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Click here to subscribeRoyal Doulton bone china figure of Lady Charmian, wearing a blue dress and mottled pink shawl, printed green marks HN1948, a Clermont Fine China limited edition figure of Chief Sitting Bull, no.15/500, 42cm high, a Royal Winton Grimwades silvered shell-shaped vase and a group of Wade whimsies
English School, late 18th/early 19th century Portrait miniature on ivory, of a lady in profile to the right, wearing a plumed hat, white ruff, pale pink dress and blue shawl, labelled verso 'E.A. (de Beaufort) St. Lawrence, Wife of The Hon. Thomas St. Lawrence, Bishop of Cork', 7.6cm x 5.8cm. Ivory exemption reference: LX1BPX5Z. Condition Report Appears to be some surface scratches around bust and back of shoulder. No obvious chips or cracks. Does not appear to be warped. Some accretions on underside of glass. Frame in good condition. General wear and tear.
A gentlemen's silk waistcoat, mid 19th century, cut in brown silk, embroidered with foliate and floral motifs in tones of green and white, with shawl collar, two slip pockets and five button front closure,92cm chest,55cm longCondition ReportThe silk has faded commensurate with use and age. With creases throughout. Two buttons are missing from the front. The lining with tears and holes. The centre back seam has come apart and has been held together with pins.
This limited edition color serigraph, titled Blue Door, by renowned Navajo artist Rudolf Carl Gorman, shows his signature blend of softly contoured figures and rich, vibrant hues. The composition features a seated Native American woman draped in a flowing shawl, positioned outside a blue doorway, with strings of red chili peppers hanging against the adobe wall. The surrounding elements, including scattered peppers and rolling desert hills, add depth and cultural authenticity to the piece. Gorman's use of smooth gradients and bold outlines lends a dreamlike quality to the scene, reinforcing the elegance and strength often associated with his depictions of Indigenous women. Framed, artist signature and dated 1989 on the lower left, and numbered 214 of 225 on the lower right.Artist: Rudolf Carl Gorman (American, 1932-2005)Issued: 1989Dimensions: 39"W x 48.5"HCondition: Age related wear.
A luxurious vintage shawl fur, featuring a rich light auburn hue with subtle striping and a soft, glossy texture. This elegant piece drapes gracefully across the shoulders, offering both warmth and style. Lined with satin in a neutral tone, the shawl is tailored for comfort and a refined silhouette, ideal for formal wear or classic vintage styling. The fur remains soft and full, with minor wear consistent with age. Comes with velvet lined hanger. Issued: Mid 20th centuryDimensions: 42"L x 12"HCondition: Age related wear. Part of the satin lining needs to be mend on the lower right side.
A study group of Safavid silk and metal thread textile fragments, Iran, 17th centuryEach of rectangular form, depicting three parrots and roses on a deep magenta ground; a flowering branch with chevron border; a repeating design of a peacock on a deep red ground; a series of abstract vegetal forms on a deep blue ground; a repeating patter of blue and silver flowering plants on a deep orange ground,Largest 22.6 x 16.4cm; smallest 10.6 x 3.2cm. (5)Footnotes: from same a related pieces in the Krefeld museum, Germany, published in 1988 "Un Blumen sing ich ungestort von ihrem shawl nerunter", Persiche seiden des 16-18 jahrehunderts aus dem besitz des Dentschen textilmuseums krefeld au from Said Motamed, frankfurt acquired 1955-86. (this note needs to be checked)
An embroidered shawl (phulkari), pachranga Shalimar bagh, Punjab, first half 20th century, silk floss on light maroon cotton ground, the large concentric lozenges in silk floss in tones of saffron, red, green and cream against tangerine ground, one pallu hatched in similar colours, the other with bold chevrons forming palmettes in similar colours within large square panels240 x 131.5cm.Provenance: Private UK Collection acquired in the 1950s by the vendor's father, an academic. The works were brought to the UK when the family relocated here in 1966. Footnote : Phulkaris were ceremoniously exchanged between various members of the family during marriage festivities. These included the passing down of phulkaris from mother to daughter, or grandmother to granddaughter, or in the form of the highly particularised vari da bagh, a type of embroidery that was gifted by the groom's family as part of marriage arrangement. Soft, untwisted silk floss thread called as “pat” came from various places like Kashmir, Bengal and even from Afghanistan, and Turkistan, but were dyed locally in Amritsar and Jammu, and women could obtain this from nomadic merchants. Partition in 1947 changed the availability of these silk flosses.Further reading: Aryan, S. & B.N. Ayran, Unknown Masterpieces of Indian Folk and Tribal Art, KC Aryan’s Home of Folk Art, 2nd & enlarged ed., 2016.Mason, D. (ed.), Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz Collection, Philadelphia Museum of Art/Yale University Press, 2017. Condition Report: Four joined panels. Stained. Light dye smudges. Occasional losses. Some pulled threads.
An embroidered shawl (phulkari), meenakari, Punjab, first half 20th century, silk floss on cotton ground, four columns and a half of repeating orange lozenges chevroned in dark yellow, their center quartered in brown, each row bordered by a dark yellow latticed band with similar white lozenges, the edges with dark aubergine, magenta and green stacked pyramids253.5 x 128cm.Provenance: Private UK Collection acquired in the 1950s by the vendor's father, an academic. The works were brought to the UK when the family relocated here in 1966. Condition Report: Two joined panels. One slightly shorter than the other. Patterns matching. Some staining.
An embroidered shawl (phulkari), meenakari, Punjab, first half 20th century, silk floss on cotton dark maroon ground, 6 and a half rows of large lozenges latticed in dark cream, dark orange and dark pink square, each containing a cream lozenge picked in black, the upper pallu with serrated leaves in similar colour, registers of large lozenges, alternating triangles and stepped pyramids above228 x 132.5cm.Provenance: Private UK Collection acquired in the 1950s by the vendor's father, an academic. The works were brought to the UK when the family relocated here in 1966. Condition Report: Two panels, joined. Slightly staggered. Stained.
An embroidered shawl, (phulkari), bagh, Punjab, first half 20th century, silk floss on cotton ground, twenty five columns of a broken garland composed of foliate tendrils, green, white and red dandelions above and below, the lower and upper border with broken lines composed of continuous triangles, the side edges with a floral garland, a register filled with rising and falling triangles below, all in green, white, yellow and red 238 x 133.5cm.Provenance: Private UK Collection acquired in the 1950s by the vendor's father, an academic. The works were brought to the UK when the family relocated here in 1966. Condition Report: Two joined panels. Pulled threads, losses, loose weave.
Pair of Lenox fine sculpture figurines featuring detailed depictions of fashionable women from the brand's collectible series. The first figure, titled Tea At The Ritz, is part of the Lenox Collections and portrays a refined woman in an Edwardian-style gown, decorated with bold black Art Nouveau-style patterns and intricate detailing in her hat and cuffs. The second figure, titled Rhapsody In Blue, is from the American Songbook Collection and presents a woman in elegant blue attire with a fan and tassel accents, accented by painted floral motifs and fur-trimmed shawl. Lenox backstamp. Issued: c. 1984Dimensions: Tallest: 3.5"W x 8.75"HCountry of Origin: United StatesCondition: Age related wear.
SIR WILLIAM NICHOLSON (BRITISH 1872-1949) NANCY IN A FEATHER HAT (THE ARTIST'S DAUGHTER), 1910 signed and dated (lower left), oil on canvas 75cm x 62.2cm (29 ½in x 24 ½in) with the Goupil Gallery, London, where purchased by the 9th Duke of Marlborough (Charles Spencer-Churchill 1871-1934) and returned;probably with P. & D. Colnaghi Ltd., London;Christie's, London, 7 December 1917, lot 21, as Portrait of the Artist's Daughter (260gns) to Frederick Leverton Harris MP (1864-1926);An unidentified Scottish collection;J. & R. Edmiston Auctioneers, Glasgow, 26 March 1929, lot 36, as The Artist's Daughter (The Feathered Hat) (£100 16s.);with Ian McNicol, Glasgow;Christie's, London, 1940-1 (catalogue untraced);with Piccadilly Gallery, London;J. E. (Jack) Posnansky and by descent to his daughter Gillian Raffles;The Collection of Gillian Raffles. Exhibited:Goupil Gallery Salon, London, October – December 1910, no. 108 (£315);XIV Esposizione Internazionale d’Arte della Città di Venezia, April - October 1924, no. 53, as Ritratto di ragazza con berretto piumato.Literature:Stokes, Hugh, ‘The Goupil Gallery Salon’, Country Life, Vol. XXVIII, no. 722, 5 November 1910, p.635;Ladies' Field, Vol. LII, no. 664, 3 December 1910, p.6;The Art Journal, December 1910, p. 383, illustrated;Baldry, A. L., ‘The Paintings of William Nicholson’, The Studio, vol. LIII, no.219, June 1911, pp.8-9, illustrated;Reed, Patricia, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd., London, 2011, p. 172, cat. no. 178, illustrated.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026. Portrait of the Artist’s Daughter: Nancy in a Feather Hat by William NicholsonFirst exhibited in 1910 to widespread acclaim, the re-appearance in public of Nancy in a Feather Hat, a portrait by William Nicholson of his daughter, is a major event in the current evaluation of the artist’s standing within twentieth-century British art history. Nicholson met the Scottish artist Mabel Pryde (1871-1918) in 1888, when they were students at Hubert von Herkomer’s art school in Bushey, Hertfordshire. They eloped five years later and their children, the artist Benjamin (Ben), the soldier John (Tony), the designer Annie (Nancy) and the architect Christopher (Kit), were born between 1894 and 1904. The children sat for both of their parents and Patricia Reed has stated that ‘as a child, Nancy was Nicholson’s favourite model’ (Patricia Reed, William Nicholson: Catalogue Raisonné of the Oil Paintings, Modern Art Press Ltd, London, 2011, p. 67). His earliest recorded portrait of her dates from 1901 when she was aged about two (Reed, op.cit., no.33), whilst Nancy with Ribbons (Reed, ibid., no.34) of the same year became the first of his works to be acquired for a public collection when it was purchased for the Galleria d’Arte Moderna in Venice in 1905.Nancy in a Feather Hat was painted during a particularly auspicious period in Nicholson’s career. The family were established in homes in Mecklenburgh Square, London and Rottingdean in East Sussex, whilst his prowess as a portraitist was acknowledged by election to the Royal Society of Portrait Painters (1909) and his role as a founding member of the National Portrait Gallery (1910). A successful solo exhibition was staged at the Chenil Gallery in 1910 and William Marchant of the Goupil Gallery had become his main dealer.In her description of the present portrait, Reed has explained:‘The artist’s daughter, Nancy, aged ten, wears a blue shawl and a large feather hat, while the bouquet to her right suggests that she is a flower-seller. The apricot-coloured ostrich feathers and blue shawl were William Nicholson’s starting-point, but it is Nancy’s personality that attracts the viewer’s interest.’ (Reed, ibid., p.172). Indeed, the work encompasses not only the intimate yet unsentimental bond between father and daughter, but also Nicholson’s bravura use of dressing-up and other props to weave a suggested narrative, a deft manipulation of chiaroscuro and the use of contrasting colours to highlight aspects of a rhythmic composition. By presenting his sitter in a shallow, undefined space and in front of a plain, dark background, a palette based as much on monochrome as complimentary colour fields is used to the full, wielded by way of his beautiful handling of oil paint, in which fringe shawl and flower petals are realised with as much attention as tones of complexion and the texture of feathers. Nancy was to bear out the independence suggested at this age in adulthood, not least by applying feminist principles to her marriage to the poet Robert Graves and to her career designing and printing fabrics.When Nancy in a Feathered Hat was exhibited in the Goupil Gallery Salon in 1910, it was singled out for praise in the press from Country Life to The Studio. It was one of twenty-two works by Nicholson to be shown at the Venice Biennale of 1924, a milestone in his international career. Its illustrious provenance involves the 9th Duke of Marlborough (briefly) and includes the British businessman and Member of Parliament Frederick Leverton Harris. It was eventually acquired by Gillian Raffles’ father, J. E. (Jack) Posnansky, from whom she inherited it.This painting has been requested for inclusion in the William Nicholson exhibition at Pallant House Gallery, Chichester to be held from 22 November 2025 to 31 May 2026.
Black wax over composition shoulder head doll, c 1870, inset black pupil-less eyes, wooden jointed body, black kid leather arms, wearing black striped silk dress, red woollen petticoat, leather boots with beaded detail and lead soles and heels, wine velvet beaded hat and shawl, loss of wax to head, 17"/43cm.
A Regency black silk embroidered waistcoat, early 19th Century, by repute belonging to Sir Richard Richard DL FRS PC (Welsh, 1752-1823), Lord Chief Baron of the Exchequer from 1817 until his death, the shawl lapelled waistcoat profusely embroidered with floral sprays, approximately 45cm pit to pit CONDITION REPORT:The waistcoat is missing the silk cover of the bottom button. The fabric of the front panels show the odd small catch and pull. The lining shows staining to the underarms.
Chanel, a vintage 1996 wool blazer, from the Spring 1996 Collection by Karl Lagerfeld, designed with a shawl collar, two exterior patch pockets and weighted chain to the inner jacket hem, labelled Chanel Boutique, size 38 (UK 10)- Overall good condition- No obvious marks or damage- Condition reports are a guide only and clients are advised to view items before bidding- For enquiries about this lot please contact Sophie Osborne at sophie@kinghamsauctioneers.com
Gucci, a wool/silk equestrian shawl, featuring a coiled multiple belt motif, on a black background with fringed trim, measuring 140 by 140cm- Overall good condition- No obvious marks or damage- Without maker's box- Condition reports are a guide only and clients are advised to view items before bidding- For enquiries about this lot please contact Sophie Osborne at sophie@kinghamsauctioneers.com
Burberry, a navy blue Nova Check lambswool shawl, with fringe detailing at either end, measuring 70 by 200cm- Overall very good, new condition- With purchase tags attached- Condition reports are a guide only and clients are advised to view items before bidding- For enquiries about this lot please contact Sophie Osborne at sophie@kinghamsauctioneers.com
A 1950s ermine fur coat with shawl collar (some wear), a 1940s/50s musquash cape with arm vents, a 1950s musquash shrug with pockets, a mole fur coat with with deep turn back cuffs (some wear), an ermine style fur cape (shorn rabbit) with ermine tails by M Prager of London, a shorn rabbit coat and a squirrel fur coat (7) mixed sizes M-L all pieces show wear commensurate with age and use
A LARGE QUANTITY OF GENTLEMEN'S VINTAGE CLOTHING, to include a cream coloured Boss single breasted suit, a pair of white leather 'Castilian' shoes Euro size 45, a maroon velvet evening jacket by Rackham's with a black shawl collar, a beige Barrett's sheepskin coat, a black leather jacket by Fraser Menswear, size XL, five two piece suits, and twelve single breasted lounge jackets, rain coats, over coats, etc. (approximately 33 items), most jackets UK size R48'' chest, trousers 40'' waist, signs of wear, light stains and marks on most items in varying degrees) PLEASE NOTE RAIL AND MANNEQUINS ARE NOT INCLUDED-DISPLAY PURPOSES ONLY
Hand-painted ceramic figure depicts a flower seller standing on a square plinth base. She is dressed in a long white dress with a burgundy vest, blue skirt, and a cream-colored shawl featuring a brown foliate pattern and fringe detailing. The figure holds a bouquet in one hand and a rectangular crate of flowers in the other. Her head is adorned with a black hat with a blue feather. Mounted to a two-part square base with a wooden bottom plinth. This figure was part of Charles Vyse's series of London street characters created during the interwar period and produced at his Chelsea pottery studio.Artist: Charles VyseIssued: 1927Dimensions: 11.5"HCountry of Origin: EnglandCondition: Age related wear. As is.
This Royal Doulton figurine captures the charm of a Victorian lady dressed in a flowing green gown with a colorful shawl draped gracefully over her shoulders. Designed with delicate features and vibrant hand painted details, this piece exemplifies Royal Doulton's renowned craftsmanship and artistic flair. This figurine is a rare and collectible addition to any collection. The base features backstamp markings and production details. Miss Winsome is an elegant portrayal of timeless beauty and grace.Artist: Leslie HarradineIssued: c. 1934 - 1938Dimensions: 6.75"HCountry of Origin: EnglandCondition: Age related wear.
Depicting a standing female vendor in period dress holding baskets overflowing with tulips. A young child rests in her left arm as she balances the floral arrangement across her arms. The figure wears a patterned skirt, green shawl, and purple hat. Base is marked with the Chelsea mark and dated 1921. Hand-painted and modeled in earthenware. Charles Vyse was known for creating figurines representing the street characters of London during the early 20th century. This model captures a flower seller as part of his series of London street figures.Artist: Charles VyseIssued: 1921Dimensions: 10.25"HCountry of Origin: EnglandCondition: Age related wear.
This hand-painted figure features a woman in Victorian-era attire, wearing a tiered dress in shades of orange, pink, and cream, with a green shawl draped over her shoulders. Her hat is similarly detailed with matching color accents. The underside is marked with the Royal Doulton stamp.Artist: Leslie HarradineIssued: 1932 - 1938Dimensions: 7.75"HCountry of Origin: EnglandCondition: Age related wear.
A captivating Art Deco ceramic figurine by Wilhelm Thomasch for Goldscheider, featuring a stylishly posed female figure draped in an ornate shawl. This striking piece exemplifies the bold and theatrical aesthetic of the 1920s and 1930s, with the figure's dramatic expression, vibrant attire, and sculptural elegance. The figurine stands atop a textured pedestal base, lending a classical touch to the design. Her delicate pose, accentuated by an intricate red floral-patterned shawl and an eye-catching blue feathered headdress, embodies the luxurious and expressive style of the Art Deco era. The finely detailed painting and glossy glaze enhance the richness of the colors and textures. Wilhelm Thomasch was a noted designer for Goldscheider, a prestigious Viennese ceramics manufacturer known for producing some of the most sought-after Art Deco sculptures. His work is characterized by refined craftsmanship, dynamic movement, and meticulous attention to detail. Two Goldscheider markings.Artist: Wilhelm ThomaschIssued: c. 1920sDimensions: 18.5"HCountry of Origin: AustriaCondition: Age related wear.
A finely crafted ceramic figurine by renowned British sculptor Charles Vyse, depicting the iconic The Daffodil Woman. This exquisite hand painted piece captures a charming flower seller in a vibrant striped dress with a flowing shawl, holding a bundle of yellow daffodils while standing beside a basket filled with an assortment of blossoms. Vyse, known for his masterful ceramic figures inspired by London street life, created this piece in the early 20th century, exemplifying his delicate attention to detail and rich use of color. The figurine showcases a lifelike glaze finish with intricate sculptural elements, making it a prized collectible for fans of British ceramics and Art Pottery. C.V. Chelsea mark.Artist: Charles VyseIssued: c. 1924Dimensions: 9.75"HCountry of Origin: EnglandCondition: Age related wear.
The figure is portrayed in a full-length dress composed of a blue bodice and red skirt, accented with a green shawl draped over her shoulders. She wears a black bonnet tied with a red and yellow ribbon and holds a red and yellow parasol over her shoulder. Royal Doulton backstamp.Artist: Leslie HarradineIssued: 1935 - 1949Dimensions: 10"HCountry of Origin: EnglandCondition: Age related wear.
A Continental 935 silver cased, open faced, keyless wind pocket watch, does not wind or appear to work, with belcher link chain and silver 'T' bar, together with another pocket watch, also appears not to work, Siamese silver and niello enamel brooch with matching earrings, Siamese silver cloak pins, a silver and blue enamel Celtic shawl pin, a silver crown, enamelled and turned into a brooch and further pins, fobs and coins.
A group of beaded evening bags comprising Odette Antique Mallorcan embroidered Paisley shawl bag, another in brown satin, apparently unnamed, with internal Made in France label and The Bulaggi Bag, together with two pairs of Boden beaded velvet evening shoes, in violet and black size not known, likely 37 or 38.
Royal Doulton Silks and Ribbons figurine, model HN 2017, designed by Leslie Harradine. This charming porcelain figurine depicts an elderly woman seated on a bench, arranging colorful ribbons on her lap. She wears a green shawl, a red bonnet, and a flowing skirt, with draped fabric beside her. First issued in 1948, this piece showcases Royal Doulton's signature attention to detail and hand-painted craftsmanship. The base bears the Royal Doulton backstamp and model number.Artist: Leslie HarradineIssued: 1949 - 2001Dimensions: 6"HCountry of Origin: EnglandCondition: Age related wear.
A graceful Coalport bone china figurine titled Norma from The Collingwood Collection, produced exclusively for Coalport Collector Members. This elegant figure captures a poised lady in a flowing blue gown with delicate marbling, complemented by a soft pink floral-trimmed shawl and matching gloves. She holds a single rose in her raised hand, exuding refinement and timeless sophistication. Designed and modeled by Jack Glynn, this piece is meticulously hand-decorated and finished in Coalport's signature high-gloss glaze. The underside bears the Coalport backstamp, confirming its authenticity and production in England in 2001. A stunning addition for collectors of Coalport's distinguished figurines.Artist: Jack GlynnIssued: 2001Dimensions: 8.50"H Country of Origin: EnglandCondition: Age related wear.
A collection of vintage fur garments comprising, a mink fur stole complete with tail and back legs and fastening clasp with purple satin lining and hanging tassel to end (l. 63cm), a light fox fur shawl complete with front two legs and paws, and lined with purple satin, a dark fox fur shawl complete with front two legs and lined with purple satin fabric, and a white mid 20thc fox fur scarf complete with head to one side and lined in cream silk (4)
James Lawrence Isherwood F.R.S.A., F.I.A.L. (British 1917-1989) "The Lost Soul, Sun Rain Shawl Wigan" Signed, titled on verso, oil on board.43 x 58.5cm (framed 60 x 75.5cm)This painting is illustrated on page 247 of Isherwood (Anyone Can Paint - But Not Like Me!) by Stephen Eckersley, published 2009.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.
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