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Lot 696
INDIANA ROBERT (1928 - 2018)mounted 'Liebe Love' tapestry - edition for Galerie-F with the original label on the backINDIANA ROBERT (1928 - 2018) mooi gemonteerd 'Liebe Love' tapijtje n° 267 in handgetufte wol met de Belgische kleuren - 60 x 60 editie voor Galerie-F met origineel label op verso
Lot 2621
A large Aubusson tapestry rug, with central oval floral lozenge, surrounded by a large floral wreath with lyre forms to each end, on cream ground, with formal tendril design border on dark red field, 416 x 297cmCondition Report: Generally in good clean condition There are some marks to the border, as noted in further illustrations.There are some fold creases which would probably come out with cleaning.Of fairly recent manufacture.
Lot 299
TWO PAIRS OF FRENCH ARMCHAIRSthe first of Louis XVI style but 19th century, with oval backs and upholstered in pink floral tapestry, terminating on fluted legs, 88cm high x 48cm wide x 43cm deep, the second of Louis XV style, 19th century or later, the curvaceous outline adorned with carved flower sprigs, terminating on cabriole legs, 84cm high x 60cm long x 52cm deep (4)
Lot 436
White (Tim, artist, 1952-2020) Archive of original artwork illustrations for 'Weaveworld' by Clive Barker, comprising three original illustrations for cover and spine designs on boards, and other original variation designs for illustrations or initials of the work on paper, all signed by the artist, some mounted on sheets (one detached), v.s., [1987] (sml qty)*** A remarkable archive documenting the creation of the entire publication of the science-fiction artwork for the first edition of Barker's novel Weaveworld. Tim White is celebrated as a representative of a new school of super-realists that began shaping British science-fiction art in the mid-1970s. Other notable works include designs for Frank Herbert, Robert A. Heinlein, H.P. Lovecraft and August Derleth. The artist was particularly pleased with this work, and described in a letter that the "painting is a bit magical in that in certain light it seems to 'come alive'. I don't know if you have read the book? The carpet design in the book does just that!". Published in White's Chiaroscuro (1988), the illustrator explains the central theme of carpet within the novel: "gradually the idea evolved to use the carpet border to reflect events in the novel...the final design includes 32 separate vignettes, each portraying elements of the story", all of which is surrounded by a border of imagined "viruses, bacteria, parasites"..."whose purpose is to defend the carpet". White even claimed that Collins commissioned the Royal College of Art's Tapestry Studio to create the carpet itself, though the whereabouts is unknown. For the main cover image, White utilised colour theory, and deliberately chose contrasting primary colours to create a visually unsettling effect. While he enjoyed creating the designs for the work, White disliked the time constraints placed on him by the publisher. He recalled having "a bit of a bad time withe art director", and found that of daily nagging phone calls from Collins put him under pressure. Ultimately, though, White's labours were rewarded: "When the book came out and Clive Barker was on the Jonathan Ross show, with his book, he called me a genius!". Archive comprises: 1) 'Uriel', front panel jacket design for 'Weaveworld', airbrush and acrylic on board, signed in image and on board below in pen,c.35 x 245mm ( image c.300 x 155mm (11 ½ x 6 ¼in), taped down.2) 'Magic Carpet', 2 designs for spine and lower panel, airbrush and acrylic on boards, signed in image and on board below in pen, c.350 x 235mm (13 ¾ x 9 ¼in) and 345 x 80mm (13 ¾ x 3 ½ in), taped down.3) Untitled back cover design for lower panel, acrylic on paper, signed by the artist below, 190 x 120 mm (7 ½ x 4 ½ in). 4) 10 designs for 'Weaveworld', mostly illustrations and one jacket design, acrylic and pencil, laid down on 2 sheets, one detached, pencil designs slightly foxed, each signed on image, some with captions below, with inscription "Dear John, here are some ideas for 'Weaveworld', I hope you like them. Kind regards Tim" at top of first sheet, largest image 120 x 65mm (4¾ x 2¾ in), smallest 50 x 30mm (2 x 1 in).5) 4 designs for initials and in-text decorations, black pen and ink on 3 sheets, signed by the artist. 6) First edition of Weaveworld, signed by the author on title, original boards, dust-jacket, spine faded, 1987.
Lot 898
depicting Christ and three females figures within an extensive landscape, woven with silk and chenille threads, raised stumpwork and incorporating woolwork and tapestry sections, in a glazed and double frame, 49cm x 60cm, framed size 63cm x 74cm. *CR Damp? spots to the sky area, fading, some threads coming loose.
Lot 463
A large crewelwork cream and blue tapestry cushion, a small green jacquard cushion with fringed edge made by Watts of Westminster, two pairs of Laura Ashley blue curtains, two pairs of cotton linen Victorian lined floral curtains and a pair of green Watts of Westminster jacquard lined curtains (7).
Lot 30
Louis le Brocquy HRHA (1916-2012) The Táin - The Boy Cúchulainn Hurling, 1969 Aubusson Tapestry, 184 x 129cm (72½ x 50¾''), Edition 2/9 Produced by René Duché, Signed on label versoProvenance: With Taylor Galleries, Dublin where purchased by the current owners.Having commissioned a new translation of the Irish mythological epic, the Táin Bó Cúailnge from Thomas Kinsella in 1967, Dolmen Press publisher Liam Miller approached Louis le Brocquy with a view to his making a series of illustrations to complement the text. Le Brocquy embraced the challenge. Recalling the striking, calligraphic approach to painting in the work of the Parisian, Belgian-born artist, writer and poet Henri Michaux, inspired by Zen calligraphy, le Brocquy felt he could devise a graphic visual language that would convey the sweep, pace and movement of the great epic and its formidable, larger-than-life characters. Furthermore he could do so harnessing all the freedom of monochromatic, brush and ink drawing, reflecting the reality of the printed black-on-white publication.The result was a series of remarkable graphic works that brought the ancient world of heroes and incredible feats to vivid life, to universal acclaim. Even as he worked on the brush drawings, le Brocquy began to think that the bold, energised images, formed by pure, unmediated gesture, might by ripe for translation into lithography and tapestry. A major commission for the PJ Carroll & Sons building in Dundalk allowed him to create an epic tapestry, The Táin, woven by Aubusson in 1970. That tapestry is made with a colour palette. A later commission, towards the millennium, prompted him to revisit his original illustrations and realise his ambition to explore the possibilities for working in black-and-white. Atelier René Duché at Aubusson wove another vast commissioned work, Army Massing, and also a series of individual pieces, all in black-and-white, including this energetic tribute to the super-heroic Cúchulainn, celebrating his prowess at the national sport.One of the leading Irish artists of the 20th century, le Brocquy was a central figure in Irish art and cultural life from the early 1940s onwards. He is celebrated for his approach to capturing the individual human consciousness, including his innovative portrait heads of writers and others.Aidan Dunne, August 2024
Lot 29
Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)The Forbidding Angel study/cartoon for the subject in Sir Gawaine and Sir Uwaine (Sir Gawain and Sir Ewain) at the Chapel of the Sangreal, Stanmore Hall tapestry seriescoloured chalks50.2 x 25cm (19 3/4 x 9 13/16in).Painted circa 1894Footnotes:ProvenanceWith The Fine Art Society, 1896.William Hesketh Lever, 1st Viscount Leverhulme, 1922.Lady Lever Art Gallery, National Museums and Galleries on Merseyside, Liverpool1922-1958, numbered 1783.Sale, Christie's, London, 'Modern pictures and Drawings mainly of the British School of the Nineteenth Century, the Property of the Trustees of the Lady Lever Art Gallery, Port Sunlight, coming from the collection of the 1st Lord Leverhulme', 6th June 1958, part of lot 27 (sold with another pastel The Failure of Gawaine and Sir Ewain.Private collection, UK.Because of the simplicity of the draperies and drawing of the Angel's wing, it is suggested that this pastel (possibly cut down from a larger cartoon) was made in the early stages of the evolution of the tapestry. Variations occur in the position of the hands and in the structure of the door from the final design. This pastel was sold in 1958 by Leverhulme with another entitled The Failure of Sir Gawaine and Sir Ywain. It is not beyond credence that this was the other half of the composition and it had been therefore previously cut down: the measurements of this piece imply that if it was part of a cut down design it was larger than the cartoon that followed (now in a private collection) and was the same scale as the pastel of The Attainment (Birmingham City Art Gallery, acc no. 1949P6). It is interesting to note that in the preparation of a tapestry, Burne-Jones was very concerned with colour and background, unlike the simpler processes involved in the making of a stained glass window that he had developed with Morris & Co., where he left the introduction of colour entirely to Morris.We are grateful to William Waters for compiling this catalogue entry. The work is listed in the Burne-Jones catalogue raisonne, https://www.eb-j.org.For further information on this lot please visit Bonhams.com
Lot 121
TapisserieFrankreich (Gobelins), 1. Drittel 18. Jh.Wolle, Seide. Venus und Adonis. Laubwerk-Bordüre. Etwas beschnitten, rest. Lichtschäden. Bordüre weitgehend erg. Hinterfüttert. 209 x 217 cm.Nach Vorlagen Jean de Boulognes: vgl. Standen, Edith A., Ovids Metamorphoses: A Gobelins Tapestry Series, in: Metropolitan Museum Journal 23 (1988), S. 149ff., hier: S. 175ff. mit. Abb. 37 (Sothebys New York 25.06.1982).
Lot 467
Mixed chairs to include four Edwardian inlaid mahogany dining chairs with pierced central splats, upholstered seats on cabriole legs, one A/F, along with a Victorian mahogany tapestry upholstered chair on turned front legs and ceramic castors, and an inlaid walnut upholstered nursing chair with turned front legs and castors, and a gilt decorated leather pouffe Location:GIf there is no condition report shown, please request
Lot 550
A mixed lot of furniture to include a 1920s serpentine fronted sideboard, single drawer over two cupboard doors on ball and claw feet, 1920s mahogany display bookcase having Sheraton style moulding, twin glazed doors over three cupboard doors, 192 x 139 and a Victorian satin wood dressing table mirror and an oak tapestry, a sideboard, a wall mirror, a Pembroke table and an upholstered wing back chair Location:G If there is no condition report shown, please request y topped stool
Lot 133
A EUROPEAN WOVEN CARPET IN AUBUSSON STYLE 320 x 249cm Condition Report: The carpet's decoration is in Aubusson style, the construction of the carpet is in 'pile' and not tapestry (as true Aubussons would be). This is of 20th Century make - probably Mid 20th century Carpet with some wear and marks overall consistent with age and use. Longest edges with some wear and loose threads. Fringing has been lost at both ends. The remnants of the fringing with wear, fraying and loose threads to both ends. Areas of loss to pile towards centre of carpet (approx. 5x3cm). This appears to be from old moth damage. What appears to be a ring mark to guard stripe at one side of carpet. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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