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A Chinese silk skirt, early 20th Century, pleated with a red ground, two embroidered panels in blue with butterflies and floral applique borders and embroidery on the pleats, approximately 79cm longLooses to the blue and black silk embroideredy, fraying and shredding, images shown

A Chinese lady's formal tabard, circa 1890, with embroidered figures, boats and flowers in fine Peking knot, metallic couched stitch, multi-layered lappets, tassels, pink, green and rust panels, 104cm longFraying and wear to some of the embroidery

Royal Artillery Victorian Officer's Full Dress Sabretache & Cover. A good late Victorian example, the blue cloth flap edged all round with 1 3/4 in. Broken Bias gold lace and embroidered with the Royal Arms above oak and laurel leaf sprays, the gun in gilt metal and motto scroll in embroidery. Slight dulling to lace and areas of wear to cloth edges. Complete with original leather and velvet cover Payment by Bank Transfer ONLY

A vintage Spanish Flamenco dress, the red dress of traditional tiered and ruffled style with black polka dots and black ribbon trim, bearing label stating 'Joyma Sevilla', waist size approx 30" along with a pair of red suede effect Gladis Dance shoes with metal studded toe and heel, stamped to base '38' and a black fringed shawl with contrasting floral embroidery (at fault) along with a further collection of Bohemian textiles and shawls (Qty)

A Victorian wool work sampler, late 19th century, worked by Mary Hughes aged ten and dated 1884, depicting a manor house and garden with figures and animals, framed and glazed, 40cm x 43cm overall; with a further wool work embroidery depicting a young girl and her dog, maple framed and glazed, 63.5cm x 57cm (2) (at fault) CONDITION REPORT:Both pieces are framed under glass and have not been removed for inspection.  The Mary Hughes sampler shows some small losses to the left and bottom edges which are visible in the frame. The lower central section shows an area of discoloration.  The colours overall are quite bright, but are likely to have faded somewhat over time.  The girl and dog embroidery shows staining to the backing fabric in the upper half of the picture, and some fading to the colours.

A Victorian mahogany pole screen top, with embroidery panel decorated with a floral spray. Frame size 43 x 50.5 cm.

SIR GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) HOLD YOUR BELIEFS LIGHTLY (EMBROIDERY) - 2011 Computerised embroidery on cotton and silk, 69/250, numbered to Victoria Miro Gallery, London label verso, programming by Tony Taylor, published by Victoria Miro Gallery, London/Venice 27cm x 40cm (10.5in x 15.75in) Victoria Miro Gallery

Flambards Bridal Collection Wedding dress c.1912 The bride wears a chiffon over silk gown, with hand embroidery to the bodice, skirt and sleeves, a double train, and from her headress hangs a cascading veil of fine tambour lace. The dress is modelled by a haughty blonde mannequin. We judge that the cream chiffon overgrown is too fragile to be usable; otherwise, the dress is in good condition.

Flmbards Bridal Collection Two weddings dresses, c.1971 & 1974 A wedding dress of white satin, with scalloped sleeves in the medieval style, together with a short dress with a bodice emblished with silver embroidery. The bride wears silver platform sandals.

A framed embroidery panel, 18th century, metal and silk threads on a silk cloth, the central vignette with scrolling frame and stylised shells depicting The Annunciation, the whole flanked by a border of medieval figures, daffodils or narcissus, hunting dogs and roses, set within a carved giltwood frame decorated with trail of oak and bay leaves42 x 50cm

An Islamic Turkish Ottoman embroidery, 18th century, the foliate motifs worked in coloured and metal threads, within a blue border66 x 44cm

A BOXED LIMITED EDITION RIVERDANCE COLLECTION DOLL, 'Ciara' No.9349, porcelain doll appears complete and in very good condition, with (rolled/creased) certificate No.1314 of 15000 and display stand, possibly missing swing tag, height approx. 40cm, box complete but has some minor damage and wear, also included is an Irmgard Blaser collectors doll, Annabelle, in St. Gallen embroidery dress, Limited Edition No.8 of 30, with Certificate, appears complete and in very good condition, looks to have hardly ever been on display, with stand and bouquet (minor damage & wear), height approx. 50cm, with packing in unassociated cardboard box, lastly a collection of European made collectors dolls, including examples by Pura Pastor Juan, D'Anton, Panre and Marigio, all appear complete and in good condition except that the Marigio example has loose wig and hat

A suzani-inspired flat-weave wool carpet, of recent manufacture, with polychrome floral and foliate embroidery, 295 x 191cmCondition ReportUnused, therefore appears in good structural and cosmetic condition and is ready to place.

Two early 20th century Japanese books of embroidery patterns & designs.

A vintage pale green silk kimono and sash with embroidered chrysanthemums to the back and front to/w a cream scarf with gold thread embroidery (2) Kimono - marks on fabric, wear to inside back of neck, thread coming undone. Small areas of thread coming loose but minor. Not faded, bold colours.Scarf - marks, slight fraying of gold thread

A LARGE CHINESE SILK EMBROIDERED WALL HANGING PANEL OR BEDSPREAD19th Century Cream ground and embroidered in various colours, central double headed phoenix surrounded by four firebirds, insects, plants and foliage, 186 x 236cmCondition reportThere are numerous areas of wear, fraying and loses to some of the detail. In particular to the edges and corners. With a larger area into the field of the panel extending approx 36cm long. Some creases. Some smaller and finer areas of detailed embroidery missing and some possibly replaced. See extra images. some areas of dirt. The back is later lined. 

Two framed photographs of Chelsea footballers to include Charlie Cook and an embroidery

A group of Edwardian to 1920s shawls to include a 1920s triangular shawl in hand painted silk (some marks), a large black silk shawl with fringe in good condition an ivory rectangular shawl with tasseled fringe and self coloured embroidery in good condition and an ivory rectangular shawl with macrame border and fringe, self coloured embroidery. Good with some small marks, plus a bobbinet shawl with bobbin lace border and two pairs of 1920s shoes, one pair on snakeskin, size 4 uk and another in lizard skin (qty, 1 bag) 

A vintage 1950s prom dress in pink tulle and lace with matching bolero and a pretty pink wied chiffon leaf head piece and long length gloves, a pink with white flock shirtwaist dress c1950s/ late 40s, a pretty apricot viscose dress with pink lace c1970s, made in India, and a 1930s/40s kimono robe in a pink coral crepe with orange coral lining and couched and padded gold work embroidery (4) All pieces show some wear commensurate with age and use. scattered small holes and marks in the pink tulle. Head piece is in very good condition

A group of vintage and antique textiles and other items to include arts & crafts era embroideries, an ostrich feather fan a/f, vintage handbags and purses, early 20th century chinese silk in jade green that appears to have been cut from a garment, the very fine gold work embroidery featuring five clawed dragons, phoenix, plum blossom and other creatures, two Soviet union Pennants or flags and other items (qty, 1 bag)

RADLEY: four bags, comprising a large cream fabric shopping bag with beige leather straps, a hessian grab bag with white embroidery floral design and leather handles, a cream linen hand bag with green embroidered leaf design and cream leather handle( slight damage to handle and mark on the frame), and a blue linen shopper with embroidered floral design (signs of heavy wear and marks along edges) (4 + 1 dust bag)

Two Oriental watercolours and  a silk embroidery, all signed.

Oval gilt framed embroidery on silk measures approximately 16 inches x 13 inches

A George I embroidery sampler, annotated along the top and bottom 'March the 28 1720 Mary Brown began.... November the 12 1720 this was finished by MB', fine close-weave linen worked with various stitches in polychrome silks, containing Biblical verses including the ten commandments within a structural column design, mottoes, alphabet and decorative dividers, 47 x 22cm, in later glazed Hogarth type frame

An early 20th Century mahogany embroidery frame

Three Chinese silk embroidery pictures depicting birds and flowers, largest approximately 49 cm x 31 cm image size, all framed under glass. [3]. [W]

Two boxes of vintage embroidery related items

A pair of gilt framed 20th Century Chinese silk embroidery pictures, one depicting a perching cockerel, the other ducks and flowering branch - both with text to top left

A box containing vintage children's books including the Boys Book of Stories, two silver plated photo frames and a quantity of stencilled linen fabric for embroidery

A gold thread and padded fabric Plume of Feathers embroidery. Inscribed Ich Dien, in an ornate gilt frame, 40X50cm, framed 67X78cm.From the Plume of Feathers Public House, Princetown, Dartmoor.

Mid-20th century school. Study of an elegant lady carrying baskets of fruit. Mixed media, colours on linen with embroidery. 51 x 36 cm oval. 

A Chinese silk tapestry wall hanging depicting dignitaries and horsemen to a red ground with gold thread highlights, width of embroidery 70cm, tassel length 30cm, 111cm deep overall x approximately 535cm long

Large format petit-point embroidery of Burnhouse Mansion, Stow, Galashiels, probably early 20th Century, framed overall size 91.5cm x 118cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).

A Collection of Mainly Pre-1953 Royal Navy Badges, in raised gold bullion thread embroidery, including rank, trade and shoulder titles, including a Victorian Petty Officer's sleeve badge with three good conduct chevrons, and also four cap talleys to R.N.V.R. London x2, HMS Belfast, and Royal Naval Division, approximately one hundred and ninety items, in a binder file,

A Collection of Royal Navy Embroidered Cloth Insignia, including some cap badges, mainly trade insignia in red embroidery ona blue wool field, including some in black on a khaki field, approximately two hundred and seventy items, in a binder file.

Antique 19th century Turkish embroidery silk on hand-spun and woven linen hanging. 4.2x4.2ft approx. (B.P. 21% + VAT). Additional images of textile added.

Karen Woods (Contemporary) 'Mothers Love', mixed media and embroidery, signed and titled in pencil to the mount, 51cm x 17cm overall At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

Anne L Clark (Contemporary) 'Ash/Nion over Harewood Dale', embroidery and gouache, initialled lower left, 31cm x 38cmProvenance: Bears Lairgate Galleries label to the reverse, also from the collection of Professor John Chambers. Minimal display wear and marks to the frame, otherwise seems ok.

WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.

GODFREY BLOUNT (BRITISH 1859-1937) MALE NUDES IN AN ARCADIAN LANDSCAPE watercolour, gouache and ink on paper 8cm x 22.2cm (3 1/8in x 8 ¾in) Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildrenWith H. Blairman & Son, London Godfrey Blount was heavily inspired by the principles of William Morris, John Ruskin and the Arts & Crafts Society which, together with his strong religious beliefs, fuelled his desire to return to a simpler, more traditional way of life. Working as an artist across multiple mediums, his principal legacy was the establishment of the Haslemere Peasant Industries. He studied under the artist Hubert Von Herkomer, whose painting prioritised realistic portrayal of the lives of the poor. Perhaps this realism and sympathy for the working classes directed Blount away from his public school, Oxbridge educated upbringing towards a life amongst the rural poor.Having moved in 1896 to the Surrey village of Haslemere with his wife Ethel, the following year the couple were founding figures of the Haslemere Peasant Industries artistic community. The Industries rejected mass production in favour of rural craft and aimed to create an environment in which work and leisure aligned with philanthropic principles and traditional values. The primary motive was teaching forgotten crafts to the community rather than profit generation. The organisation also acted as an umbrella body, heading up small workshops which employed local craftspeople, as well as maintaining a small shop in London. Such was the quality of their work that three embroidery hangings are held today in the V&A.;Blount was a prolific publisher, in 1899 releasing his most notable work, the design manual Arbor Vitae. During the First World War he had a printing press with which he produced pamphlets as well as greeting cards and decorative plates. 

GODFREY BLOUNT (BRITISH 1859-1937) EIGHT ILLUSTRATED ALLEGORICAL VERSES watercolour, gouache and ink (2) each 12.5cm x 8.7cm (4 7/8in x 3 3/8in), all under two mounts Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildrenWith H. Blairman & Son, London Godfrey Blount was heavily inspired by the principles of William Morris, John Ruskin and the Arts & Crafts Society which, together with his strong religious beliefs, fuelled his desire to return to a simpler, more traditional way of life. Working as an artist across multiple mediums, his principal legacy was the establishment of the Haslemere Peasant Industries. He studied under the artist Hubert Von Herkomer, whose painting prioritised realistic portrayal of the lives of the poor. Perhaps this realism and sympathy for the working classes directed Blount away from his public school, Oxbridge educated upbringing towards a life amongst the rural poor.Having moved in 1896 to the Surrey village of Haslemere with his wife Ethel, the following year the couple were founding figures of the Haslemere Peasant Industries artistic community. The Industries rejected mass production in favour of rural craft and aimed to create an environment in which work and leisure aligned with philanthropic principles and traditional values. The primary motive was teaching forgotten crafts to the community rather than profit generation. The organisation also acted as an umbrella body, heading up small workshops which employed local craftspeople, as well as maintaining a small shop in London. Such was the quality of their work that three embroidery hangings are held today in the V&A.;Blount was a prolific publisher, in 1899 releasing his most notable work, the design manual Arbor Vitae. During the First World War he had a printing press with which he produced pamphlets as well as greeting cards and decorative plates. 

A Lladro figure of a Medieval lady seated doing embroidery, 29 cm high together with another similar figure seated in a ladder back chair, 28 cm high CONDITION REPORTS The Medieval lady - very dirty and there is a small chip to her little finger. The lady on a chair - again very dirty. Both in need of a good clean. General wear and tear conducive with age and use - see images for more details

A Derry & Toms, Kensington box containing a Turkish style scarf/shawl approx. 59 cm x 270 cm, a costume comprising a blouse of gold painted netting with lace and ribbon detailing to neck and cuffs together with a matching skirt with lace trimmed apron and lace flounce and a Dickins & Jones box containing a heavily embroidered remnant of a clothing (possible a dress) in silk satin with gold and silver fagotting and silk satin stitches approx. 95 cm x 50 cm (at widest), a net sequinned collar, a net and metal decorated shawl approx. 185 cm x 56 cm, a pair of silk stockings, two bracelets, three sections of gold beaded braid and remnants thereof, together with a segment of Chinese embroidery approx. 100 cm x 12 cm featuring dragons and phoenix

Two boxes containing two chemises, three Christening gowns and five baby dresses, together with a quantity of lace and embroidery embellished tablecloths, damask tablecloths, place mats and napkins, etc. (2 boxes)

Three boxes of fabric, mainly cottons suitable for quilting including fat quarters etc together with a further box containing six embroidery frames and a selection of books and magazines on quilting and embroidery (4)

A collection of hardback and other books, primarily relating to art and collecting, titles including: English Furniture of the Eighteenth Century, by Herbert Cesinsky, three vols.; The Gentle Art of Faking Furniture, by Herbert Cesinsky; The Earle Collection of Early Staffordshire Pottery, by Cyril Earle; English Embroidery, by A. F. Kendrick; How to Identify Old Chinese Porcelain, by Mrs Willoughby Hodgson; Old Glass and How to Collect It, by J. Sydney Lewis; and others, contained across two boxes.

A framed and glazed late Chinese republic silk embroidery, approx 53cm x 37cm. Shipping category D.

A quality early 19th century needlepoint embroidery by Sarah Mather aged 11years. With a verse alphabet and patterned border very good condition. 34x46cm. NO RESERVE

Victorian petticoats and undergarments, embroidery anglaise trimmed and lace trimmed, to include bloomers, a silk petticoat with lace and ribbon detail, white cotton shift, an embroidery anglaise petticoat/nightgown with embroidery anglaise straps, Victorian full length nightgown, full sleeves trimmed with embroidery anglaise and pinch pleats, another Victorian full length nightgown, a cotton petticoat with side panels, lace inserts and embroidered front bodice, full length sleeves (some rust staining), a machined lace and cotton cami top, a silk petticoat with lace hem, an organza (damaged) petticoat (1 box)

A late 18th century gentleman's silk waistcoat embroidered to the front panels in silk threads using various embroidery stitches to include satin stitch, stem stitch, French knots and chainstitch, all over floral sprigs with wide borders of flowers and leaves on sinuous stems, embroidered pocket flaps, embroidered buttons detailed with small pink flowers, satin backing to the pockets and reveres, the back has been taken in at a later time just with a running stitch, cotton ties to the back, from underarm to underarm at the back measures 51cm approxCondition ReportSome staining to both armholes (outside and in), some fading commensurate with age (but not to embroidery), four square stitched areas (as shown in photos), which may be repairs.

A quantity of 1980's and 90's denim items to include denim and country shirts including vintage Wrangler jeans, Levi Strauss, Lawman denim boilersuit/jumpsuit with elasticated waist and bellbottom trousers, full length denim skirt with gold bead and coloured stone embroidery, Claudio Couti jeans, Marks and Spencer jeans, distressed denim overshirt labelled Silver Saddle, Express EXP Jeans waisted jacket double breasted with gilt and black button, black ric rac and embroidered applique, an embroidered blouson denim jacket circa 1980's (extra large) with applique sequinned symbols to include a poodle, juke box, musical notes, beads etc, Dolce & Gabbana jeans with gilt and coloured glass heart charms to the pockets, a Harley Davidson motorcycle workshirt, a Kinsale Smocks jacket, a TG - 69 denim jacket with black cotton detail and pockets, and assorted country cotton and woollen shirts, and other denim items (2 boxes)

Mid-century silk Indian/Pakistan embroidered top with detailed embroidery and small sequins, a round neck, puff sleeves, three-quarter length sleeves and front pockets 

Rust-coloured chenille dress with frilled collar and ribbon tie labelled 'Uninhibited Made in England', an orange crepe day dress with pleated bodice, foldover collar and belt labelled 'Ivis', a green linen shift dress with green linen ribbon embroidery, a cream open cut lace cocktail dress, a brown 1940's dress with square neckline, smocked at the neckline and skirt with belt, white embroidery and short sleeves, a blue linen shirt dress with white detail labelled 'Demi and Tass', a 1970's linen cocktail dress with smocked back, red and black striped bodice with red strap, a linen cocktail dress embroidered with yellow and green floral decoration, a green linen bow to the ruched bodice, shoulder straps, a full-length turquoise, silver thread and yellow striped dress with shoulder straps and matching bolero, a black crepe sleeveless dress with glass faux flowers embroidered to the satin collar, a blue velvet sleeveless dress and a brocade evening dress, A-line, red chiffon ruched bodice with broad shoulder straps, back zip fastening (12) 

1990's embellished knitwear to include a black knitted jumper dress, heavily embellished with glass beads in multi colours labelled Michael Simon New York, a black velvet jacket size 44 multi coloured embroidery on one side, another black velvet jacket with coloured glass and gilt embellishment and single embellished button labelled Falcini, a black elastine 'body' heavily embellished with coloured glass beads, gilt beads etc. (some missing), a black knitted sweater embroidered with sequins, a black knitted cardigan embroidered and embellished with crowns in faux pearls, gilt beads, glass beads, embroidery, the buttons coloured glass, surrounded by faux pearls and gilt beads and the collar embellished, a black wool coat dress labelled Le Follie di Ziegfeld, size small, embroidered with the Ace of Spades in silver sequins and beads and the Ace of Hearts on one sleeve, some loss, a black knitted jumper labelled Bob Mackie embellished with faux pearls, bugle beads, gold coloured beads, turquoise coloured beads etc front and back, another labelled Paolo Borghesi, and a hand painted applique 'T' shirt labelled D'Imalia depicting an elephant (10)

Collection of 1970's/80's evening dresses to include a green polyester dress labelled 'Brijos Madrid', size 40, empire waist with black sequin detail and short angel sleeves, a full-length evening dress labelled 'California', faux-pearl sequin and silver thread embroidery to the collar, a gold and cream jacquard sleeveless evening dress with bow detail to the V neck, a black full-length dress with black sequin bodice and full sleeves, a pink maxi dress labelled 'Blanes' size 12, the sleeves with encrusted decoration of glass flowers, faux-pearls, etc, a sleeveless chiffon evening dress printed in autumn colours with black rickrack detail to the empire waist, V neck, labelled 'Cresta', a blue taffeta short cocktail dress labelled 'Rembrandt' size 16, a dusty orange full-length panelled evening dress off the shoulder with chiffon detail, three-quarter length sleeves, a black and red striped cotton sleeveless dress (missing belt) labelled 'Vera Mont', a blue probably 1950's dress labelled 'R.M.H.O', white Peter Pan collar, full skirt with godets, three-quarter length sleeves and a pale apricot duster coat trimmed with faux-fur to the sleeves (11) 

Victorian nightgown, cotton, lace and embroidery anglaise with ribbon threaded through, some repairs needed, six Victorian petticoats, various detailed with lace, crochet, etc, a peasant-style blouse with embroidery round the neck, and a mid-century silk nightgown in pale turquoise, embroidered tie belt (some repairs) (7)

Islamic Ottoman Ka'aba silk and metal thread embroidery - possibly 18th century  -  with a Turkish calligraphy panel, the original deep red backing has faded but the colour does peep through, there is wear and loss to the centre, the paper used to frame the embroidery is still visible in parts, 195 cm x 100 cm approx

Assorted ethnic patterned style jackets to include a poncho, a wool waistcoat with embroidery, a Turkish-style embroidered waistcoat, a black jacket with fringing, a pale pink woollen cape labelled 'The Spinning Wheel' and two other jackets (8) 

A Victorian red wool tailcoat tunic, circa 1840, probably South Devon Militia, the black felt collar and cuffs with silver embroidery, two rows of silvered crown and laurel wreath buttons by Bogget & Reynolds, London, (epaulettes missing) together with a pair of black wool trousers with red piping (2)

An early 20th century Chinese silk hanfu, comprising burgundy and black silk skirt and top with blue silk floral embroidery, together with a black silk embroidered jacket, also a late printed Paisley shawl.