Two Chinese embroidered panels, c.1900. Hand-embroidered in China on cream colored silk satin, the luminous panels are backed with pale gold sateen. Embroidery is the ideal medium for the dazzling verisimilitude of the pregnant petals limned in pleasing pastels. Drawn to the radiant flowers are brilliantly hued birds, all atwitter with the joy of spring. NEW LISTING
Directoire hand-embroidered mull shawl, c.1805. This masterpiece of Neoclassical design has Kashmiri design motifs embroidered on sheer white cotton mull. Each end features exquisitely rendered wide borders of Kashmiri botehs. The balance, symmetry, and stylized simplicity of the pattern is reminiscent of a Classical Greek frieze, e.g., the Elgin Marbles Parthenon frieze.
Brussels appliquéd mixed lace wedding veil, c.1910. The mixed lace design combines bobbin lace motifs with needle lace fancy fill. The peerless handwork makes an indelible impression while the elaborate floral pattern on the train is spectacular. Handmade Brussels lace—the Rolls Royce of lace—is the perfect choice for a wedding accessory.
Princess lace wedding veil, c. 1910. The tulle is hand appliquéd with bouquets of princess lace flowers. Princess lace is a delicate tape lace created in the same shapes as handmade Brussels lace. The handwork is superb. The attached wired crown framing the face uses contrasting laces, forming a magnificent lace tiara. The veil is fit for a Princess on her wedding day.
Fortuny stenciled cotton wall hanging, 1920s. Sewn together in the center are two panels of stenciled cotton twill fabric. They are stenciled on the textured, heavy cotton twill that was used in pre-1950s Fortuny textiles. The hand finished print is delightfully uneven. Fortuny, who emulated antique frescoes and textiles, would have appreciated the unevenness of color—the gift of Time to Art.
3 Fortuny cotton drapery panels, 1950s. The superb fabric was stenciled with the de Medici pattern. Although Fortuny stenciled patterns are still produced today, lovers of textile art appreciate the superior quality of his vintage pieces and value them more highly than modern versions. This exceptional find is a twofer: you get the high quality of a vintage textile without the wear in a used piece.
Hand-assembled Princess lace wedding shawl, c.1900.The shawl is fashioned from white cotton, very fine tulle. The edges are finished with a graceful scalloped border. Textiles requiring so much hand finishing cannot be reproduced today at a reasonable price.
Figural Chinese export shawl, c.1910. In 2 adjacent corners are Chinese figures. The other 2 adjacent corners have brilliant bouquets of large and small flowers. Depending on how the shawl is folded, you can display a figural or a floral scene. Whether you wear the shawl or use it in the decor of your home, you will have a superb piece of textile art.
Deco lamé silk shawl, 1920s. The center panel of black satin damask is printed with colorful bouquets of lilies. The woven damask pattern is brocaded with silvery bronze metallic fibers. The exuberant Art Deco design is a celebration of color and graphic design. Here we see the influence of Fauvism (1905-1907), where vivid colors and simple flattened shapes were the dominant motifs.
Chinese hand-embroidered silk shawl, c.1900-1920. Exquisitely hand embroidered with large bouquets of flowers in each corner. The high relief satin-stitch embroidery showcases the soft muted shades that are the gift of Time to Art; hence the subtle, luminous hues of this antique original. The brilliant floral pattern celebrates the virtuosic use of color: the burgundy-red roses with petals of carrot-orange and tan.
Deco silk print shawl, c.1925. Made from black silk crepe printed with larger-than-life stylized flowers, the brilliant shawl shows off the style in all its self-confident glory: elegant, bold, and optimistic. We can see the inspiration of Fauvism, where vivid colors and simple flattened shapes were the dominant motifs. The boldly graphic design plays changes on the geometric theme of the circle or disk.
Liberty printed damask shawl, early 20th century. The exotic Persian-style pattern was printed on a ground of delicate peach silk damask. The multi-colored, paisley (boteh) motif found an enduring place in the vocabulary of European print design. The incredibly fine grained scale of the design has an effect similar to that of Pointillist painting. There is a padded Chinese floral closure, a detail often used in Liberty designs.
Tamboured net wedding shawl, 1860s. In this exquisite shawl from the lace collection of Mrs. J.P. Morgan, the gossamer floral design is of the last degree of charm. You will appreciate the masterly tambour embroidery when you study the winning floral motifs. Delicate tendrils caress lace flowers, which stretch out their petals, yearning for the sun. The amazing painterly detail in the flowers is truly memorable.
Liberty brocaded chiffon shawl, c.1910. From Liberty of London, the firm most closely identified with Art Nouveau, the varicolored shawl features an exotic Persian-style pattern, printed and brocaded on a ground of sheer brown silk chiffon. The multi-colored, serpentine motif conveys the enigmatic allure of the East. Our gossamer shawl will not keep you warm, but you will be wrapped in beauty.
Carrickmacross lace shawl, 19th century.Carrickmacross lace is a form of appliqué work in which the design pattern of fine muslin is applied to a a machine net ground with couched guipure lace. Wear our charming shawl whenever you want to feel the romantic allure of antique lace.
Silk gauze rectangular shawl, 1810-1820. The fresh lemon hue in the resplendent shawl is like the afterglow of the sun, still illumining the horizon with its beauty two centuries later. The summer weight shawl is sheer and delicate. The two black panels are bordered with pink ribbon weave; the pink panel is bordered with turquoise ribbon weave. The floral motif is remarkably free in line, effortlessly limning the gay and sprightly feeling of a spring day.
Printed wool shawl, 1850s. The rare spotted motif, printed on a black wool ground, features borders of paisley motifs framing a field of unexpected large black polka dots alternating with floral lozenges. The effect is still fresh and lively—true serendipity! Large square shawls, originally worn as substitutes for coats or jackets, make a striking interior design statement today.
Hand-embroidered cutwork panel, c.1900. The exquisite cutwork panel of cotton batiste came from a wealthy New England estate. The upper portion is embroidered with small floral sprigs. I love the unusual melons in the elaborate cutwork design in which are intimations of minarets and harems with the exotic enchantments of the East.
Hand-embroidered Kashmir shawl, c.1810. Made from fine red wool twill. The sides and ends are bordered with hand woven panels. There is a hand-embroidered signature by the maker. The boteh, known in the West as the paisley motif is a representation of the growing shoot of the date palm. This superb period shawl was probably hand embroidered in Persia for the Western market.
Chantilly lace shawl, 1860s. With its irresistible allure, black Chantilly lace, associated with the romance of the night, is ideal for the ultra-feminine floral design. The intricate design features delicate tendrils caressing lace flowers, which stretch out their petals, yearning for the sun. The amazing painterly detail in the flowers is memorable. Today on the runways in Paris, Chantilly lace is making a comeback.
Chinese hand-embroidered silk shawl, c.1920. Made from medium-weight ivory silk crepe, the shawl is bordered all around with a 13"-wide border of hand-knotted silk fringe. Each corner of the square shawl is exquisitely hand embroidered with an exotic tree and a garden of flowers in matching silk floss. The featured Tree (of Life), however, is rare. The hand embroidery has been carried to the utmost refinement of delicacy.
Paisley hand loom shawl, 1840s. The striking shawl catches the eye with its rich tomato red ground and contrasting, fuchsia fringed border. The color combination was the height of fashion when the shawl was woven. The oral provenance from a descendant states the shawl belonged to his grandmother Elizabeth Adam (nee Cuthbert) of 86 canal Street, Paisley, Scotland.
Hand-assembled mixed lace shawl, 19th century. The airy lightness of the intricate lace design is a wonder to behold. The shawl has a soft, supple drape. The creative design features an ingeniously crafted ruffle of the top edge, which forms a graceful collar when folded over. The shape was built-in when the tapes were assembled.
Juschi silk shawl-size scarf, c.1980. Fashioned from heavy silk crepe and finished with a hand-rolled hem, this is a wearable painting—a brilliant evening accessory. The scarf features a stunning dreamscape of a group of exotic wild fowl. The subtle details reinforced by bold colors make a dramatic design statement. The large shawl size would be ideal over a coat: an emblem of a woman of luxurious and sophisticated taste.
Handmade Honiton lace panel, late 19th century. The extremely fine Honiton lace is assembled from separate floral motifs made by different lace makers. The bobbin lace in our panel is made from delicate beige flax thread. The panel can be used as a layover pillow sham or draped over the back of your couch. The rich complexity achievable with the Honiton technique is evident in the intricate, gossamer floral design.
4.3 yards black cotton lace, c.1900. The lace is notable for the unique pattern, which depicts berries ripening on a tree. The design successfully combines two aesthetic principles: verisimilitude and schematic representation. You will not find anything so fine in a modern lace. The original owner must have thought highly of it because it was carefully stored with many pieces of fine handmade lace.
Deco metallic brocaded chiffon shawl, c.1920. Made from burnt orange silk chiffon brocaded with stylized Deco roses, geometric squares, and wavy lines, the brilliant shawl illustrates the pairing of of exoticism and modernity, which was at the core of the Art Deco movement. There is a haunting, Eastern sensibility in the monochrome motif of squares and wavy lines. The real antique metallic fibers have a mellow glow.
Chinese burgundy satin wall hanging, c.1910. The design is rendered in elegant muted shades of blue, turquoise, silver, rust, gold, beige, and rose. The central figure is a brilliant bird of paradise resplendent in her proud plumage. Here the colors compete with and complement each other: the ivory with the black; the gold with the aqua; and dominating it all, the splendiferous turquoise tail feather, ending in a tiny fantasy floral star.
Normandy mixed lace spread, mid 20th century. The fine hand-embroidered batiste medallions are surrounded by a mixture of lace and needle-run embroidered tulle. With their baskets of spring flowers, the ruffled tulle borders have a winning charm. Here is the best of the new and the old: large enough to be used on a modern bed; while the fine handwork evokes the tranquil beauty of an earlier era.
Silk damask shawl, 1830s. The damask weave shawl is reversible: a lilac ground with blue flowers on one side and a blue ground with lilac flowers on the other. The stylized floral pattern is softened by muted ground colors. You can wear it (carefully), or else use it to elaborate your home decor. Antique textiles work equally well in period rooms and as accents in contemporary decors.
Minnie McLeish printed cotton panel, c.1923. Minnie McLeish is best known for her bold painterly designs. The brilliant cotton panel is printed with exotic birds nestled in large-scale flowering branches. The vibrant color scheme includes shades of red, orange, yellow, purple, and green on a mottled blue ground. This masterwork shows the influence of Fauvism.
Brussels lace scarf, c.1900. Made from delicate ivory silk damask. With its loosely woven ground, the stylized floral pattern complements the floral pattern of handmade Brussels linen lace borders. Brussels was an important center for the manufacture of fine handmade lace in the 17th century, but WWI ended the Belgian fine handmade lace industry, accounting for its relative rarity and expense today.
Brussels lace scarf, c.1900. Made from delicate ecru silk damask. I love the contrast of the geometric weave with the delicate flowers of the handmade Brussels linen lace borders. This is the celebrated Brussels lace, known for its delicacy, beauty, and expense! WWI ended the Belgian fine handmade lace industry, accounting for the relative rarity of Brussels lace shawls today.
Handmade Brussels mixed lace lappet, late 19th century. The design combines floral bouquets of handmade bobbin lace with lace buttonholed rings hand appliquéd to a ground of fine net. The oversized lappet is worked in the finest possible thread, curving to accommodate the shape of the intricate floral pattern. The exquisite lappet can be used to fashion a unique wedding veil.
Hand-embroidered valence, c.1880. The embroidery is bordered with a panel of aqua velvet finished with fancy fringe at the bottom. The hand-knotted silk fringe has delightful silk ball tassels that pick of the colors of the embroidery. The confident insouciance of the brilliant Art Nouveau design will brighten any room.
Raised beaded net panel, c.1900. The panel likely was originally used in a skirt. The 3-dimensional raised beading is exceptional. The bold floral pattern is executed in jet black glass beads that sparkle in the shifting light. By banishing color from the design, the beading artist has created a scintillating, duo-tonal pattern that imparts a remarkable verisimilitude to this picture of flowers, sprigs, and leaves in bloom.
Regency silk damask shawl, c.1820. The shawl is reversible with a rose/peach ground on one side and a gold ground on the other. The color is either muted or glowing, depending on the light. The stylized floral pattern, influenced by Kashmir shawl designs in vogue in the early 19th century, is softened by the pastel coloring. The shifting hue—rose to peach—gives vibrancy to this magnificent shawl.
Handmade lace pillow sham, c.1900. The long tubular sham is open on both ends. It is fashioned from oatmeal colored tulle embroidered with floral garlands. On the front are classical, Greek motifs made from handmade filet lace. The center diamond panel is made of hand embroidered batiste with the monogram "KK" also on the front. The ends of the sham are bordered with filet lace.