Liberty printed damask shawl, early 20th century. The exotic Persian-style pattern was printed on a ground of delicate peach silk damask. 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.
Brussels mixed bobbin and needle lace flounce, 19th century. In this peerless piece—composed of bobbin lace and needle lace motifs—there inheres the heirloom mystique conferred by antique handmade Brussels lace. It resided in a private collection for many years. NEW LISTING
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.
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.
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.
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.
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 (née Cuthbert) of 86 canal Street, Paisley, Scotland.
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.
Canton shawl with hand painted ivory faces, c.1880-1900. Embroidered with ornate vignettes of exotic birds, flowers, and pagodas with figures, which have ivory hands and finely painted ivory faces. Although this technique is well known in hundred faces Chinese fans, it is very rare to find a shawl with such decoration.
Silk gauze rectangular shawl, 1810-1820. The fresh lemon hue is like the afterglow of the sun, still illumining the horizon with its beauty two centuries later. 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.
Regency silk damask shawl, c.1820. The shawl is reversible witha rose/peach ground on one side and a gold ground on the other. The color is either muted orglowing, 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.
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.
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.
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.
Juschi silk shawl-size scarf, c.1980. Made 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.
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.
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.
Chantilly lace rectangular shawl, c.1900. Black Chantilly lace has long been associated with romance and mystery. The intricate floral pattern is worked in very fine thread, curving to accommodate the shape of the pattern, giving the shawl a rarefied, ethereal quality.