Antique Cravat

The white of the gentleman's cravat and the warm flesh tones of his hand and face bring depth and detail to the sitter's complexion and attire.

An exceptional 0.58 carat diamond and 0.80 carat ruby, 18 karat yellow gold scarf / cravat clip; part of our diverse antique jewelry and estate jewelry collections.

For sale is this stunning Victorian leaf pin. This lovely antique 18k gold pin is very detailed and set with a little seed pearl in its center. On top of that is this stickpin marked...

Wearing a black frock coat and black cravat with a diamond stick pin, on a dark maroon draped ground, bearing a "W.

The double-breasted coat, high collar, and carefully tied white cravat are characteristic features of men’s fashion during the Empire period and the early Restoration, supporting a d...

A skilfully rendered portrait of a gentleman, formally attired in a black coat and white cravat. Unsigned. On board. Image size: 59 x 47.5cm.

Excellent quality and condition circa 1770 portrait of a young mixed race gentleman wearing a powdered wig, blue jacket with gold lapels and a cravat. The portrait is a rare depictio...

Weighing 8.9 grams, this substantial stick pin makes an elegant statement on a lapel, cravat, or scarf, and would be a distinguished addition to any collection of fine period-inspire...

Captured in expressive, confident brushwork and intense psychological depth, this antique late 19th-century oil portrait depicts a distinguished gentleman with a sharp mustache and p...

This portrait depicts a gentleman with a slightly pale complexion, dressed in a dark green coat with a prominent black fur collar and white cravat. Rendered in a soft, atmospheric st...

Excellent quality portrait of an amiable gentleman wearing a black jacket, white cravat and high collar, typical of periods fashion.

Crook is shown seated in an elegant Regency interior, dressed in a finely tailored black coat and white cravat. Spindler captures the sitter with remarkable sensitivity, combining re...

Cooper is captured seated, holding a document in his left hand, dressed in a black suit and white shirt with turned-down collar and cravat. His strong sideburn and chin-beard combina...

He is fashionably attired in a black coat and white cravat, and holds a scroll of paper in his lap. Well presented in a wooden frame with a gilt inner edge.

The pin head measures 0.4 inches by 0.4 inches wide, with the entire stickpin measuring 2.7 inches in length and weighing 1.77 grams, offering a delicate yet distinctive accent when ...

A fine pastel portrait depicting a gentleman in formal attire, wearing a black coat, white cravat, and wig. He returns the viewer's gaze with a serious expression, whilst a bookshelf...

The sitter is represented with remarkable presence, dressed according to the elegant conventions of the period in a dark waistcoat and coat, crisp white shirt and black cravat. His c...

The sitter is shown in formal dark jacket, with a black cravat, white shirtfront, high collar, and sober brown-black coat, his face turned slightly in three-quarter view while his wi...

The sitter’s swept, loosely articulated hair, pronounced sideburn, high collar, and elaborately wrapped cravat place the work within the fashionable portrait culture of the early nin...

A Gentleman, wearing dark blue coat, white waistcoat, frilled shirt and white, tied cravat. gold frame, the reverse with copper. Circular, 57mm diam.

The ovoid shaped shield crowned with a large bow tie within a ring centered with the relief bust of Lavoisier gazing slightly to the left and wearing a jacket and cravat. The bottom ...

He is dressed in a dark coat with a black stock and white cravat, the restrained elegance of his dress entirely typical of the Biedermeier period.

The sitter is portrayed wearing a dark overcoat with a white cravat, his silvery hair and direct gaze conveying both authority and approachability.

Dimensions: 5.6cm in length Stick pins, sometimes known as tie pins were first seen at the beginning of the 19th Century as a functional item which secured the slippery folds and fa...

Drawing by JOHN DOWNMAN, A.R.A. (1750–1824) Portrait of a Young British Gentleman said to be William Henry Prise of Bedale, half-length, in a blue coat, white waistcoat and cravat, i...

Rare portrait of Ferdinand Berthoud, the celebrated King Louis XVI watchmaker Shown in three-quarter view, wearing formal attire, a lace jabot cravat, and a curly ponytail wig. ...

The pin head measures approximately 0.5 inches by 0.65 inches wide, with the entire pin measuring 2.6 inches long, offering a refined yet visually engaging scale suitable for lapels,...

This figure is portrayed with softly modeled features, flowing shoulder-length hair, and a gracefully draped cravat and coat, all rendered with exceptional attention to texture and m...

Highlights Beautiful amethyst-purple faceted glass Intricate hand-style filigree Versatile accessory for coats, hats, scarves, cravats Classic early 20th-century revival styling Eleg...

This seated portrait depicts our third president in his coat, suit, and cravat, with a quill in his hand. A table at his side holds volumes of books, an ink pot, and papers, all visu...

Using oils, the artist captures the presence of King William III depicted as he is often in portraits wearing regal attire: a lavish wig, lace cravat and and red sash. Skilfully pai...

There are several official portraits—notably those by Godfrey Kneller and Stephen Slaughter—in which the scientist wears the same majestic gray “allonge” wig, brown jacket, and white...

Godfrey Kneller (Lübeck 1646 – London 1723) workshop Portrait of William Congreve (1670–1729) English playwright and poet of the Restoration period Oil on canvas 76 x 64 cm - F...

The aim was to convey the sitter's integrity and standing. His lace cravat softens the severity of the steel breastplate, while the warm red ribbon tied at the elbow introduces a sub...

In this quiet portrayal, the artist has focused almost entirely upon Bedford himself, the pale intelligence of the face and the heavy dark curls of the fashionable periwig falling ar...

The subject's clothing—a high-collared white shirt, black cravat, and dark coat—is consistent with the attire of the 1850s, around the time of his marriage to Katherine "Kate" Valent...

The form of the coat, the style of the waistcoat, and the treatment of the cravat correspond closely to the fashions of the early Georgian period.

There’s the shapely dark coat over a distinctive tartan waistcoat and a white shirt with a black pinned cravat. A gold watch chain is visible, and a small flower is pinned to his lap...

He wears the red and white silk mantle of the order over a blue velvet jacket, with a collar stock and cravat underneath. The ceremonial collar hangs around his neck, secured with ri...

Ginkell is shown wearing polished armor and an elaborate lace cravat, while the lower vignette depicts a cavalry battle scene, reinforcing the military character of the portrait.

The subject wears a powdered wig and a silk cravat, both emblematic of his high social standing.

The pin head measures approximately 0.55 inches by 0.3 inches wide, while the entire pin measures 2.3 inches long, making it an elegant accessory suitable for a lapel, cravat, or dis...

His attire—dark tailored coat, high black cravat, and crisp white shirtfront—signals bourgeois refinement typical of the period, while the carefully styled moustache and sideburns an...

The figure wears a high Victorian top hat, a cobalt-glazed frock coat, a lavender cravat, and white trousers—an intentionally exaggerated rendition of the prosperous city gentleman f...

The shape itself is gently curved to follow the line of a scarf or cravat, and the inner side reveals the original hinged clip mechanism and pin, cleverly engineered and still wonder...

Stick pins of this quality were traditionally worn on lapels, ties, hats, or cravats, and today are highly collectible as fine estate jewelry.

The artist has used a restrained, earthy palette of warm browns and deep shadows, contrasted by the crisp white of the sitter’s cravat and cuff, which draw the eye and add a sense of...

He wears a hairstyle and a suit with a wide cravat over a jacket with an open collar, typical of the mid-19th century.

This versatile jewel can be enjoyed in its original form as a classic stick pin — ideal for a lapel, cravat, or hat — or, upon request, it can be professionally converted into a char...

The sitter is presented with quiet confidence, dressed in a dark coat with waistcoat and cravat, set against a subdued interior backdrop. The composition is restrained and elegant, w...

Published by Johnson, Fry, & Co. in 1858, the engraving depicts John Hancock seated in a chair in a dark topcoat and waistcoat and a lighter cravat. Hancock has a book open in hi...

De Los Ríos renders the flamboyant details with great precision: the gentleman’s towering cravat, broad bicorne hat, and cane, alongside the lady’s elaborate feathered hat and volumi...

The sitter’s dark, tailored coat and carefully arranged white cravat reflect the sober elegance favoured among Austrian professional and noble circles during the 1820s, where discret...

Measuring 2.3 cm in length, this pin would have originally been worn on a collar, cravat, or lapel, and remains just as charming today as a collector’s jewel or worn delicately on mo...

This refined early 18th-century Flemish oil painting depicts a gentleman dressed in a red robe, a fancy lace cravat and cascading cuffs. His wig falls in masses, framing his introspe...

He is shown here painted in ¾ profile, finely attired in a black tunic over a white linen shirt & cravat, with apparently the Rectors Chain of Prague University draped about him.

A charming antique Staffordshire pottery figure group depicting a country couple, the woman carrying a sheaf of wheat upon her head and holding a basket of fruit, her companion in ru...

II, p. 2 Archival Witt Library, Courtauld Institute of Art (British School, 243041) Witt Library, Courtauld Institute of Art (British School, 243042) Witt Library, Courtauld Inst...

His attire reflects the height of late Empire/early Restoration fashion: a dark frock coat with a high collar, a golden-ochre waistcoat, a towering white linen stock (cravat) tied in...

He wears a full-bottomed curled wig, still fashionable at the turn of the century but already softened from the rigid, architectural wigs of the 1670s and 1680s. The narrow white cra...