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Lot 352
LIBERTY SILK AND LACE HANDKERCHIEF,in box, along with two Minton Classical Cameo dishes, a Minton circular dish in box, and a vintage Coats sewing chest with contentsCondition report: Liberty handkerchief still in original packaging and pinned in, doesn't appear used. The ceramics are in good condition, with some light surface wear in keeping with age. Coats box has some wear to the corners and surface wear particularly to the top, but in otherwise good condition. Contains thread, needles, pins, hemming tape, measuring tape, tapestry needles and other haberdashery items. Additional images available.
Lot 136
Textiles to include a small Suzani throw, 106 by 77cm; a Japanese long part silk panel, 228 by 28cm; another Japanese long panel and a machined verdure tapestry (4) Provenance: Private Collection, Gloucestershire Condition Report: All with fold marks- Suzani fairly clean and fresh colours- some margin marks Japanese Panels showing light exposure and fading, also hints of water exposure to reverse of both Condition Report Disclaimer
Lot 539
Carpet. An Aubusson-style carpet, early 20th century, hand-made tapestry wool carpet, in shades of pink, green, red, brown, and blue, with central square panel containing a foliate circlet within a wreath of flowers, surrounded by rectangular panels of fruit and leaves, and irregular-shaped panels of floral garlands with small square panels of fruit in corners, border of roses to both short ends (small black mark to one, 2.5 x 1.5cm), and decorative border all round, several small areas of loss to stitches (largest 1cm square), but overall in very good condition, 3 x 2.4m (9ft 10ins x 7ft 10ins)Qty: (1)Footnote: An attractive hand-made carpet in very good condition.
Lot 585
Purses. A collection of purses and reticules, mainly 19th century, 48 purses of various shapes, mostly of woven, knitted/crochet, tapestry, or netted construction, including a large spider's web purse constructed of woven metalwork roundels in alternating rows of silver and gold, attached to finely-knitted pink pouch, another spider's web purse composed of scarlet and gold metal thread roundels, with yellow metal foliate mount and tassel, 2 small chain mail purses, a large finely-knitted green miser's purse, a clasped metalwork purse woven through with green thread, and embellished with metalwork tassels at corners, with manuscript note inside 'Purse probably Russian', a small crocheted purse with wording 'waste not want not', and 5 finger ring purses, including one with coral decorated opening bars and finger ring, some tarnished or with wear/soiling, largest 46 x 10.5cm (18 x 4.75ins), smallest 3 x 5cm (1.25 x 1.75ins) Qty: (48)
Lot 243
A VICTORIAN PRIE DIEU CHAIR with woolwork tapestry upholstery, on turned and ebonised supports with brass casters, toghether with an Edwardian mahogany armchair and a small footstool (3) Condition Report : prie dieu chair is in good original condition, the armchair and stool have been re-upholstered Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 255
AN EARLY VICTORIAN CARVED MAHOGANY POLESCREEN with tapestry embroidered panel, 153cm high; together with a floral tapestry upholstered kneeler, 110cm long (2) Condition Report : repaired split to the turned moulding at the middle of the polescreen, otherwise OK Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 248
A SILK KESI 'PEACH FESTIVAL' PANEL, QING DYNASTYChina, 19th century. Finely woven in bright colors with a lively scene depicting the arrival of Xiwangmu, seated on a throne and surrounded by attendants, two fanning her with large peacock-feathered fans, looking toward Shoulao and further immortals greeting her from a terrace, the lower area with He Xiangu holding a lotus flower and Li Tieguai holding his crutch and double-gourd, all on a rich coral ground. Provenance: French trade.Condition: Good condition with old wear, minor tears, small losses, fading, soiling. Laid down on board and framed.Dimensions: Size 182 x 50 cmThe Peach Festival is a popular Daoist theme associated with the birthday celebration of Xiwangmu, who has the sole authority to grant Peaches of Eternal Life and bestow celebrants of the festival with great fortune. According to legend, the festival is held at the Jade Palace in the Kunlun Mountains in the Western paradise and only takes place every 3000 years. The auspicious message of this theme made the panes such as the present lot suitable for presentation at important festivities.Kesi, which means 'cut silk', derives from the visual illusion of cut threads that is created by distinct, unblended areas of color, as the weft threads are woven into each color and then cut. The earliest surviving examples of kesi tapestries date to the Tang dynasty (618-907), although the technique was already used earlier in wool and became widely used only during the Song dynasty (1127-1379). The fragment of a kesi tapestry has been recovered in a tomb of a man and his wife in Dulan, Qinghai province, who died in 633 and 688 respectively, and another also excavated in Dulan, was included in the exhibition "China, Dawn of a Golden Age" at the Metropolitan Museum of Art, New York, 2005, cat. no. 245. During the Ming dynasty (1368-1644), kesi panels enjoyed a rise in popularity and thrived under the Qing emperors.During the Qing dynasty, official weaving workshops were established both in the Palace and in the cities of Jiangning, Suzhou and Hangzhou, in order to cater to the Court's increasing demand for palace and temple furnishings, clothing and presentation silks for civil and military officials. Specialized centers of production soon developed around this area, such as the city of Wenzhou, Zhenjiang province, which became particularly famous for its luxurious kesi tapestries.Auction result comparison: Compare a closely related silk kesi panel, 160 x 89 cm, also dated to the 19th century, at Christie's New York in Important Chinese Ceramics and Works of Art on 19 March 2021, lot 847, sold for USD 56,250.清代緙絲《蟠桃會》掛幅中國，十九世紀。珊瑚紅地，色彩鮮豔，生動描繪西王母舉辦蟠桃盛會情景，四周侍從與仙人圍繞，可見到福祿壽三星以及捧著荷花的何仙姑與拄著拐杖的李鐵拐。 來源: 法國古玩市場。 品相: 狀況良好，磨損、輕微撕裂、小缺損、褪色、污漬。木板裝框。 尺寸: 182 x 50 厘米 拍賣結果比較: 比較一幅十分相近的十九世紀緙絲，160 x 89 厘米, 見紐約佳士得 Important Chinese Ceramics and Works of Art 2021年3月19日 lot 847, 售價USD 56,250。
Lot 83
Flemish tapestry, 17th century."Constantine Seeing the Cross on the Milvian Bridge".Wool and silk. Hand knotted.Measurements: 295 x 383 cm.The art of tapestry in Flanders underwent a notable development from the end of the 14th century, when Arrás, Tournai and Brussels were established as the main centres of production. The tapestry in question, from the Baroque period, is clearly indebted in quality and workmanship to the exquisiteness of Renaissance Burgundian tapestries. As for the theme, the triumph of the Church over paganism was one of the most common themes in Flemish workshops of the time, a triumph embodied in the figure of Constantine. However, while in the pro-Renaissance tapestries the compositions were inspired by ecclesiastical altarpieces, in the tapestry shown here the scene of the last Roman emperor is depicted with a singular narrative richness and topographical precision in the north of Rome. Thus, the detailed description of the landscape (in the millefleur style) and the architectural elements (the obelisk of Constantine, the Milvian Bridge, houses and temples of the city of Rome...) are superimposed on the preciousness invested in describing the rich clothing of the soldiers, of Constantine himself and of Helen, before whose figure her son kneels. The enemies, namely the troops led by Maxentius, are crossing the bridge, which (according to legend) will break and cause the death of many of them in the river Tiber. Constantine's vision (the dream in which a cross appeared to the emperor accompanied by the words "In hoc signo Vinces") has also been reproduced above the bridge, in the form of a phylactery across the sky, and accompanied by the symbol of the Chrismon printed on a banner. It is said that the emperor, upon awakening, ordered the construction of a cross to be placed in the vanguard of his army. This brought him victory, an event that led to his conversion to Christianity. The figure of Helen is also prominent because it was Constantine's mother who was responsible for bringing the cross from Jerusalem (Constantine's mother ordered the Temple of Venus to be demolished and the three crosses of Golgotha were found there). Helena sent her son a fragment of the Holy Cross and the nails. The rest of the cross remained in Jerusalem in a rich silver case, which is depicted in the tapestry, resting on the lady's lap. An entourage of courtiers completes the scene. The border is decorated with the same descriptive care, alternating allegorical figures and vegetal decoration in the form of bouquets and vases between pilasters.From the 15th to the 17th century, Flemish tapestries were among the most prized and valuable works of art in Europe. Workshops were active in the main Flemish cities and in most major towns. They were used as diplomatic gifts, especially large-format ones. Production began with the drawing of the cartoons, which were executed on paper or parchment by skilled painters and then sent to the tapestry makers, who could be at a great distance. In the 17th century, Flemish tapestries continue to show intricate detail of pattern and colour. The success of decorative tapestry can be partly explained by its portability. Tapestries were also placed on castle walls for insulation during the winter, as well as for decorative display.
Lot 95
JAN VAN KESSEL I (Flanders, 1626-1679) and LUIGI PRIMO IL GENTIL (Belgium, 1605-1667)."William Raymond Moncada visiting the Queen of Aragon", ca.1663.Oil on copper.Signed by Van Kessel in the border (left side margin).Scene signed by Primo Il Gentil in the lower right corner.Regency frame, 19th century.Size: 54 x 68 cm; 76 x 90 (frame).This work belongs to a select cycle of twenty coppers that narrate the exploits of two Sicilian noblemen of Spanish origin: the brothers Guillermo Ramón Moncada and Antonio Moncada. The historical scene in the present copper was painted by Luigi Primo il Gentile (five were commissioned), and Jan van Kessel was the author of the decorative border framing the scene of the twenty episodes. Collaboration between painters was common in the Low Countries given their specialisation in different genres in which they were masters: Kessel was a master of virtuoso rendering of flowery garlands, birds and other elements from the animal and plant kingdoms, while P. il Gentile was an outstanding exponent of the historical genre and portraiture. In the Museo Thyssen-Bornemisza in Madrid there are two coppers from the same cycle, in this case painted by Kessel (the garland) and David Teniers II (the scene). The present scene is dedicated to Guillermo Ramón Moncada, as the cartouche at the top, painted by Kessel, states, accompanied by the heraldic coats of arms of the family. Kessel endows the birds with volume and agility (there are a wide variety of exotic species), so that in a trompe l'oeil effect they seem to escape from the two-dimensionality of the painting, as if fluttering among the tangled foliage. Flowers with fleshy petals, chests with gold fittings and pieces of porcelain resting on venereal-shaped corbels share this same struggle to transgress the limits of painting. The courtly costumes, the fine embroidery and the many gauzes that envelop the bodies of the maidens in the scene painted by Gentile also display a supreme delicacy. Like other episodes in the series painted by Gentile ("Guillaume-Raymond Moncada visiting the King of Aragon", ca.1660, private collection), the composition is governed by the arrangement of the groups (with Guillaume occupying the pre-eminent place) around kings and princesses who receive them in their chambers. It is also very similar to the composition Teniers chose in his representation of a solemn reception before the queen's throne. The episodes depicting these two members of the Moncada family took place in Sicily between the end of the 14th and the beginning of the 15th century. The paintings are executed with a structure similar to that of tapestry cartoons. In fact, those dedicated to William R. Moncada were used for this purpose. They were probably woven in Flanders. The remaining coppers dedicated to the Moncada brothers, apart from those in the Thyssen Museum, are to be found in private collections and among the descendants of the Marquis of Villafranca.Luigi Primo Gentile (c.1605-1667), a Flemish painter, worked in a style that combined his Flemish roots with the profound influence of Italian art. Some of the altarpieces he painted between 1633 and 1657 for churches in Rome (Madonna presenting the Child to Saint Anthony of Padua, 1655, Saint Mark's, Rome). According to some sources, Gentile painted small devotional paintings on copper for Pope Innocent X between 1646 and 1652. In 1635 he joined the confraternity of the Church of St. Julian of the Flemish. In 1650 he entered the Accademia di San Luca.Jan van Kessel I was a Flemish painter, grandson on his mother's side of Jan Brueghel the Elder and nephew of Jan Brueghel the Younger and David Teniers II, whose pupils he was. Like his grandfather, he painted in a wide variety of genres, including still lifes and flowers, animals, landscapes, allegories and religious works.
Lot 786
Great War Commemorative Tapestry Belt, superb example of a woven tapestry made into a belt, with central Union flag, along the belt is the various battles that the producer was probably involved in, YPRES 1917, KEMMEL 1916, SOMME 1916, ARRAS 1917. Leather fixing straps and buckles to each end. Probably produced by a wounded soldier or the sweetheart of a soldier. Superb curio of the Great War.
Lot 513
A large late 19th century woven tapestry hunting scene, en grisaille in russet tones depicting a hound chasing down game birds in a wooded setting, 195cm x 124cm, in later painted wood frame, together with a more recent and smaller tapestry depicting a fox hunting scene, 47cm x 135cm, in painted wood frame.
Lot 641
Sale Item: TAPESTRY PICTURE DOG Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Lot 911
Full title: A Flemish wall tapestry with birds in a forest landscape, Southern Netherlands, 17th C.Description: 275 x 247 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
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39443 item(s)/page