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Lot 137
A suite of three pairs of curtains and associated pelmets, lined and interlined and decorated with 'Broadlands' pattern, with three 19th century arched giltwood and composition pelmets with laurel and acanthus decoration, approximately 303cm drop from pelmet, pelmets 186cm wide, originally supplied by Robert Kime. Condition Report: Curtains are distressed from age/sunlight related perishing- pelmets showing signs of replacement details and mounts and with losses Condition Report Disclaimer
Lot 540
Carter (Howard). A pair of curtains made of Pansies fabric, designed for Heals, 1962, pair of screen-printed cotton curtains, with large pattern of pansies printed in shades of yellow with touches of blue, green, and brown, on a white ground, each with an off-centre vertical join, rufflette tape to top edge, remaining edges machine-hemmed, each drop 199cm (78.5ins), width 164cm (64.5ins), together with:Day (Lucienne), A large pair of curtains made of Riga fabric, designed for Heals, 1961, pair of screen-printed linen curtains, with stripes of varying colours (some with marbled effect) on an acid yellow ground, each with a central vertical join, lined with light beige cotton twill, double row of cord gathering to top edge, with brass hooks attached with stitching, remaining edges machine-stitched, hems weighted, side edges faded, drop 194cm (76.5ins), width 237.5cm (93.5ins)Reich (Tibor), Three curtains made of Jessica fabric (design 307), 3 curtains of screen-printed cotton, depicting rows of flowers, in red, green, blue, white, and black, on a royal blue ground, lined with ivory cotton, rufflette tape to top edge, sides seams stitched by machine, lower hem hand-stitched to 2 curtains (1 with loss of stitching), the other left unstitched, some side edges faded and with occasional minor wear, drop 151cm (55.5ins), width 115.5cm (45.5ins), and an unused length of Tintagel fabric designed by Francis Price, screenprinted cotton, depicting knights jousting, selvedges to sides, other edges raw, 211 x 125cm (83 x 49.25ins)Qty: (8)
Lot 547
Curtains. Two pairs of matching pale blue damask curtains, early-mid 20th century, 4 large hand and machine-stitched curtains of pale blue floral damask, top edges with double pleats, very occasional minor marks, lined with white cotton, lining with some soiling and slight wear to top edges where hooks previously attached, that to one curtain torn and becoming detached, lower hems raw (curtains sometime shortened) and some crude stitching to one, some vertical fading, most noticeable at edges, approximate measurements of each: drop 284.5cm (112ins), width 180cm (71ins) Qty: (4)Footnote: Provenance: From the British Embassy in Prague; given to the current owner over 30 years ago by her sister who worked for the daughter and son-in-law of the British Ambassador in Prague.
Lot 549
Dress. A gown of early 18th century Chinese export silk damask, hand-stitched dress of silk damask, with large pattern of latticework and flowers, including roses and tulips, amongst scattered acorns, in pink on a pale silver-pink ground, open-fronted, with elbow-length sleeves, and tucks on reverse terminating in a v-shape (possibly of later construction, and with alterations), selvedges with double green line (width of fabric 55.5cm), occasional small marks, but fabric robust, skirt lined in cream silk, lining worn, length 142 (56ins)Qty: (1)Footnote: Typical of silk damask designed for the Western market and manufactured in China; this fabric would likely have been woven between 1710 and 1740. For similar silk damask see dress and night gown in the V&A (T.35-1972 and T31.2012 respectively). Such silks were primarily intended for furnishing, and appear in merchants' records as 'bed damasks'; the length of their large pattern repeat was displayed to best advantage in the long drop of bed curtains.
Lot 551
Embroidered panel. A large and important redwork panel, British, circa 1620, embroidered in very fine wool thread dyed with cochineal beetle red, on a cream twilled fustian ground, with all-over pattern of flora and fauna, the former comprising: pomegranates, magnolia flowers, daffodils, harebells, aquilegia, lilies, and the latter: leopards, parrots, stags, squirrels, hounds, hares, and an elephant carrying a three-turreted castle on its back, fine line border to long sides, the outlines worked in stem stitch, with details in seeding, back, running, and lazy daisy stitches, 2 hand-stitched vertical joins with imagery continuous (each of the 3 widths approximately 49cm), hand-stitched horizontal join 35cm up from lower edge (embroidery not continuous), side and lower edges bound with linen tape (that to left hand edge largely frayed), neatly stitch-mounted to a double layer cream backing, with velcro along top edge, some loss to embroidery and consequently pencil outlines visible in places, but stitching largely intact (although renewed in 1 or 2 small areas with pale brown thread), occasional small marks and some perishing of fustian ground (with stitched areas of consolidation), 2 areas of embroidery carefully cut round and re-mounted on new backing (approximately 23 x 9cm and 59 x 16cm), overall size 216 x 149cm (85 x 58.5ins)Qty: (1)Footnote: Provenance: Private Collection.Exhibited: Royal School of Needlework Exhibition, Irish Linen Centre in Lisburn Museum, May 2009-May 2010. The piece has also been displayed at the Royal School of Needlework at Hampton Court Palace on a number of occasions.Redwork embroidery of the early 17th century is rarely offered for sale even in small fragments, and therefore the importance of this large-scale piece - new to the market - cannot be overstated. Redwork typically features detached but lively motifs regularly spaced in an organised design over a white linen or cotton ground, and was usually carried out by women who used it to decorate domestic furnishings such as bedcovers and hangings, cushions, workbags and curtains, as well as articles of dress.This substantial piece of embroidery, and its two companion pieces (see following lot) are likely to have been originally part of a set of bed hangings. Elaborate hand-work was treasured and handed down, and these pieces may have been modified in the 17th or 18th century in order to repurpose and infuse new life into them. Certainly they were subjected to a quite radical alteration, perhaps by a prudish Victorian owner, when the appendages protruding from the dogs were unstitched, in order to protect the sensibilities of the viewer! The outlines of tiny holes where the needle went through the fabric are still clearly visible, testament to a fascinating tale in the history of this panel.The broadly, but not perfectly, repeating design depicts stylised fruit and flowers, mostly of similar size, and a variety of beasts whose dimensions bear no relation to each other. This lack of proportional scale and freedom of distribution of motifs is typical of other work of the time. Both domestic and professional embroiderers took inspiration from pattern books, such as Richard Schorleyker's A Schole-House for the Needle published in 1624, although other publications such as emblem books, herbals, illuminated manuscripts and bestiaries would also have provided imagery which could be copied or modified for transfer onto cloth. Thus the variation found within the all-encompassing term of 'redwork' is wide, each piece reflecting the individuality of the stitcher.The lone elephant shown to the lower left of the panel is an unusual, and therefore unexpected, inclusion, although the elephant and castle motif was widely known at the time. Indeed, in the mid-14th century the symbol was included on the coat of arms of the city of Coventry. The elephant is associated with a number of attributes, including wisdom, loyalty, chastity, strength and power, so perhaps it is not so surprising that the maker here branched out to include such a magnificent creature.Early redwork pieces, particularly of this size, are few and far between in institutions, but there are two notable examples which bear a strong resemblance to the piece offered here: a bedcover held by The Art Institute of Chicago (reference number 1986.988); and a bed curtain housed in The Metropolitan Museum of Art, New York (40.88a-f). Smaller pieces are held by the Royal School of Needlework, the Embroiderers' Guild, and the V&A.
Lot 50
Frank Reynolds (British, 1876-1953) artwork of an English gentleman cricketer who appears to have adopted an interest in American baseball, circa 1940s, Pen, ink wash original artwork with caption below DOC WILBUR FOR THE RED SOCKS DELIVERED THE PAY-OFF BLOW WHICH SPELT CURTAINS FOR THE DODGERS, signed lower left, mounted, glazed and framed, overall size 39 by 31cm. Possibly for Punch magazine. Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
Lot 384
Royalty - Prince George, Duke of Kent, (1902-1942), fourth son of George V and Queen Mary, a brother to two kings, signed "gt. nephew George", a 5pp ALS and addressed envelope to his "Darling Aunt Louisa" (Princess Louise, Duchess of Argyll, 1848?1939, Queen Victoria's sixth child and fourth daughter), the letter inscribed in ink manuscript on the prince's H.M.S. Durban, American Station writing-paper (later amended by hand to Bermuda), dated December 10 1928, the sensitive prince thanks his artistic aunt for her (premature) best wishes for Christmas and 1929, and goes on to discuss how depressing it is being away from home with the "illness of Papa's [George V] [...] there never seems to be any definitive improvement - Have been so anxious being so far away & getting little news. I feel I should be home but I suppose there's nothing to be done & one can only wait & pray for the best. I wonder so much how you have been. I do hope well & free from colds - I suppose you'll soon be going south again - to Cap Ferrat again with your jazz [?]curtains & walks & the gala [...]", the prince evidently found being onboard and stationary in Bermuda both tiresome and lonely: "there's no one on board I like or can make friends with - However I do my best & pretend it's not so bad but it's depressing! [...] It's better when we're on a cruise, seeing new places, but just now we are stuck in Bermuda which I think a terrible place. The dockyard is miles from the town - I take the people are terrible - so [underlined] common & pleased with themselves & there really is hardly any-thing to do - just games & it gets dark early"; the future meant sailing to other islands and the prince looked forward to the change, on the fifth page he muses "I often think of you & wonder how you are. I feel very guilty not having written before - [...] Do please write again as I love hearing from you. Much love dearest Aunt Louise & all my best wishes from your loving gt. nephew Georgie", the envelope addressed by the prince's hand: HRH The Princess Louise/Duchess of Argyll/Kensington Palace/London W, the upper-left : England, franked: Received From H.M. Ship, later London franking dated Dec 22/1928, formerly with Alex M. Frizzell of Castlelaw, West Linton, Peeblesshire, [1]
Lot 589
A Victorian cardboard theatre printed with the theatre curtains surmounted by French and British flags, 'Excursions on Land and Sea', the scenery on a roll when wound from behind displays thirty-two numbered colour printed scenes from around the world including Gothenberg, Rock of Gibraltar, Malaga, Leaning Tower of Pisa, Full Steam on the English Channel, ending with the River Mersey and children in their bed, with original oil lamp fitting to the interior, later converted to electricity with bulb fitting illuminating the interior, 18.5 x 9.5 x 16.5cm, together with a reproduction metal American automated money bank in the form of Uncle Sam holding an umbrella and with a bag at his feet, height 28.5cm 92). CONDITION REPORT Theatre from the collection of the well known Liverpool personality Sir Frederick Bowman,
Lot 474
1 pair of good quality full length curtains in 'Sansome' fabric by Thibaut, in duck egg and taupe colours. Lined and thermal lined with triple pleat heading. Approx size per curtain; length 2.42m, fixed top width 0.85m, bottom width 1.9m, together with a roman blind in same fabric width 74cm (1 pair + blind)
Lot 471
2 pairs of extra long good quality curtains, probably silk with gold patterning over a mink coloured ground. Lined and thermal lined with triple pleat heading. Approx size per curtain; length 2.25m, fixed top width 1m, bottom width 1.84m, together with a matching single curtain same size (2 pairs +single curtain)
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