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A 19th Century mahogany framed tapestry panel/plate stand

Seven assorted large pictures, prints and tapestries including a print of a View of New York City from a harbour signed MARC, a watercolour of a Bridge over a river near a farmstead signed W. Gash and a tapestry of a farm boy and girl etc.

PIERRE FAURE, 'Les Oiseaux', tapestry, Les Editions Braun, Paris, 114cm x 162cm.

A Royal Doulton Rondelay pattern dinner set, and a Royal Doulton Tapestry pattern dinner set, (A Lot)

A large Brussels style tapestry, framed

A Victorian mahogany adjustable fireside pole screen, with a needlework tapestry depicting an English hunting scene, 52 x 40cm.

Fortnum-Mason Picnic Hamper, one other picnic basket, two carpet beaters, tapestry frameAll have age related wear, both baskets appear without anything missing and both close and lock as expected.

XX Century Mahogany Stool, with a floral woolwork tapestry seat, on cabriole legs, together with two other footstools, with woolwork tapestry tops. (3)

Edwardian Inlaid Mahogany Dressing Table, with shield shape mirror, on tapering legs, 122cm wide; together with a XIX Century Religious Tapestry, housed in a later mahogany frame firescreen, 69.5cm wide. (2)

A job lot. Walker & Hall, decanter and glasses and a tapestry train picture.

A Set of Eight Hepplewhite Style Mahogany Dining Chairs A Set of Eight Hepplewhite Style Mahogany Dining Chairs, including two carvers, the pierced splat backs with a central patera over serpentine fronted stuff-over tapestry upholstered seats on tapering square section legs united by stretchers.Each chair 95cm high, the seats 44cm deepSome scratches, scuffs and general wear commensurate with age and use.

A box of tapestry and other textiles.

Royal Dutch Mint Europe Remembers Silver Three Coin Set, together with three Royal Air Force 50p coins and a Battle of Hastings 950th Anniversary commemoartive medal and tapestry set.

* Tapestry. A verdure tapestry of a country house, probably French, circa 1680-1720, woven in polychrome wools (faded), depicting a vista through trees of a large house with turret, and a church behind, a lake with waterfowl in the foreground, border of beribboned floral swags, with coronets at the corners, 4.5 cm vertical split in centre, verso of top and bottom edges hemmed with old green ribbon (worn), some old curtain rings to verso of top edge, verso of side edges hemmed with later cloth tape, 189 x 126 cm (74.5 x 49.5 ins), together with a small panel composed of verdure tapestry fragments, lightly faded, later hessian backing, brass curtain rings sewn along verso of top edge, 78 x 59 cm (30.75 x 23.25 ins)QTY: (2)NOTE:Provenance: Private Collection, Derbyshire.

Tapestry topped stool, carved stool and occasional table

Cutlery tray, briefcase, double towel rail and box of tapestry frames, stool, magazine rack, ornaments etc

Box of metalware - grinder, large oblong K.S.I.A. tray, tapestry topped dressing table set etc.

A Victorian stained walnut show-frame spoonback nursing chair with tapestry upholstery, set on cabriole front legs with white porcelain casters

A large gilt framed panoramic Belgian machine tapestry panel, depicting a social gathering

A 1.9m modern two seater settee with polychrome machine tapestry upholstery, set on turned legs with brass caps and casters

A late Victorian cottage armchair, set on pitch pine legs with brass casters - sold with a 1.39m early 20th Century box frame settee, both with later matching machine tapestry upholstery - chair faded

SILVER PLATED MESH EVENING BAG, ALONG WITH A PURSE AND ANOTHER BAG the purse with petit point machined tapestryQty: 3

GROUP OF THREE JAPANESE PRINTS, EARLY 20TH CENTURY each depicting a figural scene, one with character mark, along with a Japanese silk tapestry, all framed and under glasstapestry 31cm high x 36cm wideQty: 4

GILT FRAMED WALL MIRROR, ALONG WITH A MAHOGANY FRAMED WALL TAPESTRY the mirror with scrolling designmirror 128cm high

An 18th century verdure tapestry fragment – depicting trees, approx. 162 x 67 cm, the linen backing and taped edges a/f, fading, some small holes and old repairs.

A mid-19th century carved walnut pole screen - with turned baluster and foliate carved column to a foliate, joined scroll tripod base, holding two rectangular tapestry screens (probably originally from a pair of pole screens) with foliate carved spandrels and needlework genre panels, 46 cm wide, 161 cm high.

A 17th century verdure tapestry table runner – with typical decoration of foliage and flowers, gold thread fringes, 29 x 253 cm (plus fringes), fading, old repairs.

A large mid 19th Century mahogany fire screen with soldier tapestry detail with another pole screen in mahogany again wit frame tapestry and a 1930s fire screen with countryside tapestry.

Jonathon Harris - Ironbridge - A contemporary studio cased glass pedestal bowl, of shallow dished form, blue patterned tapestry style core, clear cases, engraved signature and marks, diameter, 27cm, together with an amethyst glass example, possible trial pieces. (2)

Terry Willson (born 1948) - 'A Part of Life's Rich and Varied Tapestry', etching with aquatint, signed in pencil, artist's proof, unframed, 61cm x 48.5cm, sheet size 75cm x 56.5cm, also an etching by John Walker and five other various signed prints by different hands. (7)

Igshaan Adams (South African, born 1982)Prada IV, 2015 woven nylon rope and string 210 x 165cm (82 11/16 x 64 15/16in).Footnotes:ProvenanceAspire Art Auctions Inaugural Cape Auction, March 2017, Lot 178;A private collection.ExhibitedCape Town, blank projects; Parda; (June - August 2016);Norway, Vestfossen Kunstlaboratorium, KUBATANA, (May - September 2019).LiteratureJ. Ball, J. Higgins & R. Simbao, Igshaan Adams. Cape Town: blank projects, (Blank Projects), p. 93. (illustrated).Igshaan Adams embodies his captivatingly unruly and strikingly optic textiles in Prada IV, an exceptional example of the artist's ethos. The present work explores the complexities of identity through weaving. Navigating his personal identity through his work, Adams investigates themes of religion, race, and sexuality within himself, as well as his place in the world. Born and raised in South Africa during the Apartheid of the 1980s, Adams observes the hybridity of his identity, as a mixed-race homosexual man from a family of different religious practises in an environment where categorisation of society was intensely concentrated.'Navigating my way around the expectations imbedded within stereotypes of my social roles, I continue to search for new understanding, new ways of seeing my combination of identities.' (Igshaan Adams).Prada IV is a symbolically and metaphorically rich piece. The title itself refers to a veil or shroud, a mask concealing something from the lens of the world, displaying the boundary between one creates around them. The Muslim iconography of the present world indeed reflects Adams own religion and, raised by Christian grandparents, the sense of an intertwined narrative is evoked from the woven textiles. The tassels drooping from the work echo the appearance of Islamic prayer mats. Furthermore, Adams equates the act of weaving itself as having correlations with the action of prayer, explaining in his view that ' it leads to the same result internally'. The commonality of repetition and 'great consciousness and understanding'that the two actions share and also share an emotional navigation for Adams; ' internally what happens is you have to push against the feeling of wanting to give up, it's quite daunting to take on the task of weaving something huge', 'its something I experience when I pray too.'Adams therefore encapsulates the fluidity and malleability of identity, how one can both assemble and undo characteristics to enable an understanding of themselves throughout life. As the artist explains, 'need to unearth, unmask and unveil the mysteries hidden within the depths of the Self, beyond race, class, religion, sexual orientation, and gender. Who am I, beyond my identity?'. Through his work, Adams aims to deep-dive into his subconscious and his position in the cultural tapestry and imbedded ideologies. Holding his first UK solo show in 2021 at the Hayward Gallery, Kicking Dust, and currently on view at The Hepworth Wakefield with Weerhound until November 2024, Adams creates immersive installations with a focus on his weaving technique and textile art. With an extensive list of solo exhibitions globally, Adams' work is also included in the permanent collections at the Guggenheim Museum, New York; the Art Gallery of New South Wales, Sydney; the Moderna Museet, Stockholm; Stedelijk Museum, Amsterdam, Netherlands; Art Institute of Chicago; Baltimore Museum of Art; Inhotim Museum, Brazil; Iziko South African National Gallery, Cape Town; Minneapolis Institute of Art; Standard Bank collection, Johannesburg; and the University of Cape Town.BibliographyIgshaan Adams, quoted in Christine Cronjé, Jonathan Garnham, Hannah Lewis, eds., Igshaan Adams, (Cape Town, 2015), p. 109.Igshaan Adams, transcript from 'Møt Igshaan Adams', Nitja senter for samtidskunst, (YouTube, 2019).For further information on this lot please visit Bonhams.com

A GEORGE III GILTWOOD ARMCHAIR CIRCA 1800 Covered in Aubusson tapestry, on fluted legs 90cm high Provenance: The Hon. Claude John Yorke, and thence by descentIllustrated: The Connoisseur, May 1965, p.4 Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe aubuson covering with marks and some discolouration from use, this appears to be later applied, there are signs of re-railing and additional elements to some of the rails of the chair beneath this. Seat cushion with sagging, some loss to the decorative braids and trimGilt with rubbing and wear, some losses to the rear of the top of the back, and also areas of scratching and loss, unevenness in placesPlease see additional images for visual reference to condition  Condition Report Disclaimer

A mid 20th Century La Marquise tapestry bag with gold tone hardware and chain handle together with a family of 4 Chinese dolls with painted heads, hands and feet and other items. Location:If there is no condition report, please request.

A Victorian mahogany nursing chair with upholstered seat and back on carved short cabriole legs, porcelain castors, and a Victorian walnut dining chair with scrolled crest rail, Queen Anne style centre splat, tapestry upholstered seat on knee carved cabriole legs and shaped pad feet Location:If there is no condition report shown, please request

A tapestry Little Bo Peep sitting on the grass beside her hat and watercolour depicting a young girl with a goat, neither bearing a signature, both framed and glazed 58cm x 35.5cm and 54cm x 39cmLocationIf there is no condition report shown, please request

* Morgan (Gwenda, 1908-1991). The Tax Dun, circa 1938, wood engraving on japanese tissue paper, signed, titled and numbered 5/12, along with 'Illustration from ''Tapster's Tapestry" - Golden Cockerel Press.', in pencil to lower margin, image size 14.2 x 10.2 cm (5 5/8 x 4 ins), sheet size 18.9 x 14.3 cm (7 3/8 x 5 5/8 ins), mountedQTY: (1)

A mid 19th century needlework tapestry of a paddle steamer flying the American flag and with raised cord rigging, birds eye maple frame with gilt slipwithin mount 48.5 x 58cm., overall 63.5 x 73cm.Condition:commensurate with age. Overall good

Textiles - a Welsh wool tapestry blanket, geometric shapes in tones of green and yellow on a salmon ground, 170cm x 180cm

Three boxes, the first containing vintage textiles to include tablecloths, napkins, pillow cases, antimacassars, doilies etc, the second containing baby clothes and blankets, handkerchiefs and scarves, gloves etc and the third containing a Union flag, eight completed canvas embroideries, one part completed and a small quantity of tapestry wools together with a small pony and astrakhan coat

Box containing remnants of antique textiles mainly of Eastern origin to include Icat, Gujarati, English tapestry etc together with a box of modern furnishing fabric remnants, pieces of Kantha quilts, old cushion covers etc and a bag of Vogue and Harpers Bazarre magazines from 2018 and 2019 (2 boxes + 1 bag)

Eleven cushions to include two Andrew Martin kilims, three hand stitched gros point tapestry cushions and four chair seat cushions (2 boxes)

Four pairs of vintage shoes to include probably WWII “Woodies” with leather and suede uppers in red and royal blue with wooden hinged soles, a pair of gold lame evening shoes with strap and kitten heels, a pair of silk and metallic thread evening shoes with ankle straps and kitten heels, a pair of purple leather shoes with diamante attachments and kitten heels made by R Phillips & Sons 73 Deansgate Manchester, two evening bags, the first in silk with applied sequins and diamante and applied metallic threads containing a mirror and coin purse, the second of woven tapestry effect fabric with gilt handle and clasp containing integral mirror and coin purse, a dress adornment probably from a rear drape dress of net heavily embellished with glass and pearl bead decoration including swags and tassels (7)

A selection of cushions to include two Moroccan floor cushions, tapestry cushions etc together with three throws contained within a wicker bin, one by Fired Earth measuring approx. 150 cm x 175 cm, one tartan measuring approx. 92 cm x 110 cm and a further tartan throw measuring approx. 74 cm x 164 cm (1 box plus 2 floor cushions)

A 20th Century wool work tapestry panel depicting Moses in a basket being retrieved from the bullrushes by the side of the river beneath a palm tree, approx 114 cm x 102 cm

Bayeux Tapestry, Leonardo fruit pattern mugs plus 3 others 

An 19thC tapestry of a 16thC Viol player 57x57cm

A basket of vintage postcards, many Victorian and some with signatures and inc Bayeux Tapestry 

William IV style tapestry 43cm x 40cm. A Victorian 'Alphabet & Numerical' sampler 32cm x 26cm and framed art work of passengers going to Bury Fair, 1770. 31cm x 41cm.

A framed Thai embroidered tapestry panel, depicting a figure and an animal Condition Report:Available upon request

A lot comprising a late Victorian oak framed Arts & Crafts style armchair with upholstered drop in seat on square tapering supports, an ebonised bergere bentwood child's high chair and a tapestry upholstered circular topped piano stool (3) Condition Report:Available upon request

DOVECOT STUDIOS, EDINBURGH DEAN VILLAGE, EDINBURGH embroidered wool tapestry, signed with artist's symbol lower right, woven weaver's initial verso, 158cm x 204cm; together with the cartoon for the tapestry, signed with artist's symbol lower right, 63cm x 82cm (2)

A set of six Chippendale revival mahogany dining chairs, late 19th century, each with an interlaced openwork splat back applied with linen swag detail, over the tapestry drop-in seat, upon legs of tapering square section united by an 'H' cross stretcher, to include one carver chair, 98cm/47cm high (6)

A set of six walnut George II style dining chairs, each with a vase shaped splat over a drop-in tapestry seat, shaped front apron upon cabriole front legs, plain back swept rear legs, paper retailers label to the underside of three chairs, 100cm/46cm H (6) (at fault)

An Edwardian walnut duet stool, the hinged tapestry work seat opening to twin compartments, flanked by ring turned and incised hand rails, upon conforming supports united by an 'H' cross stretcher, 61cm H x 106cm W x 33cm D

A late 19thC Continental tapestry picture, of a coastal seascape, with fishing vessels and fishing folk, in an oak frame, 73cm x 163cm. (AF)

A late 19thC tapestry picture, of a hunt in full progress, within an oak frame, 47cm x 142cm.

A high back tapestry chair with barley twist legs and a spoon button back chair and an oak table.

A framed tapestry picture of children with goat, two other similar pictures and other prints.

A gilt front needle tapestry with beadwork picture of a head and shoulder female bust; two other pictures; a burr walnut and ebonised desk pen and ink stand with seal.

SAMUEL WEST (1810-1867) Cardinal Wolsey leaving London after his Disgrace Signed 'S.West' Oil on canvas, 102 x 140cmExhibited: Royal Academy 1841; British Institution 1842; Cork Art Union Exhibition, 1843.Literature: A Dictionary of Irish Artists, W.G. Strickland, Pg. 518Samuel West was born in Cork in 1810, to a bookseller father who had moved to Cork from London. West most likely commenced his artistic training in Cork, however, he also travelled to Rome to study during his formative years. Between 1840 and 1867, West exhibited works at The Royal Academy of Arts London and The British Institution. This work was exhibited at the RA in 1841, the B.I in 1842 and the Cork Art Union Exhibition in 1843. In his later years, West turned to copying works of old masters in watercolour such as Titan’s ‘L’homme au Gant’.   (A Dictionary of Irish Artists, W.G. Strickland, Pg. 517-518) Born in 1473, Thomas Wolsey was and English statesman and a Catholic cardinal. His rise in status coincided with accession of Henry VIII. As King of England, he appointed Wolsey as his almoner and gave him a seat of his privy council. By 1514, he became the controlling figure in virtually all matters of the state, reaching the position of the Lord Chancellor. Which he held from 1515 until 1529. He was appointed Cardinal Archbishop of York in 1514 by Pope Leo X.Wolsey fell out of favour after failing to negotiate an annulment of Henry’s marriage to Catherine of Aragon and was thus stripped of his government titles. He retreated to York to fulfil his ecclesiastical duties as an archbishop but was called to London to answer the charges of treason, charges commonly used by Henry VIII against those who fell out of his favour. Wolsey died of natural causes following an accident boarding a royal barge at Cawood, before he could reach London.  This impressive painting presents the moment Cardinal Wolsey was expelled from his London residence, The Palace of Whitehall, to board a royal barge to York after the loss of his government position. Whitehall was subsequently taken over by Henry VIII as his principal residence in the capital after the apartments of Westminster were destroyed by fire. Whitehall served as the seat for English Monarchs from 1530 until its destruction also by fire in 1698. It was an incredibly impressive complex of buildings and at one time the largest palace in Europe. In this work, West depicts the east side of the palace which faces onto the banks of the river Thames.A large crowd has gathered to witness the Cardinal departing, most of the faces seem forlorn, mourning his expulsion from the city. He is escorted by four armed guards, their halberds raised in the air above crowd. Despite his loss of title, he is still treated with great respect by his attendants and household. Courtiers lift the train on his robe, a tapestry carpet has been laid along the steps, and he is helped into the boat by a gentleman dressed in furs, holding in his hand the letter which sealed the Cardinal’s fate.To the right of the composition is figural group of a woman and two children, set slightly apart from the larger crowds. She looks on in distress at the Cardinal. Wolsey was in a ‘non-canonical’ marriage for a decade with Joan Larke of Yarmouth. They had two children, Thomas (born c.1510) and Dorothy (born c.1512), both were born before he was ordained bishop. While the children in this painting would be too young to be either his son or daughter, West may have used this figural group to add further sympathetic appeal towards the Cardinal.The composition follows two diagonals, the first created by the architectural façade of Whitehall stretching along the banks of the Thames, and into the distance. The second is created by the crowd of people following the Cardinal as he descends steps. He stands at centre of the composition, clad in a bright red clerical vestments and hat. Visually he commands the attention of the crowd and us as the viewer. At this time Cardinals wore red to distinguish themselves from all other clerics, signifying the importance of their standing in the religious hierarchy. Presenting him in his vestments may have been an attempt by West to convey Wolsey’s continued sense of pride in his position even after being stripped of his government titles.