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Click here to subscribeA large quantity of antique and early 20th century Textiles and Table Linens, including three Victorian/Edwardian embroidered blouses, a nightgown, Christening gowns, lace trimmings, early 20th century damask and embroidered table cloths, napkins and placemats, bedspreads etc., together with a quantity of various haberdashery items: buttons, beads, threads etc. (a lot)
A group of assorted Chinese textiles, 19th/early 20th century, including: an embroidered child's silk collar, 25cm wide; an embroidered woman's silk collar, 40cm wide; a pair of embroidered sleeve bands, 59cm long; an embroidered kerchief with coral coloured beads and tassels, 100cm long; three embroidered Peking knot roundels, 16cm wide; an embroidered child's bib, 27cm long; a silk panel embroidered with a scholar riding on a kilin, 48cm long; an oval silk panel decorated with long tailed bird, 44cm long; and a Miao two-piece cradle, 73cm long (13)晚清/民國 刺繡雲肩等各式繡品一組十三件 Condition Report: extensive wear and tear to the sleeve bandsstaining and tear and wear to the kerchiefsplits and fading to the kilin panelroundels with damage to the paper ground Condition Report Disclaimer
Chant Avedissian (Egypt, 1951-2018)Icons of Arabia gouache, acrylic, and hand coloured stencil on cardboard, ten panelseach panel is signed, dated and located, executed between 2011-2014each panel: 69 x 49cmFootnotes:Provenance:Property from the Rose Issa collection'In between Paris and Cairo I stopped doing any handwork, any painting. And I never wanted to do painting, but I discovered that people put photos of people on the wall- football players, movie stars- and I thought to do the stencils, but I didn't know what was going to happen, that it was going to go on for so long. I did two or three stencils at the beginning and that was it. And then it went on and on and on and it became like a drug; you can't stop. In the beginning it was my childhood memories, and then little by little I was shocked by what I discovered in newspapers, I mean the mise en scène that was there. Mise en scène means how a photo is directed; how an image is not true. Neither the people stand like that nor look like that; everything was artificial. The images said things about liberty and happiness and sports, but the photos were composed, for propaganda, so it was very amazing to do this work' – Chant AvadessianWhilst studying in Canada and France, first at Fine Arts in Montreal, then at Ecole Superieure des Arts Decoratifs in Paris, where he investigated printmaking and silkscreen techniques, Avedissian came to the conclusion that Western academia and its rigidity was not a system within which he could recognise himself. This disillusion resulted in a return to his homeland, where he merged techniques learnt in the West with his strongly rooted Egyptian heritage.He gradually integrated knowledge gained from his formal studies in Canada and France with personal research into legendary Pharaonic iconography, geometric Islamic architecture, floral patterns of Ottoman textiles, and popular 20th century imagery of icons from the Arab world. Avedissian first started his stencils series during the Gulf War in 1991. The series was catalysed by the overwhelming media coverage of the political situation, which consumed him with feelings of hopelessness and despair, resulting in a collection of faces, places and symbols from his past.In his stunning stencilled works, Avedissian fuses symbols taken from Ancient Egypt such as hieroglyphics and dynastic monuments, with pictures of national heroes, admired politicians, popular singers and actors. These pictures are based on media imagery from Gamel Abdel Nasser's rule (1956-1970), a decade that witnessed a socio-cultural reawakening permeated with a vigorous wave of Arab nationalism. Avedissian's concern for the disappearance of Egypt's rich heritage at the outbreak of the first Gulf War motivated him to explore topics such as; memory, history, imagery and self-representation in Egyptian culture. This shift in focus was a defining moment in his career as a contemporary artist, which had previously concentrated on photography and hand-dyed and sewn textile panels.In Avedissian's Icons of the Niles series, he creates a grandiose mosaic of Egyptian cultural history retracing his country's past, combining nostalgic imagery with a celebration of Egyptian iconographical motifs. Within this work, the artist avoids the use of oil on canvas. Instead, he blends his own pigments and uses a delicate stencil technique to transfer the image onto card or locally produced paper. The stencil technique requires a simplification of line and colour, and thus becomes similar to the hieroglyphic model of symbols. By means of repeating and layering images, Avedissian saturates his works with various suggestions and connotations, eloquently drawing our attention to the many faces of modern Egyptian society and Cairo's visual landscape. Each stencilled panel embodies a variety of influences and themes, creating vivid organic patterns. His process of creation skilfully combines the use of local pigments, gum arabic, and hand-coloured textiles; the conclusion is presented as a powerful vehicle for the artist's personal memories and experiences. Avedissian's work, unique in its approach and execution, repeatedly compares and contrasts the West and the Middle East, art and propaganda, and tradition and modernity. Throughout this work, he conveys his admiration and appreciation for opulently iconic Egyptian imagery, coupled with the remnants of his country's magnificent historical past with an honest and profound sincerity. His iconoclastic images commemorate the country that nourished his creative soul.Figures depicted:Taha HusseinTaha Hussein, one of Egypt's most influential writers and intellectuals of the 20th century, is known as the 'Dean of Arabic Literature.' Despite losing his sight at a young age, his prolific works challenged the status quo, advocating for education, enlightenment, and social reform across the Arab world.Faten HamamaFaten Hamama, often hailed as the 'Lady of the Arab Screen,' was an Egyptian actress whose career spanned over six decades. Known for her elegance, talent, and versatility, she became a beloved icon of Egyptian cinema, starring in some of the most influential films of her era.AsmahanAsmahan, the Syrian-Egyptian singer and actress, captivated audiences with her haunting voice and enigmatic presence. Born into royalty, her life was a mix of glamour and tragedy, and her contributions to Arab music remain unparalleled despite her untimely death.FaridFarid al-Atrash, a Syrian-Egyptian composer, singer, and actor, is one of the most celebrated figures in Arab music. Known as the 'King of Oud,' Farid's distinctive voice and emotive compositions left an indelible mark on the golden age of Egyptian cinema and music.Nazem Al GhazaliNazem Al Ghazali, the legendary Iraqi singer, is remembered for his unique style and contribution to Arabic maqam music. His soulful voice and timeless songs, such as 'Fog El Nakhal,' made him an icon of Iraqi and Arab music, influencing generations of artists.King FaroukKing Farouk, the last reigning monarch of Egypt, ascended to the throne in 1936 at the age of 16. His reign was marked by extravagance and political instability, ultimately leading to his abdication in 1952 during the Egyptian revolution. He remains a symbol of Egypt's royal past.Nezar KabbaniNizar Kabbani, a renowned Syrian poet and diplomat, is considered one of the most influential modern Arab poets. His poetry, rich with themes of love, politics, and feminism, resonated with readers across the Arab world and beyond, solidifying his status as a literary icon.Gamal Abdel NasserGamal Abdel Nasser, Egypt's charismatic leader and the face of Arab nationalism, became the country's second president in 1956. Known for his role in overthrowing the monarchy, his policies of pan-Arabism and socialism left an enduring impact on the Middle East.FawziyaFawziya, Queen of Iran and Princess of Egypt, was a royal figure who embodied elegance and diplomacy. Her marriage to Mohammad Reza Pahlavi, the Shah of Iran, made her a symbol of cross-cultural ties between Egypt and Iran, though her life was marked by public and personal challenges.YolandaYolanda Gigliotti, better known by her stage name Dalida, was a French-Italian-Egyptian singer and actress whose career spanned over three decades. Her multilingual repertoire and captivating performances made her an international star, beloved across Europe and the Arab world.For further information on this lot please visit Bonhams.com
Faeq Hassan (Iraq, 1914-1992)Abstract Couple with Dog oil on canvas, framedsigned 'Faik.H' and dated '1966' (lower right), executed in 1966100 x 86.5cm (39 3/8 x 34 1/16in).Footnotes:Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's familyExhibited:Faeq Hassan Touring Exhibition, in conjunction with the American Friends of the Middle East, New York, 1966Faeq Hassan Touring Exhibition, in conjunction with the American Friends of the Middle East, Washington, 1966A highly significant composition by Faeq Hassan exhibited in New York and Washington in 1966 with the American Friends of the Middle EastThis rare and monumental painting by Faeq Hassan is an exceptionally important piece within his oeuvre, exhibited in 1966 in both Washington and New York as part of the American Friends of the Middle East (AMFE) showcase. What sets this work apart is its departure from his more familiar cubist style, instead embracing a unique fusion of modernist abstraction and traditional Middle Eastern aesthetics. The grid-like composition, filled with geometric figures and rich, vibrant colours, echoes the patterns found in Persian and Iraqi tribal rugs, while also recalling the hues of Bedouin textiles.Thematically, it explores the perennial subject of family—a motif Faeq returned to many times throughout his career—but here, he approaches it with a fresh originality, blending modernist techniques with cultural heritage in a way he had not done before.This painting is not only notable for its striking visual language but also for its documented significance to the artist himself. Photographs of Faeq Hassan at the Washington and New York exhibitions highlight this piece as one of the most prominent works in the show, reflecting its importance both to him personally and within the broader context of his career. This fusion of modernist abstraction with cultural tradition makes the painting a truly unique and groundbreaking example of his artistic evolution, marking it as a highlight in his extensive body of work.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
Sylwan (Vivi). Investigation of Silk from Edsen-Gol and Lop-Nor..., Bangkok: SDI publications, 2001 [2 copies], Woollen Textiles of the Lou-Lan People, Bangkok: SDI publications, 2001, [reports from the scientific expedition to the North-Western Provinces of China under the leadership of Dr. Sven Hedin], numerous monochrome illustrations, original cloth in dust jackets, covers lightly rubbed, large 8vo, together with:Oprescu (George), Peasant Art in Roumania, special Autumn number of "The Studio", 1st edition, London: The Studio, numerous colour & monochrome illustrations, some minor toning, original cloth in fine dust jacket, large 8vo, plusLoomes (Brian), Painted Dial Clocks 1770-1870, 1st edition, Suffolk: Antique Collector's Club, 1994, numerous colour & monochrome illustrations, original cloth in dust jacket, large 8vo, andShokoohy (Mehrdad). Muslim Architecture of South India..., 1st edition, London: Routledge, 2003, numerous monochrome illustrations, original boards, large 8vo, plusSchwagenscheidt (Walter), Die Raumstadt von Walter Schwagenscheidt, 1st edition, Heidelberg: Verlag Lambert Schneider, numerous monochrome illustrations, some toning throughout, original cloth in dust jacket, covers slightly marked, folio, andGlusberg (Jorge), Clorindo Testa, pintor y arquitecto, Buenos Aires: Donn S.A., 1999, signed & inscribed by the artist to the front endpaper, numerous colour illustrations, original wrappers in glassine dust jacket, very lightly rubbed, large 8vo, plus art & antiques reference, including The Studio Special Numbers, modern architecture & interiors reference, many original cloth in dust jackets, some paperback editions, G/VG, 8vo/folio QTY: (6 shelves)
Christian Dior-Handtasche "Lady Dior"Paris, Nappaleder dunkelblau, umgehend mit Cannage-Steppung, innenseitig textiles Futter mit eingewebtem Logo in der Seitentasche, diese mit Reißverschluss, Beschläge aus silberfarbenem Metall, angehängtes Firmenemblem, Gliederkette, HxBxT: ca. 15/17,5/7,5 cm. Leichte Tragespuren. Mit Staubbeutel.
Seven chromolithograph and lithograph plates from the Journal of Indian Art, four depicting the wood and ivory mosaics, and three after Amir Baksh depicting the carved wood doorways, at the Golden Temple, Amritsar W. Griggs & Sons, Ltd., London, 1886-90four chromolithographed plates, three monochrome lithographed plates, in card mounts chromolithographs: the largest 330 x 510 mm., the smallest 310 x 250 mm.; lithographs: the largest 510 x 360 mm., the smallest 460 x 330 mm.; largest mount size 46 x 62 cm.(7)Footnotes:The Journal of Indian Art and Industry was printed in 17 volumes between the years 1884 and 1917 under the patronage of the Indian Government, and featured the essays of leading scholars, such as George M. Birdwood and John Lockwood Kipling (father of Rudyard). It was profusely illustrated with photos and chromolithographs of pottery, metalwork, jewellery, architectural details, tapestries and textiles, many with gold and silver overprinting, representing a highpoint in the art of chromolithography. See J. Bryant, S. Weber, John Lockwood Kipling: Arts and Crafts in the Punjab and London, 2017, chapter 10, pp. 280-299; p. 296 for list of contents of the volumes.Amir Baksh was a pupil at the Mayo School of Art in Lahore and became a teacher himself, becoming one of the leading illustrators of the Journal and one of Kipling's collaborators. See Bryant and Weber, op. cit., p. 492 for one of his studies of doorway carving, and elsewhere for a discussion of his work.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
A Sialkhot gold-koftgari steel shield (dhal) North India, 19th Centuryof domed circular form with four applied bosses and an applied crescent moon (Aad Chand), profusely decorated in gold overlay with foliate and floral scrollwork and motifs, the rim with an applied openwork foliate band, red velvet padding to verso and four suspension loops with holding straps 42.4 cm. diam.Footnotes:For a gem-set gold-plated shield sold at Christie's which also features four applied bosses and a crescent moon, see Arts of India, 12 June 2014, lot 205. For a further comparable example see Christie's, Arts & Textiles of the Islamic & Indian Worlds, 21 October 2016, lot 369.For further information on this lot please visit Bonhams.com
A Qajar gold-damascened steel axe with repoussé silver shaft Persia, circa 1900the steel blade of crescent form chiselled and overlaid in gold with an inscription-filled lobed cartouche to each side and bands of vegetal motifs, the butt with a further inscription-filled lobed cartouche, the silver shaft engraved and decorated in repoussé with scrolling bands of figural scenes, the pommel with a band of openwork floral scrollwork and a further figure 71.5 cm. longFootnotes:Inscriptions: dar azal jebril gofta gofta (sic) az lesan-e kerdegar, 'In eternity Gabriel said through the tongue of the Omnipotent God'; la fata illa 'ali la sayf illa dhu'l-faqar, 'There is no youth (as brave as) 'Ali, There is no sword (as sharp as) Dhu'lfaqar'; signed 'amal-e 'ali, 'The work of 'Ali'.For a comparable axe sold at Christie's South Kensington, see Indian & Islamic Works of Art & Textiles, 3 April 2009, lot 72.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A silver-inlaid brass bowl Egypt or Syria, 20th Centuryof deep rounded form, the sides tapering towards a short vertical rim, engraved and decorated in silver inlay with alternating cartouches and palmettes containing inscriptions, above and below bands of vegetal interlace, inscription to base 38 cm. diam.Footnotes:ProvenancePrivate UK collection, acquired at Sotheby's, Islamic Works of Art, Carpets and Textiles, 13 April 1988, lot 454.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A group of lady's designer textiles and mixed costume jewellery including a Hugo Boss wool scarf with seven grey tone stripes, in original box and with tags attached, a pair of new CK long socks, wool scarf with black and white chevron pattern, various mixed costume jewellery including a hallmarked silver double locket, watch, necklaces, clip on and stud simulated pearl earrings, a gold plated hinged bracelet, etc.
Louis Vuitton, Damier Ebene Canvas Speedy 30, braunkariertes gummiertes Baumwollgewebe mit Details aus dunkelbraunem Glattleder, goldfarbene Hardware, kurze Doppelhenkel, textiles Innenleben in Rot, inkl. Schloss (Schlüssel fehlt!), Gebrauchs- und Lagerspuren, partieller Materialabrieb an den Ecken, ca. 22 x 30 x 17,5 cm
MCM, Soft Berlin Drawstring Mini Bucket Bag, cognacfarbenes beschichtetes Canvas mit Visetos Heritage Muster Logoprint in Schwarz und Details aus cognarfarbenem Leder, goldfarbene Hardware, variable Gliederkette mit Lederdetail als Doppelhenkel bzw. Schulterriemen, Zugband, metallene Logoplakette, textiles Innenleben, kaum Gebrauchs- und Lagerspuren, ca. 21 x 19 x 10 cm
Aigner, Black Ivy Bag, schwarzes genarbtes Rindsleder, goldfarbene Hardware, gerollte Doppelhenkel, abnehmbarer, verstellbarer, schmaler Schulterriemen aus Leder, Logo-Ketten-Anhänger ''50'', kleines frontales Logo, Reißverschluss, textiles Innenleben, leichte Gebrauchs- und Lagerspuren, Materialabrieb an den unteren Ecken, ca. 20,5 x 26 x 12 cm
Louis Vuitton, Damier Ebene Canvas Speedy 35, braunkariertes gummiertes Baumwollgewebe mit Details aus dunkelbraunem Glattleder, goldfarbene Hardware, kurze gerollte Doppelhenkel sowie abnehmbarer, verstellbarer Schulterriemen aus Leder, textiles Innenleben in Rot, inkl. Originalrechnung (gekauft am 05.06.2019 bei Louis Vuitton, Palma de Mallorca), Schloss (Schlüssel fehlt!), Staubbeutel und OK, Gebrauchs- und Lagerspuren, Innenleben fleckig, ca. 24 x 33 x 17 cm
Louis Vuitton, Monogram Eclipse Canvas Discovery Backpack, gummiertes Baumwollgewebe im klassischen Logoprint-Design in Grau und Schwarz mit Details aus schwarzem Leder und Textil, silberfarbene Hardware, kurzer mittiger Griff und verstellbare gepolsterte Schulterriemen aus Leder und Textil, frontal aufgesetzte Tasche mit zwei separaten Fächern und Logo-Applikation, doppelter Reißverschluss, textiles Innenleben, kaum Gebrauchs- und Lagerspuren, ca. 40 x 30 x 18 cm
Louis Vuitton, Monogram Canvas Keepall Bandouliere 45 Bag, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus cognacfarbenem Rindsleder, goldfarbene Hardware, kurze gerollte Doppelhenkel, abnehmbarer verstellbarer Schulterriemen aus Leder, textiles Innenleben, inkl. Schloss und 2 Schlüssel, dazu passendes Vintage Monogram Canvas Portemonnaie (ca. 10,5 x 10,5 x 2 cm), Alters-, Gebrauchs- und Lagerspuren, partiell leicht fleckig, partieller Materialabrieb, ca. 25 x 46 x 20 cm
Louis Vuitton, Monogram Macassar Canvas S Lock Messenger Bag, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus schwarzem feingenarbten Leder, schwarze Hardware, kurzer mittiger Griff, abnehmbarer, verstellbarer, textiler Schulterriemen mit eingewebtem Logo-Schriftzug an Karabinerhaken, große aufgesetzte Fronttasche mit Überschlagslasche und großem metallenen Verschluss, oben Reißverschluss, textiles Innenleben, inkl. Staubbeutel, kaum Gebrauchsspuren, ca. 19 x 24 x 10 cm
Louis Vuitton, Monogram Canvas Keepall Bandouliere 60 Bag, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus beigefarbenem Rindsleder, goldfarbene Hardware, kurze gerollte Doppelhenkel, abnehmbarer verstellbarer Schulterriemen aus Leder, textiles Innenleben, inkl. Namensanhänger (personalisiert ''IK''), Staubbeutel und OK, min. Gebrauchs- und Lagerspuren, ca. 31 x 60 x 26 cm
Louis Vuitton, Small Neverfull Monogram Canvas Bag, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus cognacfarbenem Rindsleder, goldfarbene Hardware, schmale Doppelhenkel, seitliche Zugbänder, textiles Innenleben in Weinrot mit Streifen, inkl. passender herausnehmbarer Pochette, Staubbeutel und OK, leichte Gebrauchs- und Lagerspuren, ca. 22 x 28 x 13 cm
Christian Dior, Blue Oblique Jacquard Saddle Bag, markentypisch gemusterter Dior Oblique Jacquard in Blau und Ecru mit Details aus dunkelblauem genarbten Leder, silberfarbene Hardware, verstellbarer textiler Riemen mit Logoschriftzug, variabel tragbar als Schulter- oder Umhängetasche, asymmetrische Überschlagslasche mit Magnetverschluss, textiles Innenleben, Gebrauchs- und Lagerspuren, Innenleben leicht verschmutzt, ca. 19 x 27 x 4,5 cm
Burberry, Maymarket Check Animal Print Satchel Bag, beschichtetes Canvas im markentypischen Karodesign mit Details aus cognacfarbenem genarbten Leder, tlw. im Animal-Print, goldfarbene Hardware, kurze gerollte Doppelhenkel, abnehmbarer verstellbarer Schulterriemen aus Leder, frontal kleine Schmuckschleife mit Ziertroddeln, Reißverschluss, textiles Innenleben, leichte Gebrauchs- und Lagerspuren, partiell Materialabrieb an den unteren Ecken, ca. 17 x 27 x 16 cm
Louis Vuitton, Alma BB Epi Leather Honey Gold, honiggoldenes strukturgeprägtes Epi-Leder mit Details aus gleichfarbigem Glattleder und partiell rotbraun abgesetzten Kanten, silberfarbene Hardware, kurze gerollte Doppelhenkel, abnehmbarer, breiter, textiler Schulterriemen mit eingewebtem Logo-Schriftzug, rehbraunes textiles Innenleben in Velours-Haptik, inkl. Originalrechnung in Kopie (gekauft am 05.02.2024 bei Louis Vuitton, Hamburg), Schloss, 2 Schlüsseln, lederner Schlüsselglocke und Staubbeutel, ungetragen, ca. 18 x 24 x 11 cm
Louis Vuitton, Monogram Canvas Pochette Accessoires, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus cognacfarbenem Rindsleder, goldfarbene Hardware, abnehmbarer schmaler Lederriemen mit Karabinerhaken, Reißverschluss, textiles Innenleben, Gebrauchs- und Lagerspuren, ca. 14 x 21,5 x 4 cm
Louis Vuitton, Monogram Canvas Rivoli Bag, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus beigefarbenem Rindsleder, goldfarbene Hardware, kurze gerollte Doppelhenkel, schmaler abnehmbarer und verstellbarer Schulterriemen aus Leder, frontal kleines metallenes Vorhängeschloss mit Logo, Reißverschluss, textiles Innenleben in Aubergine, inkl. Originalrechnung (gekauft am 15.12.2020 bei Louis Vuitton, Berlin), Staubbeutel, 2 Schlüsseln, Originaletikett und OK, kaum Gebrauchsspuren, ca. 25 x 35 x 12 cm
Louis Vuitton, Damier Azur Canvas Speedy 30, cremeweiß und blau kariertes gummiertes Baumwollgewebe mit Details aus cognacfarbenem Rindsleder, goldfarbene Hardware, kurze gerollte Doppelhenkel, textiles Innenleben, inkl. Schloss (Schlüssel fehlt), leichte Gebrauchs- und Lagerspuren, ca. 23 x 30 x 17 cm
Chanel, Grained Calfskin Timeless Clasp Shopping Tote Bag, schwarzes, partiell wattiertes und gestepptes Kaviar-Kalbsleder im markentypischen Rautendesign, goldfarbene Hardware, abnehmbare, mittellange, lederdurchflochtene Gliederketten mit Lederdetails als doppelte Schulterriemen, innen kleine verdeckte Überschlagslasche mit frontaler Logo-Dreh-Schließe, verso große Einschubtasche, Weite des Taschenkörpers durch seitliche Druckknöpfe variierbar, textiles Innenleben in Schwarz, inkl. Originalrechnung (gekauft am 23.09.2020 bei Chanel im KDW, Berlin), Authentizitätskarte und Staubbeutel, leichte Gebrauchs- und Lagerspuren, ca. 28 x 36 x 10 cm
Chanel, Grained Calfskin Timeless Clasp Shopping Tote Bag, schwarzes, partiell wattiertes und gestepptes Kaviar-Kalbsleder im markentypischen Rautendesign, goldfarbene Hardware, abnehmbare, mittellange, lederdurchflochtene Gliederketten mit Lederdetails als doppelte Schulterriemen, innen kleine verdeckte Überschlagslasche mit frontaler Logo-Dreh-Schließe, verso große Einschubtasche, Weite des Taschenkörpers durch seitliche Druckknöpfe variierbar, textiles Innenleben in Schwarz, inkl. Originalrechnung (gekauft am 07.09.2020 bei Chanel im KDW, Berlin), Authentizitätskarte und Staubbeutel, leichte Gebrauchs- und Lagerspuren, ca. 27 x 36 x 10 cm
Chanel, Deauville Pink Canvas and Leather Shopping Tote Bag, puderfarbenes Canvas mit Details aus gleichfarbigem Glattleder, goldfarbene Hardware, kurze Doppelhenkel sowie mittellange durchflochtene Gliederketten mit Lederdetails als doppelte Schulterriemen, frontal eingestickter Logo-Schriftzug, textiles Innenleben, inkl. Originalrechnung (gekauft am 14.07.2020 bei Chanel im KDW, Berlin) und Authentizitätskarte, kaum Gebrauchs- und Lagerspuren, ca. 28 x 38 x 18 cm
Armani Exchange, Large Black Shopping Tote Bag, schwarzes Kunstleder mit Beschichtung in Lackleder-Optik, silberfarbene Hardware, schmale mittellange doppelte Schulterriemen, Verschluss durch magnetischen Druckknopf, nach oben ausgestellte Form, frontal kleiner applizierter Logo-Schriftzug, Logo-Anhänger an Kette, textiles Innenleben in Schwarz, Gebrauchs- und Lagerspuren, ca. 31 x 36 x 15 cm
Louis Vuitton, Pegase Monogram Canvas Trolley, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus cognacfarbenem Rindsleder, goldfarbene Hardware, kurzer mittiger Tragegriff sowie Teleskopgriff, frontale Einschubtasche, textiles Innenleben, inkl. Lederschlaufe an Karabiner, Gebrauchs- und Lagerspuren, partiell leicht fleckig, ca. 58 x 38 x 19 cm
Porsche, Kleiderhülle / flacher Softshell-Koffer, schwarzes Nylon-Gewebe mit Details aus schwarzem genarbten Leder, goldfarbene Hardware, kurzer mittiger Griff, textiles Innenleben mit Spanngurten, fester Boden mit kleinen Standfüßchen, Alters-, Gebrauchs- und Lagerspuren, ca. 50 x 86 x 18 cm
Louis Vuitton, Pegase Damier Ebene Canvas Trolley, braunkariertes gummiertes Baumwollgewebe mit Details aus dunkelbraunem Glattleder, goldfarbene Hardware, kurzer mittiger Tragegriff sowie Teleskopgriff, frontales Reißverschlussfach, textiles Innenleben, inkl. Namensanhänger und Regencape, leichte Gebrauchs- und Lagerspuren, ca. 67 x 45 x 22 cm
Louis Vuitton, großer Vintage Monogram Canvas Softshell Reisekoffer, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus cognacfarbenem Rindsleder (altersbedingt stark gedunkelt), goldfarbene Hardware, kurzer mittiger Griff (später ergänzt), inkl. Namensanhänger (später ergänzt), Reißverschluss sowie 2 große Schnallen, textiles Innenleben mit Spanngurten, starke Alters-, Gebrauchs- und Lagerspuren, fleckig, Nähte tlw. geöffnet, starker Materialabrieb und tlw. Verlust, ca. 46 x 69 x 22 cm
Eleganter Damen Mantel, 2. H. 20. Jh., schokoladenbraun changierender Nerz mit schönem Glanz, breiter Reverskragen, schwingender, leicht ausgestellter Schnitt, seitliche Eingrifftaschen, weit geschnittene Ärmel mit kleinem Umschlag, dunkelbraunes textiles Innenfutter, ohne Größenangabe, auf Etikett bez. ''HM Pelz-Design'', Gebrauchs- und Lagerspuren
Prada, Suede Logo Plate Camoscio Bag with Woven Chain Straps, weiches sandfarbenes Wildleder, goldfarbene Hardware, lange lederdurchftolchtene Gliederketten mit Lederdetails als Doppelhenkel, frontal kleines appliziertes Logo, Reißverschluss, textiles Innenleben mit drei separaten Fächern, leichte Gebrauchs- und Lagerspuren, Leder partiell fleckig und ber., ca. 18 x 21,5 x 7 cm
Louis Vuitton, Monogram Eclipse Canvas Trolley, gummiertes Baumwollgewebe im klassischen Logoprint-Design in Grau und Schwarz mit Details aus schwarzem Leder, silberfarbene Hardware, kurzer mittiger Tragegriff sowie Teleskopgriff, Zahlenschloss, textiles Innenleben, Gebrauchs- und Lagerspuren, Kratzer, Innenleben partiell fleckig, ca. 54 x 37 x 21 cm
Rimova, Classic Cabin Silver Trolley, eloxierte Aluminiumlegierung mit genieteten Ecken und Beschlägen aus poliertem Aluminium, silberfarbene Hardware, zwei Tragegriffe aus schwarzem Leder sowie Teleskopgriff, Zahlenschlösser, textiles Innenleben, mehrfach unterteilt und mit herausnehmbaren Zwischenböden versehen, inkl. Originalrechnung (gekauft am 06.11.2023 bei Rimowa, Berlin), Namensanhänger aus Leder sowie Staubbeutel, leichte Gebrauchs- und Lagerspuren, partiell kleinere Kratzer und Druckstellen, ca. 52 x 35 x 22 cm
Louis Vuitton, Monogram Canvas Sully Bag, gummiertes Baumwollgewebe im klassischen Logoprint-Design mit Details aus cognacfarbenem Rindsleder, goldfarbene Hardware, kurzer Schulterriemen aus Leder an Ringen, textiles Innenleben, inkl. Staubbeutel, min. Gebrauchs- und Lagerspuren, ca. 33 x 36 x 12,5 cm
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.
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
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