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Steiff Limited Edition Peter Rabbit Replica 1904/05 A 22 cm tall Steiff Peter Rabbit replica crafted as part of a limited edition run of 3,000, numbered 02527. Styled after the 1904/05 design, the figure features hand-stitched nose and mouth details, a navy blue felt jacket, and red felt slippers with leather soles and gold-coloured embroidery. Made from wool plush and wood shavings, it includes Steiff's hallmark "button in ear," original box, and certificate of authenticity. A collectable piece inspired by Beatrix Potter’s beloved character.

Vintage Singer Featherweight 222k Sewing Machine with Accessories and Carrying CaseThis lot features a vintage Singer Featherweight 222k sewing machine, renowned for its compact and lightweight design, making it a favourite among sewing enthusiasts. The machine is black with elegant gold-coloured detailing, prominently displaying the "SINGER" brand name on its body. Visible components include the needle, presser foot, spool pin, and various cords, suggesting the machine is electric.Accompanying the sewing machine are several well-preserved accessories. These include a green box with the "SINGER" label containing various metal sewing parts, an additional green box, and assorted yellow and orange boxes. A small transparent screwdriver or oil can is also featured, alongside a bottle labelled "Singer Lubricant for Electric Motors" and a small bottle of sewing machine oil. An orange piece of fabric lies to the left of the machine, indicating its readiness for use. Furthermore, there are assorted threads, a Singer Embroidery Hoop box, and an instruction manual for the electric sewing machine.The machine and its accessories are set up on a textured surface and accompanied by a black, hard-sided carrying case designed for portability. The case, featuring a handle on top and metal clasps, measures approximately 12 inches in length, 7 inches in width, and 11 inches in height, although the handle appears to be missing. This comprehensive set of items exemplifies the utilitarian charm and functionality typical of the Singer Featherweight series. This item is in working order.

19th century sampler, 'Alice Birtwell, Work, Finished, September 9 1847', 'Solomons Temple', impressive building embroidery with words above, flanked by angel trumpeters 'When Solomons temple was raised, Its grander no mortal can tell, The Lord by his people was praised, He descended among them to dwell, This building was set on moria, Enriched with much silver and gold, For to represent the mesiah, Who should die for the sheep of is fold', with stylised borders with vine design, 55.5 x 61cm, framed and glazed

V Geeson, three: Tawney Owl, embroidery, signed and titled lower right, 26 x 21cm, Nuthatch, embroidery, signed lower right and dated 1986, titled lower left, 25.5 x 20cm and Little Owl, embroidery, signed and titled lower left and dated 1990, 27 x 20cm, John Dolton, study of a bird of prey, watercolour, signed lower right and dated '89, 17.5 x 12cm, 20th century English school, study of a flight of swallows, impasto oil on board, 48 x 32.5cm and three other paintings of birds, all framed and glazed (8)

Framed Egyptian embroidery on cloth, signed measures approximately 21 inches by 17 inches

Late 19th / early 20th century miniature sewing machine, black japanned with gilt flowers, in wooden travel box 29 x 24 x 15cm, together with a Marvel machine for hand embroidery, boxed (2)

Goldwork embroidery of a bird and butterfly in a tree branch, described in handwriting on the back as worked by nuns during the Boer War in the siege of Mafeking, framed under glass, 50 x 49cm

Cross stitch embroidery of a boy playing with his dog, framed under glass, 42 x 48cm

An early 20th Century framed embroidery

A Chinese cloisonne enamel circular box and cover, 9.5cm high; together with a soapstone carving, 21cm wide; and an embroidery inset tray, 24cm wide. (3)

Chinese Floral Embroidery with Inscription, late 19th/early 20th century h cm 83X28 late 19th/early 20th century

Embroidery on silk Oriental character embroidery in the center left cm 55,5X55,5 19th century

Needlework & Embroidery.- Banks (Mrs. G. Linnaeus) Crochet Designs, Light Work for Leisure Hours No.9, folding frontispiece with 3 images, plate, original printed wrappers, Birmingham, [c.1880] § Lambert (Miss) Church Needlework, title in red & black, original cloth, rebacked, 1844 § Potter (Esther) English Knitting and Crochet Books of the Nineteenth Century, extract, interleaved with annotations in ink and index to rear pastedown, final two leaves loose, cloth, Bibliographical Society, 1953 § Lotz (Arthur) Bibliographie der Modelbücher: Beschreibendes Verzeichnis der Stick- und Spitzenmusterbücher des 16. und 17.Jahrhunderts, second edition, Stuttgart & London, 1963 § Groves (Sylvia) The History of Needlework Tools and Accessories, Newton Abbot, 1973, some illustrations, the last two original cloth or boards with dust-jackets, the last with faded spine, most a little rubbed; and a bundle of others including a 2000 Phillips sale catalogue including the embroidery & sewing accessories collection of Mrs. M.J.P.Collins, mostly pamphlets, v.s. (c.15)

20th century Chinese silk embroidery depicting pheasants and chrysanthemums, 58x37.5cm

A large quantity of table linens to include examples of crotchet lace, bobbin lace, broderie anglaise, cross stitch, free hand embroidery, etc, most in good condition

'Souvenir of Egypt 1945' embroidery with Royal Electrical and Mechanical Engineers crest, approx 43x38cm

LARGE QUANTITY OF VINTAGE AND ANTIQUE LINEN, EMBROIDERY, LACE AND CROCHETincluding Indian white work table clothes, napkins, lace doilies, in cream vintage suitcase

LARGE SELECTION OF ANTIQUE AND VINTAGE TABLE CLOTHS AND BED LINENincluding Irish linen tablecloths, lace and linen bedspread/table cloth with linen backing, Ayrshire white work napkins and table clothes, Chinese embroidery, etc.

LOT OF COLLECTABLESincluding a set of Harper scales with weights, a pair of binoculars, four hardwood stands of various sizes, an embroidery backed gilt dressing table set, a harmonica, a carved wooden figure ornament, two compacts, a soda siphon, etc.

Masonic regalia set in original case includes ceremonial sashes, aprons, and medals with gold embroidery. Includes documents and insignia associated with Freemasonry and Royal Arch Chapters.

FRAMED EMBROIDERY, AND OTHER ITEMS depicting a street scene, along with other items including ceramics, glasses, a badge and further itemsembroidery 24cm high x 31.5cm wide overall

GROUP OF FABRIC, comprising of cotton, embroidery, faux leather and other materials

Three long dresses, 60's/70's to include one Italian embroidery white cotton dress with lace, another multi coloured with floral sleeves and velvet ribbons, possibly Deborah Clare. A DEBORAH CLARE long velour style fabric multi colour dress, with velvet ribbons, (some wear to belt holes and some stains). See all photos for condition. Provenance: Lots 1-90 to include the part clearance of 86 Eaton Square for The Baroness Rawlings. Auctioneers Notes: Please observe - this is an auction, not a retail shop, and all clothes have been worn and used unless otherwise stated , and so are usually not in Shop new condition. Any obvious damage or marks are photographed. Items are sold as seen, with a buyer beware, and purchasers must satisfy themselves prior to bidding.

Three pairs of shoes to include STELLA McCARTNEY animal print with ankle strap, MOSCHINO gold glitter heeled slip ons, and PAUL SMITH black satin with silver bird embroidery sling back heels. size 40 (in used but generally good condition - see all photos).

Miss O by Oscar de la Renta silk skirt with velvet and gold embroidery to waist band, size 12. A pink and black strapless dress with pink ruched bodice and bow detail. Condition: marks to lining. GOLDSTARK SOIREE COUTURE Munchen Paris 1980's black full length evening dress with ruffles, frills, and belt, and a cotton ribbon trellis work (swiss) fabric long 1960's debutante dress, bespoke made.

KANGA silk patterned dress with elasticated waist, CAROLINE CHARLES mid length black velvet skirt, another no label skirt long silk with velvet top. ANTONIA PUGH-THOMAS silk embroidery short top with two silk skirts to match long and short. Black suede shawl/wrap, JOHN ANDERSON London, long black raised pattern cotton coat with double breasted square buttons, green slub weave three quarter length coat with ornate buttons.

A Burgundy velvet dress with silk collar and belt, labelled JANICE WAINWRIGHT condition: slight wear to velvet at waist, and marks to belt. JANET WOOD black silk skirt and tie top with ruffle collar and sleeves, gold metallic embroidery sequin pattern to fabric. Black velvet off shoulder top Enrica Martinelli silk buttons.

OSCAR DE LA RENTA pink silk strapless dress with gold embroidery pattern. 10. Some marks see photos. Nicholas long white dress, a long black jumpsuit.

Shoes, two pairs. Pedro Miralles embroidery flats size 39, Pons Quintana size 38. Some wear and marks.

20th centuryCreme silk with floral embroidery and two denim front pockets lined with mouton lamb fur (size 40).No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

19th/20th centuryThe band collar above a v-neck with gold and silver floral embroidery, with long sleeves and side hem slits (size 2); Together with a Lapis Blue cotton Sherwani (no size).No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Dated 1698 A.D. Depicting Mary holding a lily flower with her right hand and supporting infant Jesus with her left arm; Jesus crowned by a crossed diadem and holding a gospel in his hand; background in gold thread, framed in a circular silver frame with dedicatory inscription to the reverse from a certain Alexander to the Jerusalem’s Archbishop Dositheus, reciting: + Τω ΜΑΚΑΡΙΟΤΑΤω ΚΑΙ CΟΦωΤΑΤω ΠΑΤΡΙΑΡΧΗ ΙΕΡΟCΟΛΥΜωΝ ΔΟCΙΘΕω ΤΙΜΗC ΕΝΕΚΕΝ – μηνι cεπτεμβριω 1698 – Αλεξανδρος – To His Beatitude and Enlighted Patriarch of Jerusalem Dositheus, as a sign of respect – September 1698 – Alexander; internal padding with floral decoration. Cf. Hellenic Ministry of Culture, Embroiderers, Embroideresses & Embroideries in Constantinople, (17th-19th c.), Athens, 2008, nos.BXM 21078, 20717, 20718, 21069, 21072, 21055, for similar embroideries. 82 grams, 10 cm (4 in.). Property of a London, UK, gentleman collector.The art of gold embroidery developed in Constantinople, with its own guild, and continued also after the end of the empire. Important artists like the legendary Despoineta, Mariora, Eusebia and Kokona, were famous in the 'painterly' rendering of religious subjects, not with the brush, but with the needle: red satin, and silver and gold wire created dresses, shadows, volumes with a sense of depth and sculptural quality. The artists conceived their works like a true prayer: a hope, based on human creativity.

Istanbul, circa 1860 A.D. Showing the standing Taxiarches (commanders of the Heavenly Army) Michael (A[rchangel] M[ichael]) and Gabriel (A[rchangel] G[abriel]); Michael dressed in pseudo-Roman scale armour worn over a garment with hanging pteryges, partially covered by his military cloak, the raised right hand holding a sword and the left hand resting on a shield; Gabriel dressed in long mantion (a cloak fastened under the neck), long court dress with embroidery, holding the messenger’s flower in one hand and the Globe of the Divine Power over the world in the other; floral frame; fabric mark in Turkish and Greek (ω) near the right shoulder of Saint Michael. Cf. for an icon of Virgin Mary in similar style, produced in 19th century Istanbul, Geelmuyden Bulgurlu, V., Ulf, A., Lindgren, N., Bodin, H., Balicka-Witakowska, E., Five essays on icons, Stockholm & Istanbul, 2005, fig.3, p.26. 285 grams, 16.2 x 12 cm (6 3/8 x 4 3/4 in.). Property of a London, UK, gentleman collector.The icon is from a workshop of Constantinople circa 1860 A.D. During the Turkokratia (the Turkish domination) the Orthodox inhabitants of Constantinople continued to trust their protection to the powerful military commanders of the Heavenly Host, the Archangels. Following the Slavic style, the icons were often covered by embossed silver plates (riza), generally reproducing the same figures on the painted wood.

A MIDDLE EASTERN PATCHWORK VELVET PANEL EARLY 20TH CENTURY 175cm high,140cm wide Interspersed with embroidered cotton sections, within a similar diamond border. Together with a Rabat door curtain with purple silk floss foliate embroidery on a cream voile ground embroidered in chain stich with flowers 300 cm x 180cm and a similarly embroidered floor cushion in red floss silk, 85cm x 73cm Three panels of Rabat embroidery worked on cream narrow loom ground in red floss silk with all over geometric pattern including a stylised bird in green, one with borders to each end 254cm x 137cm; one with original label annotated 'Indus', 156cm x 256cm; one fitted small curtain rings, 263cm x 137cm. And two lengths of narrow loom cotton fabric, both 54cm wide x 255cm long, possibly Berber.  A Continental embroidered cotton cloth with raised grey embroidery, , 110cm square Condition Report: An 8inch length of ground ripped to one corner. Not backed and possibly never used. The curtain has some grubby marks to ground, it has been folded over to the top, generally in good condition. The floor cushion has losses to the embroidery  Some water damage on 254cm x 137cm panel. Sun damage to embroidery with curtain rings, the other appears unused but seams are untidy to ends Appear unused  Cut and repaired to corners  Condition Report Disclaimer

A (FES) STITCH EMBROIDERY UPHOLSTERED OTTOMAN DESIGNED BY HUGH HENRY Of rectangular form with complimentary red and white bullion fringe 50cm high, 200cm wide, 93cm deep Condition Report: Good, structurally secure with minor general wear and tear. Some light marks and staining to the embroidery that would probably respond to gentle cleaning. Please see additional images for visual reference to condition Condition Report Disclaimer

A GROUP OF OTTOMAN CLOAKS 19TH CENTURY One worked with couched gold thread filigree design with red and blue fabric highlights and metal braid, lined with 19th century European cotton with a sprig design, approx 108cm long Together with, Five 19th century Ottoman boy's/men's short jackets in velvet, hand worked filigree design in gold thread, all 40cm approx. long A 19th century Turkish cotton velvet lady's court dress with hand stitched raised metal thread decoration, inset smocked panels to front, lace trimmed and yoke closing, 141cm long An early 20th century Turkish man's robe, with metal thread embroidered detail and button closing to front, 133cm long A mid-20th century purple cotton velvet lady's dress with gilt metal embroidery, side slits and zip closing, 136cm long, and a silk velvet skirt of similar design with front and back opening to hem, 104cm long An early 20th century Turkish brocade coat worked with metal thread; cotton lined 130 cm long      Condition Report: Some splits around the neck embroidery but most of the threads present. Some abrasion to the braid and edge trimming. Ground has faint patches of possible fading, lining has a few small holes to upper body and a replacement patch 10cm wide to bottom edge. All with loss to the pile to various degrees, some have threads detached, two have losses around collar with one having a rip to fabric below collar, 3cm overall. The long sleeve purple jacket has splits to the ground on the sleeves, stained and grubby to lining. Some losses to surface of the metal thread to yoke, velvet pile worn over all of dress. Faded to the front, two marks to pile on front. Worn but no issues apparent Fading to brocade ground, a 10cm stained to one side of front, wear to back of collar, interior with old stains Condition Report Disclaimer

A COLLECTION OF UZBEK PANELS 20TH CENTURY An Ikat silk ground panel, the five narrow loom sections embroidered with silk floral roundels and red quadrant rondels, with purple cotton edging, 225cm high, 178cm long An Ikat reversable quilted panel woven with chevrons, in gold and pink, the red cotton backing printed with lions and scimitar, 113cm high, 220cm Long. A Susani embroidered four rows of stylised flowerheads and roundels, on aubergine ground, with hanging loops to cotton border, 160cm high, 137cm long. A Uzbek yellow silk panel the narrow loom ground embroidered in purple, red and black floss silk, with tie dyed roundels to border, 250cm high,194cm Long And another similar with silk ground embroidered roundels, suspension loops to top edge, 253cm,186cm A Uzbek Ikat panel with tie dyed yellow backing, integral corner loops, 223cm high,144cm long A tie-dyed panel with all over white roundels, machined ends, 233cm high, 195cm long An embroidered section of a Susani, the cotton ground with silk floss roundels, later fringing, 85cm high, 185cm long Condition Report: Appears unused and in good order A few marks to Ikat side, but otherwise appears in good order Appears in good order Both appear in good orderStaining to bottom edge, a line of dark blue dots to the Ikat side, a seam ripped to Ikat side. Appears in good order Losses to embroidery and grubbyCondition Report Disclaimer

A TURKISH COTTON VELVET CUSHION WITH RAISED METAL THREAD WORK EMBROIDERY CIRCA 1800 86cm length, 40cm high Together with a Venetian silk velvet cushion in the Baroque taste, with raised couch work embroidery including metal threads and border, fringed to each end, 54cm x 38cm; A French Aubusson tapestry cushion, with heavy cotton fringing, 45cm x 45cm; A 1920's cotton velvet cushion set a tapestry band with fringed border, 47cm x 55cm; A cotton velvet cushion applied earlier silk brocade and metal panel, with metal thread banding and silk fringing, 60cm x 50cm.  Condition Report: The Turkish cushion rebacked in 20th century, old stitching lines have small rips and repairs to each end, the raised metal work has small losses overallThe Venetian cushion has losses, wear and splits to ground and embroidery, backing is very rubbedAubusson has splits and losses to tapestry.1920's cushion is good for age but backing silk has a stain and small rip to groundThe silk brocade cushion has heavy wear to brocade area. Condition Report Disclaimer

A VENETIAN VELVET SHAPED PANEL INCORPORATING TURKISH EMBROIDERED ELEMENTS CIRCA 1700 AND LATER The ground and side elements made up from sections of earlier embroidery and metal braiding, backed in linen. 252cm high, 180cm wide Condition Report: Wear overall and losses to velvet ground, some rips and elements of embroidery detached from ground, signs of restoration, backing has repairs, water stain and small holes. Please see additional images for visual reference to condition Condition Report Disclaimer

AN INDIGO COTTON CANVAS CHAPAN CENTRAL ASIAN With repetitive hand stitched zigzag red border, with handmade picot edging, inset one pocket. 122cm long  Together with: A Turkmen purple quilted velvet coat with inset-coloured sections, worked pocket and red machined border appliques, lined with red floral print, 103cm long; An Uzbek silk Ikat quilted chapan, with floral printed lining, hand stitched border, 127cm long; An early 20th century Turkish Ucetek Entari robe with long side slits and overlong open sleeves, woven in silk on cotton ground, with hand couched cord embroidery and edging to body, 151cm long, and a pair of similar pantaloons with corded embroidery with goat skin backing to pocket, corded gathering to waist, 93cm long; A silk brocade kaftan with red cord and gilt metal braiding, with long slit to each side and an Uzbek Ikat woven kaftan with losses to trimming; and a kimono shape in Uzbek style pattern organza type fabric. Condition Report: Central Asian Indigo cotton canvas chapan: A shortening tuck of 5cm to body, spots of colour loss to canvas in pocket area and repair to pocket opening, replaced sections under arms, Lining in good order bar some colour staining to pocket area.Turkmen coat: Repairs to the pocket.Uzbek chapan: Splits and losses to silk, see photos for details.Brochade Kaftan: Small seam repairs under armholes, a few small areas of detached cording. Some cording detached to leg holes and small tear in fabric, see pictures for details.Uzbek Kaftan: appears in good order, Ikat kaftan has lost trimmings and been partly unstitched, the kimono has colour run from another garment to front. Condition Report Disclaimer

TWO VENETIAN CRIMSON SILK AND METALLIC THREAD EMBROIDERED CUSHION PADS 18TH CENTURY Centred with a lady and goat, and the other with a man. Subject within ribbon and floral surround. 40cm high,50cm wide Together with: A pair of late 17th century Italian crimson silk and metal bullion work cushions centred differing armorials within bullion work shields, the ground worked with strap work, floral set vases and sprays, with later damask backing, 65cm square. Condition Report: Splits, small holes and old repairs to silk ground, some losses and loose threads to embroidery;  Italian cushions, the ground splitting, one more than the other, embroidery lost to armorials, wear to tops of bullion work in parts, detached metal threads to both, see photos for extent. Condition Report Disclaimer

AN EMBROIDERY MOUNTED SMALL TABLE COFFER LATE 17TH CENTURY/EARLY 18TH CENTURY The lid decorated with a coat-of-arms, upper frieze with text 24cm high, 35cm wide, 26cm deep Provenance: Acquired from Axel Vervoordt at TEFAF Maastricht

IONA - A SET OF FOUR SCOTTISH PROVINCIAL 'NUNNERY PATTERN' PICKLE FORKS ALEXANDER RITCHIE/ IONA CELTIC ARTS, BIRMINGHAM 1937 The stem set with a mask and abstract lozenge detail, with bud finial and three prongs; together with a pair of two-pronged pickle forks, stamped IONA, Gilmour & Watson (of Glasgow), Birmingham, the terminal set with a long boat (6) 15cm, 11.2cm long, 92g (combined) Born in Tobermory on Mull, Alexander Ritchie had his roots firmly in the Scottish islands, surrounded by the sea. Originally training as a marine engineer, the first twenty years of his adult life took him across the world with the British India Steam Shipping Company. Even at this time, it is recounted that Ritchie was a keen woodworker and took inspiration from his marine environment.It would be fair to assume that the Celtic wares produced in Iona at the turn of the 20th century were made to capitalise on the passing tourist trade, but the legacy Alexander Ritchie and his wife Euphemia Catherine Ritchie left is far beyond that of tourist souvenirs.  A Creative PartnershipBoth makers were at the heart of the Arts & Crafts movement in Scotland. They were influenced by the Glasgow School of Art and at the forefront of the Celtic Revival movement. This melting pot and the history and art of Iona, combined with the skill of these two individuals created a legacy unique to this Scottish Island.It was not until he was in his 40s in the mid-1890s that he decided to take a break and enrol at the Glasgow School of Art. It was at the School that he met his future wife Euphemia Catherine Thomson. Both were immersed in the Glasgow Style, with contemporaries such as Jessie M. King, Charles Rennie Mackintosh and Francis Newbery.An Island of InfluenceCatherine and Alec moved to Iona shortly after they married in Glasgow. Their home at Shuna Cottage welcomed all those who visited the island. The Scottish Colourist Francis Campbell Boileau Cadell was a frequent visitor to their home and took inspiration from the island for some of his most seminal works. Ritchie was immersed in all artistic aspects; their shop Iona Celtic Art offered jewellery and other metalwork, leather tooling and embroidery, along with engraving and enamelling learnt at Glasgow. The earliest examples are in wood, a medium in which Ritchie felt most confident in the early days.Contemporary images of the shop show delight for the eyes in all corners; mirrors with zoomorphic corners, Celtic crosses hanging from all four walls, galleon ship pendants and penannular brooches covering door frames. As their business grew, the requirement to outsource is seen with the range of punches and hallmarks on the reverse of their wares. Various Assay centres such as Glasgow, Birmingham, and Chester appear on jewellery, and this reflects the popular enthusiasm for the Arts and Crafts movement.The Celtic RevivalThe Celtic Revival helped re-invigorate the Celtic identity, looking to the early Medieval Celtic culture in art, music, poetry and literature. In Ireland, the Book of Kells and the Tara brooch were key objects for this identity. Similarly in Scotland items of National significance such as the Hunterston brooch, housed within the National Museums Scotland collection, helped to illuminate the past and inspire artists and craftsmen who had been subjected to the mass industrialisation of the Victorian era.For the Ritchies, the Celtic Revival was more than a dissemination of history. Along with individuals such as Lady Victoria Campbell, the daughter of the 8th Duke of Argyll, they also sought to encourage Celtic Christianity. Alexander or Alec, as he was known, was made custodian of Iona Abbey in 1900.Later LifeThe Ritchie’s were part of a larger artistic community with an interest in Celtic art. John McGilvray, also of Iona, had for example been selling silver items from at least 1887 and was regarded as a local rival, but it is the skill of the Ritchie’s work and their understanding of Celtic culture that has created a particular appreciation for their works of art 100 years later. Individuals such as Robert Allison continued to produce their designs 50 years later in the mid-20th century, and their legacy is still apparent in Iona as the Iona Heritage Centre houses a permanent display of their work.Alexander Ritchie died in 1941, two days after his wife Euphemia. They were both buried together on the same day in the nearby Reilig Odhrain, the burial grounds of the Kings. These forks take inspiration from archaeological excavations at the Iona nunnery in 1922 and 1923. 

PW Miller (20th century), watercolour, 'Park' scene and an embroidery. The first signed lower left and dated 1991. 24cm x 17cm. Framed and glazed, the second an embroidery by Mary Jane Brown. Framed and glazed. (2).

A 20th century hand embroidered on silk picture depicting a scene of a peacock amidst bamboo grove. The picture embroidered Hanoi Du Shunchang, renzi nian on right top corner, framed and glazed.Measures approx. 92cm tall x 68cm long including the frame.The embroidery is good, slight discolouration of the thread. No damage to the silk.

An early 20th century Chinese silk embroidered panel. The embroidery has a beige ground colour depicts a scene of butterfiles admist flowers with blue border decorated with floral design. Framed and glazed.

Masonic regalia set in original case includes ceremonial sashes, aprons, and medals with gold embroidery. Includes documents and insignia associated with Freemasonry and Royal Arch Chapters.

Three framed 20th century Maw & Co majolica style tiles along with a framed embroidery.

An Antique framed embroidery, some tears and fading 45x37cm

A Japanese silk embroidery depicting flowers and exotic birds, 64 x 42cm.

FOUR BOXES AND LOOSE SEWING, EMBROIDERY, AND CHRISTMAS SUPPLIES to include a box of packaged and loose wool of various kinds to include Mohair, Acrylic-Cotton blends in a variety of colours, various reels of ribbons, assorted knitting needles and vintage designs, a suitcase containing assorted textiles, a hat box, two boxes of Christmas decorations to include tinsel, decorations, and artificial flowers, etc (4 boxes and loose) (s.d)

William Morris (1834-1896) for Morris & Co., The Appple Tree, An Embroidered Panel, circa 1890, coloured silk threads, in a gilt frame firescreen,58cm square, frame 115cm high Literature: Parry L. William Morris Textiles, 1983, page 28 where a similar design for embroidery is illustrated.

After Robert Morden, map of Durham and a Nottingham embroidery, framed

Antique leather cased sewing kit, embroidery and sewing scissors, John James & Sons needle packets, etc

Embroidery and applique fabric picture of a stylised Restoration gentleman in doublet and hose

Two vibrant, whimsical and playful hand-embroidered pictures, respectively portraying two figures gardening and a couple dancing, embroidery on cotton, initialled WR, uniformly framed under glass, circa 1930s / 1940s, 30 cm x 38 cm

A framed silk embroidery showing a seated Grecian or Roman lady - overall size 28cm x 35cm

A large Chinese embroidery study 

A COLLECTION OF 19TH CENTURY TEXTILESincluding two Indian shawls, one in ecru embroidered with paisley boteh design throughout, 99cm wide x 190cm long, another on camel coloured wool with embroidery to the edges, 170cm square, a linen runner with red embroidery to the edges, 35cm wide x 222cm long, and another ikat style textile (moth damage throughout each item) (4)

A large quantity of needlepoint, embroidery & tapestry related books