We found 5289 price guide item(s) matching your search

A MODERN CANADIAN INUIT WALL HANGING a lion and unicorn woolwork hanging, and a (very worn) printed cotton quilt

Three early 20th century oil lamp with glass shades and a French 1869 pattern bayonet, lace bobbins, copper kettle, brass trivet, four books, to include: F.E. Hulm, Familiar Wild Flowers, in four volumes; The Queen, January to June 1886 edition bound in one volume; and a 19th century Bible; together with a quilt bed throw; a work after Dendy Sadler 'Nearly Done' etc

Assorted white cotton bed covers, knitted bed cover, green quilt and other items, two black hide graduated suitcases and a vanity case (one box)

A large, circles design, scalloped edge patchwork Quilt. 8' 6" x 7'.

Royal Doulton bone china figurine 'The Patchwork Quilt'. (B.P. 21% + VAT) No obvious damage 

A King size quilt, a pair of tartan curtains and a pair of William Morris fabric curtains

A box containing a vintage patchwork quilt and a similar bedspread

•20thC School. Geometric scrap quilt collage, floral pattern, glazed and framed, 112cm x 109cm.

A vintage French hand-sewn bed cover/quilt, pale yellow/cream ground with patchwork decoration and scallop-shaped edging, 2.7 x 2.1 m  to/w an Indian Kantha panel and a drawn thread white tablecloth, 2.2 x 1.7 m (3)

Red and white striped Durham quilt.

Victorian upholstered ottoman and quilt, 62cm by 125cm by 64cm, along with Victorian brass extending fender, two curtain poles, copper warming pan and brass three branch light fitting.

Handmade Armish quilt, approximately 2.5 metres by 2.3 metres, purchased by donator in Michigan, USA, in 1991.*Sold for the 100% benefit of St. Teresa's Hospice by arrangement of The Darlington Rotary Club*

A single patchwork quilt, 87” x 49”.

Sheepskin rugs, orange and brown kilim rug, Chinese blue wool rug, the field worked with deer, birds, stylised trees within geometric guard stripes, fringed, 118 x 56cm, another Chinese rug, the field worked with flower filled vases and boxes within guard stripes of leaves, 107 x 59cm and a patchwork quilt Faults and wear

A child's Durham quilt, in pink; along with a floral decorated quilted mat, and a fringed Otterburn Mill blanket. (3)

AN ART DECO-PERIOD NORTH COUNTRY QUILT, the Durham whole-cloth quilt in pink and pale green, each side made up of three joined sections. Approx. 248cm by 198cmCONDITION REPORTHeavily faded, yellowish staining to the pink side, various small tears/holes fraying to the pink side, yellow side varying in tone due to fading.

Art Deco beaded purse with Bakelite clasp and short chain, two further beaded purses, unfinished patchwork quilt, cream and black lace panels, Eastern wool embroidered throw, lace trim, sequin and beaded lace panel, beaded and net top and other textiles

A patchwork quilt, containing various floral designs, 262cm x 232cm.

Textiles - a hand stitched Durham quilt, late 19th century

A Durham style quilt by Helena Springfield, London, approx. 226cm by 260cm CONDITION REPORT: In good condition.

A Mid 20th Century Oak Framed Firescreen with Patchwork Quilt Centre, 52cm wide

White Edwardian jacquard Baby Quilt. 64cm x 105cm

US Forces M65 Cold Weather[Extreme] Parka, fishtail style, unissued. Size XXL, to fit 41-45" Chest. Fully detachable quilt lining and synthetic fur trimmed funnel hood.

A striped quilt with embroidered spot motif flowers all-over and a checked blanket

Large early 20th century patchwork quilt with a block design of small floral squares and another with a central star incorporating diamond shaped patches (2)Condition report: The reverse of the white quilt with stains in places and the main side has several small areas of wear, otherwise OK. Approximately 230cm by 220cm. The reverse to other quilt has numerous stains and discolouration. Two or three holes to reverse also. Heavy wear and holes to edge in several places. Some staining and discolouration and what appear to be ink stains, approximately 215cm by 210cm.

Modern black and white cotton patchwork quilt with a circular leopard print applique to the centre, with black and white grid work, patchwork design to the reverse, 157cm square; and a batik printed fabric quilt featuring the Dresden plate designs, 156cm square (2)

Blue and pale blue reversible quilt, 200cm by 235cm; and a reversible log cabin patchwork floral bed cover (2)

Large early Victorian patchwork quilt, worked with various fabrics in an array of geometric and other shapes, by Sarah Ann Oldfield and dates 1844, approximately 237cm x 268cm

Unused bed linen king size quilt covers, valence sheets and curtains

A patchwork quilt, a Kilim, Ethnic handmade bags, leather folder etc

A 20th century patchwork quilt panel, multi colour blue and green floral tones, approx 240cm x 190cm; others smaller, cushions etc qty

A pale pink Durham quilt

Vintage dress maker's dummy, fur coat, bowler hat, clippy rug, quilt and bed covers.

Patchwork quilt, machine and hand stitched with chevron edges. Single bed size.

American quilt "Goose on the Pond" design c.1920's. Handstitched.Condition report: Very good.

Danish quilt in repeating geometric design. 1980's. Handstitched.Condition report: Very good.

C. Mensforth, oil painting, "Ibiza Garden", canvas 60 x 74 cm, signed in black frame and glazed, titled verso. CONDITION REPORT: The quilt is in generally good condition with no signs of any perishing. The white side does have numerous liquid stains and is generally a little discoloured. The checkered side again has numerous liquid stains and has clearly been a little damp at times. The white checks are generally yellowed. The quilt does not smell musty and has no significant perishing. It is simply a little dirty and water liquid marked.

A Victorian quilt, with rectangular patterned sections, principally white and grey. 198 cm x 214 cm.

A Victorian quilt, red and white patterned. 220 cm x 208 cm.

A 19th century quilt, woven with repeating red and cream lozenge design, 235 x 225 cm.

A 19th century patchwork quilt, woven with multi coloured hexagons and with pink borders. 237 cm x 190 cm (see illustration).

Early to Mid 20th Century patchwork quilt, 6ft 8ins x 4ft 6ins approximately

A selection of table linen and a bed throw quilt

PATCHWORK QUILT,along with a group of other crocheted and embroidered linen

A patchwork quilt and three pillow cases

A scrappy hexagon quilt top, or flimsy, measuring 196 x 145cm, each 5cm hexagon and 2.5cm half hexagon is hand sewn and basted, fashioned from silk neckties, many with their basting papers still intact

Patchwork quilt circa 1912 family owned. One small hole otherwise good condition. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Textiles - a hand stitched Durham quilt, late 19th century

A nest of three tables in a mahogany finish and a quilt

Large-scale dolls' house furniture, a gold painted wrought iron bed with mattress and a patchwork quilt --8¾in. (22cm.) long; a blue painted tinplate bath with gold lining; a large pine kitchen table; a pine dresser with amusing books and other pieces and parts of furniture

Late 19th Century Patchwork Quilt, with hexagonal flower heads within a strippy border, incorporating floral, checked and striped cottons, with plain blue flower centres, trimmed with blue and white floral sprigs, strippy patchwork to the reverse, 240cm by 300cm

Early 18th Century Rare White Trapunto Quilted Bedspread of Local Interest, decorated with floral and stylised motifs, bears a handwritten label 'Quilt about 200 years old, sent by Miss **pince, Leyburn', with white backing, 124cm by 182cmTrapunto quilting is an Italian method of quilting. This technique creates intricate patterns creating a raised texture of the pattern. Thick yarn or cotton is stuffed into the shape between the top and the batting using a needle, this puffs up the shape giving the quilt a three-dimensional texture.Condition report: Mainly discolouration and wear, staining especially down the folds.  Some small patched areas and repairs towards the hem, a split higher up, patched to the reverse, see extra images.

Assorted textiles and linens comprising, a red and white stripy quilt (a.f.), sewing trims, lace and crochet edgings and trims; white linen hand towels, table linen and other items (suitcase and box)

Quilting - a 19th century hexagonal panel part completed quilt blanket in multi-coloured and patterned tones inc blue, turquoise, red, floral, pink, stripped etc, 224cm wide; another irregular triangular and mixed sectioned rectangular blanket quilt, 190cm x 165cm; another smaller, Pink Roses, 77cm x 62cm; Durham and other quilting panels, assorted designs, colours and sizes, (23). Provenance: collection label to verso

Victorian and later baby and Child's clothing; a baby vest with lace trim, c. 1890; three linen baby vests; white cotton and lace child's dress, c. 1890; white angora collar, mid 20th century; a welsh baby quilt; an Edwardian lace trimmed baby wrap; Lace boudoir bonnet; a baby's binder; etc, qty.

PATCHWORK COMMEMORATIVE QUILT - EDWARD VIII CORONATION an unusual 20thc patchwork quilt with central collection of panels relating to the Coronation of King Edward VIII. The surrounding fabrics are a mixture of 19thc and 20thc pieces.

A modern machine stitched quilt of Harlequin design

A large 20th century hand stitched patchwork quilt, all over panelled with lozenges of hexagonal multi coloured panels, plain ivory white border, 277cm x 240cm

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

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