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Mick Rooney Just Landed, 2020 Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mick Rooney studied at Sutton School of Art from 1959 to 1962, Wimbledon School of Art from 1962 to 1964, and subsequently at the Royal College of Art, London from 1964 to 1967. Here he was awarded the Austin Abbey Major Scholarship to study at the British School of Rome from 1967 to 1968, where he was commissioned by the Franciscan Order to create a wall mosaic for a new Basilica in Nazareth, Israel. Between 1968 and 1982 he taught part-time at various art colleges.   Rooney's early solo exhibitions were held from 1965 at the Fulham Gallery, London, Galerie Petit, Amsterdam, Seasons Gallery, The Hague and Patrick Seale Gallery, London, with regular solo shows being held at the Mercury Gallery, London from 1984. A retrospective of his work (covering the period 1978 to 1988) was held in 1989 and toured Folkestone, Eastbourne and Bath. Rooney's work has been included in many group exhibitions in Britain and abroad. Among Rooney's commissions is a painting to celebrate the centenary of the Financial Times (1988), a poster for London Underground (1990), a tapestry commissioned by TSB for Birmingham Headquarters (woven by Edinburgh Tapestry Company) and a book cover for Mr and Mrs Noah - recent poems by Brendan Kennely.   Among Rooney's many awards are ANSVAR Insurance, Towner Art Gallery, Eastbourne (1981), World of Newspapers, Daily Mirror, London (1982), Spirit of London, GLC Southbank (1983), Gulbenkian Printmakers Award (1984), John Player Portrait Award, National Portrait Gallery (1985), Daler/Rowney Prize (Royal Academy, 1986), House and Garden Magazine Award (Royal Academy, 1988), Korn/Ferry International Premier Award (Royal Academy, 1989) and First Prize, Chichester Arts Festival Exhibition. Rooney was Artist in Residence for the Towner Art Gallery, Eastbourne in 1983. He was elected Royal Academician in 1991 and in 2001 was elected to the Royal Society of Painters and Printmakers. Rooney lives and works in London.

Mark Cazalet Still Dancing II, 2020 Mixed Media Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mark Cazalet is a contemporary British artist based in London.   He was born in 1964, trained at Chelsea and Falmouth School of Art, after which he held two post graduate scholarships at L'Ecole des Beaux Arts in Paris and at M.S. University Baroda in India. He works in a variety of media including drawing, collage, print, paint, glass, mosaic and tapestry. He is represented by Serena Moreton Gallery on Ladbroke Grove, West London, where he has held two solo exhibitions in the last three years. Last year he spent a month working in Kyoto's Zen gardens making a large series of collages. http://www.markcazalet.co.uk  

Mark Cazalet Still Dancing IV, 2020 Mied Media Collage on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mark Cazalet is a contemporary British artist based in London.   He was born in 1964, trained at Chelsea and Falmouth School of Art, after which he held two post graduate scholarships at L'Ecole des Beaux Arts in Paris and at M.S. University Baroda in India. He works in a variety of media including drawing, collage, print, paint, glass, mosaic and tapestry. He is represented by Serena Moreton Gallery on Ladbroke Grove, West London, where he has held two solo exhibitions in the last three years. Last year he spent a month working in Kyoto's Zen gardens making a large series of collages. http://www.markcazalet.co.uk  

Andreas Eriksson Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden. Eriksson's artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson's works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context. Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world. A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson's fourth solo exhibition at Stephen Friedman Gallery, London 'Mapping memories, tracing time' opened in March 2020. Eriksson's works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.

Andreas Eriksson Untitled, 2020 Charcoal and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden. Eriksson's artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson's works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context. Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world. A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson's fourth solo exhibition at Stephen Friedman Gallery, London 'Mapping memories, tracing time' opened in March 2020. Eriksson's works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.

Andreas Eriksson Untitled, 2020 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden. Eriksson's artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson's works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context. Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world. A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson's fourth solo exhibition at Stephen Friedman Gallery, London 'Mapping memories, tracing time' opened in March 2020. Eriksson's works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.

Andreas Eriksson Untitled, 2020 Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Andreas Eriksson was born in 1975 in Björsäter, Sweden. He lives and works in Medelplana on the south bank of Lake Vänern, Sweden. Eriksson's artistic practice is highly expansive, encompassing a wide range of media including painting, photography, sculpture, tapestry and installation. Eriksson's works often appear quiet and understated yet belie a poetic quality which has a lasting effect on the viewer. Since 2000 the artist has lived in a house situated in the midst of a forest on the edge of a lake. Small events and phenomena from his everyday life and the natural world that surrounds him become the outset for his works, giving his formal, conceptual, metaphorical and perceptual decision-making process a firm context. Eriksson's work often embraces dualities such as inside and outside, lightness and heaviness, illusion and reality. His work hovers enigmatically between the abstract and the figurative, and is simultaneously familiar and mysterious. The emotional intensity with which Eriksson imbues his work is the result of a sustained exploration of his response to the natural world. A major solo exhibition of watercolours, drawings and tapestries opened at The Nordic Watercolour Museum in Tjörn, Sweden in September 2020. Eriksson's fourth solo exhibition at Stephen Friedman Gallery, London 'Mapping memories, tracing time' opened in March 2020. Eriksson's works are included in prominent collections internationally including: Centre Pompidou, Paris, France; FRAC, Auvergne, France; MUMOK, Vienna, Austria; Nasjonalmuseet, Oslo, Norway; Gothenburg Museum of Art, Gothenberg, Sweden; Moderna Museet, Stockholm, Sweden; Skövde Art Museum, Skövde, Sweden; National Public Art Council, Sweden; Sundsvall Museum, Sundsvall, Sweden and Uppsala Art Museum, Uppsala, Sweden and X Museum, Beijing, China.

CZACHÓRSKI, LADISLAUS VON CZACHÓRSKI, LADISLAUS VON 1850 Grabowczyk/Lublin - 1911 München Titel: Träumendes Mädchen. Technik: Öl auf Leinwand. Maße: 36 x 57cm. Bezeichnung: Signiert und datiert unten rechts: Czachorski 1896. Rahmen/Sockel: Rahmen. Provenienz: Privatsammlung, Europa. Auf ganz andere Weise als die beiden vorherigen Gemälde (Lot 1195, Lot 1196) fesselt der Blick des "träumenden Mädchens", das durch den Betrachter hindurch zu schauen scheint. Man kann sie gleichsam "unbemerkt" beobachten, jedes Detail dieses so faszinierend haptisch gemalten Gemäldes genießen - das Bild vor ihrem inneren Auge jedoch bleibt das Geheimnis der Träumerin. Die junge Dame hatte sich sicher zunächst aufrecht auf das Polster mit schräger Rückenlehne gesetzt um mit Nadel und Faden die reiche Stickerei zu vervollständigen, die sie im Schoß hält. Nun ist der junge Körper auf dem Sitz nach vorne gerutscht, der Kopf ruht auf der Kante der Rückenlehne und sie träumt mit offenen Augen, die Nadel noch in der Hand. Es ergibt sich ein reizvoller, heller, diagonaler Bogen in verschiedenen Rosa-, Creme-, und Weiß-Tönen vor dem dunklem Grün der Tapisserie im Hintergrund und des Sitzpolsters. Aufgenommen wird dieses helle Farbspiel von dem üppigen Blumen-Bouquet in der oberen rechten Ecke des Bildes sowie von einer weiß blühenden Zimmerpflanze in der unteren linken Ecke. Kompositorisch und inhaltlich reizvoll erdacht, überzeugt der Maler dieses Gemäldes, der gebürtige Pole Ladislaw Czachorski mit seiner faszinierenden Technik, die ihn als einen Großmeister der Historienmalerei seiner Zeit ausweist. In diesem kleinen Gemälde zeigt er, dass er seinem Lehrer, dem großen Carl von Piloty qualitativ nicht nachsteht. Der gebürtige Pole Czachorsky kam nach einer ersten Ausbildung in Warschau mit einer Zwischenstation an der Dresdener Akademie nach München. Hier wurde er Schüler Pilotys, der die Münchener Kunstszene und besonders die Historienmalerei prägte. Neben Genrebildern und Portraits spezialisierte Czachorski sich auch auf Shakespearsche Szenen-Motive. Bereits in jungen Jahren wurde Czachorski von Publikum und Kritik gefeiert, so erhielt er 1879 bei der 2. Internationale Kunstausstellung im Münchener Glaspalast eine Goldmedaille für ein Hamlet-Gemälde. Seine Bildnisse junger Damen, oft in historischen Kostümen und in reich dekorierten Boudoirs waren bei Käufern so beliebt, dass sie bis zu zwei Jahre Wartezeit in Kauf nahmen um ein Werk des Künstlers zu erhalten. Auch der heutige, mit ganz anderen Sehgewohnheiten "gesättigte" Betrachter des "träumenden Mädchens" kann diese Faszination erleben, wenn das Auge in dem taktilen Versprechen schwelgt, das der Künstler mit der delikaten Ausführung der verschiedensten nebeneinander präsentierten Materialien gibt. Czachorski widmet der Oberflächengestaltung aller Details im Bild dieselbe Aufmerksamkeit und ist darin Eugen de Blaas eng verwandt. Der Blick der jungen Träumenden lässt den Betrachter mit all der Pracht alleine, vermag ihn aber das allzu menschliche, der Zeit entrückte Gefühl des Tagträumens wieder empfinden zu lassen. Erläuterungen zum Katalog Ladislaus von Czachórski Polen Münchner Schule 2.H. 19.Jh. Gemälde Bürgerliches Leben Malerei CZACHÓRSKI, LADISLAUS VON CZACHÓRSKI, LADISLAUS VON 1850 Grabowczyk/Lublin - 1911 Munich Title: Dreaming Girl. Technique: Oil on canvas. Measurement: 36 x 57cm. Notation: Signed and dated lower right: Czachorski 1896. Frame/Pedestal: Framed. Provenance: Private collection, Europe. The gaze of the "dreaming girl", who seems to look through the viewer, captivates in a completely different way than the both paintings by Eugen von Blaas (Lot 1195, Lot 1196). One can observe her "unnoticed", as it were, and enjoy every detail of this fascinatingly haptically painted painting - the image in front of her inner eye, however, remains the secret of the dreamer. The young lady had certainly sat upright on the upholstery with a sloping backrest at first to complete the rich embroidery with needle and thread, which she holds in her lap. Now the young body has slid forward on the seat, her head rests on the edge of the backrest and she dreams with her eyes open, the needle still in her hand. The result is a charming, light, diagonal arch in various shades of pink, cream and white against the dark green of the tapestry in the background and the seat cushion. This light play of colours is taken up by the lush bouquet of flowers in the upper right-hand corner of the image and by a white flowering houseplant in the lower left-hand corner. The painter of this painting, the Polish-born Ladislaw Czachorski, is convincing in composition and content with his fascinating technique, which proves him to be a grandmaster of history painting of his time. In this small painting he shows that he is not inferior in quality to his teacher, the great Carl von Piloty. Czachorsky, who was born in Poland, came to Munich after his first training in Warsaw with a stopover at the Dresden Academy. Here he became a student of Piloty, who influenced the Munich art scene and especially history painting. Besides genre paintings and portraits Czachorski also specialised in Shakespearean scene motifs. Already at a young age Czachorski was celebrated by the public and critics, e.g. in 1879 he received a gold medal for a Hamlet painting at the 2nd International Art Exhibition in Munich's Glass Palace. His portraits of young ladies, often in historical costumes and in richly decorated boudoirs, were so popular with buyers that they had to wait up to two years to receive a work by the artist. Even today's viewer of the "dreaming girl", "saturated" with completely different viewing habits, can experience this fascination when the eye revels in the tactile promise the artist makes with the delicate execution of the most varied materials presented side by side. Czachorski devotes the same attention to the surface design of all the details in the image and is closely related to Eugen de Blaas in this respect. The gaze of the young dreamer leaves the viewer alone with all the splendour, but is able to make him feel the all too human feeling of daydreaming, removed from time. Explanations to the Catalogue Ladislaus von Czachórski Poland Munich School 2nd half of 19th C. Paintings Bourgeois Life Painting

A Jean Lurcat (1822-1966) Aubusson Tapestry, signed lower right and on label to reverse, entitled 'Petit Tropic', depicting fish amongst seaweeds and plants all beneath a hummingbird, 149 x 118cm.Condition report: The size is correct. The rug is in very good condition, no moth holes, or other damage. Colours appear good and unfaded.

A Victorian woolwork picture depicting a scene from the Old Testament, in gilt frame. Overall size 104.5cm x 82.5cm.Condition report: From peeling back the backing paper we can see that the wools were originally much brighter, however although the colours are faded, it is even and the effect is of a tapestry of muted tones. No moth holes or other noticeable damage. Some chips to the frame.

A French style gilt decorated armchair, of Louis XVI style, with machine tapestry back, shell and scroll carved frame, on moulded cabriole front legs, height 106cm, width 70cm, depth 78cm.

A mid century upholstered stool, the top machine tapestry decorated with three terriers, on turned beech legs, height 40cm, diameter 46cm.

Constantinos Parthenis (Greek, 1878-1967)Mountaneous Landscape, Macedonia signed and inscribed 'PARTHENIS/MACEDOINE' (lower right)oil on canvas18 x 18 cm. Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Constantinos Parthenis (Greek, 1878-1967)Dreamy landscape signed and dated 'C.P./903' (lower right)oil on canvas laid on card 33 x 28 cm.Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

AN 18TH C PANELLED OAK HALL CHAIR, SEAT HEIGHT 40CM AND ANOTHER, SIMILAR, ON SPIRAL TURNED FRONT LEGS WITH MACHINE TAPESTRY COVERED SEAT, SEAT HEIGHT 43CM Both with chips and losses consistent with age and use

An Oriental low coffee table together with a tapestry topped stood on cabriole legs and a leather case

Two late Georgian dining chairs with pierced central splats, tapestry upholstered drop-in seats, square legs united by H-stretchers

A 19th century tapestry topped footstool, 16cm h x 38.5cm w

Three Pears prints, a watercolour of a farmyard, 3 coach and horse prints, a limited edition print of a woodland scene, a map of the Thames River and other pictures, together with a vintage onyx wall light and a tapestry firescreen in a mahogany frame

GEORGE III MAHOGANY 'GAINSBOROUGH' ARMCHAIR 18TH CENTURY the rectangular back with scrolled arms, raised on blind fret carved front legs, joined by stretchers, covered in tapestry upholstery(84cm wide, 96cm high, 59cm deep)

EARLY GEORGIAN NEEDLEWORK PANEL EARLY 18TH CENTURY depicting a flower-filled urn, worked in wool in tapestry and tent stitches, framed(48cm wide, 62cm high)

SUITE OF LOUIS XVI GILTWOOD AND AUBUSSON SEAT FURNITURE LATE 18TH CENTURY comprising a settee and six armchairs, with oval padded backs above part-padded open arms and stuff-over seats, raised on fluted tapered legs, the frames carved with guilloche, acanthus, and bead and reel with flower crestings; all covered in Aubusson tapestry with oval reserves depicting maidens, children, cockerels, exotic birds, 7rose garlands and baskets(Settee 174cm wide, 107cm high, 61cm deep; chairs 69cm wide, 103cm high, 52cm deep)

PAIR OF WALNUT NORTH COUNTRY 'DRUNKARDS' CHAIRS 18TH CENTURY each with a pierced toprail, above a spindle back and scrolled arm supports, with drop in tapestry seats, raised on square section legs united by stretchers on sledge feet with hidden castors(61cm wide 90cm high 46cm deep)

A mid 19th Century French rosewood sewing or games box, of rectangular form, the lid inset with a tapestry and beadwork panel of two children within wrythen mouldings and under glass, the interior with various divisions and two sliding trays, male part of lock missing, 27.5 x 23 x 9.5cm.                                                                                                                     From the collection of Margaret Blakeley

A set of four Louis XV Revival giltwood and gesso drawing room chairs, each shaped rectangular back carved with scrolling acanthus, stuffed over tapestry upholstery, each shaped apron carved with an anthemion, cabriole legs, c.1900

An oak dresser, two drawers over two panelled cupboard doors to base, 178cm high, 94cm wide; a carved oak chest of small proportions, 40cm high, 56cm wide; a Vereston light oak sewing cabinet on feet, 45cm high, 51cm wide and an oak framed tapestry fire screen, 89cm high, 59cm wide (4)

Textiles- Table Linen - Victorian and later lace edge table cloths; others, napkins, tapestry panels, crochet work, teapot stand, doilies etc qty (2 boxes)

4 TAPESTRY FIRE SCREENS

3 GOLD FRAMED TAPESTRY PICTURES

OVAL ANTIQUE ELBOW CHAIR WITH AN UPHOLSTERED TAPESTRY SEAT

TWO ANTIQUE FOLDING CHAIRS WITH TAPESTRY/MATERIAL COVERINGS AND A FOLDING GREEN PAINTED BUTLERS TRAY (3)

A SLENDER MAHOGANY 3 TIER DUMB WAITER AND 2 MAHOGANY TAPESTRY FOOTSTOOLS (3)

Sale Item: TAPESTRY TOPPED LINEN BOX 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%

Sale Item: ROSEWOOD & TAPESTRY STOOL WORK BOX (AF) 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%

Sale Item: ROSEWOOD FRAMED TAPESTRY 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%

A vintage framed and glazed tapestry along with a printed board of a train and a set of four prints within a frame.

A needlework alphabet sampler and a woolwork tapestry picture, framed (20

A Rectangular Tapestry Topped Footstool on Short Cabriole Legs, 60cm wide

A Late 19th Century Mahogany Pole Screen with Triform Base and Rise and Fall Oval Tapestry Screen

A Pretty Inlaid Edwardian Ladies Bedroom Chair with Tapestry Seat

Three Mid 20th Century Wooden Framed Tapestry Screens

An Edwardian Cane Backed Tapestry Seated Armchair

An Edwardian Mahogany Framed Tapestry Seated Nursing Chair with Pierced Splat

A Victorian walnut piano stool with adjustable tapestry upholstered seat. H.48 x 38cm

A set of six vintage Ercol Goldsmith model elm dining chairs with tapestry covered squab cushions. H.97cm (including two armchairs).

A collection of furniture comprising a Victorian mahogany bookcase cupboard fitted with two drawers and cupboards under on a plinth base, an Edwardian inlaid marble top wash stand with cupboard under, a walnut occasion chair the drop in seat on cabriole legs and a Victorian walnut fire screen inset with tapestry panel flanked by barley Twist columns on cabriole legs .56 cm by 110 cm - NO RESERVE

Two 19th century mahogany framed stools with floral tapestry seats (2)Please note that all lots are second hand and may include faults, damage, chips etc. Due to the nature of this auction it is impossible to record individual condition reports and buyers must remember this when bidding.

An early 20th century oak framed corner chair with floral tapestry seat and turned supports with stretcher, to/w a small mahogany 'drum' occasional table with gilt tooled leather top (2)Please note that all lots are second hand and may include faults, damage, chips etc. Due to the nature of this auction it is impossible to record individual condition reports and buyers must remember this when bidding.

An Edwardian mahogany inlaid two-tier side table; an Edwardian tray-top table with brass handles and mahogany stool with floral tapestry stool (3)Please note that all lots are second hand and may include faults, damage, chips etc. Due to the nature of this auction it is impossible to record individual condition reports and buyers must remember this when bidding.

19th Century wall hangings, tapestry works of floral design, hand made (AF)

Pair of Victorian foot stools, each with tapestry padded top, on bun feet, approx 26cm in diameter

Pair of mid century chairs with tapestry seats

A collection of machine and hand woven tapestries. Including two lace edged antique examples and a wall hanging tapestry depicting a landscape, 6 pieces.

A 20th century wall tapestry by JP Paris, 'The Unicorn in Captivity'CONDITION: Good condition, label verso inscribed Paris Point de L'Halluin

A Regency mahogany square topped, tapestry upholstered dressing stool, width 41cmCONDITION: Some slight wear to under frame but essentially good order.

An early 19th Century mahogany dining chair having later tapestry seat

A vintage tapestry topped and dralon footstool

A 19th Century dressing table stool having tapestry top

Hand signed Serigraph titled "Restless Surface" by Andrej Jemec. Numbered in the lower left and a gallery label verso from Jacques Baruch Gallery. Elegant piece with soft colors. At the Academy of Fine Arts & Design in Ljubljana he studied painting with professors Marija Preglej , Gabrijel Stupica , Božidar Jakac and Riko Debenjak . He graduated in 1958 . From 1973 he taught at the Academy of Fine Arts in Ljubljana, from 1984 as a full professor of drawing and painting (until his retirement in 1999); in two terms (1977-1981) he was also its dean. In 1995 he was elected an associate member and in 2001 a full member of SAZU . He was the secretary of the 5th grade of SAZU (for the arts) from 2002 to 2008, then a member of the presidency of SAZU.His media include painting, graphics and drawing, as well as tapestry, sculpture, stained glass and graphic design. He participated in the issues of color harmony in architecture. After 1978, he led the establishment and participated in the design of the study program of the Department of Design at the Academy of Fine Arts in Ljubljana, of which he was the first head (until 1988), and in the renewal of art education in Slovenian schools.Sight: 26 1/2 x 26 1/2 in. Overall: 31 1/4 x 32 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.

A late Victorian walnut nursing chair c.1890, the upholstered oval back above a tapestry seat on baluster shaped legs and castors (h. 83cm)