print that was circulating at the time, created by the Dutch engraver Cornelis Cort (1533/1536–1578) and published in Rome in 1574. It depicts the theme of the *Assumption and Coronation of the Virgin*, showing her figure standing, in a prayerful attitude, and surrounded by two pairs of angels who support and crown her.  This composition was successively simplified in 16th-century models, focusing attention on the figure of the Virgin Mary.  This small and exquisite copper piece varies slightly from the typical portrayal of the Virgin Mary, presenting her with a scepter as Queen and carrying her Son in her arms, thereby giving her greater prominence.  Reference Bibliography:- Arellano, F. (1988). "El arte hispanoamericano". Universidad Católica Andrés Bello.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Danes, G. (1942). "Baltasar de Echave Ibía. Some Critical Notes on the Stylistic Character of His Art". Anales del Instituto de Investigaciones Estéticas, 3(9), 15-26.- Kubler, G. (1961). "Mexican Architecture of the Sixteenth Century". Yale University Press.- Portús, J. (2016). "Metapintura. Un viaje a la idea del arte en España". Museo Nacional del Prado.- Ruiz Gomar, R. (2002). "La pintura novohispana del siglo XVII: Temas y variaciones". Museo Nacional de Arte de México.- Toussaint, M. (1965). "Colonial Art in Mexico". University of Texas Press.- Tovar de Teresa, G. (1992). "Catálogo de pintores y escultores en la Nueva España". Instituto de Investigaciones Estéticas, UNAM.- Victoria, J. G. (1994). "Un pintor en su tiempo. Baltasar de Echave Orio". Instituto de Investigaciones Estéticas, UNAM.

Jose Avitavilli (Peru, late 16th century - early 17th century)“Salus Populi Romani”, also  known as ‘Our Lady of the Snows’.Tempera on linen canvas.127 x 95 cm.This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.Both Mother and Child appear against a curtained background that emphasizes the importance of the image.  They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.Bibliographic References:-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977.  -Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982.  -Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94.  -Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30.  - Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.- Museo Convento de los Descalzos, Lima, Perú.   

A grand, life-size oil painting on canvas portrays Nasser al-Din Shah Qajar (1831–1896), the fourth Shah of Persia from the Qajar dynasty. Standing in an opulent interior, he is elegantly dressed in an imperial military uniform, adorned with golden embroidery, medals, and a distinguished sash. His regal presence is further emphasised by his tall Qajar-style hat, featuring the royal emblem. The Shah is depicted resting his hand on a luxurious red velvet and gold-trimmed chair with a richly detailed Persian carpet beneath his feet adds depth and texture to the scene. The background features ornate wall decorations and a Persian calligraphic inscription. H: 189cm, W: 109cm (Framed) 

TWO PALESTINIAN WHITE METAL WOMEN'S BRACELETS Collected in the Sinai Peninsula, Egypt, made in Palestine, ca. 1920 - 1950Comprising a curved cuff bracelet, made of copper alloy with high zinc content, cast with five protruding hemispherical bosses on the exterior set against a ground of diagonal hatched lines, and encased within a braided band running around the edges; and another bracelet, possibly made of malleable low grade silver, with similar bosses, engraved with a stellar pattern, issuing heart-shaped motifs with applied wire.The first 5cm x 5.5cm x 2.3cm and 70gr.The latter 5.4cm x 5.8cm x 2.4cm and 38gr. The cuff bracelet (haidari) in the present lot is almost identical to another specimen with protruding bosses in the collection of the Palestinian Museum, recently exhibited in the Hayy Jameel centre in Jeddah, Thread Memory: Embroidery from Palestine, 23.01.2025 - 17.04.2025. The exhibition curator, Rachel Dedman, explained that bracelets with round, breast-like protrusions like these were usually worn by Palestinian women who were beastfeeding, acting as a non-verbal, visual mean to inform the community of their state. A selection of analogous Palestinian haidari bracelets made of silver and of white metal (not silver) attributed to Bethlehem, dating to the first half of the 20th century, are published in G. Völger, K. v. Welck and K. Hackstein, Pracht und Geheimnis: Kleidung und Schmuck aus Palästina und Jordanien, Katalog der Sammlung Widad Kawar, exhibition catalogue of the Rautenstrauch - Joest - Museum der Stadt Köln, 1987, respectively p. 303, cats. 163 - 165 and p. 320, cats. 216 - 220. Qty: 2

A POLYCHROME EMBROIDERED CEREMONIAL HORSE CHEST COVER WITH GEOMETRIC MOTIFS Uzbekistan, Central Asia, early 20th centuryThe characteristic V-shaped red cotton ground sewn with traditional Central Asian cross-stitched geometric motifs, reminiscent in style and palette range of Palestinian tatreez embroideries, with repeating heart or hourglass-shaped patterns set against orange, green and cream grounds, interspersed amidst vertical burgundy-coloured diamond-shaped fretwork bands, the lower section of the equine chest cover embellished with a polychrome crochet grid with tassels, the panel a remarkable witness of Central Asian embroidery techniques as well as equine history.71cm x 97cm 71cm x 97cm Qty: 1

A Chinese framed embroidery panel, late 19th to early 20th century. Depicting trees and flowers in a rocky garden in the central green-ground panel with gold thread, further surrounded by the emblems of the Eight Daoist Immortals (Àn Bāxiān, 暗八仙) and other auspicious Chinese symbols on the outer border. Dimension: 40 cm x 57 cm 19世紀末至20世紀初 帶木框暗八仙繡品Notes: The term "Àn Bāxiān" (暗八仙) refers to the hidden Eight Daoist Immortals, represented through their respective attributes rather than their figures. These emblems—such as a flute, sword, or fan—symbolise blessings and protection in Chinese decorative arts. Good overall品相完好

An original 1920s blue Chinese silk kimono, embroidered to front, back and sleeves, with pink silk lining, two short Chinese silk jackets and a black cotton embroidered Egyptian full length kaftan (4).Condition Report: The condition of the Chinese silk kimono is good in terms of the embroidery. The inside has some staining and some snagging to the pink silk.

A TAPESTRY CARTOON STYLE PANEL OF PRIMAVERALATE 19TH CENTURYdepicting a 'Botticelli' figure of a maiden in floral dress surrounded by plants and trees enclosed by borders of vines in flower and plain guard stripes together with three others from the same series (4)220 x 111cm each (approx)ProvenancePurchased from Ian Hastie, Salisbury in 1976.Catalogue NoteTapestry cartoons were used by weavers as sketches in order to complete the woven tapestry. These panels were possibly intended to be used as embroidery templates.

A quantity of sewing knitting and embroidery items

A framed & glazed Lincoln Cathedral embroidery (J Robson 1992)

2 Wooden easels & an embroidery frame

Seventeen Royal Worcester, Coalport and Royal Staffordshire figures of ladies, late 20th c, 34cm h and smaller, printed mark Chip to hat of miniature figures Pansy and Rose, the rest in good conditionCertificates for : all miniature flower series ladies, The Fair Maiden of Astolat, two for the Ruby Princess, The Graceful Arts - Embroidery, Spirit of Peace

An English silk embroidery of a bouquet, late 18th c, later applied to a silk ground and embellished with gold thread, 40cm diam

A Regency painted silk pictorial embroidery, worked in mainly long and short stitch and French knots, with a shepherdess beneath a tree, oval, 40.5 x 31cm, contemporary giltwood covetto frame The picture in fine condition, fresh and largely unfaded, no fade or loss, the frame re-gilt over some old repair

An embroidery of the twelve days of Christmas

This set of two framed Japanese silk embroidery artworks depicts traditional rural figures in finely detailed, hand-stitched silk thread against a black fabric background. One piece portrays a wood gatherer carrying logs on his back and holding a branch, while the other features a woman in traditional attire carrying flowers and plants in a woven basket. The intricate embroidery work highlights delicate shading and texture, emphasizing the craftsmanship of this traditional Japanese art form. Each artwork is signed with Japanese characters in the lower left. Both pieces are elegantly framed in black lacquered wood with off-white matting, enhancing their striking visual contrast. A beautiful addition for collectors of Asian art, textile art, or vintage Japanese decor. Each piece measures 14.75"L x 17.25"H.Dimensions: See DescriptionCountry of Origin: JapanCondition: Age related wear.

A framed embroidery commemorating Queen Elizabeth II 's coronation in 1953.

Two dresses, a 2006 BIBA reboot long summer dress in lightweight cotton with blue and green Moroccan sketch pattern, crochet waist ribbon, shish mirror embroidery details at the bust, size XS. A batwing dress in terracotta and beige Terry towelling cloth, heaveyweight with split sides, zip fasten to the rear, size XS. Along with a vintage mannequin bust, wood base with man-made bodice painted black, measures 36' bust, 25' waist, 35' at hase/hip, signs of age include rough surface with chips and scuffs. CONDITION REPORT: Both dresses are in lovely vintage condition, without moth holes. The BIBA dress has some darkening at the neckline trim, very likely to be dust build up over time and washable. The towelling dress has a small patch, not larger than 1x4 inches, of wear to the area right of the rear zip. Not instantly noticeable as the speckled natyure of the we blends in with the texture of the fabric, though small sections of the beige shade have been worn down to reveal the brown/orange beneath.

A vintage wall hanging example of Shisha embroidery, characterised by small circular mirrors embedded among yellow-gold, silver, and multi-coloured embroidery on a red background, framed by a black cotton backing border. Measurements: 20x32', wooden downling and hoop hook attached.

A framed example of Eastern Shisha embroidery, on brown, burgundy and purple dyed panels of muslin or cheesecloth, having metallic gold foliate embroidery. In a red and gold painted frame, 19x19'.

A 1937 embroidery sampler on cotton, performed by Evelyn M Barton, depicting a 'Coronation Calendar', each month bearing a different motif and with floral borders at each side. In very good condition with brightly coloured threads, framed in dark wood bevelled frame, 16x22.5'.

A collection of vintage ladies accessories, comprising eleven pairs of gloves, including soft kid leather, crochet and brush cotton examples, along with three small black handbags, each having a frame and clasp closure showing varying degrees of decoration and ornamentation, such as beadwork and floral embroidery. Along with a JUPA Japanese made vintage wooden handled and silver metal framed parasol in cream broderie andglaise.

A collection of early-to-mid 20th century domestic linens, comprising two handmade pinafores, an embroidered cotton head covering, a beautiful cotton table cloth 50x50', place mats, a quantity of lovely handkercheifs, furniture protectors and crochet lace doilies, including beautiful examples of floral embroidery, sewing craft and crochet. Most in lovely condition, some discolouration to larger pieces.

Happy 12 needle single head embroidery machine model no HCS-1201-30 in working order

A Lenci doll, of felt construction with blond hair, painted sideways glancing eyes, painted lips, and wearing her "Sunday best" with floral embroidery, 15" tall (Est. plus 24% buyer's premium inc. VAT)Condition Report: Generally good

W.J. Howie, female portrait, watercolour, portrait of a young girl, oil on canvas, unsigned and other prints, paintings and an embroidery

A box of handbags, wool blankets, embroidery, linen etc.

Antique foot stool, embroidery top section. Shaped form legs and supports.

A Chinese silkwork embroidery depicting figures together with four similar embroideries and two Chinese watercolours

A quantity of vintage linens and embroidery work

Box of tapestry kits and threads, frames and box of vintage cross-stitch and embroidery magazines and pamphlets.

2 Boxes of embroidery and tapestry making craft packs and a folding artists easel.

4 Vintage red and paisley patterned child sized feather duvets approx 135cm x 110cm. Box of patterned vintage fabric offcuts. 2 Embroidery books.

2 Boxes of vintage needlework, embroidery and sewing books including: 'Needlework as Art' by Lady Alford and 'Samplers and Stitches' by Christie.

PAIR OF CHINESE EMBROIDERIES, AND A FURTHER CHINESE EMBROIDERY decorated with animals, scroll work and foliage, along with another Chinese embroideryeach framed and under glasssingle embroidery 66.5cm high x 55cmm wide Qty: 3

A figure of a seated lady in a red dress, holding an embroidery hoop. From the Harradine Classics series. Royal Doulton backstamp.Artist: Leslie HarradineIssued: 1939 - 1975Dimensions: 6"L x 5"W x 7"HCountry of Origin: EnglandCondition: Age related wear.

WW2 Period Women's British Red Cross Buckinghamshire Uniform consisting dark blue, single breasted, open collar tunic.  Lower patch pockets with buttoned flaps.  Both arms with embroidery "British" "Buckingham 2" titles and red cross.  Black composite, Red Cross buttons ... 2 x dark blue skirts ... White blouse ... Dark blue, soft crown cap with fold up side flaps and stitched peak.  Gilt and enamel British Red Cross Society badge.  Good complete set.  Payment by Bank Transfer ONLY

Small Selection Of Various Hats including Royal Artillery Officer's coloured field service cap.  Bullion embroidery flaming grenade badge.  Brass, KC RA front buttons ... Dark blue woollen beret with white metal, KC ARP badge ... 2 x American overseas caps ... 4 x helmet camo nets.  8 items. Payment by Bank Transfer ONLY

Selection Of Constabulary Orientated Badges And Pattern Paperwork bullion embroidery badges include Merit ... BR Interpreter ... SCC Ambulance ... Chief Constable ... Town badges.  Badges mounted on wooden wall plaques including anodised QC R.C.M.P. ... Plated QC Birkenhead Borough Police ... Plated QC Sunderland Borough Police ... White metal Malta Police ... Gilt New York Police ... White metal Luxembourg Police.  Together with 4 pages from a badge pattern book 1928 onward.  44 items. Payment by Bank Transfer ONLY

1937 Pattern Mountain Artillery Battledress And GS Cap khaki woollen, single breasted, closed collar, short jacket.  Lower extended belt.  Pleated chest pockets with hidden button flaps.  Both arms with embroidery Mountain Artillery titles over bullion embroidery 8th Artillery formation and Arm Of Service bars.  Internal issue label worn.  Some moth nips ... Khaki woollen, General Service beret cap.  Plastic economy flaming grenade badge.  Quilted cotton lining.  Maker stamped dated 1943.  2 items. Payment by Bank Transfer ONLY

30 x Canadian Corps Embroidery Shoulder Titles including Perth R ... BCD ... RCASC ... CMSC ... 12 CTR ... CAC ... Royal Canadian Army Medical Corps ... Royal Canadian Army Chaplain Corps ... Canadian Provost Corps ... RCAMC ... No 6 Field Ambulance RCAMC ... Canadian Postal Corps.   Payment by Bank Transfer ONLY

30 x Military Cuff Qualification Badges embroidery badges include Bomb Disposal ... Armourer ... Signaller ... Pioneer ... Physical Training Instructor ... Piper ... Bugler ... Drummer ... Musician ... Marksman ... Saddle & Harness Maker ... MT ... DR.  30 items Payment by Bank Transfer ONLY

Two Post 1953 Brigadier Full Dress Caps black crown, red band, black patent peak with gilt wire embroidery oak leaf badge.  Black patent chinstrap.  Bullion embroidery, QC Brigadier's badge.  Leather sweatband.  2 items.  Minor moth nips.   Payment by Bank Transfer ONLY

Six Various Military Police Flags consisting 33 x 75 inch, printed, QC RMP example ... Similar size example ... 30 x 57 inch, printed QC RMP example ... 22 x 40 inch, printed QC 175 RMP pennant example ... Embroidery Pakistan Military Police flag ... Similar example Special Investigation Branch Military Police.  6 items. Payment by Bank Transfer ONLY

British Red Cross West Lancs Uniform Set consisting dark blue, single breasted, open collar tunic.  Shoulder straps with brass "Red Cross 100 West Lancs" titles.  Left arm with embroidery, KC Mobile VAD cuff badge ... Matching dark blue skirt ... Dark blue, soft crown cap with fold down side flap and stitched peak.  Gilt and enamel, British Red Cross badge ... Dark blue beret with gilt and enamel, British Red Cross badge ... 2 x white aprons with red cross front ... Red material, short, nurse's cloak.  Some moth to tunic.  7 items. Payment by Bank Transfer ONLY

Various Selection Of Items including WW1 Christmas 1914 Princess Mary box ... Small selection of ID dog tags ... RAOC lady's bag ... Fibre Air Raid Warden's post sign ... White metal, tubular ARP whistle ... Silk embroidery Dorsetshire ... Embroidery Wiltshire Reg panel ... Silk embroidery Victory For The Allies panel ... 2 x small, printed Union Jack flags ... Early steel spur.  Quantity. Payment by Bank Transfer ONLY

45 x Brass And Embroidery Shoulder Titles brass titles include T. RE. London ... Queens ... Gloster ... Durham ... R.W. Kent ... Essex ... Royal Berks ... Canada ... Australia ... Embroidery Essex ... Embroidery Royal Artillery. Together with a selection of brass Trade badges including Drummer ... HG ... LG ... MG ... Marksman ... Musician ... Pioneer ... Armourer.  45 items. Payment by Bank Transfer ONLY

40 x Military Cuff Qualification Badges embroidery letters within a wreath include TG ... TM ... R ... P ... S ... SB ... SP ... SLO ... M ... MT ... MG ... MM ... C ... GM ... L ... LG ... LMG ... LM ... B ... BC ... BG ... A.   Payment by Bank Transfer ONLY

Three Continental Hats consisting Italian, khaki cap with brown leather peak and chinstrap.  Bullion embroidery Infantry badge ... Italian overseas cap with red piping ... French pattern garrison cap with red piping and front tassel.  3 items. Payment by Bank Transfer ONLY

Small Selection Of Officer Waist Sashes including scarlet and gilt embroidery belt with bow buckle.  Two hanging sections with lower tassels ... Red waist sash with two hanging tassels.  Together with a small selection of cross sashes including black example ... 5 x scarlet examples.  8 items. Payment by Bank Transfer ONLY

1922 Pattern Royal Artillery Service Dress Tunic And Cap khaki woollen, single breasted, stand and fall collar tunic.  Pleated chest and lower hidden pockets, all with buttoned flaps.  Brass flaming grenade collar badges.  Brass RA titles. Both arms with embroidery 8th Army formation badges.  Left cuff with two Service chevrons and "SP" qualification badge.  Brass, KC Royal Artillery buttons.  Interior paper linen label worn ... 1922 pattern, khaki, stiff top cap.  Leather chinstrap secured by brass GS buttons.  Brass KC Royal Artillery cap badge.  Some service wear to both items. 2 items. Payment by Bank Transfer ONLY

Selection Of Pre 1953 Constabulary Badges plated KC cap badges include Dorset Constabulary ... Essex Constabulary ... Shropshire Constabulary ... City Of Peterborough ... Kent Constabulary ... Bullion embroidery KC Scottish ... Plated and enamel KC lapel include PAMS ... WAPC ... Alloy with leather strap Northumberland Special Constable wrist badge.  Some fittings damaged.  16 items. Payment by Bank Transfer ONLY

Two Post 1953 Brigadier Full Dress Caps black crown, red band, black patent peak with gilt wire embroidery oak leaf band.  Black patent chinstrap.  Bullion embroidery, QC Brigadier's badge.  Leather sweatband.  2 items.  Minor moth nips.  Payment by Bank Transfer ONLY

6 x Polish Forces Badges consisting white metal Polish Air Force (screw post fitting) ... Plated brass Polish Forces cap badge (fitting absent) ... Embroidery Poland title ... 2 x embroidery Polish 2nd Corps ... Embroidery Polish 3rd Carpathian Division ... Plastic economy Polish button.  7 items. Payment by Bank Transfer ONLY

Selection Of Various Post War Helmets And Hats consisting French, post war, American style helmet complete with inner helmet ... Post war, German helmet.  Lacking liner ... Two, white topped, sailor's hats .... Irish Guards No 2 cap complete with badge ... Royal Navy Captain's white topped cap, complete with bullion embroidery badge.  10 items. Payment by Bank Transfer ONLY

30 x Canadian Corps Embroidery Shoulder Titles including 1 FD ... 3 FD ... 4 FD ... 7 FD ... 8 FD ... 10 FD ... 20 FD ... 21 FD ... 27 FD ... 6 RCA ... 1 RCA ... 8 RCA ... 11 RCA ... 15 RCA ... 16 RCA.  30 items. Payment by Bank Transfer ONLY