14 results for "1920s opera coat"

A spectacle of a coat no matter the decade, this extraordinary piece is in such pristine condition and relevant style that it could have walked off this year’s runway. The masterful ...

This show stopping flapper coat was couture made in the mid 1920s. Truly a rare piece to find, especially in such flawless condition and it's one of the best we've handled for nearly...

Damask gold lurex silk coat with collar and silk velvet lining 1920/30

Evening coat in lurex jacquard and salmon and gold color velvet Circa 1925. The lining is in salmon silk.

Circa 1920 -1930. France Black taffeta evening or indoor kimono embroidered with chinoiserie and Japanese motifs, dating from the 1920s. Probably made in Asia for export to the West ...

This piece was reworked and restored in what looks to have been the 1980s so some design changes may not be 100% 1920s accurate however the piece is clean, strong and wearable thanks to the restoration. Gorgeous luxe feel to the antique silk velvet. 1920S Red Silk Velvet...

Double-breasted Opera coat in velvet with pattern and cut-work. Grey raw silk lining. Inside and outside button closure. Cut-work. SIZE L

Pale green velvet cape with fur collar. Passementerie hook&eye closure on the middle front + one velvet button and buttonhole on the top middle front...

Circa 1923/1924 Paris Redingote evening dress in chimney sweep brown velvet embroidered in a champagne color by the famous Maison Worth. Ample straight cut, long sleeves, high collar...

Original cover for Liberty magazine, published April 13, 1929. The opera is in town for one night only, making it the social event of the season. Sandy and Lil sit in their box seats, gazing at the less elite audience members in the orchestra and haughtily critiquing the wardrobe choices of other wealthy socialites. The couple excitedly watches as the Opera begins, and eagerly await the gathering in their home after the performance, to which they have invited the star, Paltrianni. Upon his arrival at the Jenkins’ home, Paltrianni comments on how extravagantly the couple lives. However, much to Lil’s horror, there was no lavish banquet awaiting them, for the butler Meadows was found drunkenly passed out on a chair next to the empty dining room. (Liberty magazine, April 13, 1929, p. 68) “For the Love o’ Lil: The Picture Story of an American Family” In 1926, under his long-term contract to produce a cover per week for Liberty magazine, Leslie Thrasher introduced a signature cast of characters that appeared each week, telling a serialized story through his illustrations. Liberty touted its new cover serial as “something no magazine has ever done before…Heretofore, all magazine covers have been disconnected pictures.” To help readers follow the plot from week to week, a short story summary was printed in each issue. (Liberty magazine, June 19, 1926, pp. 69-70). “For the Love o’ Lil” centers around the lives of Lil Morse and Sandy Jenkins and includes recurring characters from their extended family and social circles. The serial follows the couples’ adventures through courtship, the ups and downs of married life, the antics of their offspring with the neighborhood children, and the complex dynamics of relationships with in-laws. The goal was to show a typical modern American family whose eccentricities and foibles would attract readers each week. Thrasher used himself as the model for Lil’s father, Robert E. Lee Morse. Liberty further engaged readers by running contests for best titles, and later, for suggested storylines. The model proved successful and “For the Love o’ Lil” became a popular hallmark of the publication for many years, resulting in a 1930 film adaptation starring the flapper Sally Starr. Leslie Thrasher Leslie Thrasher first began contributing covers to Liberty in 1924, and in 1926 he was offered a contract to create a cover per week at the rate of $1,000 per week. Going against the advice of his friend Norman Rockwell, Thrasher accepted the contract, agreeing to complete a weekly cover for six years - an immensely challenging endeavor requiring that both new ideas and new artwork be produced at an extremely rapid pace. The continuing storyline of the cover serial “For the Love o’ Lil” helped Thrasher keep up with the constant demand for new images. Due to declining circulation, Liberty terminated Thrasher’s contract in 1932. A few years later in 1936, Thrasher died from pneumonia caused by smoke inhalation from a fire in his home, which also destroyed much of his original artwork. An incredibly prolific artist, Thrasher had created more than 360 covers in his lifetime for various publications, including 23 covers for The Saturday Evening Post. Leslie Thrasher was born in Piedmont, West Virginia. He studied art at the Philadelphia Academy and at the age of 16, won a scholarship that allowed him to study in Paris. Upon his return to the United States, Thrasher studied with Howard Pyle in Wilmington, Delaware and briefly worked as a portrait painter before moving to New York City to begin his commercial career producing illustration for magazines and advertising agencies. Thrasher also served in World War I, where he was assigned work as a camouflage painter. Date: 1929 Medium: Oil on Canvas Dimensions: 20.00" x 16.00" Signature: Signed Lower Right Liberty Magazine Cover, 4/13/29 "Opera Night"

A long evening or opera coat with Siberian brown fox collar, made of silk velvet/leather feeling fabric embossed with Art Deco stylised floral motifs and glitter. We offer more lux...

1920s Kimono inspired dolman wrap Opera coat.The body of the coat is made of black chiffon velvet, the deep dolman sleeves of Japanesque patterned lame b...

Eliza Necklace - A stunning antique Austro Hungarian sapphire blue paste and pearls brooch has become both the focal point as well as the clasp, for...

Serigraph in colors on paper. Hand signed and numbered on front by Erte. From the edition of 300. Artwork size 23.25 x 16.5 inches. Framed size approx 29 x 23 inches. Artwork is...