An important brocaded lampas gentleman's banyan or `Indian nightgown' and matching hat, Italian, circa 1710-20, the sky-blue satin ground brocaded with mauve and lime silks, ivory tabby silk main design of large repeating palmettes and flowerheads against a tracery of small diapered lace patterns, lined in salmon pink silk and lightly padded with cotton wadding, the robe cut in simple kimono-style with no fastenings, the rectangular sleeves formed from panels of fabric simply over-stitched on the under-side, lining applied with rectangular exhibition label for Settimana Lucchese April 1930 lent by The Marchese Tucci'; the undress cap of tall conical form with shaped undulating fold-over brim trimmed in gold lace the seams in simple gold braid with tasselled top also lined in matching salmon-pink silk (2) Banyan's were worn at home for ease usually accompanied by a nightcap - though it is very rare for the two survive together. They were made in a variety of fabrics - brocade damask silk satin chintz and calimanco being popular. The design of the robe was influenced by oriental garments that were brought to Europe by the Dutch East India Company traders. Banyans were sometimes made with oriental fabrics - perhaps using an Indian printed palampore or a Chinese damask though the construction is usually European. The luxurious Italian fabric used in this robe and cap would suggest it was worn by a rich and fashionable nobleman. `Lace' patterned silks as they are know were popular from around 1710-35. The lace-effect refers to the small areas of diaper patterning which are reminiscent of lace reseaus or trimmings of the day. A similar fabric to the one used in this robe is included in the Keir collection and is illustrated as plate 203 in the catalogue of the collection by Monique and Donald King p.262. and is described as Italian or French circa 1710-20. The construction of this garment is simplicity itself - the focal point of the robe being the rich brocaded silk lampas. The combination of a dramatic fabric with the loose flowing orientalist cut lent the wearer a touch of exoticism. The itchy wig and restrictive coat could be discarded in favour of the comfortable banyan with its hint of the Orient. Men often chose to have their portraits painted wearing their banyan and nightcap - perhaps to give the impression of a man at his ease or to demonstrate that they were men who had seen something of the world. It could be that quite simply the comfort and glamour of the robe made it the most favourite item of clothing? This particular banyan is important not only for its early date and the fact that it is complete with its undress cap - but also because it has good provenance having been carefully preserved in the noble Tucci family of Lucca for centuries. The Tucci family was a rich and noble family of Florentine notaries who moved to Lucca in the 13th century. In the Duomo Museum Lucca there exists a magnificent illuminated manuscript 'Il Codice Tucci-Tognietti' made by a member of the Tucci family dating back to that period. The Tucci's continued in their role as notaries through the centuries acquiring land and properties in the surrounding areas as their wealth increased. As Lucca's importance as a silk manufacturing area and trading centre increased so did the prosperity of the city and the Tucci family in particular. Many Tucci members were designated Confaloniere of Lucca the first of which was Pietro Tucci who became one of the City Elders in 1550. In the family tree is listed Giuseppe Domenico who was appointed Confaloniere in 1685. Indeed he could have been the original owner of this sumptuous banyan. The Tucci family lived in a medieval building which was substituted for the present palazzo in 1779. The Tucci family was involved from the beginning with the silk trade. Being of noble origins they were not involved in its manufacture but they negotiated trade agreements licences treaties imports and exports and the landing of ships into safe ports. The treaties brokered by notaries still exist which were made on behalf of the city of Lucca with the city of Genoa ensuring a safe port for the arrival of silk from the Orient. There are also surviving treaties with the city of Modena for the safe transportation via land of silk from the Orient. These notary transactions are important as they form the basis for what we know today of the silk trade in those times. Please note this lot is sold with an export licence from the Italian Ministry of Culture Rome

Banyan: remarkably fresh colours, the exterior of the robe looks fresh when displayed on the mannequin, however there are light brown damp stains to the front panels rising from the hem in a decreasing triangle to about half way up on each panel. The corresponding lining to the inside is also damp stained. However, because the watermark is relatively faint and the pattern is so strong, on display it is not immediately noticeable. There is a faint damp patch also rising from the centre back hem which again is not immediately detectable from the outside, corresponding stain to the lining; the stains may clean. Hem needs re-stitching in places Lining: Two triangular panels of pink silk lining have been taken from the lower side hem area and re-used to line the neck opening and lower hem opening of the robe, presumably using the fresher coloured pink silk to make more of an impact in the Lucchese silk exhibition in the 1930. They conceal the damp stains to the lining at the front-openings. Three small holes and bleach area approx 2.5cm diam. to right chest , hemline scattered here and there with the odd small hole. The left side seam has been re-stitched – but the original stitch line and marks are clearly visible and there has been no alteration. Some fraying to silk lining at hem edges. This is an exceptionally rare and early example made even more desirable as it has the matching hat. The beauty of the fabric and its rarity in my opinion outweighs the damp stains which I personally do not feel are too significant. Undress cap- the colours are slightly faded in comparison to the banyan - but not seriously and the two displayed together look fine. The gilt lace - the gold has worn away from the scalloped edges to reveal the yellow silk core. The pink silk lining is generally splitting and is soiled with grease around the head - presumably from the hair of the original owner. The gold braid continues inside along the area for the up-turn then stops.