Antique Cravat

A fine 19th Century miniature portrait, showing a handsome young man in a fetching green cravat with pink bow tie. The painting is unsigned and presented in a gilt frame with brass h...

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...

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...

A well-painted portrait of a spectacled gentleman, smartly attired in a dark coat and cravat. The artwork is beautifully presented in a gilt fluted cove frame with an oval window and...

A large, loosely tied black silk cravat adds a sense of relaxed elegance, while a high-collared white shirt frames the look.

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.

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.

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 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 ...

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...

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.

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...

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

A distinguished Biedermeier-period portrait depicting a gentleman of high social standing, sporting his finest attire - a green coat trimmed with fur, a plum-coloured silk cravat, an...

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

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. ...

He wears a dark coat and vest and a white shirt and ruffled cravat.  The famous Lansdowne oil painting of George Washington by Gilbert Stuart was painted in 1797, and depicted Washi...

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...

Folwell’s known profiles feature this identical format: a solid black face paired with a highly detailed, painted uniform coat and white lace cravat. The frame dimensions are 7.75"h ...

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...

During the Victorian era, stick pins were far more than practical accessories. Worn in a cravat, ascot, or necktie, they became a discreet expression of personal taste, refinement, a...

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...

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...

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

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...

He is dressed in a fine jacket and silk cravat. Well presented in a gilt-effect frame. Unsigned.

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.

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.

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 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...

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...

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...

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...

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.

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

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...

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

Dressed in a fine ensemble consisting of a brown silk coat trimmed with gold brocade, a waistcoat woven with intricate floral arabesques, and a crisp white cravat - here's a gentlema...

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...

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...

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...

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...

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...

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...

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.

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...

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...

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...