We found 39442 price guide item(s) matching your search

FRENCH TAPESTRY, 'Le Roman de la Rose', 122cm x 93cm.

Mid century Aubusson tapestry by Robert Wogensky (1919 - 2019) woven in the Legoueix workshop and signed, dated 66. 150 x 196cm

A FRAMED MACHINE MADE TAPESTRY TOGETHER WITH THREE PRINTS

A Victorian tapestry covered nursing chair, with ceramic castors; together with a small pink button upholstered timber chair (2)

An antique tapestry, possibly Flemish 17th century, depicting St George and The Dragon, in continuous cyclical narration, gross and petit point stitching, 152 by 101cm.

A tapestry four panel folding dressing screen

A modern tapestry hanging depicting grape harvesting.

*FRAMED AND GLAZED TAPESTRY OF AN GALLEON, 24 X 20 / ALL LOTS ARE LOCATED AT AUTHENTIC RECLAMATION TN5 7EF

Three antique fire screens with floral tapestry design.

A crate of interesting items to include antique juggling sticks, Hummel tapestry, collectable tins

§ Dom Robert (Guy de Chaunac-Lanzac) (French 1907-1997) Group of Young Men Outside the Hairdressers, Design for Tapestry, 1955 signed and dated (upper right), pen, ink watercolour and coloured crayon on paperDimensions:40.6cm x 59cm (16in x 23 1/4in), unframedProvenance:ProvenanceGimpel Fils, London.

§ Tadek Beutlich (Polish 1922-2011) Rainbow, circa 1978 acetate and linenDimensions:64cm x 32cm (25in x 12 1/2in)Provenance:ProvenancePurchased by Ann Sutton O.B.E. from Duff Gallery, Arundel, 1981.Note: This rare piece comes from the period in the late 1960s when Beutlich was living and working in Ditchling, Sussex. Here he had a large studio space and it was a very creative time for Beutlich at the point where he started to significantly move away from classical rules. He created avant-garde open weave hangings of various styles and scale, experimenting with materials such as acetate, horse hair, burnt wood, jute and x-ray film. Beutlich’s work was becoming highly sought after and he was gaining international recognition for his work, exhibiting in the Lausanne Biennale of Tapestries in 1967 and 1969 and at the same time, in 1967, his seminal book The Technique of Woven Tapestry was published. We would like to thank Emma Mason for her assistance in cataloguing the current work.

§ Mary Farmer (British 1940-2021) Float 1, 1982/3 signed (to label), tapestry wool / worsted weft on cotton warpDimensions:82cm high x 83cm wide (32 1/4in high x 32 1/2in wide)Provenance:ProvenancePurchased by Ann Sutton O.B.E. from Woven Colours Exhibition at Southampton City Art Gallery, 1983.Note: This lot is sold together with a postcard from Mary Farmer to Ann Sutton featuring the current work from the Southampton exhibition in 1983. Mary Farmer studied Fine Art at Beckenham School of Art (1958-1961) followed by a prestigious Digswell Arts Fellowship (1964). This was the visionary arts residency programme established by Henry Morris in 1957 and whose other early residents or ‘fellows’ included Michael Andrews, Peter Collingwood and Hans Coper. Mary established her first studio in Guildford developing her ideas in both gouache and tapestry with the latter attracting early interest. The V & A Museum’s Circulation Department made an important acquisition of a monochrome rug and works were included in the significant US touring show of British design organised with the Smithsonian (1969-1971). Mary began teaching at Farnham Art School and further major awards from South East Arts (1979) and the Crafts Council (1980) cemented her position as a leading figure in innovative contemporary tapestry. In 1981 she and her husband, potter Terry Moores, acquired a wonderful early nineteenth century wharf side building in Boston, Lincolnshire, which they converted into studios and living accommodation, and which remained her creative base throughout her life. In 1983 she joined the Textile Department at the Royal College of Art, London as a tapestry tutor going on to establish and develop a newly independent Tapestry Course within the Fine Art Painting School until its closure in 1997. Her mastery of colour and inventive use of the language of abstraction in weave led to a growing number of invitations to exhibit both nationally and internationally with works acquired by the Government Art Collection; Sainsbury Centre; Crafts Council and HRH The Duke of Edinburgh. Important public commissions and acquisitions included British Oxygen Company; Channel 4 Television and Lambeth Palace. Her active career came to an end in the late 1990s following injury and illness which made it impossible for her to work. A modest memorial exhibition of extant material from her archive and studio is being organised in collaboration with her family this autumn in London. Details of dates and venue to be confirmed. Please email Philip Smith to be sent details, philip.smith@lyonandturnbull.com. Ann Sutton’s acquisition of ‘Float One’ in 1983 coincided with another show organised by Ann herself for the John Hansard Gallery also in Southampton entitled ‘Attitudes to Tapestry’. Ann says about this work from her collection: ‘I knew Mary and was deeply interested in her work before I went to her exhibition Woven Colours at Southampton City Art Gallery in 1983, where I fell in love with, and purchased, her red/blue masterpiece ‘Float 1’. The thrusting red form angling into the blue ground beneath is breath-taking in its power and simplicity. The colour-depth of dyed wool, as opposed to paint, intensifies the image. Mary Farmer was a master of imagery and her chosen technique, tapestry weaving. The apparent simplicity of her images was probably responsible for her re-think of the traditional technique. She chose to weave on a traditional shaft loom, used usually for weaving cloth. This way she was able to insert different colours, linking them in the traditional tapestry way but ensuring perfect surfaces and clean juxtapositions.’ Mary went to considerable lengths to source fine wool (often from Sweden) and would dye wool herself if she could not find the exact tone or colour she needed for the work. She commented in interview: ‘Colour is to me the single most powerful and emotive visual sensation. I use wool for its incomparable intensity and saturation of colour; tapestry for its richness and for the personal control possible over its construction and substance.’ Her work is included in several significant catalogues and publications including: The Maker’s Eye (Crafts Council, 1981)Mary Farmer was one of 14 leading designers invited by the then (highly influential) Head of Exhibitions at the Crafts Council, Ralph Turner, to select objects that defined their personal experience and interests at the time. It proved a significant show which helped launch many careers and consolidate others.British Craft Textiles (Collins, 1985) organised and edited by Ann Sutton.This is a very comprehensive review of textiles in UK in the period. Tapestry by Barty Phillips (Phaidon, 1994) We would like to thank Amanda Game for her assistance in cataloguing the current work.

An Early XX Century Walnut Nursing Chair, with tapestry seat; a XIX Century Regency chair and two further chairs with caned seats. (4)

Pair of mid 19th c. mahogany dining chairs with carved top rail and bar having tapestry seats above turned fluted legs

Collection of embroidered and tapestry fabrics

Two framed turn of the century oil on boards of rural scenes signed 'D Melvin' along with a framed watercolour of a rural scene signed 'L. A. Cox' and a large framed tapestry of David and Jonathan (A/F)

Raphael's Raising of Brazen Serpent, by Caietanus le Poer / Description: A spectacular rare and large engraving showing the tapestry of The Raising of the Brazen Serpent from the Story of Moses. With 'Raph. de Urb. In.' in lower left corner and with name and titles of Guglielmo Gonzaga, Duke of Mantua (r.1550-87). This print is from a series generally dated 1728, reproducing seven tapestries from a series designed for Ferrante Gonzaga on the life of Moses, kept in Mantua after Ferrante's death in 1557.Scholars have generally assumed that the set of the Story of Moses was woven in the workshop of Nicolas Karcher in Mantua, after designs showing stylistic relation to Giulio Romano, who has often been credited as the designer of these. All the extant tapestries - now in the Museo del Duomo, Milan - carry the arms of Guglielmo Gonzaga, the exact identity of the set's commissioner and its execution date remain controversial. So the tapestry was designed by probably by Raphael, probably influenced by Guilio Romano, and the engraving executed by Italian engraver Caietanus le Poer. / Dimensions: 38,60 x 40,60 cm / Condition: This print, on a dense laid paper is in excellent condition. Complete with the image borderline all around. No folds, tears ort stains. / Literature: Ruland p.259 D.II.5 ----- Catalogue of the Department of Prints and Drawings in the British Museum. v. P. Pouncey and J.A.Gere, Raphael and His Circle (1962); p.85, under no.152 ----- Tapestry in the Renaissance 2002 : Tapestry in the Renaissance. Art and Magnificence, ed. Thomas P. Campbell, The Metropolitan Museum of Art 2002 pp.488-93 / Medium: Engraving /Circa: Ca. 1728

Alexander CalderTapestry, circa 1970Handwoven mohair.155 x 196 cm Handwoven by Royal Lesotho Tapestry Weavers, Kingdom of Lesotho. Number 5 from the edition of 50. Stitched with artist's monogram and numbered 5 / 50. Reverse with weaver's label LR ROYAL LESOTHO/TAPESTRY WEAVERS/MASERY KINGDOM OF LESOTHO/HANDMADE OF PURE MOUNTAIN MOHAIR.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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

AFTER FREDERICK TAYLOR (1802-1889) 'Weighing the deer' a very large Victorian tapestry panel, depicting the interior of a Scottish game larder, 130cm high x 201cm wide, in a moulded giltwood and composition frame, glazed

AN ANTIQUE 19TH CENTURY CROSS FRAMED TAPESTRY STOOL

Hand embroidered Royal Artillery insignia tapestry (frame 32cm x 28.5cm) t/w related cap badge

Three vintage / antique evening bags / purses, to include a tapestry style back, featuring flowers in a vase, foliate decorated gilt metal clasp and trim, together with two white metal mesh bags and a silk fan. (4)* Condition: The fan with one small hole, purses appear to be very good.

A late 19th century needlepoint tapestry panel of parrot in a rose bush, framed. H.58 W.57cm.

17th century French tapestry called "Verdure", Aubusson manufacture, late 17th century. Hand embroidery. Where we observe five characters with a dog playing games of chance at the bottom, next to a tavern, in the background, individual country houses with peasants working next to a lake and borders with geometric motifs. Requires restoration, measures: 315 x 169

A GEORGE II STYLE WALNUT LOVE SEATupholstered in needlework tapestry, with stylised eagle head arms, on cabriole claw and ball feet

A MONUMENTAL TWO-FOLD WOODEN SCREEN SET WITH TWO (2) POSSIBLY SUZHOU ‘HUNDRED BIRDS - BǍI NIǍO - 百 鸟’ EMBROIDERED SILK PANELS CHINA, LATE QING DYNASTY, 19TH CENTURY The two panels are linked together and rest on feet shaped as recumbent beasts. The two silk panels are very finely embroidered with the ‘Hundred Bird’ theme, a highly naturalistic and auspicious one.Dimensions:- each embroidered panel (out of its frame): 32.5 x 41.7cm;- the screen: 141cm high, 116cm wide, (each panel is 58cm).Note: The ‘Hundred Bird' theme symbolizes the prosperity of a State under the rule of a sophisticated Emperor. 百鸟苏绣屏风中国，晚清，19世纪NOTE: CONDITION REPORTS AND MEASUREMENTSIt is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.Condition Report: - good condition- the stands can sit individually as a pair or triptych- one stand with missing fretwork to the border- one tapestry panel with a tear to upper left corner, but protected flat by the glass panel- see additional images

A BRUSSELS STYLE HANDWOVEN TAPESTRY OF CHINESE ORIGINdecorated with a large urn, adorned with vines and clusters of grapes, within a traditional acanthus border,   187 x 150cm   

A mid 20th century Victorian style child's/dolls chair together with a 1920's walnut tapestry topped stoolLocation:

A 19th century mahogany four poster bed having later padded tapestry headboard flanked by spiral twist and foliate supports and slender tapering supports flanking the footboard, on four turned base supports, complete with fitted base and with canopy and matching flounces 134cm wide 197cm long max 177cm high

A French tapestry/wall hanging 118x100cm 

A large Indian tapestry in wooden frame with padded/3D elephants and characters 136x96cm

Collectors lot to include Tapestry stool, Acme whistle, sewing case, propelling pencil, bookmarks etc

A serpentine front single drawer hall table, tapestry footstool, brass bed warming pan and a box of assorted ceramics etc Condition Report:Available upon request

A 20th century mahogany framed tapestry fire screen, mahogany art nouveau mantle clock, small three legged stool and a pine wash bucket (4) Condition Report:Available upon request

A mixed lot to include Parker knoll armchair, Edwardian corner chair, tapestry upholstered armchair and mahogany nest of three tables (4) Condition Report:Available upon request

Two vintage woollen blankets or carthen; one Welsh tapestry on black ground with fringed edge and traditional Caernarfon design and a multi-colour check blanket with fringed edge. (2)(B.P. 21% + VAT)

Vintage woollen Welsh tapestry blanket or carthen on cream ground with fringed edge and traditional Caernarfon design. (B.P. 21% + VAT)  Measurements: 238x256cm approx.  Some dark brown stains (may be dirt), otherwise ok.

Vintage woollen Welsh tapestry blanket or carthen on orange ground with geometric pattern. (B.P. 21% + VAT)  Generally good, no obvious damage.  May be slightly over washed.  217x204cm approx.

Vintage woollen Welsh tapestry purple ground blanket or carthen with fringed edge and 'Derw Products, Made in Wales' label. (B.P. 21% + VAT)Minor wear (some pilling and some pet hair) but generally good and no obvious damage. 235 x 208cm with fringe approx. 

A PAIR OF GILL AND REIGATE, LONDON, STAMPED DINING CHAIRS WITH PIERCED SPLAT BACK AND TAPESTRY SEAT IN THE CHIPPENDALE STYLE

A TAPESTRY FIRESCREEN / TABLE AND TWO OTHER FIRESCREENS

A QUANTITY OF VINTAGE CLOTH AND WOODEN BOXES PLUS TAPESTRY THREADS

A FRAMED FINE NEEDLE TAPESTRY OF A VICTORIAN SCENE - 83 X 70 CM

Substantial gilt framed tapestry of a Middle Ages hunting party, 164 x 116 cm. Not available for in-house P&P

A GEORGE II CHESTNUT STOOLMID 18TH CENTURY 45cm high, 57cm wide, 45cm deep overall Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, signs of repairs, one leg and foot with old break through and signs of repair, the corner blocks also, there are later blocks to the interior of the frame alsoSigns of old woodworm, some filled some holes still openThe tapestry seat dated 1921, this is in fair condition but with marks and signs of age and use, the interior rails to this are covered and Dreweatts cannot make comments or give any guarantees as to the originality of these elementsPlease see additional images for visual reference to condition  Condition Report Disclaimer

SIX LARGE CUSHIONSINCORPORATING 18TH CENTURY TAPESTRY AND LATER FABRICThe largest approximately 70cm x 70cm

SIX LARGE CUSHIONSINCORPORATING 18TH CENTURY AND LATER WOOLWORK AND TAPESTRY AND LATER FABRICThe largest approximately 70cm x 70cm 

SIX LARGE CUSHIONSINCORPORATING 18TH CENTURY TAPESTRY WITH ANIMALS FROM FABLES AND LATER FABRICThe largest approximately 60cm x 60cm  

A PAINTED AND PARCEL GILT LOW TABLE 20TH CENTURY, THE TAPESTRY 19TH CENTURY With inset tapestry panel beneath a glass top 54cm high, 111cm wide, 68cm deep  

SIX LARGE CUSHIONSINCORPORATING 18TH CENTURY TAPESTRY AND LATER FABRIC The largest approximately 60cm x 60cm

SIX LARGE CUSHIONSINCORPORATING 18TH CENTURY AND LATER WOOLWORK AND TAPESTRY AND LATER FABRIC The largest approximately 80cm x 80cm  

A COLLECTION OF APPROXIMATELY TWENTY NINE MISCELLANEOUS CUSHIONS AND TWO TAPESTRY FRAGMENTSINCORPORATING SOME 17TH CENTURY AND LATER TAPESTRY, WOOLWORK AND LATER FABRICThe largest approximately 55cm x 55cm 

A WHITE AND GOLD PAINTED LOW TABLE20TH CENTURY The rectangular glazed top enclosing a tapestry fragment depicting children dancing41cm high, 150cm wide, 53cm deep  

A Victorian brass hanging rail, early 20th century; perhaps an overdoor for use with a tapestry, with six hooked rings, the rail lodged at each end in a wall bracket cast as a hand clenched around a flambeau torch, with circular backplates; 18cm high, 80cm wide, 12cm protuberance

A George II mahogany elbow chair, mid 18th century; the backrest with vase form splat above crook arms; with tapestry upholstered drop in seat, cabriole front and splayed back legs; 103cm high, 62cm wide

A carved walnut and tapestry upholstered long stool in George II taste, 46cm high, 95cm long; two George III mahogany side chairs, late 18th century; comprising an oval backed example in Hepplewhite style and a shield backed example; and a smaller mahogany and upholstered stool in George II style

A Victorian carved walnut and button upholstered slipper back nursing chair, circa 1860; the show frame of the arched backrest with floral and foliate cresting, with carved serpentine seat rail cabriole legs to castors; 95cm high, 55cm wide; and a Victorian walnut and tapestry upholstered side chair in Charles II style, circa 1880

A Victorian black lacquered and parcel gilt side chair, circa 1865; the openwork waisted backrest with painted armorial and the motto VICI within a heart shaped reserve; with tapestry upholstered seat; the rails, cabriole front and splayed back legs all with foliate and floral throughout; 87cm high, 42cm wide

A Victorian Norfolk Regiment tapestry, red white and blue with Britannia over IX numerals, flanked by crossed Union Flag with Victorian crown and George Cross with Napoleonic battle scrolls, the bottom in scrolls "FIRM IX THE NORFOLK REGT.", ebonised frame. Provenance verso: Tapestry created by Private Ernest Edward OWERS, Regiment No. 2277, born July 1866. Enrolled in Norfolk Regiment for 7 years on 20 August 1888 at Colchester Essex. 1st Battalion 1888 Norwich, 1889 Colchester, 6th February 1889 India. 12th August 1889 Rangoon, 1890 Malapwiiam. 4th March 1891 Burmah. Battalion Commander Lieutenant Colonel WAVELL. Invalided home. Spent approximately one year in Woolwich Hospital. Sons - Gerald, Eric, Frank. Daughters Elizabeth, Kathleen and Frances. Frances Miriam Emma OWERS born 2nd November 1896 at Greenstead Green, Halstead, Essex. Married Dudley George BUTCHER on 11th October 1924 at Gosfield, Essex. Born 19th June 1898 died 8th December 1977. Son Gerald Dudley BUTCHER born 26th June 1925. Tapestry restored and moth proofed in June 2006. 39cm x 49.5cm