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CHANEL: A BLUE AND WHITE EMBLEMS SILK SCARFSpring 2019Dark blue ground with Chanel emblems design including handbags, CC and camelliasCondition Grade A90cm x 90cmFor further information on this lot please visit Bonhams.com

CHANEL: A BLACK AND WHITE PRINTED SILK POCHETTE BAG AND SCARFLimited Edition 2003-04Chocolate bar quilted silk with scenes of stylish women, featuring a black leather trim and silver tone hardware, 28cm wide, 13cm high, 34cm shoulder drop, together with matching silk scarf that can be worn attached to the front of the bag or removed, 55cm x 55cm (2)Condition Grade B-Includes serial sticker and authenticity cardFor further information on this lot please visit Bonhams.com

GUCCI: A WHITE AND BROWN HORSE-BIT COTTON SCARF/PAREOearly 2000sWhite ground with horse-bit design and dark brown trim and pink stripeCondition Grade A-140cm x 120cmFor further information on this lot please visit Bonhams.com

Alexander McQueen-A blue silk shawl having images of skulls and the designer's name together with a cream and brown silk scarf in the style of a French fashion house together with Five fashion wraps, 4 in an animal printLocation: RAB

Hermes-A silk Mountain Zebra scarf designed by Alice Shirley in a turquoise colour way, 90cm x 90cm, having hand-rolled edges, never worn, complete with original branded scarf box and ribbon. Condition:As new.The Hermes Story behind the scarf-The Cape mountain zebra is a rare protected species found in the south-eastern provinces of South Africa. Alice Shirley?s design is modelled on a foal that has wandered off to explore the fynbos, the unique vegetation of the southernmost region of the country. It grows in poor soil, and is regenerated by the bush fires sparked by lightning in the dry season. In spring, the fynbos transforms into a fragrant, multi-coloured carpet of flowers, a dreamlike vista. The artist has reproduced almost forty different plants to create a sumptuous setting for the little zebra.

A black ostrich and gold strand feather boa, a grey paisley and brown silk floral scarf, a Retro black knitted cape with tassels, ladies mixed vintage leather gloves and evening gloves, a vintage red leather clutch bag with gold tone hardware and the initials JS and other items

Ladies Accessories - a Christian Dior Beauty makeup bag with contents; others; Perfume bottles Poison, Addict, Charms (boxed and sealed); vintage handbag; a scarf, marked Hermes, boxed etc

λ Ronald Ossory Dunlop (Irish 1894-1973)Portrait of a lady, wearing a red scarf Oil on board Signed (lower centre)51 x 41cm (20 x 16 in.)Condition Report: The board is bowing. Craquelure and light surface dirt throughout. There are two pinholes to each lower corner. There is rubbing tot he framing edges. Inspection under UV reveals a green masking varnish which may be concealing the extent of restoration or repair. Condition Report Disclaimer

A COLLECTION TO INCLUDE A 1956 MELBOURNE OLYMPICS SILK SCARF, A TRIO OF BLUE PERFUME BOTTLES IN STAND, A VINTAGE BRASS BELL ETC.

GILT BRONZE FIGURE OF ZHENWU MING DYNASTY OR LATER 明或以後 銅鎏金真武大帝 cast in generous proportions, the figure seated mightily with legs bent and both hands rested on knee and thigh, he wears an armour beneath his full robe draping naturally, the front of his robe featuring a ferocious coiling dragon underneath a studded belt, the hems further carved and etched with details, his face with authoritative expression, a long wispy beard flanked by long pendulous ears, hair neatly combed back to a pointed end falling below the waist, with traces of black pigment(34.5cm high; 4.5kg)Footnote: Note: Zhenwu was an important Daoist and Buddhist symbol due to his identity as a warrior god and also as the protector of the North, an area at constant risk of invasion from foreigners and the Demon King. He was known as Supreme Emperor of the Dark Heaven and the Perfected Warrior. Ming emperors held him in very high esteem. The Yongle emperor attributed his success in the civil war to Zhenwu who was the subject of a state cult as protector of the Ming Dynasty and Yongle famously credited him with enabling him to seize the throne. From 1412 onwards, the Yongle emperor commissioned a series of temples and shrines to be built on the highest peaks in the Mount Wudang area. The Yongle emperor built Zijincheng or Forbidden City at the top of Mount Wudan and in 1416 installed an image of Zhenwu of larger dimensions but similar in appearance to this bronze in the Golden Hall. There are various theories and stories about Zhenwu's appearance. When the Emperor commissioned a figure of Zhenwu, the artist questioned how Zhenwu might look, Yongle famously quipped, 'Look at me'. He had recently risen from a bath, so with bare feet, wet, slicked black hair and a relaxed pose, he modelled for the sculptor, creating what was to become the known and popular image and pose of the hero. Another theory is that Zhenwu adopted a relaxed way to dress his hair and robes whilst in a spiritual retreat on Mount Wudang in Hebei Province. Other theories include that upon accepting his appointment as Emperor of Heaven he had been in a state of partial dress, combing his hair. After the acceptance, he found he could not put his hair up, realising that his present appearance was now unchangeable. This is how the depiction of Zhenwu tends to be recognisable, particularly with his long hair flowing down his back and bare feet. His pose is relaxed, yet imposing, with one hand resting open on his knee, the other hand facing down, at the same time regal yet not threatening. His robes, opening up at the chest, reveal his armour, a nod to his military past. His celestial scarf flows over his shoulders. He is often accompanied by a dragon and a snake around his feet, absent in this depiction. This particular pose became popular amongst later depictions of other gods such as Guandi, the God of War.

SANCAI-GLAZED BOTTLE VASE TANG DYNASTY 唐 三彩胡人獻舞繫耳扁瓶 the flattened globular body supported on a tall, splayed foot and topped with a short neck terminating to a lipped rim, each shoulder attached with a loop handle, each side of the body adorned with a foreign figure dancing on podium with a long scarf, the vessel covered overall with sancai glaze with some area showing silvery streaks(15cm high)Provenance: Private Taiwanese collection

COLLECTION OF THREE SEATED BUDDHIST FIGURES QING DYNASTY, 18-19TH CENTURY 清 礬紅綠彩送子觀音、如意羅漢 及 白釉羅漢座像（一組三件） comprising: a Guanyin the Bringer of Sons, applied with green glaze on the robe in front and iron-red from top of the scarf to back; an arhat tucking a ruyi sceptre between his right arm and body, applied with green glaze on his robe; and a white-glazed arhat, moulded in the form of a seated arhat on a rock, covered in a long robe and with his chest exposed, his face minutely defined with a smiling expression, with a fitted box(Largest: 13.2cm high)Provenance: The White-glazed Arhat was formerly in the collection of Mr Zhongling Zhao 趙中令 (1913-2013), one of the earliest members of Chinese Culture and Fine Arts Association, Taiwan (中華文物學會); Private Taiwanese collection, acquired directly from Zhongling Zhao in 2010.

David Bowie merchandise and concert memorabilia to include: Churchill / Whatever It Takes mug, an original tasselled scarf likely c mid 1970s, a promotional sticker for 'Stage' unpeeled, a 'Heroes' RCA shop sticker, an RCA advert for Stage (12 x 15").

PERE PRUNA OCERANS (Barcelona, 1904 - 1977)."La blanche".1925Oil on canvas.Signed and dated in the lower right corner.Measurements: 116 x 89 cm; 135,5 x 108,5 cm (frame).The aura of Picasso's influence surrounds Pruna's work, and this is particularly evident in this work, which Pruna produced at a time when the most avant-garde European painters were looking back (to the Renaissance or Ancient Greece), reinventing classicism in their own way. Picasso was immersed in his classicist period when Pruna moved to Paris in the 1920s, and a relationship of friendship and mutual admiration began between them. The mark that the Malaga-born artist, in his post-Cubist period, left on Pruna is strongly felt in this painting. Elegance and simplicity are masterfully combined in this composition. The stylised profile of a young woman with her back to us is enhanced by the white scarf covering her black hair. A tight-fitting dress reveals the subtle swirl of her form. Faint silvery shadows define the curve of the buttocks, and these silvery glimpses reverberate on the girl's pearly flesh tones. Only a slight hint of crimson and the carmine of the fine lips interrupt the rich range of greys, which are also shared by the background. The room occupied by the figure is barely hinted at with a few linear strokes.A mainly self-taught painter, Pere Pruna completed his training at the School of Fine Arts in Barcelona. After beginning to exhibit in Barcelona when he was still very young, he travelled to Paris in 1921, where he was helped and guided by Picasso. In the French capital he held a successful one-man show at the Galerie Percier, and came into contact with intellectuals such as Cocteau, Drieu la Rochelle, Max Jacob and others, with whom he founded the magazine "Philosophie" in 1924. Serge Diaghilev, who visited one of his exhibitions, also asked him to create the sets and costumes for the ballet "Les matelots" in 1925. From then on, he also worked on other musical works, such as "La vie de Polichinele" (1934) and "Oriane" (1938), among others. In 1928 he won second prize in the Carnegie Institute exhibition in Pittsburg and later, on his return to Barcelona, he won other awards such as the "Montserrat seen by Catalan artists" competition (1931) and the Nonell Prize (1936). Following the outbreak of the Civil War, Pruna continued his international exhibition activity, and his exhibition in London in 1937 was particularly noteworthy. After the war he combined his easel painting exhibitions with mural painting, a genre in which his works in the monastery of Montserrat were particularly celebrated. In 1965 he won the City of Barcelona Prize, and three years later he was appointed academician of the Far de Sant Cristòfor. His style, centred on a graceful, stylised female figure, is based on the clear delicacy of the pink and "neoclassical" Picasso, and reveals a certain parallelism with the Italian Novencento, being fully in keeping with the classicist trend that appeared in Western art after the first wave of avant-gardism and of which his friend Cocteau was the driving force. Pruna focused on portraiture and above all on the female figure, capturing images marked by great delicacy and sober distinction. His representations are characterised by a stylised, diaphanous line, and are in tune with the return to order that followed the rupture that Cubism represented in France, thus linking directly with the avant-garde. Pere Pruna is currently represented in the Museum of Montserrat, where there is a space bearing his name, the MACBA in Barcelona and the Maricel Museum in Sitges, among others.

Georg Jensen:  a silver brooch/scarf pin of abstract design, stamped "Georg Jensen 925 Denmark No 369" (no pin fastener)

A group of five Royal Worcester figures,comprising: a lady and gentleman in Georgian costume, rd. no 5029, model 1016, 20.5 and 21cm high, a pair of seated musicians, model 547, 9 and 9.5cm high, a larger figure of a boy with a basket, rd no. 133175 model no 1388, 28cm high, two vases, one a bird with pierced basket top, 19cm high (7) Condition report: Pair of Georgian costume figures - one end of her scarf broken off and stuck back, Pair of musicians - end of her instument broken off and missingBoy with basket - gilt lining on collar and sleeves worn and rubbed2 vases - one hs wear to gilt on rim

19th Century Continental scarf pin mounted with a circular enamel portrait plaque, marked to the back A.H in original box

Bruno Kirches, Next, Other - A white Bruno Kirches wool mix jacket size approx 44, with white silk scarf, plus two woll mix gents waistcoats size approx L. Items appear Fair - Good with some stains, and signs of wear, odour free from smoke free environment. (3) (This does not constitute a guarantee)

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "LES CLES - GAVROCHE", by Cathy Latham, Entwurf erstmals erschienen 1965. Akt. NP.: 190,-€. 100% Seide. Schlüsselmotiv in Blautönen. Handrollierter Saum. 42 x 42cm. Box anbei. Sehr guter Zustand. | HERMÈS silk scarf "LES CLES - GAVROCHE", by Cathy Latham, design first published 1965. Retail price: 190,-€. 100% silk. Key motif in shades of blue. Handrolled hem. 42 x 42cm. Box enclosed. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "DIES ET HORE", by Françoise Façonnet, Entwurf erstmals erschienen 1963. Akt. NP.: 410,-€. 100% Seide. Sonnenuhr-Motiv in Schwarz und Weiß mit goldfarbenen Details. Handrollierter Saum. 90 x 90cm. Sehr guter Zustand. | HERMÈS silk scarf "DIES ET HORE", by Françoise Façonnet, design first published 1963. Retail price: 410,-€. 100% silk. Sundial motif in black and white with gold-tone details. Hand-rolled hem. 90 x 90cm. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "QU IMPORTE LE FLACON", by Catherine Baschet, Entwurf erstmals erschienen 1988. Akt. NP.: 410,-€. 100% Seide. Parfüm-Flakon-Motiv in Multicolor. Handrollierte Säume. 90 x 90cm. Sehr guter Zustand. | HERMÈS silk scarf "QU IMPORTE LE FLACON", by Catherine Baschet, design first published 1988. Retail price: 410,-€. 100% silk. Perfume bottle motif in multicolour. Hand-rolled hems. 90 x 90cm. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "LES CLES", by Cathy Latham, Entwurf erstmals erschienen 1965. Akt. NP.: 410,-€. 100% Seide. Rosafarbenes Design, Schlüssel bilden einen Kreis um einen aufgestickten Pompadour. Alle sind authentisch, einer öffnet die Türen der Notre-Dame, der andere war ein Geschenk an den Gouverneur der Niederlande im Namen von Charles III. Handrollierter Saum. 90 x 90 cm. Box anbei. Sehr guter Zustand. | HERMÈS silk scarf "LES CLES", by Cathy Latham, design first published 1965. Retail price: 410,-€. 100% silk. Pink design, keys form a circle around an embroidered pompadour. All are authentic, one opens the doors of Notre-Dame, the other was a gift to the Governor of the Netherlands on behalf of Charles III. Hand-rolled hem. 90 x 90 cm. Box enclosed. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "BRIDES DE GALA", by Hugo Grygkar, Entwurf erstmals erschienen 1957. Akt. NP.: 410,-€. 100% Seide. Zaumzeug-Motiv in modernem Design, Rosatöne. Handrollierte Säume. 90 x 90cm. Box anbei. Sehr guter Zustand. | HERMÈS silk scarf "BRIDES DE GALA", by Hugo Grygkar, design first published 1957. Retail price: 410,-€. 100% silk. Bridle motif in modern design, pink tones. Hand-rolled hems. 90 x 90cm. Comes with box. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "BRIDES DE GALA", by Hugo Grygkar, Entwurf erstmals erschienen 1957. Akt. NP.: 410,-€. Zaumzeug in Türkis. Handrollierte Säume. 90 x 90cm. Sehr guter Zustand. | HERMÈS silk scarf "BRIDES DE GALA", by Hugo Grygkar, design first published 1957. Retail price: 410,-€. Bridle in torqouis. Handrolled hems. 90 x 90cm. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "BRIDES DE GALA", by Hugo Grygkar, Entwurf erstmals erschienen 1957. Akt. NP.: 410,-€. Zaumzeug in Rosatönen. Handrollierte Säume. 90 x 90cm. Sehr guter Zustand. | HERMÈS silk scarf "BRIDES DE GALA", by Hugo Grygkar, design first published 1957. Retail price: 410,-€. Bridle in shades of pink. Handrolled hems. 90 x 90cm. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Dreiecktuch "LES CLES" by Cathy Latham, Entwurf erstmals erschienen 1965. Akt. NP.: 410,-€. 100% Seide. Cremefarbener Grund mit orangefarbenen Details, Schlüssel bilden einen Kreis um einen aufgestickten Pompadour. Alle sind authentisch, einer öffnet die Türen der Notre-Dame, der andere war ein Geschenk an den Gouverneur der Niederlande im Namen von Charles III. Handrollierter Saum. Box anbei. Leichte Tragespuren. 110 x 46 cm.| HERMÈS silk scarf "LES CLES", by Cathy Latham, design first published 1965, by Cathy Latham, design first published 1965. Retail price: 410,-€. 100% silk. Pink and blue design, keys form a circle around an embroidered pompadour. All are authentic, one opens the doors of Notre-Dame, the other was a gift to the Governor of the Netherlands on behalf of Charles III. Hand-rolled hem. Box enclosed. Slight signs of wear. 110 x 46 cm.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "PARURES DES SABLES", by Laurence Bourthoumieux, Entwurf erstmals erschienen 1988. Akt. NP.: 410,-€. 100% Seide. Korallfarbener Grund mit Schmuckmotiven. Handrollierter Saum. 90 x90 cm. Sehr guter Zustand. | HERMÈS silk scarf "PARURES DES SABLES", by Laurence Bourthoumieux, design first published 1988. Retail price: 410,-€. 100% silk. Coral coloured ground with decorative motifs. Hand-rolled hem. 90 x90 cm. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "LES CLES", by Cathy Latham, Entwurf erstmals erschienen 1965. Akt. NP.: 410,-€. 100% Seide. Goldfarbenes Design, Schlüssel bilden einen Kreis um einen aufgestickten Pompadour. Alle sind authentisch, einer öffnet die Türen der Notre-Dame, der andere war ein Geschenk an den Gouverneur der Niederlande im Namen von Charles III. Handrollierter Saum. 90 x 90 cm. Sehr guter Zustand.| HERMÈS silk scarf "LES CLES", by Cathy Latham, design first published 1965. Retail price: 410,-€. 100% silk. Gold coloured design, keys form a circle around an embroidered pompadour. All are authentic, one opens the doors of Notre-Dame, the other was a gift to the Governor of the Netherlands in the name of Charles III. Hand-rolled hem. 90 x 90 cm. Really good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "BRIDES DE GALA", by Hugo Grygkar, Entwurf erstmals erschienen 1957. Akt. NP.: 410,-€. Zaumzeug in Orange auf cremefarbenem Grund. Handrollierte Säume. 90 x 90cm. Box anbei. Sehr guter Zustand.| HERMÈS silk scarf "BRIDES DE GALA", by Hugo Grygkar, design first published 1957. Retail price: 410,-€. by Hugo Grygkar, design first published 1957. Retail price: 410,-€. Bridle in orange on a cream ground. Hand-rolled hems. 90 x 90cm. Box enclosed. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "LE SACRE DU PRINTEMPS", by Henri d'Origny, Entwurf erstmals erschienen 1986. Akt. NP.: 410,-€. 100% Seide. Rosafarbener Grund mit floralem Motiv. Handrollierte Säume. 90 x 90cm. Guter Zustand. | HERMÈS silk scarf "LE SACRE DU PRINTEMPS", by Henri d'Origny, design first published 1986. Retail price: 410,-€. 100% silk. Pink ground with floral motif. Handrolled hems. 90 x 90cm. Good condition.

LOUIS VUITTON Tuch "ROSES BY STEPHEN SPROUSE". LIMITED EDITION. 100% Seide. Monogram Design mit Rosen-Motiv, designed my Stephen Sprouse. Box anbei. Neuwertig. 180 x 20 cm.| LOUIS VUITTON scarf "ROSES BY STEPHEN SPROUSE". LIMITED EDITION. 100% silk. Monogram design with rose motif, designed my Stephen Sprouse. Box enclosed. As new. 180 x 20 cm.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "BRIDES DE GALA", by Hugo Grygkar, Entwurf erstmals erschienen 1957. Akt. NP.: 410,-€. 100% Seide. Zaumzeug-Motiv in modernem Design, Braun- und Blautöne. Handrollierte Säume. 90 x 90cm. Sehr guter Zustand. | HERMÈS silk scarf "BRIDES DE GALA", by Hugo Grygkar, design first published 1957. Retail price: 410,-€. 100% silk. Bridle motif in modern design, brown and blue tones. Hand-rolled hems. 90 x 90cm. Very good condition.

CHANEL Krawatten-Schal. 100% Seide in Blau/Rot/Weiß. Box anbei. Sehr guter Erhalt.| CHANEL tie scarf. 100% silk in blue / red / white. Box enclosed. Very good condition.

AUFLÖSUNG EINER SAMMLUNG. HERMÈS Seidencarré "BRIDES DE GALA", by Hugo Grygkar, Entwurf erstmals erschienen 1957. Akt. NP.: 410,-€. Zaumzeug in Türkis und Creme mit goldfarbenen Details. Handrollierte Säume. 90 x 90cm. Flecken vorhanden.| HERMÈS silk scarf "BRIDES DE GALA", by Hugo Grygkar, design first published 1957. Retail price: 410,-€. Bridle in turquoise and cream with gold details. Handrolled hems. 90 x 90cm. Stains present.

HERMÈS Grandfoulard "LA MAISON DES CARRES". 70% Kaschmir, 30% Seide. Designed by Pierre Marie. Akt. NP.: 1.000€. Rosafarbener Grund, Motiv mit Herstellung der Seidencarrés. Handrollierter Saum. Box anbei. Sehr guter Erhalt. 140x140cm. NP 950€. | HERMÈS scarf "LA MAISON DES CARRES". 70% cashmere, 30% silk. Designed by Pierre Marie. Pink ground, motif with manufacture of silk carrés. Hand rolled hem. Box attached. Very good condition. 140x140cm. NP 950€.

Figure in red scarf working on a beach, entitled verso 'Cockle Picker', signed49 x 38cmsprivate collection Pembrokeshire, consigned via our Carmarthen officeCondition report: Comments: neatly framed, ready to hang

Three head scarves including paisley silk, Liberty's scarf, Valentina, and a cotton 1977 Silver Jubilee scarf.

A diamond solitaire ring, finger size N; an 18 carat gold hardstone cameo ring, finger size N1/2; two cameo brooches; together with a small quantity of jewellery including an enamel brooch, various other brooches, scarf clips, dress studs etcCondition report: Diamond ring - 1.9 grams. Cameo ring - 2.4 grams.

A CAST AND REPOUSSE GILT COPPER ALLOY FIGURE OF AMITAYUS, QIANLONG PERIODChina, 1736-1795. The figure is shown seated in dhyanasana on a double-lotus base, the hands lowered in dhyana mudra, wearing loose-fitting robes decorated with foliate scroll at the hems, richly adorned with beaded, floral, and inlaid jewelry. The hair is pulled up into a tall double-topknot, falling elegantly in long segments down the sides of the shoulders, and surmounted by a jewel.Provenance: A private collector in New York, USA.Condition: Excellent condition with minor old wear, occasional light scratches, tiny nicks, few small dents. The base sealed. Some losses to inlays, some other inlays may be later replacements. Well-preserved ancient pigments. The amrita vase held in the figure's hands is lost.Weight: 4,077 gDimensions: Height 38.5 cmThe statue is made from solid and massively gilt copper alloy, as clearly evidenced by the lack of any dings or bent areas to body and base. Only the earrings, scarf, and strands of hair are executed in copper repousse.The serene face shows heavy-lidded eyes, gently arched brows centered by an urna, and full lips forming a calm smile, flanked by long pendulous earlobes.The present work exhibits many characteristics common to the Buddhist workshops of the Qianlong period, such as the combination of cast and repousse parts, the languid and slightly effeminate treatment of the face and body, and the tightly waisted double-lotus base with broad petals. The Qing court patronage of Buddhism that began under the Kangxi Emperor reached epic proportions under his grandson, the Qianlong Emperor. The Buddhist centers of Beijing, Rehol, and Dolonnor produced thousands upon thousands of images to keep up with the demand of the numerous temples in and outside the capital.Auction result comparison: Compare a related cast and repousse figure of a bodhisattva, belonging to the same group as the present lot, 37.1 cm high, also dated to the Qianlong period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 16 September 2016, lot 1231, sold for USD 35,000.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.乾隆時期鎏金銅錘揲觀音坐蓮像中國，1736-1795年。髮髻高聳，耳垂花璫，髮綹層疊垂落披肩。細眉長目微閉，鼻樑挺秀，雙眉間有白毫，雙唇微抿，神情柔和。上身坦露，飾項圈和長鏈，雙肩披帔帛，飾瓔珞，臂釧、手臅等，下身著貼體薄裙，腰纖細，繫有寶帶，結跏趺坐坐於蓮座上，姿態優美。蓮座上飾一道連珠紋，蓮瓣橢圓修長，富有層次。 來源：紐約私人收藏。 品相：狀況極佳，有輕微磨損，局部有輕微劃痕與微小的刻痕，少量小凹痕。 底座密封。損失一些鑲嵌物，一些鑲嵌可能曾後期更換過。顔料保存完好。觀音手中的淨瓶丟失。 重量：4,077 克 尺寸：高38.5 厘米 造像鎏金厚重，身體和底座沒有任何凹痕或彎曲區域清楚地證明了這一點。只有耳環與帔帛及一縷頭髮是用錘鍱而成。 此造像呈現出乾隆時期銅鎏金造像的許多特點，如鑄件與錘鍱工藝的結合，面部和身體的慵懶和略顯柔美的處理，以及寬瓣束腰雙層蓮座。康熙帝在位時期對佛教的推廣在他的孫子乾隆帝時期達到了鼎盛。北京、瑞荷、多隆諾等佛教中心為了滿足眾多寺廟的需求，製作了成千上萬的佛教造像。 拍賣結果比較：比較一件銅鑄並錘鍱菩薩造像，與此拍品為同一組，高37.1 厘米，同爲乾隆時期，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2016年9月16日 lot 1231, 售價USD 35,000。

A WHITE JADE CARVING OF AN APSARA, QING DYNASTY OR EARLIERChina, 18th-19th century or earlier. Carved and pierced with the angelic figure floating elegantly in the wind whilst wearing long flowing robes, celestial scarf, and headdress, her hands clasped together grasping a tablet, all above lingzhi-shaped swirling clouds. The translucent stone is of an even white tone.Provenance: From a private collector in England who has been collecting Chinese jades for over 20 years.Condition: Very good condition with minor wear and few minuscule nicks.Weight: 116 g Dimensions: Length 9 cm, Height 6.5 cmApsaras are often depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao and Yulin Caves, and the Yungang and Longmen Grottoes, and may also be depicted as dancers or musicians. They are referred to as feitian in Chinese. A female spirit of the clouds in Buddhist mythology, apsaras were beautiful heavenly attendants to deities. The billowing clouds and flowing scarf of this figure attest to her celestial nature and endow this carving with a femininity and gracefulness befitting her role.Literature comparison: Three jade asparas in the collection of the Palace Museum, Beijing, dated to the Tang dynasty, are illustrated in The Complete Collection of Treasures from the Palace Museum. Jadeware (II), Hong Kong, 1995, cat. nos. 17-19. For a Northern Song example, see Forsyth and McElney, Jades from China, The Museum of East Asian Art, Bath, 1994, p. 314, no. 223.Auction result comparison: Compare a related white jade carving of an apsara, 8.5 cm long, dated Ming dynasty or earlier, at Christie's London in The C. Philip Cardeiro Collection of Chinese Art on 13 May 2014, lot 17, sold for GBP 37,500. 清代或更早白玉雕飛天女神 中國，十八至十九世紀或更早。鏤雕飛天身姿飄逸，身著長袍，頭戴飄揚飛巾，雙手捧著一個盤子，飛在如意祥雲之上。 半透明白玉色澤均勻，細膩晶瑩。來源：英國私人收藏，此收藏家有收藏玉石經驗超過20年。 品相：狀況極好，少量磨損與細小刻痕。 重量：116克 尺寸：長9厘米，高6.5厘米 拍賣結果比較：比較一件白玉雕飛天女神，長8.5 厘米，明代或更早，見倫敦佳士得 The C. Philip Cardeiro Collection of Chinese Art 2014年5月13日 lot 17, 售價GBP 37,500。

A silk style scarf depicting the map of the German French theatre of war 1914

Handkerchiefs. A large collection of printed handkerchiefs and scarves, 20th century, printed (and a few embroidered) on silk, cotton, rayon, etc., comprising: 13 map-related (mostly souvenirs), including a WWII Escape Map entitled Western Pacific, circa 1940, a few small marks, but otherwise in very good condition; 9 with a military theme, including one with musical score for 'It's a long way to Tipperary'; 10 sporting, including 'Brown Jack' horse racing scarf, and a 1956 Melbourne Olympics commemorative scarf (a few faint marks and hem to one edge slightly frayed); 16 royalty or patriotic handkerchiefs and scarves, including London landmarks, Union Jacks, 1937 and 1953 coronations, 1951 Festival of Britain, and approximately 54 others including souvenir, animals, François Durieux, etc., various sizes, mostly in good condition, together with a 1930s pink velvet evening bag with metal clasp and chain handle, pink silk lining edged with gold metal lace, containing 2 handkerchiefs, one of ivory silk edged with hand-made lace, together with a folder of ephemera, including correspondence, pertaining to the collectionQty: (approximately 100)Footnote: Provenance: Residual items from the estate of Brenda Barnard, owner of 'The Siddons Scarf Collection' which was donated to Leicestershire County Museum Service.

Scarves. A collection of scarves by Liberty of London & Jacqmar, 20th century, 18 Liberty scarves, mostly silk, although one of wool, some with hand-rolled hems, all with Liberty stamp and/or label, including floral, paisley, figurative, Chinese motifs, geometric, Art Nouveau-style, and 4 Jacqmar scarves, including a pink silk stole with 2 large silver feathers woven at each end, various shapes and sizes, all in good condition, together with approximately 90 other patterned scarves printed on silk, cotton, rayon, etc., a number with hand-rolled hems, including floral and geometric designs, wheel motifs, Egyptian symbols, Rennie Mackintosh-style roses, compass patterns, etc., many named, including Zandra Rhodes, Timney Fowler, Christian Lacroix for Avon, Jaeger, R. Mantero for Cresta, Mondi, Georgina von Etzdorf, Marine Olivier, Diane von Furstenberg, Emilio Como, Bill Blass, Paul Parel, Deborah Brill, Mila Schön, and Jill France, various shapes and sizes, mostly in very good condition, together with 7 books related, including a shrink-wrapped copy of The Hermès Scarf by Nadine Coleno, and Scarves by Nicky Albrechtsen & Fola Solanke Qty: (approximately 100)Footnote: Provenance: Residual items from the estate of Brenda Barnard, owner of 'The Siddons Scarf Collection' which was donated to Leicestershire County Museum Service.

A collection of assorted vintage brooches and scarf clips. To include stone set examples.

A GILT BRONZE FIGURE OF AMITAYUS, 14TH CENTURYTibet. Seated in dhyanasana on a high double-lotus base, with hands folded in dhyanamudra, wearing a shawl and dhoti, the loose folds falling over his crossed legs in undulous folds. With a billowing celestial scarf around his shoulders and arms, richly adorned with elaborate inlaid jewelry, the face with a benevolent expression and surmounted by an elaborate diadem in front of a high chignon.Provenance: London private collection. Sotheby's London, Important Chinese Art, 9 November 2016, lot 279, bought-in at an estimate of GBP 6,000-8,000. Hungarian private collection, acquired from the above.Condition: Good condition with old wear and casting irregularities, extensive wear to gilt, some losses to inlays, few minuscule nicks and light scratches, small dents, the base unsealed, the interior with areas of malachite-green patina. Overall exactly as expected and fully commensurate with age.Weight: 177.7 gDimensions: Height 9.7 cmLiterature comparison: The robust physiognomy and broad lotus leaves are characteristic of 14th-century Tibetan sculpture produced by expert Newari casters. This bronze compares favorably to a closely related though slightly larger example published in von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, page 364, no. 98B.Auction result comparison: Compare a closely related but larger (15.5 cm high) Tibetan gilt copper alloy figure of Amitayus, also dated to the 14th century, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 19 March 2019, lot 902, sold for USD 12,075. 十四世紀銅鎏金無量壽佛坐蓮像西藏。無量壽佛結跏趺坐坐於雙層蓮座上，手結禪定印平行曡放在雙膝上，頭戴寳冠，身披長袍，散散地垂在他交叉的腿上。肩上和手臂上挂著一條飄帶，上面裝飾著精美的珠寶。無量壽佛臉上表情慈祥，髮髻高聳，頭戴寳冠。 來源：倫敦私人收藏。倫敦蘇富比 Important Chinese Art 2016年11月9日 lot 279, 估價 GBP 6,000-8,000. 匈牙利私人收藏，購於上述收藏。 品相：品相良好，舊磨損和鑄造不規則，鎏金磨損嚴重，遺失一些鑲嵌物，有些微小的刻痕和划痕，小凹痕，底座未密封，內部有孔雀石色包漿。 總體上與其年齡相符。 重量：177.7 克 尺寸：高9.7 厘米 文獻比較：造像健壯的躰貌和寬闊的蓮葉是十四世紀西藏造像的特徵，由原住民内瓦爾人製作。 這個青銅器與另一個稍大的造像相比毫不遜色，見Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, page 364, no. 98B. 拍賣結果比較：一件相似但稍大 (高15.5 厘米) 的西藏銅鎏金無量壽佛造像，同樣為十四世紀，于紐約邦翰思 Indian, Himalayan & Southeast Asian Art 2019年3月19日 lot 902, 售價USD 12,075。

A WHITE JADE FIGURE OF GUANYIN, LATE QING TO REPUBLICChina, 19th to earlier 20th century. The standing deity is carved in high relief dressed in a dhoti and a celestial scarf billowing in the wind, the hair pulled into a high chignon, holding an open jar. She stands on a lotus base before a flaming mandorla. The stone is of a pale celadon tone with icy inclusions. Provenance: US trade, by repute from a private collection in Chicago, USA.Condition: Very good condition with minor wear, few minuscule nicks and nibbles, shallow surface scratches.Weight: 81 gDimensions: Height 13.4 cm Auction result comparison: Compare a related white jade Guanyin, dated to the Qing dynasty, of slightly smaller size (12.3 cm high), at Sotheby's Hong Kong in Chinese Art on 3 December 2015, lot 567, sold for HKD 68,750 (part lot).清末民初白玉觀音中國，十九至二十世紀初。觀音立像，身著長袍，綬帶隨風飄揚，頭髮挽成高髮髻，端著一個寶瓶，身後有火焰光背。玉料呈淡青色，帶有絮狀物。冰冷的內含物。 來源：美國古玩市場，據説購於美國芝加哥私人收藏。 品相：狀況極好，輕微磨損，少量細小的刻痕和小缺口，表面有淺劃痕。 重量：81 克 尺寸：高13.4 厘米 拍賣結果比較: 比較一件相近的清代白玉觀音 (高12.3 厘米), 見香港蘇富比Chinese Art 2015年12月3日lot 567, 售價HKD 68,750 (此號拍品中)。

A MONUMENTAL WOOD STATUE OF GUANYIN, QING DYNASTYChina, 1644-1912. Finely carved standing, wearing a loose flowing robe falling in graceful folds to just above the bare feet, open at the chest to reveal a floral necklace, the eyes with black glass inlays, the hair swept up into a high chignon and centered with a figure of Amitabha seated on a lotus-form base. Traces of red, white and black pigments.Scientific Analysis Report: A 14C measurement report was completed by Antiques Analytics Laboratory, Germany, Dr. R. Neunteufel, on 14 December 2020, number AA 21-06102. The report states a date of 1687 - 1730 (24% probability) or 1806 - 1925 (71,4% probability). A copy of the report accompanies the lot. Provenance: From a noted private collection in Poland. Acquired ca. 1990 in the local market. Condition: The statue with losses, worm holes, remnants of pigments, natural age cracks, all as expected and commensurate with age.Dimensions: Height 158 cm (excluding the plexiglass base) Mounted to a fitted plexiglass base (2).This finely carved figure retains all of the robust power and majesty seen in figures of Tang, Song and Jin dynasty date. The folds of the drapery in the shawl, scarves and dhoti worn by this figure are reminiscent of that seen in painted wood figures of Song date, but the small, pursed mouth, the slender nose and oblique eyes, combined with the crown are more similar to those found in Ming painted sculpture.Literature comparison: Another figure of this type, dated Song dynasty, is in The National Gallery, Prague and is illustrated in Lubor Hajek and Werner Forman, A Book of Chinese Art, plate XIII. The long scarf draping over the shoulders and trailing to the base appears to be a characteristic of sculpture of the Yuan to Ming dynasty. See, for example, two large painted wood figures of bodhisattvas, each measuring 220 cm., from the Liang-sheng T'ang Collection, illustrated in Ancient Chinese Sculpture II, Kaohsiung Museum of Fine Arts, Taiwan, 2000, pp. 94-7, nos. 37 and 38. Similar treatment of the drapery can be found on a smaller figure (measuring 166 cm. high) from the same collection, illustrated ibid., p. 102-3, no. 41.Auction result comparison: Compare a related wood figure of Guanyin, at Sotheby's New York in Fine Chinese Ceramics & Works Of Art on 16 September 2014, lot 503, bough in at an estimate of USD 30,000 to 50,000. Compare also a related wood figure of Guanyin, dated 17th-18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 29 March 2006, sold for USD 66,000. 清代木雕觀音立像中國，1644-1912年。木雕觀音菩薩跣足立於石座上，菩薩面頰飽滿，眼睛鑲嵌著黑色玻璃，雙唇微啟，頭戴高冠，上原有化佛阿彌陀佛坐像。束髮高髻，餘發自兩側垂落。左右手前肢遺失。菩薩肩覆披帛，頸飾精緻華美佩飾。雕像表面依然多處可見白色、紅色以及黑色殘彩。科學檢測報告: 一份碳14定年檢測，2020年12月14日，德國古玩檢測實驗室Dr. R. Neunteufel，編號 AA 21-06102. 檢測結果認爲時間約爲 1687 - 1730 (24% 可能性) 或1806 - 1925 (71,4% 可能性)，隨附檢測報告副本。來源：波蘭知名私人收藏，約於1990年購於當地市場。 品相：雕像有缺損、蟲洞、顏料殘留和自然年代裂縫，與年齡相稱。 尺寸： 高158 厘米 (不含底座) 有機玻璃底座 (2) 拍賣結果比較：比較相近的木雕觀音，見紐約蘇富比Fine Chinese Ceramics & Works Of Art2014年9月16日 lot 503, 估價USD 30,000 to 50,000；另一件十七至十八世紀的木雕觀音，見紐約佳士得Fine Chinese Ceramics and Works of Art 2006年3月29日 售價USD 66,000。

A SANCAI-GLAZED FIGURE OF GUANYIN, MING DYNASTYChina, 1368-1644. Seated in royal ease atop a lotus base, wearing voluminous robes tied at the waist and opening at the chest adorned with beaded jewelry, a billowing scarf around her back and legs. The serene face with heavy-lidded almond-shaped eyes and full lips, the hair arranged in a high chignon behind the tiara, a mandorla behind her. Covered overall save for the head, upper torso, arms, hands, feet, and underside of the base with bright glazes of green, ochre, and aubergine color. Provenance: Swedish private collection, thence by descent. Old inventory label to base, '1246'.Condition: The head and mandorla have been reattached with associated old repairs and touchups, further with small losses and minor touchups. Minor nicks and light scratches.Weight: 1,432 gDimensions: Height 29.5 cm 明代三彩自在觀音像 中國，1368-1644年。觀音高螺髻，戴寶冠，面目秀美，身著衣裙帔帛，胸腿飾瓔珞，垂左足，抬右腿曲於練座上，雙手按右膝，姿勢自在輕鬆。佛像除了頭部、上身、手臂、手、腳和底部外，施綠、淡褐、黃三色釉，局部飾黑彩。 來源：瑞典私人收，保存至今。底部有老標籤注收藏編號 "1246"。 品相：頭部和光背已經重新連接過，有小缺損和輕微的修飾，輕微的劃痕。 重量：1,432 克 尺寸：高29.5 厘米

A collection of antique and costume jewellery in a brown embossed leather jewellery box and crystal and wire work jewellery box. Including a coral set gilt brass bangle, Art Deco marcasite scarf clip, a pinchbeck shell cameo brooch and other jewellery.

A vintage Hermes, Paris designer silk scarf depicting lion medallions, chains and tassels. L.87 W.87cm

Two 9ct gold scarf rings of plain polished finish; together with a 9ct gold watch mount

19th Century, Oval portrait of a gentleman wearing a white scarf, oil on canvas, 30" x 24", (unframed).

WW2 Hampshire 1st (Andover) Battalion Home Guard Battle Dress Uniform Set, cosisting of fine battle dress blouse complete with embroidered shoulder titles, printed H1 district formation signs and embroidered Sergeants rank stripes. Complete with twist cord lanyard. 1942 dated size label to the interior. Accompanied by a good condition pair of Battle Dress trousers, British army issue shirt, khaki forage cap with Hampshire badge, brown leather belt, leather gaiters and a camouflage netted scarf. All generally good condition.

A very pretty scarf style necklace of polished aquamarine, amethyst and seed pearls, L. 120cm.

A scarf style necklace of polished quartz, amethyst and freshwater pearls, necklace L. 120cm.

A tray lot of early 20th century ivory-backed brushes, hand mirror etc and a BOAC VC10 scarf Condition Report:Available upon request

Picasso decorated silk scarf

Costume brooches and effects, comprising a 19thC Pinchbeck framed agate oval brooch, modern heart dress ring, scarf clip and a ceramic posy brooch. (4)

Hale (Kathleen, 1898-2000). Portrait of a French peasant woman with scarf, 1920, pencil on paper, signed lower right, dated upper right, sheet size 31.8 x 24 cm (12 1/2 x 9 1/2 ins), window mounted, framed and glazed (46 x 37.8cm), verso with ink numbers 'P67' & '528', and manuscript Gallery label 'Goldmark no. 61 ...', together with: Waiting for the Kettle, citca 1920, pencil on paper, depicting an elderly French woman sitting in a kitchen, signed lower right, single foxing spot to lower right corner, mount aperture 26.7 x 22.1 cm (10 1/2 x 8 3/4 ins), framed and glazed (48.1 x 42.4 cm), verso with Goldmark Gallery labels, and ink manuscript numbers 'P68' & '529', plus: Portrait of a girl in a headscarf, circa 1920, pencil on paper, signed towards lower right, mount aperture 22.8 x 20.5 cm (9 x 8 ins), framed and glazed (47.4 x 43.2 cm), verso with red ink number '26' relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, and two other similar portraits: Boy with cap turning his head, and Babies, both pencil on paper, the former signed and dated 1920, both window mounted, Boy with cap turning his head unframed (mount size 43.2 x 38.8 cm), Babies framed and glazed (50.8 x 42.7 cm), ink manucript number '435' on versoQty: (5)Footnote: The portrait of a French peasant woman with scarf is reproduced in Kathleen Hale's autobiography A Slender Reputation on p.108, and in the catalogue of the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001 (item 22). These drawings, and those in the following 4 lots, were produced when Kathleen Hale was living and working with Frank Potter in Étaples, France, circa 1920. In A Slender Reputation, Hale describes how, "We chose our models from the poor fisherwomen, old and young, with their babies and their children".

MONTBLANC, DONATION PEN, 8503, HERBERT VON KARAJAN A SPECIAL EDITION BALLPOINT PENCap and Barrel: black resin cap with piano ivory style cap band and white resin conductors baton accented clip, black resin barrelAccessories: original Montblanc box, silk scarf, Herbert Von Karajan Special Edition booklet, Service Guide and certificate Condition Report: As new condition, some signs of storage to the original Montblanc box Condition Report Disclaimer