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Lot 1444
An early 20th century circa 1920’s Persian Islamic Signed Meshad carpet rug. The rag of large proportions having a red field decorated with multicolour floral motifs, dark colour main border decorated with red floral motifs and short white fringes to each end. Signed to one end. Measures: 390cm x 308cm
Lot 1393
A mid 20th century circa 1940’s hand woven Persian Islamic Shiraz carpet rug. The rug having a diamond shaped pedal in to the centre with tree of life set on a red field decorated with multicolour floral, stars and zoomorphic ( animal ) motifs, large dark blue corners with large medallion to each corner, and three borders. Dark brown short fringes to each end. Measures: 270cm x 195cm.
Lot 1477
A mid 20th Century Persian / Islamic Middle Eastern Qashqai carpet floor rug of rectangular form having tasseled ends with a red ground finish. The rug having striped patterned borders with single central medallion interspersed with geometric pattern decoration with orange, blues and white colour detailing. Measures approx. 310cm x 216cm
Lot 1003
A machine made carpet of oriental design, the terracotta field with an all-over design of medallions enclosed by cartouche borders, 660cm by 410cmCondition report: One end with large cut-away sections purposely done to fit a room. Several tears. Large areas of staining and discolouration. Low pile and noticeable wear in parts.
Lot 193
ORIGINAL SAMPLE CURTAIN DESIGNED FOR THE QUEEN MARY 'WEST WIND' textile W99cm. x Drop 163cm. / 39in. x 64¼in. Provenance: from the Collection of Geoffrey & Lady Rosalie Mander of Wightwick Manor, Wolverhampton; John Constable Collection RMS Queen Mary was launched in 1934 and served as a transatlantic liner of the Cunard-White Star line, troop transport and cruise ship. In 1967, she was permanently docked at the port of Long Beach, California, to serve as a hotel and conference centre. She came in at 81,000-tonnes, and as a luxury liner offered first-class passengers fine dining, Turkish baths, and a cinema on weekly crossings between Southampton and New York. Queen Mary also played host to a myriad of celebrity and royal passengers, including the Duke of Windsor and Wallis Simpson, playwright Noel Coward, actress Mae West and US president John F Kennedy. The Cunard Affair In 1935, Cunard White Star Ltd. invited Grant along with other artists to submit designs for the furnishing for the new flagship liner RMS Queen Mary. Grant was commissioned to paint three panels for a lounge as well as suggest colour schemes and designs for the carpets and soft furnishings. After a visit from Benjamin Morris, the American architect of the main public rooms, and Mr Leach who worked for the contractors, the designs were approved, and a contract was agreed. Grant spent the summer in Rome, using the time to concentrate on half size studies of his panels. On returning to England however, he discovered that the English architect overseeing the Queen Mary decoration had cancelled his carpet and soft furnishing designs, and on writing to Mr Leach for an explanation discovered furthermore that the Director had asked for the size of the panels, and the scale of the large female figures, to be reduced. Grant, deeply upset, replied to Leach pointing out that the designs had been submitted for approval more than three months previously. He went on to say: I consider it rather late in the day to criticize my choice of subject... I have been working since the end of May on my designs, given up all other work, and put myself at considerable expense in consequence. Duncan Grant to Mr Leach, 21 September 1935, as quoted in Francis Spalding's biography of Duncan Grant On receiving Grant's letter, Leach and the architect visited his studio, and Grant agreed to modify the size of his figures. In February 1936, Duncan's panels were completed and installed, and, incredibly at this late stage, rejected again by Cunard's Chairman Sir Percy Bates as ill-suited to the purpose of the room and the type of fashionable clientele he hoped to attract royalty, film stars, and business magnates. Although he received payment for the panels, Grant, dumbfounded, demanded their return and compensation for damage to his reputation. Cunard refused his demands but did not reckon on Grant's following or his powerful and loyal friends who immediately leapt to his defence. Letters of protest arrived at Cunard from such important figures as Directors and Trustees of the Tate, the National Gallery, and the V&A. The 'unholy row', as it later became described, even reached Kenneth Clark, the Director of the National Gallery at the time and, a supporter of Grant, was on good terms with the King and promised to rouse His Majesty's interest in the debate. The widespread press coverage pushed Cunard into returning the items and paying compensation to the artist. Despite the support and positive reception of the designs when they were exhibited, Grant's reputation never fully recovered after the publicity surrounding the Cunard affair. It is believed that the curtain came into the ownership of Geoffrey & Lady Rosalie Mander of Wightwick Manor, Wolverhampton, when the rejected designs were returned to Grant and, some sold off piecemeal in the late 1930s.
Lot 153
A collection of five dolls hats and bonnets together with original Depose doll shoes, including straw bonnet with fancy straw work decoration, 6” circ. A straw boater with blue ribbon, another decorated with flowers, a black velvet hat and cream silk bonnet, with size 7 pink leather Depose shoes, black umbrella and a carpet beater, (8 items).
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69194 item(s)/page