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Lot 1063
Pair of pale green decorative Nina Campbell 'Lonicera' linen curtains printed with honeysuckle and berries, lined and interlined, 200cm drop by 330cm; pair of good quality long Hunter and Hyland curtain poles with hand painted finials and brass fixingsCondition report: They have come from a good house, they may have a few marks but overall good order and well made.
Lot 445
A quantity of antique brassware, including two fire fenders, a pair of andirons, fire tools etc, together with a Georgian mahogany writing slope, a copper coaching horn, and African hardwood spear, three walking sticks, and a matched set of silk bedroom textiles including curtains, cushions, and valances, etc
Lot 1463
PUNCH & JUDY COLLECTION a fascinating collection of related Punch and Judy items, including various posters and signs including West Bay Pavilion in Dorset, a Punch and Judy booth with curtains and accessories, a wide variety of puppets, various spare heads and parts, and a wide variety of accessories and props. Also with some Punch and Judy books and related items.
Lot 4277
Cinema - Glass ceiling light fitting removed from the Regal Cinema Marble Arch. The Regal opened on 29th November, 1928 with seating for 2,400. The interior design was atmospheric with Art Deco overtones, such as the pay boxes, lighting, radiator grilles and other furnishings, Eileen Gray designed some including the main stage curtains of silk with falling leaves and the seat design of flowers and leaves. It also included an enormous restaurant on the second floor, with an additional Blue Tea Lounge and Soda Fountain on the first floor. The Regal closed and was demolished in 1964, 14 x 44 cm.
Lot 30
A charming Aubusson verdure tapestrylate 18th centurythe idyllic landscape with verdant foliage and prunus to the foreground, a winding river in the middle distance -disappearing into a dusky landscape, a charming lime -green parrot in the tree to the right with red plumage and game bird to the bottom left, the elaborate border with foliate spray to each corner,320cm x 257cm (the outer border possibly reduced at some point)Footnotes:Provenance: Acquired by the present collector from Keshishians of London, 2011.France in the late 17th century saw an explosion in tapestry production. The 1660s marked a turning point where France became the new centre of tapestry weaving in Europe. Most notably Louis XIV's great minister Jean -Baptiste Colbert set up three main centres -each with a specific type of buyer in mind. The Gobelins in Paris was set up to furnish the Royal Palaces, Beauvais for discerning wealthy clients and Aubusson for less affluent buyers. While Gobelins and Beauvais had a number of notable designers leading a team of weavers, Aubusson's set up was slightly simpler. The weavers produced pieces which followed the fashions of the day -these could extend to not just hangings but upholstery, curtains and cushion covers.The weavers of Aubusson focussed on more 'low warp' work which meant a simpler type of tapestry could be created, and quite quickly. These types of tapestries, like the present lot, were characterised by the popular romantic landscapes and verdures. While many said it simplified the process of weaving and were, in some ways, less fluid, they were attractive and meant that a large portion of the population could imitate the grandeur of the Sun King in their own homes.LiteratureBarty Phillips, 'Tapestry,' Phaidon, London, 1994Edith Appleton Standen, 'Renaissance to Modern Tapestries in the Metropolitan Museum of Art,' The Metropolitan Museum of Art Bulletin/Spring 1987This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 443
A WHITE AND GREEN PAINTED DOLL'S HOUSEMID 19TH CENTURYOf architectural form, the pedimented roof with suspended bell and twin chimneys above the frontage incorporating a pair of doors enclosing the first and ground floor rooms. and central hall-stairs-and landing, on bracket feet145cm high, 98cm wide, 50cm deep, together with a quantity of furniture and furnishingsCondition Report: HouseOverall there are marks, cracks, scratches, knocks and abrasions commensurate with age and use. The bell finial is missing a section. The white paint is later. There are splits including to the left front door, the backboards and the slatted roof section. Overall it is robust in form. The curtains and pelmets are missing from the windows with holes showing where they once were. The cracks to the backboards are visible to the interior of the rooms. The paper to the hallway and landing is curling and lifting. The paper to the blue room is scratched and torn. The paper to the pale pink room is bubbled. The paper to the red room has a velour pattern and has some ware, in particular to the front edges. The kitchen is painted in drab with markings of the later white paint. The floors of the rooms are red baize, blue mosquette and painted, all worn. ContentsSome of the items including a fire place, two wash stands and a stove possibly by Evans and Cartwright. DollsThere are five dolls including a baby in a cot, one lacking a head Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 235
AN EBONISED OAK FOUR-POSTER 18TH CENTURY AND LATERIncorporating George III needle work hangings woven with floral sprays and flowers, the headboard with a basket of flowers and ribbon-tied floral drapes, the back hanging with twin columns joined by a ribbon tied swag and with spirally-turned flowers, the pelmet and valance with conforming crewel work needlework. The needlework by Mrs Jennens 18th century and re-applied to a chocolate silk ground in the 19th centuryApproximately 170.5cm wide, 245cm high, 250cm high including scalloped edging, 207cm deepProvenance:Worked by Susanna Jennens (1688-1760).Literature:Sir George Sitwell, A brief history of Weston Hall, Northamptonshire, and of the families that possessed it, London, privately printed 1927, pp. 12, 23-25.F. Bamford, 'Weston Hall, Northamptonshire - I: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 22 January 1976, p. 175, fig. 3; p. 177, figs. 6, 7.Catalogue Note:The crewel-work embroidery hangings of the four-poster bed, and silk needlework upholstery of the six mahogany chairs offered here (lots 235 and 238) were wrought by Susanna Jennens (1688-1760), probably in the 1730s-40s, for her bedchamber at Weston Hall, Northamptonshire (formerly known as Weston House; F. Bamford, 'Weston Hall, Northamptonshire - I: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 22 January 1976, p. 175, fig. 3; p. 177, figs. 6, 7). Susanna was the daughter of a distinguished judge, Sir John Blencowe (d. 1726) of Marston St Lawrence and the widow of Richard Jennens of Princethorp in Warwickshire. On 31 August 1714, she leased Weston Hall for seven years for herself and her three young children at a rent of £14 per annum from Thomas Hiccocks, who was on the verge of bankruptcy. The move was evidently successful; in January 1721-22, prior to the expiration of the lease, Susanna's father, Sir John Blencowe, purchased the freehold of Weston for £990 and presented it to his daughter as a Valentine the following month, and in 1731, Susanna described the hall as 'dear Weston' (Sir George Sitwell, A brief history of Weston Hall, Northamptonshire, and of the families that possessed it, London, privately printed 1927, p. 17). Susanna's bedchamber was on the first floor of Weston Hall. Described as 'a sunny room with two windows overlooking the flower- and fruit-gardens', it was later known as the 'Worked room' as this was where the present bed and hangings and chairs were originally placed, together with window curtains, a tapestry table-top with glass cover, a settee and a carpet, all worked by Susanna (ibid., pp. 12, 24). The decoration of trails and festoons of flowers of the hangings, which includes roses, lilies, hollyhocks, carnations, tulips, jasmine and honeysuckle possibly inspired by those found in the garden at Weston (ibid.). Crewel-work embroidery, named after the crewel or worsted wool used, was revived in the late 17th century by Queen Mary II (d. 1694), and remained fashionable in the first half of the 18th century (ibid., p. 23). Celia Fiennes, who travelled throughout England in this period, noted in the Queen's Closet at Windsor that 'the hangings, Chaires, Stooles, and Screen the same, all of Satten stitch done in worsteads, beasts, birds, ymages, and fruites, all wrought very ffinely by Queen Mary and her Maids of Honour' (M. Jourdain, 'Crewel-work hangings and bed furniture', The Burlington, September 1909, p. 367). The universal devotion to needlework was such that educated women like Susanna spent many hours at this endeavor. Bed hangings were usually the most important part of the bed, generally referred to as the 'furniture', and were considered more valuable than the wooden bed frames they decorated. There is some evidence that bed hangings were sold much as embroidery kits are today, with the design already drawn on the fabric and the worsted yarns purchased separately (A. Pollard Rowe, 'Crewel Embroidered Bed Hangings in Old and New England', Boston Museum Bulletin, vol. 71, 1973, p. 106). However, a letter, undated but possibly July 1731, to Mary Jennens (d. 1788), Susanna's elder daughter, from Mary Prescott, Susanna's sister, shows that the design of the hangings offered here, and probably the upholstery on the chairs, was a collaborative effort between the three women: 'I have begun a pattern for the curtains of the bed, and have made some alteration in your pattern of the valens, which will do very well, and may be added to her work when she sees it, as I have altered your work, if she likes it' (ibid., pp. 24-25).An Inventory of Goods belonging to the late Richard Jennens, Esquire, at Weston records the embroidered bedroom furniture in the 'Best Bedchamber' - suggesting that it was moved after Susanna's death from the 'Worked room' (ibid., p. 38). The inventory values the bedstead and hangings embroidered by Susanna at £5, the coverlet or quilt at £1, the pair of window curtains £1 5s and two carpets at £1, and as noted by Sir George Sitwell in his A brief history of Weston Hall their value was very high when compared to the furniture of other rooms (ibid.).A set of four embroidered panels forming parts of either a cover or hangings worked in crewel wool with flowers, including carnations, lilies, daffodils, roses and tulips is in the Victoria & Albert Museum, London (131 to C-1889) - as is an embroidered curtain made as part of a full set of bed hangings in the early 18th century reputedly from Wattisfield Hall, near Bury St Edmunds, Suffolk (353 to I-1907).Condition Report: Measurements: As catalogued this bed is approximately 170.5cm wide, 245cm high, (250cm high including scalloped edging overall), 207cm deepThe drapes are approx. 240cm highThe top of the headboard is 141cm high from the floor The drapes with old holes, tears, and some signs of repair consistent with age and use, there are elements which are fraying and coming away in some places needing some re-binding. The headboard appears to be missing some fringingOverall with marks, knocks, scratches, abrasions consistent with age and use, some chipping and indentations to the ebonised uprightsThis has been built for the view and appears solid and stable, Dreweatts make no guarantees that it will not require some further stabilisation on installation with the purchaser. Please refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 236
CIRCLE OF THOMAS HUDSON (BRITISH 1701-1779)PORTRAIT OF MARY BARNARDISTON (1709-1788) HOLDING A SPRAY OF FLOWERSOil on canvas, feigned ovalLater inscribed with sitter's name and dates (lower left)76.5 x 64cm (30 x 25 in.)Catalogue Note:Mary Barnardiston, née Jennens, (1709-1788) was the daughter of Susanna Jennens. It is said that they worked on the needlework bed together; a letter, undated but possibly July 1731, to Mary Jennens from Mary Prescott, her aunt, shows that the design of the hangings of the bed was a collaborative effort between the three women: "I have begun a pattern for the curtains of the bed, and have made some alteration in your pattern of the valens, which will do very well, and may be added to her work when she sees it, as I have altered your work, if she likes it." From: Sir George Sitwell, A brief history of Weston Hall, Northamptonshire, and of the families that possessed it, London, privately printed 1927, page 24 Condition Report: The canvas is relined. There is craquelure throughout with some associated losses to the corners. The stretcher marks are visible. The canvas is slightly slack on the stretcher. There is a square patched repair to the centre of the right hand edge with visible retouching in natural light. Inspection under UV reveals infilling and scattered retouching throughout, notably to the sitter's face.Condition Report Disclaimer
Lot 238
A SET OF SIX GEORGE III MAHOGANY AND UPHOLSTERED SIDE CHAIRSCIRCA 1780Each oval padded back and serpentine seat worked in 18th century silk needlework by Mrs Jennens, applied to a chocolate brown silk ground on fluted tapering legs95cm high, 57cm wideProvenance:Worked by Susanna Jennens (1688-1760).Literature:Sir George Sitwell, A brief history of Weston Hall, Northamptonshire, and of the families that possessed it, London, privately printed 1927, pp. 12, 23-25.F. Bamford, 'Weston Hall, Northamptonshire - I: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 22 January 1976, p. 175, fig. 3; p. 177, figs. 6, 7.Catalogue Note:The crewel-work embroidery hangings of the four-poster bed, and silk needlework upholstery of the six mahogany chairs offered here (lots 235 and 238) were wrought by Susanna Jennens (1688-1760), probably in the 1730s-40s, for her bedchamber at Weston Hall, Northamptonshire (formerly known as Weston House; F. Bamford, 'Weston Hall, Northamptonshire - I: The Home of Sir Sacheverell and Lady Sitwell', Country Life, 22 January 1976, p. 175, fig. 3; p. 177, figs. 6, 7). Susanna was the daughter of a distinguished judge, Sir John Blencowe (d. 1726) of Marston St Lawrence and the widow of Richard Jennens of Princethorp in Warwickshire. On 31 August 1714, she leased Weston Hall for seven years for herself and her three young children at a rent of £14 per annum from Thomas Hiccocks, who was on the verge of bankruptcy. The move was evidently successful; in January 1721-22, prior to the expiration of the lease, Susanna's father, Sir John Blencowe, purchased the freehold of Weston for £990 and presented it to his daughter as a Valentine the following month, and in 1731, Susanna described the hall as 'dear Weston' (Sir George Sitwell, A brief history of Weston Hall, Northamptonshire, and of the families that possessed it, London, privately printed 1927, p. 17). Susanna's bedchamber was on the first floor of Weston Hall. Described as 'a sunny room with two windows overlooking the flower- and fruit-gardens', it was later known as the 'Worked room' as this was where the present bed and hangings and chairs were originally placed, together with window curtains, a tapestry table-top with glass cover, a settee and a carpet, all worked by Susanna (ibid., pp. 12, 24). The decoration of trails and festoons of flowers of the hangings, which includes roses, lilies, hollyhocks, carnations, tulips, jasmine and honeysuckle possibly inspired by those found in the garden at Weston (ibid.). Crewel-work embroidery, named after the crewel or worsted wool used, was revived in the late 17th century by Queen Mary II (d. 1694), and remained fashionable in the first half of the 18th century (ibid., p. 23). Celia Fiennes, who travelled throughout England in this period, noted in the Queen's Closet at Windsor that 'the hangings, Chaires, Stooles, and Screen the same, all of Satten stitch done in worsteads, beasts, birds, ymages, and fruites, all wrought very ffinely by Queen Mary and her Maids of Honour' (M. Jourdain, 'Crewel-work hangings and bed furniture', The Burlington, September 1909, p. 367). The universal devotion to needlework was such that educated women like Susanna spent many hours at this endeavor. Bed hangings were usually the most important part of the bed, generally referred to as the 'furniture', and were considered more valuable than the wooden bed frames they decorated. There is some evidence that bed hangings were sold much as embroidery kits are today, with the design already drawn on the fabric and the worsted yarns purchased separately (A. Pollard Rowe, 'Crewel Embroidered Bed Hangings in Old and New England', Boston Museum Bulletin, vol. 71, 1973, p. 106). However, a letter, undated but possibly July 1731, to Mary Jennens (d. 1788), Susanna's elder daughter, from Mary Prescott, Susanna's sister, shows that the design of the hangings offered here, and probably the upholstery on the chairs, was a collaborative effort between the three women: 'I have begun a pattern for the curtains of the bed, and have made some alteration in your pattern of the valens, which will do very well, and may be added to her work when she sees it, as I have altered your work, if she likes it' (ibid., pp. 24-25).An Inventory of Goods belonging to the late Richard Jennens, Esquire, at Weston records the embroidered bedroom furniture in the 'Best Bedchamber' - suggesting that it was moved after Susanna's death from the 'Worked room' (ibid., p. 38). The inventory values the bedstead and hangings embroidered by Susanna at £5, the coverlet or quilt at £1, the pair of window curtains £1 5s and two carpets at £1, and as noted by Sir George Sitwell in his A brief history of Weston Hall their value was very high when compared to the furniture of other rooms (ibid.).A set of four embroidered panels forming parts of either a cover or hangings worked in crewel wool with flowers, including carnations, lilies, daffodils, roses and tulips is in the Victoria & Albert Museum, London (131 to C-1889) - as is an embroidered curtain made as part of a full set of bed hangings in the early 18th century reputedly from Wattisfield Hall, near Bury St Edmunds, Suffolk (353 to I-1907).SALEROOM NOTICE: These chairs are not silk ground. They are linen ground and the embroidery is wool.Condition Report: The mahogany legs have some marks, scratches, chips, splits, abrasions consistent with age and use, some to the extremities and edges. There are some repairs to the legs including dowel repairs and some losses including to the sections around the edges of the feet. There are some later metal braces to the tops of some legs and some later blocks to the corners behind the seat rails.One chair back is loose jointed.The upholstery overall has had the original silk and wool work cut from the original ground fabric and has been appliqued to a later brown silk fabric. The needlework is worn, in places thread bare, and with some broken threads. There is later overstitching to various areas, including to the edges of the applique.The chair backs are upholstered in brown woven horsehair fabric and there are some tears to this fabric.There is some sun fading and the upholstery has some marks and stains.There are brass studs to the back and seat and some are missing. Some chairs have hessian nailed to the underside of the seats.There is evidence of old worm including to some seat rails.Please note we have not inspected the frame beneath the upholstery and can't comment on the condition and originality of this area.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
Lot 2374
A vintage 20th century two storey Georgian style dolls house with contents, of painted wood construction, opening from the front to reveal six rooms, fully furnished contents, comprising furniture, flooring, curtains and other fittings, together with garden fittings to include trees, patio, fences etc., 26 x 13¾in. (66 x 35cm.), 24 5/8in. (62.5cm.) high.
Lot 86
Original vintage advertising poster for a French artist Louis Mazot (1919-1994) artwork exhibition held at the Galerie Saint-Placide from 27 October to 9 November 1956 featuring a painting by the artist depicting a quaint street view of a pink house with a green front cafe in the ground floor and white curtains in a windows above it. Printed by Mourlot. Good condition, light staining, browning on the margins. Country of issue: France, designer: Louis Mazot, size (cm): 58x38, year of printing: 1956.
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