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Applied Art. Parry, Linda [intro.] - British Textiles 1700 to the Present. London: V&A Publishing, 2014. Printed cloth. (1)

MCM Weekender. Visetos Serie in Schwarz mit Details aus schwarzem Leder und silberfarbener Hardware. All-Over mit Nietenbesatz. Textiles Innenfutter. Schulterriemen anbei. Leichter Abrieb an den Kanten und leichte Tragespuren. 55x24x29cm.| MCM weekender. Visetos series in black with black leather details and silver-coloured hardware. All-over with studded trim. Textile lining. Shoulder strap attached. Slight abrasion to the edges and slight signs of wear. 55x24x29cm.

LOUIS VUITTON Aktentasche "PORTE-DOCUMENTS VOYAGE SOFT". Koll. 2003. Monogram Canvas Serie mit naturbelassenem Leder und goldfarbener Hardware. Textiles Innenfutter mit diversen Innenfächern. Zwei Außenfächer. Starke Patina und Altersspuren vorhanden, dennoch gepflegter Erhalt.| LOUIS VUITTON ‘PORTE-DOCUMENTS VOYAGE SOFT’ briefcase. Coll. 2003. Monogram canvas series with natural leather and gold-coloured hardware. Textile lining with various inside compartments. Two outer compartments. Strong patina and signs of age, but still in good condition.

Brass, Light fitment, Prints, Textiles etc.

Assorted White Linen and Textiles comprising bed covers, bed linen tabel linen etc,(5 boxes)

Assorted Lace and Other Textiles, comprising lace stoles, flounce, remnants, trims, cotton and silk bonnets, Chinese embroidered panel, pair of sleeve bands, sequin appliques, blue dyed pina cloth, crewel work panel etc,(one box)

Assorted Mainly 20th Century Textiles and Lace, comprising printed cotton and other fabric remnants, white linen and lace, costume accessories and other items,(three boxes)

A MAHOGANY FOUR POST BED IN REGENCY STYLE, LATE 20TH CENTURY With a quantity of hangings, textiles and cushions 229cm high, 200cm wide Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Of solid, stable structure - all joins tight and elements of the bed frame hold together well Some old losses, chips and splits Later wiring and fittings for bulbs - the two back posts with fixings attached - this has not been tested The textiles with some minor marks from use - overall in good condition. Hanging velcro fixtures lacking in places. Please see all additional images as a visual reference to condition. Condition Report Disclaimer

AN EMBROIDERED SILK 'DRAGON' ROUNDELWanliFinely embroidered in multi-coloured floss silk and gold-wrapped thread with a front facing dragon pursuing the flaming pearl above the terrestrial diagram, beneath a large double-gourd lantern enclosing the Shou character and Leiwen symbol, flanked by further gourd lanterns and sprouting stems of lingzhi fungi, all interspersed amidst wispy ruyi clouds and on a coral-red ground, mounted with silk on frame. 37.7cm (14 3/4in) wide.Footnotes:明萬曆 壽字龍紋圓補Provenance: Spink & Son Ltd., LondonA European private collection, acquired from the above on 25 September 1997來源： 倫敦古董商Spink & Son Ltd.歐洲私人收藏，於1997年9月25日從上處獲得 Published, Exhibited and Illustrated: Spink & Son Ltd, The Art of Textiles, London, 1989, cat.no. 49.展覽著錄： Spink & Son Ltd，《The Art of Textiles》，倫敦，1989年，圖錄編號49 The present badge would have likely been applied on the front or back of a festive robe worn by one of the highest-ranking members of the Ming court, likely a Prince, as he attended the New Year celebrations. New Year was a time for wishing good fortune. It was celebrated at the time of the second new moon after the Winter Solstice, blending Imperial ceremonial grandeur and vibrant popular customs. The Lantern Festival signalled the end of the New Year's festivities. It was a three-day event held at the time of the full moon, fifteen days after the start of the New Year. This celebration likely originated during the Han dynasty and is believed to be linked to the spread of Buddhism in China. Emperor Ming of the Eastern Han dynasty (25-220 AD) learned that Buddhist monks honoured relics by lighting lanterns on the 15th day of the first lunar month. Embracing the practice, he commanded that lanterns be illuminated throughout the Imperial palace and all temples on the same day. The tradition of hanging colourful lanterns, often adorned with riddles, soon spread widely among the Chinese populace; see G.J.Melton, Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations, Goleta, CA, 2011, pp.514–515. At the time of the Wanli Emperor, known for his consumption and demand of luxurious silks, garments worn during the New Year festivities appear to have been restricted for wear by the highest-ranking members of the Court. These were often decorated with gourds, traditional symbols of abundance, which were often embellished with characters of a congratulatory nature and other emblems underscoring auspicious symbolism, such as displayed by the present example; see J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.50. On the present badge, the largest gourd is embellished with the Shou character and the Leiwen symbol which, together with the lingzhi fungi, form the rebus 'May you live for ten thousand years'.Compare with a nearly-identical red-ground silk embroidered dragon roundel, Wanli, in the collection of the University of Alberta Museum, Edmonton, Canada, illustrated by J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, p.52.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

AN IMPERIAL EMBROIDERED SILK APRICOT-GROUND 'TWELVE-SYMBOL' WOMAN'S DRAGON ROBE19th centuryThe robe couched in gold and silver threads with nine five-clawed dragons pursuing flaming pearls amidst clusters of clouds interspersed with bats, stylised shou characters and the Twelve Symbols of Imperial Authority, all reserved on an apricot-yellow ground above the terrestrial diagram with lishui stripe at the hem, with dark-ground cuffs, collar and sleeve bands decorated with further dragons and clouds. 130cm (51 1/4in) long.Footnotes:十九世紀 杏黃緞繡十二章紋女龍袍Provenance: Spink & Son Ltd., LondonA European private collection來源： 倫敦古董商Spink & Son Ltd.歐洲私人收藏 Published, Exhibited and Illustrated: Spink & Son Ltd, Chinese Textiles, London, 1994, p.53, cat.no. 53.展覽著錄： Spink & Son Ltd, 《Chinese Textiles》，倫敦，1994年，第53頁，圖錄編號53 The robe is distinguished by the Twelve Symbols of Imperial Authority, which include the sun, the moon, the constellation, the rock, the dragon, the pheasant, the axe-head, the figure fu, the water plant, the sacrificial vessels, the flames, and the grain. According to the Book of Documents (尚書), the legendary ancient Emperor Shun referred twelve symbols as ancient in his time and wished for them to be used on sacrificial robes. In the early Eastern Han Dynasty, the system of clothing and adornment was established. From that point on, and lasting through the Ming and Qing dynasties, the twelve-symbol pattern was used as the decorative design for the attire of emperors and officials for nearly two thousand years. Only slight changes in the positioning and colours of the twelve symbols developed over time. In the Huanchao liqi lushi (皇朝禮器圖式) compiled in 1759 during the reign of Emperor Qianlong, the Twelve Symbols were only mentioned in regulations regarding to the Emperor's chaofu and longpao, which leads to the assumption that their use was reserved for the emperor during the Qing dynasty. However, some scholars have observed instances where the right to use the Twelve Symbols was conferred as a mark of Imperial favour, and there are several examples of women's robes featuring the symbols. See G.Dickinson ＆ L.Wrigglesworth, Imperial Wardrobe, London, 1990, p.93. The absence of the two vents at the front and back, along with the design of the sleeve sections indicate that the present lot is a woman's robe. The use of this prestigious yellow colour, particularly in a robe adorned with the Twelve Symbols of Imperial Authority, would have been reserved for a high-ranking woman in the Qing court.See a related yellow-ground embroidered gauze Twelve-Symbol woman's dragon robe, Guangxu, in the Qing Court Collection, in the Palace Museum, Beijing (acc. no. 故00044110). See also a similar embroidered yellow silk Twelve-Symbol woman's dragon robe, 19th century, which was sold at Christie's New York, 21 September 2004, lot 87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Group of textiles and rugsMiddle Eastern

Guinesss textiles- t-shirts, jumper, polo shirt, 2 dressing gowns, slippers, boxer shorts, umbrella, hats, beach towel etc 

A mixed collection of vintage textiles including a needlepoint evening purse 24x15cm, an Art Deco green beaded purse (AF), a small letter wallet in the style of an envelope marked 'souvenir', 2 jewellery display pads, a decorative panel featuring an anchor with Greek Christian cross, a small silk lined purse depicting beaded motifs of butterflies, snakes and flowers, a 19th century embroidered oval panel mounted on board (AF) and a pair of heavily embroidered decorative hanging pockets (9)

An interesting collection of mixed vintage textiles including 1950's/ 60's unused bright cotton print remnants, an Indian embroidery and mirrorwork panel, an oriental robe (AF), a Japanese Obi/ sash etc

A BLUE AND WHITE BRUSH POT19th/20th centuryDecorated around the exterior with figures in a boat and on a riverbank before pavilions nestling amongst trees and rockwork in a mountainous river landscape. 18.5cm (7 1/4in) wide, 15.2cm (6in) high.Footnotes:清 青花繪山水樓閣圖筆筒Provenance: Christie's, Chinese Ceramics, Works of Art and Textiles Part II, 13 May 2016, London, South Kensington, Lot 695.For further information on this lot please visit Bonhams.com

A PAIR OF EMBROIDERED 'TIGER' RANK BADGESKorea, Joseon DynastyEach woven in gilt thread with a tiger on a green silk damask ground with scattered auspicious emblems.30cm x 30.5cm (11 3/4in x 12in)Footnotes:朝鮮 緞繡虎紋補子一對For a near identical Korean 'tiger' rank badge, see Christie's London, Oriental Costumes and Textiles, 21st June 2000, lot 116.For further information on this lot please visit Bonhams.com

TWENTY-FOUR ROLLS OF TEXTILES FABRIC, all varying in patterns and styles (condition report: all unknown lengths and condition) (24)

Ladies Vanity Collectables Mirror, Textiles, Hair Accessories Etc 574379

A modern Japanese kimono, and assorted other textiles (2 boxes)

A pair of Chinese embroidered panels, and other Chinese textiles (qty)

Viceregal school. Perú. Central decades of the 18th century (reign of King Ferdinand VI, 1746-1749)“Inauguration of the office of alderman of Lima, of the viceroyalty of Peru, Don Fernando de Rojas Marres” and ”The Exaltation of the House of Nobility of the alderman of Lima, Don Fernando de Rojas Marres”Pair of oil paintings on canvas. 100 x 73 cm. each.The first painting is divided into two parts, the upper part possibly showing the swearing-in or oath of office of the new alderman of Lima, Don Fernando de Rojas Marres of the viceroyalty of Peru, as he climbs the semicircular stairs to the throne from which he will make government decisions. The golden throne is topped by a red curtain and an open crown, clear symbols of power. Behind it, the two Tuscan columns symbolise the strength and fortitude that every ruler must have in order to lead their people. Above the crown, apart from the word ‘fortune’, an allusion to this virtue, the scene is accompanied by two other virtues linked to power and dignitaries, science on the left and fame on the right. The two female figures who bestow symbols of power, the ruler's sceptre and the crown are the ruler's acolytes and witnesses to the scene.The central figure is dressed in the fashion of Ferdinand VI's reign, which dates the painting and its companion piece to the middle decades of the 18th century. To complete the parallelism of the central scene at the top, two noble coats of arms are placed at either end. The one on the right, topped by the helmet of a warrior, indicates the rank of knight or order of nobility of the person, who would in turn belonged to the order of knighthood of Santiago, one of the four most important orders of knighthood in Spain along with those of Calatrava, Montesa and Alcántara. During the restoration of the painting, the change in the iconography of the area of the coat of arms where the eagle is located came to light. Initially there were three vertical golden bands which were covered by the bird, although it is not clear whether this change was made while the painting was being executed or after the work was completed. The other coat of arms, this time with the crown of government, shows very different heraldry with no distinction of knighthood.The change the coat of arms underwent in this painting also affected its counterpart in the other painting.The noble coats of arms could have belonged to Rojas Marres' paternal branch, that of Don Feliciano de Rojas Ponce de León, and to his maternal branch, that of Doña Juana de Marres, or it is also possible that the one on the left could have been his own, that of the alderman, and the one on the right that of his wife, Doña María María Ana Concepción del Castillo Castañeda.Whilst the upper part of the painting represents political power and command over the people and the virtues that accompany the governor in order to govern well, the lower part, the most didactic part of the canvas, shows the values and qualities of the new government through the representation of 32 squares with elements divided into two panels of 16 squares each.The panel on the left represents objects that have explanatory symbolism linked to elements of power, while the panel on the right shows scenes with a written phylactery above them. These panels would have helped to explain the iconological programme, which symbolised the political programme of the new ruler, to the illiterate population, who made up the majority of the indigenous or native peoples at the time.The second painting shows that the importance of the family and its service to the empire rests on the Spanish monarchy and the Catholic faith.As if it were a ‘Tree of Jesse’, the distribution of the different elements that make up the rich and varied composition of the painting are arranged in a highly symmetrical and rational order.The base of the tree rises above the strong figure of the Child Virgin Mary on her throne, iconography that was very popular during the 17th and 18th centuries throughout Latin America, partly due to Zurbarán's paintings that came from the old continent to the ‘New World’. The feather below could refer to the feather of the archangel Saint Gabriel in the Annunciation. Given that the dogma of the Immaculate Conception was a matter of State and of protection by the Hispanic monarchy, the weight of the Crown rests on it and rests on the figure of the Virgin Mary; as one of the columns of Hercules in the coat of arms of Spain, legendary founder of the Hapsburg dynasty, acts as the trunk of the tree with the phylactery bearing the motto ‘NON PLUS ULTRA’, before Charles V and the anagram ‘Victor’ in golden letters.This anagram is flanked by the lion of Spain and the eagle of Saint John, protector of the Spanish monarchy, both also with golden crowns. On this rests the royal crown of the Bourbons, thus constructing the trunk of the compositional tree, where monarchy and religion are the pillars on which the family's noble coat of arms rests, which in turn is crowned by a laurel wreath bearing an angel and a scroll with golden symbols.The different branches of the ‘tree’ are divided according to the symbols and their distribution.In the upper part, the elements depicted are linked to the litanies of the Immaculate Conception, symbols related to the Virgin Mary. At the top is the sun, the eight-pointed star which has been linked to the Virgin Mary since antiquity, and the moon. The king of the day and the queen of the night contemplate the scene. Between there and the middle of the painting are a rose bush and an olive tree on the left, and a bunch of lilies and a cypress on the right, flowers and plants associated with Mary. All the iconographic repertoire, together with the symbols of the Marian litanies in the upper part of the painting, the elements of science (the book, the compass, the globe and the candle that is not extinguished by the four winds, also depicted) and the six virtues in the lower part, justify the service and work of this noble house to the royal house and the Catholic religion, the foundations of the Spanish empire in the Latin American colonies.In conclusion, these two paintings present a political programme for the government of the new ruler of Lima in the 18th century. The importance of this pair of canvases lies precisely in the way they represent this political programme by justifying the noble house as being in the service of the King of Spain and the Catholic faith. To this end, it also makes use of a graceful play of symbols, something rare to see in paintings from Spain itself, but common in the Americas, to educate and explain to the people how their new rulers will exercise their power.We are grateful to the art historian and restorer Ignacio Panicello for cataloguing and identifying these paintings.Provenance: Former collection belonging to Adrián de Rojas Maestre (descendant of the regent of Lima, Don Fernando de Rojas Marres).This family, or part of it, with important historical links, settled in Spain before 1950 at the Finca El Maestre in Seville. The paintings have always belonged to the family.The subject of our paintings, Fernando de Rojas Marrés, was born in Ceuta and died circa 1800 in Madrid.There is a record in the Spanish Historical Archive of his transfer to the Americas as a ‘Merchant of textiles, he went to South America on the ship Aquiles under the charge of Captain Martin Joseph de Echenique, bringing cargo directly to the port of Callao Lima. Record of information and passenger licence to the Indies of Fernando de Rojas y Marres’.

A quantity of various textiles including linen night clothes, black early/mid century dress a/f, lace & crochet trims

ABI OLA (BRITISH / NIGERIAN B. 1996) ⊕ A PEACEFUL EVENINGsigned, titled and dated Abiola 2018 versomixed media on canvas59 x 84cm; 23 1/4 x 33inunframedProperty from a Private Collection, LondonAbi Ola, born in London, is a multidisciplinary artist whose creative odyssey draws from a rich tapestry of influences, including family photographs, tribal art, African and British textiles, William Morris designs, emojis, and her vivid imagination. Her interests encompass fabric collage, installation, oil and acrylic painting, screen printing, and photography.Ola’s canvases feature faceless figures, a deliberate choice aimed at enabling viewers to connect with the idea of acquainting oneself with distant, never-met relatives. Her enigmatic subjects invite viewers to overlay their own identities or those whom they cherish.The artist’s work transcends conventional notions of expression, offering a universally resonant lexicon that spans time and culture. She forges a visual language that defies temporal and spatial boundaries, igniting conversations on cross-cultural exchange.Ola holds a BFA from Goldsmiths, University of London and an MFA from the Slade School of Fine Art at University College London. Recent exhibitions include solo shows High Street Happenings at Arbeit Studios Palmers Green, 2024, and I’ll Be Your Mirror at the Kupfer Gallery, 2023. Group shows include: New Contemporaries at the South London Gallery, Humber Street Gallery, and Ferens Art Gallery, 2022-23; Ferens Open at the Ferens Art Gallery, 2023; and The Good Eye Projects end of residency group exhibition at Christie’s, 2022.

Textiles - a large pair of country house style linen curtains, in the manner of Laura Ashley. Approximately 163cm across the top and 252cm drop.

Textiles - a 19th century tapestry section, worked in coloured wools with a hunting dog and stag, 40cm x 24.5cm

HISTORIC COSTUME AND TEXTILES 19th century American women's magazines, comprising Peterson's Magazine 1855 and 1861; and Godey's Lady's Book 1864; each with extensive content on period fashions; together with The Book of Costume in two volumes (Crown Publishers, New York, 1948, first printing); Cecil Beaton's The Glass of Fashion (Doubleday & Company, New York, 1954) etc. Condition Report:Available upon request

Vase art déco en porcelaine de Sèvres, 1922A Sèvres Art Deco vase, dated 1922The inside rim and shoulder with a band of orange spiral shapes, shells, and stylised flowers on a blue ground, 18 cm high, the bottom stamped 'RF Manufacture Nationale Décoré à Sèvres 1922', 'S 1922 DA,' and J in under-glaze green with artist signature 'CP. d'ap. AM. Fontaine'Footnotes:Anne-Marie Fontaine (1900-1938) was a painter and ceramicist active at Sèvres from 1928-1936 known for her adoption of Art Deco motifs, primarily from textiles. ProvenancePrivate Collection, FranceExhibited-Exposition internationale des Arts décoratifs et IndustrielsModernes de Paris de 1925, Paris, 1925- Musée Richard Anacréon, Granville, Femmes créatrices des années vingt, Granville, 18 June 1988 - 16 October 1988.- Tokyo Metropolitan Teien Art Museum, Sèvres, Élégance du 20ème siècle, L'Exposition des Porcelaines de Sèvres du style Art Déco, 02 November 1993 - 19 December 1993, cat. 53. A model dated 1921 is in the collections of the Musée National de Sèvres (inv. MNC 17007) on deposit at the MAD Paris since 1925 (inv. SEVRES 115.2), another in that of the Fine Art Museum of San Francisco, inv. Z 1982.24.Literature- Femmes créatrices des années vingt, Musée RichardAnacréon, Granville, 1988.- Brunhammer, Yvonne. Sèvres, Élégance du 20ème siècle, L'Exposition des Porcelaines de Sèvres du style Art Déco, Tokyo Metropolitan Teien ArtMuseum, 1993, cat. 53.For further information on this lot please visit Bonhams.com

Large quantity of assorted fabrics, tapestries, braids, remnants and also various Turkish blankets and other textiles (one box)

A quantity of assorted embroidered and printed table linen and textiles, two lace making pillows, a quantity of vintage handkerchiefs, assorted lace and crochet table mats etc., a 1940's vintage pinny, two Victorian bonnets etc. (2 boxes)

Textiles - a roll of cotton fabric, retailed by The House of Fraser

A pair of early 20th century armchairs upholstered in Sanderson textiles, seat height 43cm

TEXTILES. WARING, John Burnley. Examples of Weaving and Embroidery [Textile Fabrics] ... with essays by Owen Jones and M. D. Wyatt, London: Day & Son nd [c. 1860], additional chromolithographed title, and 16 chromolithographed plates (plates 5 & 6 are tipped-in tinted lithographs), some staining, later quarter morocco and orig. gilt cloth, a.e.g. folio

A late 19th/early 20th century white cotton handkerchief with an embroidered border; & various household textiles.

EGYPTIAN REVIVAL: TWO EMBROIDERED TEXTILES DEPICTING FIGURES AND HIEROGLYPHICSLargest 137cm x 60cm

A quantity of interior textiles to include a pair of cream damask curtains by Dorma. length 184cm, width 170cm, four pink velour cushions with feather pads, approx 42 x 42cm, a 5m length of pink/gold jaquard furnishing fabric, width 144cm approx, a quilted bedspread, width 308cm approx, length 258cm approx and a set of pink made-to-measure window dressings with contrast floral lining.

An early 20th century lacquered rectangular lidded box containing a small quantity of furs and other textiles, width 33cm.

Gina Corrigan unsigned paperback book titled Miao Textiles from China (Fabric Folios) pages 87. Good condition Est.

Art Reference Books on Rugs, Carpets & Textiles Achdjian, Albert Un Art Fondamental, Le Tapis; A Fundamental Art The Rug. Numbered 67 of a limited edition of 67. Several tipped in colour plates, 1949  Valcarenghi, Dario Kilim : History and Symbols, 1994 Hull, Alastair & Luczyc-Wyhowska, Jose Kilim, The Complete Guide: History, Pattern, Technique, Identification, 1993  Ydema, Onno Carpets and Their Datings in Netherlandish Paintings 1540-1700, 1991  Jacoby, Heinrich Sammlung Orientalischer Teppiche, 1923  Bennett, Ian Rugs & Carpets of the World, 1978  Day, Susan Art Deco and Modernist Carpets, 2002 Sylvester, David; Beattie, May H & McMullan, Joseph V Islamic carpets from the Joseph V. McMullan Collection: Catalogue of an Exhibition at Hayward Gallery, London, 19 Oct-10 Dec 1972. Colour plates, 1972  Victoria and Albert Museum Guide to the Collection of Carpets (V&A), 1915  Nevinson,John L Catalogue of English Domestic Embroidery of the 16th & 17th Centuries (V&A), 1950  Digby, George Wingfield The Tapestry Collection: Medieval and Renaissance (V&A), 1980  Schoeser, Mary; Rufey, Celia English and American textiles from 1790 to the present, 1989  Gibbs, Jenny Curtains and Drapes: History, Design, Inspiration, 1994 Szablowskiego, Jerzego Arrasy Flamandzkie w Zamku Krolewskim na Wawelu [The Flemish Tapestries in the Wawel Castle at Cracow], 1988  Coron, Sabin et Lefevre Martine Livres en Broderie: Reliures rancaises du Moyen age a nos jours. Exposition, Bibliotheque Nationale de France, 1995  Mankowski, Tadeusz: Polskie Tkaniny i Hafty XVI-XVIII Wieku [Polish Fabrics & Embroidery, XVI-XVIII Age). Several tipped in colour plates, 1954  Sirat, Jacque Braquenie - Createur de Textiles depuis 1823, 1998  Oz, Tahsin Turkish Textiles and Velvets. XIV - XVI Centuries, 1950 Christies, Sotheby's & Bonhams Auction Catalogues, Rugs & Carpets, 1997, 2002, 2007  (21)

A collection of Chinese textiles, mostly pre 1920s

A large collection of various vintage textiles comprising various table linens, cotton pillow cases, embroidered linens, feathers and  ladies gloves, etc. (alot)

A large collection of various ladies textiles, comprising, lace baby gowns, a collection of ladies white evening gloves, ladies evening purses, collection of black buttons and various beaded trimmings etc. (alot)

BARAT KLEIN original late 1960s early 1970s rayon maxi-skirt and blouse with belt. Fits UK12-14"In 1962, Coco Chanel chose Klein's mohair tweed womenswear textiles for her 1963 spring/summer collection, which led to greater exposure and further sales to couture houses in the US and Europe including Dior, Balenciaga, Pierre Cardin and Saint Laurent." (www. wikipedia.org 26/9/24)Condition Report: Good vintage condition

Assorted textiles and two Victorian fabric dolls

Religious textiles and communion accessories, leather cases, a hat, various brushes, a paper guillotine, etc.

Costume jewellery, handbags, and various textiles. 

Linen, blankets, a pair of curtains and other textiles 

Cath Kidston and Ted Baker bags together with some textiles

Eight Rastafarian style woollen hats together with a blanket and other textiles

Assorted Textiles, Fabric Remnants, Patchwork Pieces, Haberdashery, comprising a pair of glazed cotton yellow striped curtains, double wedding ring patchwork quilt, cot quilt, two peach coloured bed covers with floral appliques, fabric remnants, sewing accessories, quantity of ready made patches for patchwork and other items,(two trunks and two boxes)

Assorted Textiles and Costume comprising gents white cotton shirts, cotton nightdresses, pillowcases with gathered trims and embroidery, a black lace shawl and various lace trims, collars, Gucci silk scarf with strawberries and cherries, bead and embroidered eastern panel and Mackenzie & Mackenzie tin box with pin cushion mount etc(Two boxes)

Assorted, Leather Hides, Fur Remnants, and Textiles, comprising mainly tan leather hides, fox fur shoulder cape, various stoles etc, two eiderdowns, cotton throws, pair of rust velvet curtains, blue velvet panel trimmed in gilt trim, pair of silk damask curtains (a.f.), other textiles etc,(tin trunk, hinged wooden box, suitcase and four boxes)Property of the Late Robert Bogdan, Aberdeenshire

Assorted Costume Accessories, Linen and Other Items, comprising a circa 1970s four fold scrap screen, pair of new cushions, various occasion and other hats, Ferragamo and similar heeled loafer shoes (mainly size 6 and 6.5), handbags, belts, wool and silk scarves, white linen, coloured textiles etc,(five boxes and a hat box)

Ladies 20th Century Shoes and Textiles, comprising a pair of Holmes black leather heels (size 6.5), pair of Church's 'Sybilla' blue leather heels with gilt buckle (size 80B), two pairs of Pappagallo Spain heeled loafers in brown and black with tassels, pair of black heeled shoes, pair of Celine brown suede and leather shoes, two other pairs, assorted Eastern printed cloths etc, (two boxes)

Victoria Pike Design 'Recycled with Care' Homewares comprising six cushions with vintage embroidered mounts, and pr Chinoiserie style smaller cushions,together with a small wicker basket enclosing various drawstring bags, pyjama case, runner using vintage textiles etc(2 boxes and basket)

Victoria Pike Design 'Recycled with Care' Homewares comprising a quantity of mainly brown cotton, wool and linen fabric remnants, several progress projects, vintage textiles, blue wicker hinged sewing box,and wicker boxes and baskets etc

Assorted Textiles and Costume comprising white linen and embroidered textiles, velvet panel, embroidered textiles, shoe trees, ladies hats, gents shoes and hats etc,(two suitcases, hat box and five boxes)Property of the Late Robert Bogdan, Aberdeenshire

Three of Hearts. Emma D'Arcey. Signed to the front, unframed, 29.8cm x 21cm. Emma DArcey Biography - "I am a consultant, educator & co- founder of ao textiles. I work across several disciplines, as both a surface designer and colourist, alongside developing my research profile specialising in plant-based colour. My current practice-based research focusses on the concept of using naturally occurring agricultural tree waste to create regenerative, viable, marketable natural dye. I have a textile design background which includes an MA from Central Saint Martins. Over the years I have developed a specialism in the art of marbling, pushing the boundaries & breaking the rules of this traditional craft. Following my MA I founded my own business selling product ranges & designing marbled mono-prints for fashion, retail, haute-couture and interior markets. With over 20 years of experience, I have built a considerable client list including Hermès Paris, Stella McCartney, Deborah Milner, Aveda, Liberty, Zoffany, Avenida, V&A, Hauser & Wirth and Gainsborough Silk Weavers. I am currently a Senior Lecturer, at Istituto Marangoni, London." Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.

Burmese (Myanmar) Kalaga applique tapestry panel worked with a dragon and phoenix mixed padded textiles embroidered with metallic and coloured threads, embellished by sequins and beads, 70cm x 84cm, mounted on MDF panel

Christopher Dresser (1834-1904), a rare electroplate teapot, No. 2277, circa 1880, manufactured by James Dixon & Sons, Sheffield, England, electroplated metal with ebony handle, impressed with manufacturer's mark Chr. Dresser and 2277 12.5 x 22 x 13.5cm Provenance: Georgina Bourke (née Anderson, then Greenwood), who likely acquired the teapot in the early 20th century. A socialite who mixed in avant garde circles, Bourke first married Lieutenant J F B Greenwood, Kings Own Royal Regt., who was killed in action in May 1915, before moving to Cheltenham and then later, after the war, to Southern Ireland, where she lived in Castleconnell, Co. Limerick. After her death in 1967, the teapot remained undiscovered in a trunk containing her various possessions until a recent routine valuation. Literature: H.Lyons, Christopher Dresser: The People's Designer 1834-1904, p. 7 no. 8 W.Halén, Christopher Dresser, 1990, p. 182, pl. 206 W.Halén, Christopher Dresser: A Pioneer of Modern Design, London, 1993, p. 183, pl. 206 M.Whiteway, Shock of the Old: Christopher Dresser's Design Revolution, 2004, p. 158, pl. 200 Born in Glasgow in 1834, from age thirteen Christopher Dresser effectively began his career when he commenced his training at Somerset House's Government School of Design, one of a number of state-funded centres established from 1837 to train designers specifically for industrial production. This was a period defined by a stratospheric rise in machine manufacturing, making household items more widely available and creating an entirely new market for innovative and creative designs that were suited to modern methods of manufacture. Although he was only twenty-eight years old at the time of the 1862 Great London Exposition, whilst there Dresser claimed to have designed "as much as any man"; this was likely true as he was demonstrably accomplished in all aspects of industrial design, including carpets, ceramics, furniture, glass, graphics, metalwork and textiles. By the end of 1862, Dresser had published The Art of Decorative Design (1862) and The Development of Ornamental Art in the International Exhibition (1862), followed latterly, in 1873, by Principles of Decorative Design. Though he may have designed more than any other man at the Exposition, the Japanese works he saw at there inspired a lifelong interest in the country and its aesthetic principles. Closely associated with influential design reformers including Richard Redgrave, Henry Cole, Owen Jones, and Matthew Digby Wyatt, Dresser was not only interested in the practical facets of design, but also the moral and philosophical doctrines. For Dresser and his cohort, design had the capacity to "exalt" or "debase". Establishing his principles of 'Truth, Beauty and Power', Dresser looked to the natural world to inspire. Using reduced and abstracted forms from nature, Dresser aimed to express the essence of design in its most distilled form. Despite his pioneering aesthetic, many of Dresser's designs were too complex and costly to be easily mass-produced, limiting their accessibility. The present example, catalogued as no. 2277 in 1879, is a rare example of his work, with only around twelve known to exist. One such piece forms part of the collection at the Victoria and Albert Museum, London. Also displayed internationally by institutions including the Metropolitan Museum, New York, and the Musée d'Orsay, Paris, it is difficult to overstate the importance of Christopher Dresser in the history of industrial design. One foot is slightly bent inwards and the base very slightly dished around the area, a very minor crease to the underside of the base, just visible in the right light.  A couple of small marks to the cover where it has knocked against the handle.  Some tarnishing and the plating slightly rubbed to finial, hinge and the rim of the cover, also to joint where spout meets body.  A small dent to one side, and some other light surface wear and scratching more commensurate with age and use.  Please see additional images and video online.  The handle does not protrude beyond the metal at either end, but does not appear to be broken, again see images.  Handle rotates freely.

* GILLIAN GOODHEIR DA (SCOTTISH 1949 - 2022), STILL LIFE WITH APPLES oil on board, signed and dated '02 mounted, framed and under glass image size 54cm x 64cm, overall size 90cm x 97cm Note: Gillian was born in Glasgow and studied at Glasgow School of Art, specialising in Drawing and Painting. She graduated in 1967 then took a Post Diploma. She then taught art in Glasgow but in 1975 she and her husband moved to mid-Argyll where she lived and worked ever since. Gillian Goodheir's paintings reflect her surroundings, the ever-changing weather and light in the west of Scotland but also the south of France where she spent time, when she could. As well as landscape she excelled in Still Life, combining flowers, textiles and decorative objects. Her preferred medium was gouache which she handled in a fluid spontaneous style, capturing light and colour. Her work is in collections throughout the U.K. (including the Permanent Collection of the Palace of Westminster, London) as well as in the U.S.A., Canada, Hong Kong, Holland, France and New Zealand.