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Lot 507
Japanese stumpwork tapestry panel, early 20th Century, featuring a teacher with children seated beneath a pine tree, mounted in a contemporary oak frame, 59cm x 44cm (NB: Condition is NOT noted in catalogue descriptions. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 512
Woolwork tapestry panel featuring a running hare, 19th Century, later framed and glazed, 40cm x 55cm (NB: Condition is NOT noted in catalogue descriptions. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 603
Traditional tapestry fabric upholstered knole settee, with turned mahogany forearms, raised on original brass wheel castors, width 192cm, depth 78cm, height to the top of the finials 106cm (NB: Condition is NOT noted in catalogue descriptions. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 608A
Georgian style tapestry fabric upholstered two seater wing settee, width 145cm, height 113cm, depth 76cm (NB: Condition is NOT noted in catalogue descriptions. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 210
A LARGE AND FINE GEORGE III EMBROIDERED NEEDLEWORK PICTURE OF 'INSIDE OF A STABLE'BY MARY LINWOOD (1755 - 1845), AFTER GEORGE MORLAND, DATED '1803'worked in worsted wool and silks in a variety of stitches, with stitched signature lower centre and George Morland stitched signature middle right, in a glazed giltwood frame144 x 198.5cm Catalogue NoteThis 'tour de force' of a tapestry is a life size version of George Morland's painting 'Inside of a Stable' held by The Tate Gallery, London. The painting was first exhibited at the Royal Academy in 1791 and given the size of the current lot and the length of time Miss Linwood took to create her works, it is quite probable that she saw the original painting at the RA when it was first exhibited.Mary Linwood was born in Birmingham to Matthew and Hannah Linwood, being baptised on 18th July 1755. Her father was a linen draper and her mother an embroiderer but later founded and ran the Priory Boarding School in Leicester where Mary went to study. In the early 1770's, Mary joined the staff at The Priory, by then a well respected finishing school, and eventually went on to run the school as well as her own gallery in Leicester Square, London, that she opened in 1809.Mary specialised in creating full scale versions of paintings by leading artists such as George Morland, Sir Joshua Reynolds and Thomas Gainsborough. She submitted several of her 'pictures' to the Royal Academy in the late 1780s which, although rejected for not being 'a painting, drawing or sculpture' were universally praised by the then President, Sir Joshua Reynolds, and many other artists who happened to see them. In 1789, she created the much celebrated Salvator Mundi, after Carlo Dolci, for which she was offered 3000 guineas, around £400,000 in today's money. It is now in the Royal Collection.After a number of well received exhibitions in London and other major British cities, attracting the attention of George III and Queen Charlotte along with many others from the higher echelons of society, Mary took the plunge and invested in her own gallery at Sir Joshua Reynold's former studio in Savile House, Leicester Square, London. This was specifically to show her 'needle paintings', to promote the art of embroidery and quite probably her finishing school in Leicester. The gallery quickly became a highlight of the London tourist trail being featured in a number of publications including 'Curiosities of London' and Mogg’s 'New Picture of London' and 'Visitors’ Guide to its Sights' which states: “This beautiful style of needlework is the invention of a Leicestershire lady, and consists of fifty-nine of the finest pictures in the English and foreign schools of art, possessing all the correct drawing, just colouring and light and shade of the original pictures from which they are taken; in a word, Miss Linwood’s exhibition is one of the most beautiful the metropolis can boast and should unquestionably be witnessed, as it deserves to be, by every admirer of art.” A watercolour of a view of Mary's gallery (V&A, London, accession number p.6-1985) shows several of her pictures including the lot being offered here and a 'biographical sketch' in La Belle Assemblee issued in November 1821, says that “The Farmer’s Stable, after Morland, is as fine a copy of the original picture as can be conceived, perhaps, in any branch of art; but, considered as a piece of needlework, its truth and effect in drawing and colouring, and the clear making out of the minute detail, is a rare curiosity".The present lot is listed in the 1812 catalogue ‘Mary Linwood’s Gallery of Pictures in Worsted, Leicester Square’, No.10 ‘Farmer’s Stable, Morland’.
Lot 127
Small box of ladies early 20th/late 19th Century fashion accessories to include: a black silk parasol with cream silk trim and lining (missing handle), a black lace scarf, a small tapestry handbag containing a matching tapestry and enamelled compact and a silk coin purse, a black velvet handbag with beaded detail. (B.P. 21% + VAT)
Lot 475
Pair of oil on boards, signed and marked verso Beech Trees, Early Spring, Late Autumn, J Acton Butt, Birmingham 1891, with much wear and some damage, and a large gilt frame oil of a William Shakespeare, 73 x 60cm, with rips and tears; and a tapestry ; and a large oil on canvas, of a ship in stormy waters, 43 x 80cm, signed indistinctly lower right, with much wear; and a faded framed and glazed picture of the Houses of Parliament; and a ornate gilt frame and glazed picture of the Earl of Derby's Stag Hounds, with some foxing and staining
Lot 32
AUDEMARS PIGUET Royal Oak Flyback-Chronograph "Night Blue" , Ref. 26240ST.OO.1320ST.05. Herren Armbanduhr. Edelstahl. Automatik-Werk, Kaliber 4401. Dunkelblaues Zifferblatt mit Gande Tapisserie Muster. Neu und ungetragen. Original Box und Papiere anbei. Geh.-Durchmesser ca. 41mm (gemessen ohne Krone).|AUDEMARS PIGUET Royal Oak Flyback-Chronograph "Night Blue", Ref. 26240ST.OO.1320ST.05. Men's wrist watch. Stainless steel. Automatic movement, caliber 4401. Dark blue dial with large tapestry pattern. New and unworn. Box and papers enclosed. Case diameter approx. 41mm (measured without crown).
Lot 33
ROLEX Vintage Lady Datejust 26 "Tapestry", Ref. 69173. Ca. 1988. Edelstahl/Gelbgold 18K. Automatic-Werk Kal. 2135, funktionsfähig, Revision mit neuem Saphirglas 09/2022, sehr gute Gangwerte, Protokoll anbei. Originales Jubilee-Armband, Schließencode M6 (1988). Sichtbare Gebrauchsspuren an Band und Gehäuse, Armband mit Stretch. Durchmesser ca. 26mm ohne krone, passend bis zu ca. 17,5cm Handgelenksumfang. | ROLEX Vintage Lady Datejust 26 "Tapestry", ref. 69173. Ca. 1988. Stainless steel/yellow gold 18K. Automatic movement cal. 2135, working, service with new sapphire crystal 09/2022, very good working parameters, protocol enclosed. Original Jubillee bracelet, clasp code M6 (1988). Visible signs of wear on case and bracelet, bracelet with stretch. Diameter approx. 26mm without crown, suitbale for a wrist size of approx. 17.5cm.
Lot 1
A Record of the Collection in the Lady Lever Art Gallery, Port Sunlight Formed by the Viscount Leverhulme in three volumes published by Batsford 1928 as a limited edition of 200 copies for the UK and 150 for USA. Volume 1: Painting and Sculpture; Volume 2: Chinese Porcelain and Wedgwood; and Volume 3: English Furniture, Tapestry, and Needlework. With dust jackets in original slip cases.
Lot 94
Four books on the subject of design comprising of: Leadless Decorative Tiles Faience and Mosaic by William J. Furnival 1904, Old Pewter it's Maker and Marks in England, Scotland and Ireland by Howard Herschel Cotterell, Tapestry Weaving in England by W.G. Thomson, Oriental Carpets Runners and Rugs and Some Jaquard Reproductions by Sydney Humphries.
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39442 item(s)/page