Museum Art

Warp: white cotton; Z4S; 32 threads to the inch (128 per dm); depressed. Weft: white cotton and blue cotton (see main border below); Z4S; 2 shoots after each row of knots; 14 knots per inch (56 per sq. dm). Pile: wool; 11 colours: dark red, red, light red, orange, yellow, green, dark blue, blue, purple, dark brown, white; asymmetrical knot open to the left and tied around 2 warps; 224 knots per sq. inch (3584 per sq. dm). Side finish: one cord oversewn with red wool. End finish: Lower: 1 cm warp-faced plain weave above one row of weft twining in red and blue; loose warp fringe 4.5cm long. Upper: as lower but 2.5cm plain weave. Design: Field: white ground with a large, irregular medallion indented along the sides. It has a dark blue ground covered with a small-scale Herati pattern with red diamonds and leaves in two shades of red. The medallion is outlined with blue hooks, one line of which has been omitted from a small section on both sides in the lower third. Also omitted (only on the left) is the inner line of indentations. The rest of the field has a white ground with off-set floral sprays in red and blue. The direction of the sprays is reversed mid-way down the field. These are surrounded by a small diaper pattern of orange diamonds with coloured centres. Small botehs appear occassionally, only three of which are inverted in the upper half. Main border: dark blue ground with an angular floral meander in yellow and red. This bears alternating stylised octagonal blossoms and palmettes - the latter branch out from the lower left hand corner. Blue weft is used across the lower width of the carpet and then is replaced with white weft used for the field, although the blue continues in the border. This was done for the first 5cm of the border and then the white weft was used throughout, perhaps because the change was time-consuming or perhaps because of the structural weakness. No inner border. Outer border: dark red ground with a small floral meander with a significant colour change in the ground colour 20cm from the lower end.

Circular bowl with convex sides and everted rim, supported by four, curved feet which rise from an annular ring. The opals (probably South Australian) in rub over settings and placed in a line below the rim and bordered above and below with a row of double, engraved lines. The feet terminate with the bowl in an embossed stylised leaf and join the annular ring in a small, stylised scroll.

A design for a sofa, probably a three-seater with four legs to the front, in scrolling, curved rococo style. The arms are upholstered and ornamented in a continuous arch with the back.

Circular gold box, set with 77 numbered specimens of stone, identified in a book inside the box, and flowers carved in hardstone, within a frame of simulated pearls of reverse-painted rock crystal pearls. Joanna Whalley, FGA, head of Metals Conservation at the V&A, has contributed the following note: 'Inlaid with varieties of jasper, agate, silicified and fossilised wood as well as amethyst. The transparent and translucent specimens are backed with paint in the colours cream, green, black and purple. The pearl simulants are made from rock crystal carved with a hollow on the underside which has been coated with a silver precipitate. The flowers in relief are made from reverse-painted and carved rock crystal, carnelian, bloodstone, moss agate, white banded agate and turquoise.' Booklet with cover of card covered in pink silk. Four sheets of paper, folded to make eight pages sewn at the folding line in the centre. The title page is inscribed in black ink in French as below. The reverse of the title page is blank. On the six pages which follow is a numbered list, 1 to 77, identifying the specimen stones mounted in the box.

Copper, originally gilt, with champlevé enamel. The inside of the bowl decorated with the arms of France ancient surrounded by seated kings. Under the rim is a spout in the form of a dragons head. The outside of the bowl is plain.

This 2017 revival of Stephen Sondheim’s popular musical Follies was staged by the National Theatre and won an Olivier Award for Best Musical Revival. Featuring songs such as “Broadway Baby”, “I’m Still Here”, and “Could I Leave You?”, the musical follows the story of unhappy couples, Buddy and Sally and Benjamin and Phyllis, who meet again after several decades. Ghosted by showgirls of their younger selves, Sally and Phyllis struggle with their marriages and memories of their time at Weissman’s Follies. The costumes were designed by renowned British designer Vicki Mortimer, who won the 2017 Olivier Award for Best Costume Design for the designs.The V&A acquired a number of costumes and headresses from this production, including a dress with dropped waist and extensive beading, headdress and shoes worn by young Heidi Schiller, the full costume worn by 1970s Solange LaFitte, the full showgirl costume worn by Young Solange, two Mirror Mirror showgirl outfits with sailor hat, dress and shoes, as well as showgirl headdresses for young Stella and young Deedee, and two headdresses for young Emily. The extravagant showgirl outfits were inspired by designs from the 1920s and 1930s, drawing particular inspiration from Ziegfeld Follies and Folies Bergère.

Costume designed by Peter Hall for Lenny Pickett, for David Bowie's <i>Serious Moonlight </i>tour, 1983. <b>Part 1: Shirt</b> A brown canvas shirt with flap pockets and brown tortoiseshell buttons. <b>Part 2: Trousers</b> A pair of brown canvas straight-leg trousers. <b>Part 3: Shorts</b> A pair of brown canvas safari-style shorts. <b>Part 4: Hat</b> A brown wide-brimmed hat with a red and yellow striped band and orange feather. <b>Parts 5 and 6: Shoes</b> A pair of brown suede lace-up shoes with cotton laces and rubber soles. <b>Part 7: Cravat</b> A blue and red polka dot silk cravat with canvas lining and velcro fastening. <b>Parts 8 and 9: Belts</b> Two brown leather belts with silver studs and buckles. <b>Parts 10 - 13: Socks</b> Two pairs of knitted wool socks in a harlequin check pattern. <b>Parts 14 and 15: bags</b> A long clear plastic garment bag and a smaller clear plastic accessories bag labelled with the wearer's name.

Painting, in opaque watercolour on paper, a Mughal prince acclaimed by ladies of the palace.

Cloak of dark green silk velvet with deep fur (dyed rabbit) collar, which doubles and fastens down with two pairs of press studs. A deep panel of woven silk ('tinsel brocade') is joined with hand stitches to the velvet at the hem, with a bold design of gold metallic thread flowers flowers and abstract, painterly dashes of blue, red and apricot. The cloak is constructed from three vertical panels of velvet, each measuring approximately 44 cm, 85 cm, and 42 cm, gathered into the collar, with deepest gathers concentrated at the shoulders. It fastens at the neck with velvet tapes. Lined in pale brown plain weave silk, with a self fabric hanging tape inside the centre back.

Complete length of textile (himru) terracotta silk with cotton weft, with floral stripes in gold-coloured silk.

Portion of wallpaper with an art deco style design; Embossed paper imitating leather; gold on a black background.

The case (for a brooch-pendant, M.12-2019) is of red leather with stamped gold decoration. The case leans back slightly so that it can act as a vertical display case standing on its foot. The interior of the doors, which open down the middle, is lined in silk printed with Cartier's name and addresses. The interior of the back of the case is lined in black velvet. The velvet lining lifts to reveal compartments now containing the two brooch fittings: the longer one for use when the jewel is a brooch-pendant, the shorter one when only the pendant is worn. The longer brooch fitting would originally have been screwed in place across the top of the chains, and from it the brooch-pendant would have hung in the case: the velvet lining has a stiff back and is formed to allow for the pin. Also in the compartments behind the velvet backing are a characteristic Cartier two-pronged screw-driver and two velvet ribbons with fittings enabling them to be attached to the tops of the diamond chains.

Kyoto-based kimono brand Modern Antenna is known for its bold, geometric, ink-jet printed designs. Run by Hirayama Yoshihide and Yamamoto Asako, they are inspired by modernist art movements and British rock music. They use their digital design skills to explore new possibilities for kimono fashion.

Washstand, oak with iron fittings and inlaid green ceramic tiles with leaf patterns

Brooch, gold set with diamonds and turquoises. The gems are set in six rosettes each with a diamond in the centre and six turquoises surrounding it, presumably representing forget-me-nots. These rosettes are on an openwork background of oak leaves and acorns, surrounding a circular plaque with a rose and oak leaves in relief. Near the rim, opposite the place where the pin protrudes from the brooch and slightly to the left, is a very small indentation with a mark in the shape of a ram's head. This is the restricted warranty mark for Paris, 1819-38. On the reverse there is a hinged pin and in the centre a locket with a hinged transparent cover (presumably glass) containing a strand of hair. The diamonds have been examined and are Golconda diamonds. They are relatively small at approximately 0.2 carats and are all roughly polished into rose-cut forms. One has a large red inclusion, probably a garnet, visible under magnification. Red inclusions are considered unlucky in traditional Indian gemmology, as noted by G.F.Kunz in 'The Curious Lore of Precious Stones' drawing on Buddhabhatta's treatise on gems. As there is the remnant of what may have been a hoop on the back at the top, it is possible that the object was originally made as a pendant, then converted into a brooch by removing the hoop and affixing a pin.

Design for furniture.

The 2017 revival of Stephen Sondheim’s popular musical <i>Follies</i> was staged by the National Theatre and won an Olivier Award for Best Musical Revival. Featuring songs such as “Broadway Baby”, “I’m Still Here”, and “Could I Leave You?”, the musical follows the story of unhappy couples, Buddy and Sally and Benjamin and Phyllis, who meet again after several decades. Ghosted by showgirls of their younger selves, Sally and Phyllis struggle with their marriages and memories of their time at Weissman’s Follies. The costumes were designed by renowned British designer Vicki Mortimer, who won the 2017 Olivier Award for Best Costume Design for the designs.The V&amp;A acquired a number of costumes and headresses from this production, including a dress with dropped waist and extensive beading, headdress and shoes worn by young Heidi Schiller, the full costume worn by 1970s Solange LaFitte, the full showgirl costume worn by Young Solange, two Mirror Mirror showgirl outfits with sailor hat, dress and shoes, as well as showgirl headdresses for young Stella and young Deedee, and two headdresses for young Emily. The extravagant showgirl outfits were inspired by designs from the 1920s and 1930s, drawing particular inspiration from Ziegfeld Follies and Folies Bergère.

the circular dish has cusped edges, flat base covered with finely chased decoration of two sinuous dragons encircling a central flame-like motif, with some details gilt, and on a tooled ground. The cavetto is filled with deep oval depressions. The rim is decorated with alternating roundels, each containing a horse, and cartouches containing blossoming branches and either birds (including cranes) or butterflies. All these motifs are worked in repousse.

Part of a cartouche with text. The whole painted simply in brown/black pigment in clear glass

Diagram of an Islamic geometric pattern

Oval miniature portrait of Charles I after Anthonis van Dyck, enamel on porcelain, in gilt-bronze frame with ropetwist and reeded borders set with foliage and surmounted by a crown

A sheet of preliminary sketches of figures, drawn in pen and brown ink and wash, studies for the painting 'Sir David Bard discovering the body of Tipu Sahib'.

Embroidered panel. Narrow panel of Anglo-Indian design worked in silks on silk with a 1.5 to 2 inch (3 to 5 cm) border all around of rust-coloured silk plush. The embroidery shows a branching design of leaves and palmettes shaped flowers worked in shades of green, cream, red and pink. There is a narrow border top and bottom of small stylised flowers with a curving stem, these flowerheads are worked in buttonhole stitch whereas the rest of the embroidery is worked in split and long and short stitches in silk on a tussor silk ground. Japanese gold thread has been couched around sections of the design. The embroidery is worked on a pre-printed silk ground printed with the design in outline at the Leek print works.

Armchair of two shells of moulded fibreglass with metal legs fixed into the shell

Two handled cup. Hand raised with repousse decoration of rose swags around the belly of the cup. The handles are cast separately, soldered to the cup and chased.

Enamelled plaque, set within a chased and embossed silver frame on a wooden backing in the shape of a tabernacle. The plaque, of painted enamel, represents a young girl, barefoot, carrying a lily. The frame, set with painted enamel bears the inscription: GWENDOLEN DAUGHTER OF THE DUCHESS OF LEEDS.

Brown bakelite Art Deco style cigarette box and lid - rectangular with rounded corners. Central solid handle on lid with three grooves running its length. Lid decorated with geometic shape formed of three grooves.

The sideboard has an upper and base section: the upper section with a panelled back and moulded, curved and pierced side panels, three shelves supported on turned columns; the base section with a cupboard, two drawers and three shelves; the sides of this lower section and the cupboard door panelled; the door fitted with a lock, drop handle and hinges.

Walter Shirlaw — 1878 — Oil on canvas

Bannister Hall Print Works — c. 1815 — Cotton, plain weave; block printed

Gustave Caillebotte — 1877 — Oil on canvas

Josef Hoffmann — c. 1902 — Wood with palisander and maple veneers, nickel silver

David Dalhoff Neal — 1869 — Oil on canvas

Unknown F.S.A. Photographer — 1930/39 — Gelatin silver print

Henry Moore — 1935 — Marble

Henri de Toulouse-Lautrec — 1896 — Color lithograph on ivory laid paper, laid down on linen

Oriental Print Works — 1875-1900 — Cotton, plain weave; printed

Edward Kemeys — 1893 — Bronze with green patina

Lancaster Prints — 1856 — Cotton, plain weave; engraved roller printed; glazed

Jean-Louis Lemoyne — 1742 — Terracotta

Cranston Print Works Company — 1890 — Cotton, plain weave; engraved roller printed

Pablo Picasso — 1964 — Simulated and oxidized welded steel

Yurok — 1850–60 — Deer hide, plant fibers, olivella shell, abalone shell, clamshell, glass beads, and brass

Anonymous Fermilab Photographer — 1980s — Gelatin silver print

Edward Hopper — 1942 — Oil on canvas

Felix Gonzalez-Torres — 1991 — Candies in variously colored wrappers, endless supply

Bannister Hall Print Works — c. 1815 — Cotton, plain weave; block printed

Bannister Hall Print Works — c. 1804/05 — Cotton, plain weave; block printed; glazed

Georges Seurat — 1884–86, border added 1888–89 — Oil on canvas

Erich Hartmann — 1944/54 — Gelatin silver print

Jiro Takamatsu — 1973 — Gelatin silver print

Marisa Merz — 1966 — Aluminum and paint

Saul Leiter — 1958, printed c. 1995 — Silver dye-bleach print

Franz Kline — 1952 — Oil on canvas

Eleanor Antin — 1972 — 148 gelatin silver prints and text panel

Bannister Hall Print Works — c. 1830/40 — Cotton, plain weave; block printed

Jules Breton — 1884 — Oil on canvas

Sally Mann — 1983/85 — Gelatin silver print

Follower of Frans Hals — 1644 — Oil on canvas

Henri de Toulouse-Lautrec — 1892–95 — Oil on canvas