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Lot 689
A LARGE AUBUSSON TAPESTRY CARPET. 374 x 242CMthe cream ground field woven with central floral medallion and flower groups to each corner, with narrow café au lait borders (Distressed) Condition Report: - The carpet is described as 'distressed' - it has significant wear and is very faded throughout- We are unable to move the carpet as it is positioned under a four-poster bed and a dining table- Sample photos of damage
Lot 115
A ladies vintage 1970s Biba full length maxi waistcoat. No fastenings constructed of 'tapestry' style fabric with floral decoration in a green, gold and cream palette, labelled, L143cm x chest W38cm Condition Report: Overall in good condition. Some loose threads and light wear consistent with age and usage. No obvious tears or repairs. Some small spots of residue and light marks, should clean off.
Lot 1273
Pair of French walnut framed open armchairs, the square backs with top rails carved with musical instruments and foliage, the tapestry upholstered seats, arm rests and backs decorated with classical scenes of muted tones, raised on turned carved twisted legs, each 65cm wide x 58cm deep x 99cm high (2) Property of Dunkirk Manor, Theescombe, Stroud Condition Report Surface scratches, scuffs and knocks. Minor splits to some of the ball sections at top of legs. small area of loss to carved sectionon top rail of one chair, old worm to the back of top rail on both chairs. Accretions and some mildew. Upholstery on both chairs is faded and discoloured with some splits/tears. Structurally solid. General wear and tear.
Lot 1268
High back oak framed elbow chair in the Carolean manner, the shaped back with tapestry upholstered panel and matching stuffover seat, carved scrolling arms and a carved scrolling pierced front rail, 69cm wide x 52cm deep x 128cm high and an Edwardian mahogany inlaid elbow chair with ladder back and upholstered stuffover seat, 61cm wide x 63cm deep x 76cm high (2)
Lot 794
A 19TH CENTURY CONTINENTAL WALNUT FRAMED TAPESTRY UPHOLSTERED ARCH BACK SIDE CHAIR (2)56cm wide; 110cm high, together with a George I walnut vase back side chair, 53cm wide; 103cm highUpholstery to both chairs in this lot suffer with damages and losses, the George I chair has a missing section to veneer towards the top rail, slightly loose joins to the supports, old marks and scratches present to the frames.
Lot 376
A ROYAL DOULTON 'TAPESTRY' PATTERN DINNER SET, comprising two covered tureens, ten dinner plates, eight side plates, eight dishes, one oval meat plate, gravy boat and stand, teapot, milk jug, sugar bowl, eleven tea cups, twelve saucers, twelve tea plates (69) (Condition Report: no obvious damage, signs of light to medium use)
Lot 384
A GROUP OF ASSORTED MISCELLANEOUS ITEMS to include a Cheney case width 50cm x depth 30cm x height 28cm, West German tapestry style-wall hanging height 130cm x length 128cm, a bag of pine cones, a group of stoneware drinking bottles comprising six T.F. Adam's Ginger Beers (visible chips), three Alabaster's Ginger Beers, and a flagon, six oil decanters with plated handles and snake decoration (corks in various states of damage), a pressed glass cake stand, and a pink opalescent glass shade fixture hole diameter 6m rim diameter 15cm (two chips to the fixture hole), a white porcelain oriental figure (visible signs of repair) (qty) (s.d)
Lot 2089
Metrax-Craye two Flemish tapestries, another two tapestries depicting ' the tree of life ' possibly by Metrax together with a Paoletti throw with fringe, another throw with tassels and six other tapestry itemsCondition Report2 @ 140cm x 38cm 1 @ 127cm x 170cm 1 @ 128cm x 160cm 2 @ 67cm x 130cm 2 @ 89cm x 69cm 1 @ 87cm x 62cm 2 @ 92cm x 58cm 1 @ 89cm x 59cm Some fading/discolouration, wear and some fraying. General wear and tear.
Lot 5514
Victorian and later mahogany and upholstered furniture; Victorian nursing chair with teal seat; Georgian design elbow chair with pierced splat and padded seat; Victorian armchair with red seat; floral tapestry footstool; two footstools in green and beige; bedside cabinet with drawer and shelf; adjustable fireside chair with teal upholstery (9)
Lot 19
WILLIAM KENTRIDGE (B. 1955)Promised Land: Horse Series with the signature 'Kentridge' (in the weave, on the reverse) and further signed twice, extensively inscribed, dated and numbered 'Promised Land: Horse Series 2008 1/6' (on the artist's label on the reverse)mohair, acrylic and polyester tapestry380 x 426cm (149 5/8 x 167 11/16in).This tapestry was executed by The Stephens Tapestry Studio under the direction of Marguerite Stephens in 2008, and is number 1 from an edition of 6.Footnotes:ProvenanceAnnandale Galleries, Sydney.Acquired from the above by the present owner. ExhibitedSydney, Annandale Galleries, Telegrams From The Nose, 11 June - 19 July 2008.Naples, Museo di Capodimonte, Streets of the city (and other tapestries), 14 November 2009 - 20 January 2010.Johannesburg, Wits Art Museum, William Kentridge Tapestries in Johannesburg, 19 November - 14 December 2014.Bentley, The John Curtin Gallery, Invisible Genres, 21 September - 4 December 2016.Monumental and incisively profound, Promised Land: Horse Series exemplifies William Kentridge's masterful ability to interweave art, history, politics and literature. The scale and intricate execution, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art.This present work belongs to the artist's 'Horse Series'. The motif of the horse in Kentridge's work is multi-layered and symbolic, representing themes of power, movement, war, and displacement. The horse, somewhat fragmented or abstract in form, could be suggestive of the fractured history of South Africa and the complex, often violent, colonial legacies of the land. Through Kentridge's use of black and white contrasts, reminiscent of his iconic charcoal drawings, the tapestries evoke a sense of history unfolding, with elements of uncertainty and unresolved tensions. In a rather comical and playful manner, the horse is being ridden by a 'nose'. William Kentridge often included a nose in his art as a reference to Nikolai Gogol's satirical short story The Nose, which explores themes of absurdity, identity, and power. Kentridge, influenced by this tale depicts the nose as a humorous yet profound symbol for the challenges of self-perception, authority, and the breakdown of rational order, often tied to broader social and political critiques. This is further emphasised by the horse portrayed as moving through space or frozen mid-action, which recalls the colonial past of South Africa, where horses were often associated with the military, conquest, and authority. The map in the background of this present work is based on the original 16th-century design by Christiaan van Adrichom, and later updated in the early 18th century by Pierre Mortier, of the Holy Land. This map played a significant role in shaping the European understanding of the Holy Land, as van Adrichom's blend of theological history and geography profoundly influenced how the region was perceived for centuries. Kentridge's use of historic maps in his works creates a powerful sense of alienation. As we search these maps for familiar places, we encounter a disjunction: historical events have irrevocably altered the regions we know. Over time, boundary lines, place names, and even locations themselves shift, rendering the past both unfamiliar and estranged from our contemporary sense of geography.Born in Johannesburg in 1955, Kentridge's practice is deeply tied to the broader political and social landscape of post-apartheid South Africa. He seeks to explore the scars left by apartheid, the legacy of colonialism, and the ongoing struggles for equality and justice. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory. He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day.William Kentridge introduced the medium of tapestry into his repertoire as a way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Kentridge's tapestries are developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of historic maps. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. Moreover, the medium of tapestry itself is significant: tapestry has a long history as a form of storytelling, often used in medieval Europe to depict battles and historical events. By choosing this medium, Kentridge draws a parallel between the act of weaving and the construction of history, suggesting that both are processes that involve the layering of multiple, often conflicting, narratives. The tactile nature of the tapestries, with their rich textures and physical presence, emphasises the materiality of history; how it is not just an abstract concept but something that can be touched, felt, and experienced. Promised Land: Horse Series represents a remarkable fusion of art, memory, and political commentary. Through the motif of the horse and the nose, Kentridge taps into powerful symbols of history, migration, and displacement, while the medium of tapestry allows him to weave together the fragmented narratives that characterise our complex past. This work stands as a testament to the enduring power of art to reflect on history while also creating new meanings and interpretations, Kentridge invites viewers to consider the ways in which history is constructed and remembered, and how a different medium of art can play a role in unravelling its complexities.The present lot along with two works by Auguste Herbin and a work by Jean Pougny, all of which are being offered in the Impressionist & Modern Sale (Lots 102-104), hail from the prestigious Morgan Collection in Perth, Australia. Amassed for over 25 years it encompasses an eclectic range of both international and Australasian art, and Bonhams are honoured to present these four works for sale.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 291
A LARGE AFRICAN KUBA-KASAI CLOTH CUSHION MODERN approximately 170 x 65cmTOGETHER WITH OTHER TEXTILES; A geometric pattern cushion; sections of printed scarlet floral silk; a cream and black printed quilted bed cover with a label for 'Raag AHMEDABAD INDIA'; two machine made rugs; a section of machine woven indigo, cream and iron red fabric; and a machine made verdure tapestry fabric curtain by repute from Robert Kime Ltd.
Lot 1173
Three mid-20th century reproductions of the Bayeux tapestry, depicting Scene 38: Norman soldiers boarding ships for the voyage to England and Duke William leading his cavalry, the largest with Latin inscription "Sivit: Ad: Hestinga" (W159cm, D68cm); the two smaller with inscriptions "Hic V Villelm Dux" and "Navigio:" (W44cm, D46cm)
Lot 222
Hand-woven wool tapestry. Dimensions: 195 x 170 cm. Signed with the woven monogram. From an edition of 20 copies. Delaunay began her career as a painter, associated with the Orphism movement, which sought to express the dynamic and harmonious qualities of colour through abstract art. One of the most notable aspects of her career was her exploration of the synergy between art and design. She believed that art should not be limited to canvases but should be a part of everyday life, which led her to experiment with various forms of applied art, such as textiles and fashion. Together with her husband, Robert Delaunay, she developed the concept of "Simultaneism", which sought to capture the dynamic interplay of colour and form in motion. Tapestries were an ideal medium for her artistic vision, allowing her to expand her designs into large-scale works that could decorate spaces with their vibrant and dynamic patterns. Delaunay's tapestries are characterised by their use of contrasting colours and intricate compositions, as seen in this work, which employs geometric shapes and abstract motifs to convey a sense of movement and energy. Provenance: French private collection.
Lot 89
Registration No: Y834 MWL Chassis No: SCFAC133X1B500004 MOT: July 2025Loaned by Aston Martin to EON Productions for a photoshoot at Pinewood Studios with Pierce Brosnan to promote the twentieth James Bond film, 'Die Another Day'Finished in the same Tungsten Silver with Charcoal leather and an aluminium centre console as the hero cars in the film (hence the reason it was requested for the photoshoot)A notably early production example and one of seven cars which were initially retained by the factory for press dutiesSubsequently road registered as 'M16 SPY' and 'A12 AML'Part of a prominent Aston Martin collection since 2003The lead car in a parade to commemorate the opening of the M6 Toll roadJust c.37,800 miles from newPLEASE NOTE: The check engine light has recently appeared on this lot.A landmark model in Aston Martin’s history, the Vanquish MkI was unveiled at the 2001 Geneva Salon. Styled by Ian Callum and notable as his first ‘clean sheet’ design for the marque (as opposed to the DB7 which sat on a modified Jaguar platform), the newcomer featured a bonded composite aluminium chassis with carbon fibre backbone. Developed in conjunction with Lotus, the structure was equipped with all-round independent suspension and four-wheel, ventilated ABS disc brakes. A true Grand Tourer available in two-seater or 2+2-seater guises, the Vanquish was powered by a 6-litre V12 DOHC engine allied to automated six-speed manual transmission. With some 460bhp and 400lbft of torque on tap, the Fixed-Head Coupe was reputedly capable of 0-60mph in 5 seconds and 190mph. Although it broke a lot of new ground, the Vanquish was also notable as the last Aston Martin to be handbuilt at Newport Pagnell, with just 1,503 being completed before the arrival of the Vanquish ‘S’ in 2004. Confident that it had produced a winner, Aston Martin readied seven early production cars for UK press duties road registering them as ‘Y829 MWL’ through to ‘Y836 MWL’ during June 2001 (with the exception of ‘Y830 MWL’). The septet then appeared in a plethora of magazines and brochures. Taken on a road trip to Scotland, this particular example – ‘Y834 MWL’ – was the subject of a multi-page article entitled ‘Loch, Stock and Two Smoking Barrels’. However, its true claim to fame came was when it was delivered to Pinewood Studios to be photographed alongside Pierce Brosnan as part of the promotional campaign for the twentieth James Bond film, ‘Die Another Day’.Notable as the first 007 outing since ‘The Living Daylights’ in 1987 to star a current Aston Martin model as the hero car, ‘Die Another Day’ signified a re-forging of the links amid the British manufacturer and EON Productions such that the world’s most famous spy has remained a resolute Aston man ever since! Invited to the factory before filming commenced, Brosnan was sufficiently bowled over by the Vanquish to acquire one which remained with him until 2015 (when it was sadly destroyed in a house fire). Finished in the same Tungsten Silver with Charcoal leather and an aluminium centre console as the Vanquish's that lit up the silver screen but sadly lacking their ejector seat, missiles and machine guns, ‘Y834 MWL’ was an obvious choice for the Pierce Brosnan / Pinewood Studios photoshoot which was subsequently syndicated worldwide. Indeed, images from the iconic collaboration between James Bond and ‘Y834 MWL’ are still being used by numerous newspapers, magazines and websites today. Having graced the front cover of Aston Martin News in February 2002, the GT sported the appropriate number plate ‘M16 SPY’ for a brief while before being sold to the vendor by JCT600 of Leeds the following year. A prominent (and prolific) Aston Martin collector, the seller has enjoyed exhibiting his ‘James Bond’ Vanquish at numerous events and shows over the years, not to mention touring abroad with the Aston Martin Owners’ Club to the Le Mans 24-hours and Portugal etc. However, his favourite memory of the Tungsten-hued Coupe is from 9th December 2003 when he headed the parade of cars which were the very first to use the M6 Toll road. Registered as ‘A12 AML’ at the time (aping the ‘V12 AML’ number used by the factory), the GT reverted to its most famous plate ‘Y834 MWL’ during February 2022. Accompanying service invoices suggest that the Vanquish has covered 18,000 of its warranted c.37,800 miles in the vendor’s hands (albeit less than 4,000 of those have been accrued over the past decade). Highly original, the GT looks very much the same as it did when promoting ‘Die Another Day’ twenty-two years ago. Any Vanquish is a special car with Evo magazine naming the model as one of its 25 most significant performance cars of the last 25 years in 2023 and commenting thus: “If the DB4 of 1958 signalled the start of Aston’s original golden era, the Vanquish kick-started a new golden age that would see Gaydon-built cars, led by DB9 and Vantage, achieve unprecedented sales. Quite simply, it sparked the most successful period in Aston history, and for that Aston fans – and really anyone who enjoys the rich tapestry of performance cars – should be forever grateful”. However, as a bona fide piece of James Bond memorabilia, ‘Y834 MWL’ has a significance all its own. Offered for sale with V5C Registration Document, history file, owners handbook and service book plus current MOT certificate valid until July 2025. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
Lot 627
A pair of Georgian Chippendale design oak dining chairs, with vase-shaped slats and needlework, drop-in seats, 55 x 50 x 99cms high; and a mid-19th Century mahogany Chippendale style single chair, shaped top rail over a pierced central splat, stuff over tapestry seat on square section supports united by a ‘H’ shaped stretcher, 56 x 49 x 96cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
Lot 594
A Victorian mahogany stool, c.1860, the rectangular tapestry seat over tapered and part upholstered side, the lower edge of the stool is mahogany veneered with a broad half bobbin moulding, on four turned and carved bun feet with concealed casters, 73 x 52 x 40cms high.PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
Lot 646
A George I style walnut and burr walnut elbow chair, with broad vase-shaped splat, out splayed arms, drop in seat and scroll carved legs with trefid feet, 69cms across arms x 55 x 100cms high; and a mid-19th Century mahogany Hepplewhite style shield back single chair with pierced back, drop in tapestry seat on four moulded square section supports 54 x 45 x 95cms. (2)PROVENANCE: The Graham Smith Retirement Auction - 50 years in the Antiques Trade.
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