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French machine-made tapestry wall hanging/ panel by Les Tapisseries D'Halluin depicting an elegant garden of fruit 170x130cm together with a (faded, AF) similar type (2)

A quantity of antique engravings together with oil painting of estuary scene and tapestry picture

A George III beechwood armchair in the manner of John Linnell, with tapestry upholstery. H.95cm.

A mid century fire screen with tapestry insert, glazed. H.76 W.55cm.

Incl. a.o.: (1) Tom Poes Mini quartetin Rolfix slipcase display. Rolfix, ca. 1953. (2) Pako Tom Puss tapestry, 1963. 57 x 35 cm, still in orig. packaging. (3) Sola 1950s box w. spoon. Fork added. (4) Tovertekenschijf no. 1-4 in orig. (dam.) wrapper. -and 3 duplicates. (5) Copper plate of Mr. Bumble striking the desk with his fist. Unknown, ca. 1980-1990. (6) Beloningsstempels Box I w. 12 stamps. (7) Tom Poes Weekblad, 3 loose issues from the 1950s. Added: 8 foam plastic Paulus de Boskabouter figurines, 1960s.

Michiel Wauters WerkstattKönig Charles II. von England zu Pferde, glorifiziert von antiken Göttern, im Hintergrund das Panorama von London (Entwurf von Abraham van Diepenbeeck)um 1660/1670Tapisserieca. 290 x 500 cm, unterer Rand beschnitten Kunsthandel Wagner-Maurer, Wien, 1974;Sammlung Erna Weidinger (1923–2021)1974 Wiener Kunst- und Antiquitätenmesse, S. 94vgl. David W. Steadman, Abraham van Diepenbeeck. Seventeenth-Century Flemish Painter, Michigan 1982, S. 48 (…"such as Charles II on Horseback, a portrait which indeed was one of those translated into a tapestry.");Wiener Kunst- und Antiquitätenmesse, Wien 1974, S. 94 (mit Abb.)Die monumentale Tapisserie entstammt der Werkstatt von Michiel Wauters, einer der führenden Manufakturen Antwerpens. Die von den Habsburgern regierte Stadt war die herausragende Kunst-, Textil- und Luxusgütermetropole des 17. Jahrhunderts, sowohl in der Produktion als auch im Handel. Die auf den Vertrieb derartiger Kunstgüter spezialisierte Familie Forchondt unterhielt intensive internationale Beziehungen zu allen großen Herrscherzentren wie England oder Spanien. In der kaiserlichen Hauptstadt Wien jedoch wurden die hier sesshaft gewordenen Söhne der Familie Forchondt bereits in den 1660er Jahren nicht nur zu Hofjuwelieren ernannt, sondern erhielten auch eine offizielle Handelslizenz. Sie arbeiteten eng mit Michiel Wauters zusammen, der die seit der ersten Hälfte des 17. Jahrhunderts bestehende Tapisserie-Werkstatt seines Vaters durch die Umsetzung von rubenesken Entwürfen zur Blüte brachte. Einer der bevorzugten Künstler dazu war Abraham van Diepenbeeck (1596-1675), welcher seit den 1620er Jahren selbst eng mit Peter Paul Rubens (1577-1640) zusammenarbeitete. (vgl. Guy Dermarcel, Flemish Tapestry, New York/London 1999, S. 255 ff.)Das Inventar von Michiel Wauters vom 16. Oktober 1679 beschreibt eine Folge von acht Tapisserien mit Pferdedarstellungen von Abraham van Diepenbeeck. Es wurden mehrere Sets gewoben, welche sich heute zumeist in englischen Sammlungen befinden. Die Szenen sind alle inspiriert von Entwürfen, die Van Diepenbeeck für den Duke of Newcastle schuf. Sie wurden in dem 1657 publizierten und ebenfalls König Charles II. gewidmeten Buch über die Reitkünste "Methode et invention nouvelle de dresser les chevaux" als Stiche veröffentlicht. Das Buch war als praktische Anleitung zur Pferdeerziehung konzipiert und so wurden die meisten, eher nüchtern gehaltenen, Darstellungen erst bei der Umsetzung in Wandbehänge durch klassisch-antike Adaptionen auf eine weitere repräsentative Ebene gehoben. Zu nennen wäre hier beispielsweise die Tafel 24 des Buches "Courbettes de coté à gauche", welche erst in der Tapisserie den Pferdetrainer als "eleganten Mars" darstellt (vgl. David W. Steadman, Abraham van Diepenbeeck. Seventeenth-Century Flemish Painter, Michigan 1982, S. 48). Auf der im Archiv des RKD, Den Haag, befindlichen Fotografie von einer Tapisserie dieser Reitschul-Darstellungen ist eine dem vorliegenden Wandbehang vergleichbare Bordürengestaltung dokumentiert (vgl. RKD, Foto-Nr. 235188). Die Komposition mit Charles II. ist jedoch im Gegensatz von Beginn an als durch die Mythologie übergeordnete Huldigung des Herrschers entworfen. Schon das von Cornelis van Caukercken (1626 - 1680) gestochene Blatt "Charles Le Second Roy de la Grande Bretagne" (Abb. 1) zeigt damit u.a. große Nähe zu Jacob Jordaens, welcher um 1650 die Entwürfe zu einer "Reitschule" in Kombination mit antiken Gottheiten geschaffen hatte – auch Kaiser Leopold I. erwarb die gewobene Serie, sodass sich diese heute im Kunsthistorischen Museum, Wien, befindet (vgl. KHM, Inv.-Nr. Kunstkammer, T XL 1). Das am unteren Rand des Stichs nach Abraham van Diepenbeeck angebrachte Spruchband verdeutlicht zudem, dass es sich schon bei der Komposition um die einer Apotheose gleichenden Glorifizierung Charles II. als König, Feldherr und Reiter handelt: "Que Pallas soit vôtre guide, Cupidon vôtre Page, Mars le Capitaine qui conduise vôtre courage; Que votre propre monture foit le Pegase aile, Et Mercure, comme laquaÿ, toûjours a vôtre côte Que la Fortune soit en votre seul pouvoir soûmise, Elle, qui sur nos testes ést jusques icÿ affise."Möge Pallas Euer Führer sein, Cupido Euer Page, Mars der Kapitän, der Eure Courage leitet, Möge Euer eigenes Ross der Flügel des Pegasus sein, und Merkur als Diener, immer an Eurer Seite, Auf dass Fortuna Euch allein untergeordnet ist, Sie, die stets über unser Schicksal bestimmt. Während im Stich der Protagonist von einer Heerschar von Engeln mit Kronen bedacht wird, zeigt die Tapisserie am rechten oberen Rand Pallas Athene, die Göttin des Kampfes, der Weisheit und der Kunst mit nur einem Begleiter, welcher König Charles II. mit einem Lorbeerkranz bekrönt. Rechts unten folgt Cupido seinem Herrscher mit dessen Helm, während in der linken unteren Bildebene der kämpfende Mars neben allerlei Gerätschaften zur Kriegsführung dargestellt wird. Mittig, direkt unter dem stolzen Ross, ist Hermes der Götterbote mit seinem Heroldstab dargestellt – hier, wohl in Bezug auf das Spruchband, als "Glücksbringer" bzw. "Überbringer des Glücks".Im linken Mittelgrund ist die Stadtansicht von London wiedergegeben. Am vorderen Flussufer ist die Kathedrale von Southwark zu sehen, während die alte, damals mit Häusern bebaute London-Bridge das Auge des Betrachters zum Panorama der Stadt führt. Neben zahlreichen anderen Kirchen ist u.a. die St Paul’s Cathedral links über Mars' Schwert zu erkennen. Die Perspektive und Ansicht entsprechen annähernd einem London-Panorama von Claes Visscher (1587-1652), welches 1616 erstmals publiziert wurde und als eine der besten Darstellungen der Metropole noch vor dem ‚Großen Brand‘ im Jahr 1666 gilt.Auch als königliches Siegel hatte Charles II. eine Darstellung zu Pferde vor dem Londoner Stadtpanorama gewählt. Denn Reiterbildnisse verkörpern seit der Antike den Inbegriff des Herrschers, der Macht und des Sieges. Sie wurden spätestens seit der Renaissance in Europa zu einer der bevorzugten Repräsentationsformen erhoben. Die Pose des Pferdes und seines Reiters entsprechen auf vorliegender Tapisserie bis auf kleine Details einer weiteren Komposition Abraham van Diepenbeecks, den spanisch-habsburgischen "Kardinalinfant Ferdinand (1609-1641) zu Pferde" darstellend, entworfen in den 1630er Jahren und von Antony van der Does (1609-1680) gestochen. Auch dieses Werk Diepenbeecks steht in großer Nähe zu Rubens und seinen stilprägenden Reiterbildnissen eines Herrschers auf einem Pferd in klassischer ‚Levade‘.

19th century mahogany dining chair with floral tapestry seat

Small tapestry covered footstool

19th century adjustable tapestry screen

A BOX AND LOOSE OF SECOND HALF 20TH CENTURY PAINTINGS, PRINTS AND TAPESTRY PICTURES, including an impasto view of a Continental city, oil on canvas, indistinctly signed and dated (19)71 lower right, patched repair, 39cm x 78cm, open edition Adrian Rigby print of Concorde 'Flying The Flag', modern unframed oil on canvas of a landscape, etc., s.d. (1 box and 7 loose)

FRENCH VERDURE DESIGN TAPESTRY, 200cm x 142cm.

Tapestry needlework upholstered open armchair, with canework seat and wavy front stretcher, 61 x 106 x 47cm.

Early 20th century walnut stool, with shell carved cabriole legs, with floral woolwork tapestry seat, 43cm high x 54cm wide x 45cm deep

A rectangular Mahogany framed Stool standing on cabriole legs, the drop-in tapestry seat depicting stylised flowers and foliage, 23 1/2" x 18 1/2" x 18 3/4".

A nicely carved oak stool standing on cabriole legs terminating in scroll feet and having shell and scroll decoration throughout. The seat having a tapestry and petit point upholstered seat depicting a tree in bloom with a dragon contemplating attacking an exotic bird on a branch, 21 1/2'' square x 21'' high approximately.

An antique tapestry of a bird of prey looking into a pond fed by a waterfall in an ornate frame, some loose pieces, 27" wide x 32 1/2" including the frame.

A Firescreen with woolwork tapestry picture of young girls gathering flowers, 23 1/2" x 29".

George III mahogany framed fireside wingback armchair, high shaped back over rolled arms and sprung seat, upholstered in antique design tapestry fabric depicting knights and royals riding through the forest, raised on cabriole front supports with shell moulded knees terminating to hairy paw feetDimensions: Height: 117cm  Length/Width: 77cm  Depth/Diameter: 70cm

George III mahogany elbow chair, scroll eared cresting rail over carved shaped interlaced and pierced splat, swept arms with scrolled terminals over a tapestry floral needlework drop-in seat, on square supports with inner chamfer, joined by H-stretcherDimensions: Height: 98cm  Length/Width: 66cm 

Clement B Flower (British Late 19th to Early 20th century): Portrait of an Edwardian Lady 'Miss Diane Jackson' with a Medieval Tapestry Behind, oil on canvas signed and dated 1910, labelled verso 75cm x 62cmNotes: Clement Flower was a student at Hubert von Herkomer's art school in Bushey, Hertfordshire

Unusual 19th century mahogany corner child's chair with bowed back, pierced splats, tapestry seat, front cabriole legs with ball and claw feet, 69cm high

A PAIR OF 19TH CENTURY DUTCH WALNUT MARQUETRY/PARQUETRY SIDE CHAIRS backrests with serpentine tops over shaped splat over tapestry upholstered seats on cabriole supports, 102cm high x 52cm wide x 54cm deep (2) Condition Report:Available upon request

An antique ottoman upholstered in a floral printed tapestry material, on castors, 135 cm wide, 55 cm deep, 44 cm high

An Edwardian fire screen with inlaid detail and tapestry back

Two tapestry cushions plus another cushion, and a roll of pink material.

An old "Singer" foot operated sewing machine serial No 29K53, plus a tapestry (as found).

A small trolley case and two more bags, a tapestry bag, suit bags, etc.

A micro bead tapestry of Jesus at the Last Supper, 19th century, approx 22.5 x 22.5 cms, framed and glazed.

Chinese cloisonne vases, the first of baluster form, yellow enamel ground with prunus and chrysanthemum decoration, approx 26 cms. The second of tapering form, black ground decorated with tree peony, approx 44 cms h (af) together with Chinese silk tapestry, approx 29 x 27 cms, depicting a bird in flight amongst cloud scroll with ocean waves beneath, framed and glazed. (3)

A JAPANESE TAPESTRY HANGING MEIJI PERIOD Of rectangular form, depicting a group of warriors amidst a wooded glade, (possibly intended to represent Omura Sumitada (1533-1587), a Japanese Daimyo of the Sengoku period and the first Daimyo to be converted to Christianity), the retainers startled by the White Dove's appearance, Sumitada looks down upon them, in silk and cotton thread, metallic-bound threads and Oshi-e (cloth and felt areas rendered three-dimensional by padding with kapok or similar material), the whole within a stylised lappet border; mounted on a white support backing 208cm high, 137cm wide Provenance: Private Collection, Fawley Manor, Berkshire

A LOUIS XVI AUBUSSON TAPESTRY PANEL SECOND HALF 18TH CENTURY Mounted on a wooden board 63cm high, 169cm wide

A PAIR OF GILTWOOD FRAMED ARMCHAIRS IN LOUIS XVI STYLE 19TH CENTURY With tapestry style upholstery 96cm high, 65cm wide, 65cm deep

Large Collection of Vintage Sewing Items, including Needlecraft and Embroidery sets, stitchery kits with frames, linen tray clothes, napkins etc for decorating, John Stubbs embroidery kits, tapestry sewing box, bag of Tri-chem decorating tubes, tin of assorted buttons, large tin of sewing accessories, thread, zips, pins, needles, thread, etc.

A framed tapestry panel, depicting a market street scene with camels, fruit sellers, etc.

A large gilt framed tapestry picture entitled 'Casa de Christovao Colombo, Funchal, Madeira', depicting the house within a decorative border

A 19th Century mahogany dressing stool with remains of tapestry upholstered drop-in seat, set on acanthus cabriole legs with scroll terminals

A low armchair with later button back machine oatmeal tapestry upholstery, set on turned front legs and brass casters - sold with a similarly upholstered footstool

A 1.25m mahogany low footstool with machine oatmeal tapestry upholstered top, set on short turned feet

A Lawrance & Lowings blonde wood tapestry frame with cover and splayed legs

A late Victorian carved mahogany part show frame tub elbow chair with tapestry upholstery - feet a/f

A 19th Century mahogany framed elbow chair with machine tapestry upholstery and scroll armrest terminals, set on cabriole front legs - wear to upholstery

An early 20th Century walnut footstool with scroll top and floral woolwork tapestry, set on box frame base - wear

An Edwardian mahogany tub / corner armchair raised on turned legs with cross stretchers, pad seat and shaped elbow rest. Together with a 1930s Bergere caned armchair with tapestry upholstery

A vintage 20th century circa 1920s Anglo French medieval tapestry canvas wall hanging. Rectangular form, eight figures with matching war uniform holding weapons. Frame af. Measures approx. 90cm x 186cm. 

A late 19th century Berlin woolwork tapestry depicting a dog with a pheasant in its mouth, in a gilt frame, 30cm x 34cm

A vintage oak framed fire screen with wool work tapestry centre

Vivienne Westwood / The Rug Company: Union Jack Aubusson Tapestry,2005,handwoven wool Aubusson of the iconic 'VW Flag', 97 1/2in x 56in (247cm x 142cm)Footnotes:Vivienne Westwood and The Rug Company joined forces in 2005. The iconic 'VW Flag' motif was first provocatively modelled as a bridal stole in the Autumn/Winter 02/03 'Anglophilia' collection. The raggedy worn-out and possibly blood-soaked original flag is precisely reproduced in very fine hand-woven wool tapestry, which can used on the floor or as a hanging.For further information on this lot please visit Bonhams.com

KERKOVIUS, Ida (1879 Riga - 1970 Stuttgart) Abstrakte KompositionFarbsiebdruck. Kreidesignatur in Blau. Exemplar: 289/300. Abbildung: ca. 30 x 40 cm. Gerahmt & hinter Glas : 61 x 60 cm. Abbildungsbereich etwas lichtgebräunt. Deutsche Malerin und Bildteppichweberin, die zu den bedeutendsten Vertreterinnen der Klassischen Moderne in Deutschland zählt. Literatur : https://www.ida-kerkovius.net/. Aufrufzeit 15. | Juni 2024 | voraussichtlich 11:58 Uhr (CET) KERKOVIUS, Ida (1879 Riga - 1970 Stuttgart) Abstract compositionColor screenprint. Chalk signature in blue. Copy: 289/300. Image: approx. 30 x 40 cm. Framed & behind glass : 61 x 60 cm. Image area somewhat light browned. German painter and tapestry weaver, one of the most important representatives of Classical Modernism in Germany. Literature : https://www.ida-kerkovius.net/. Aufrufzeit 15. | June 2024 | probably 11:58 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

BAIERL, Theodor(1881 München - 1932 München) Liegender weiblicher AktÖl auf Holz. Signiert. 36 x 47 cm. Gerahmt : 60 x 71 cm. Vor einem Gobelin mit floralem Muster auf einer Chaiseloungue Ruhende, das Gesicht dem Betrachter zugewandt. Vergoldeter Stuckrahmen. Rahmen partiell defekt. Baierl, Historien- und Genremaler, Glasmaler, Freskant, studierte an der Akademie in München. Schüler von Franz von Stuck und Carl von Marr. 1920-1929 auf Ausstellungen im Münchner Glaspalast vertreten * Partnerauktion Bergmann. Literatur : Saur (1992), Vollmer (1953). Aufrufzeit 15. | Juni 2024 | voraussichtlich 14:37 Uhr (CET) BAIERL, Theodor(1881 Munich - 1932 Munich) Reclining female nudeOil on wood. Signed. 36 x 47 cm. Framed : 60 x 71 cm. Reclining in front of a tapestry with a floral pattern on a chaise longue, her face turned towards the viewer. Gilt stucco frame. Frame partially damaged. Baierl, history and genre painter, glass painter, fresco artist, studied at the academy in Munich. Pupil of Franz von Stuck and Carl von Marr. Represented at exhibitions in the Munich Glaspalast 1920-1929 * Partner auction Bergmann. Literature : Saur (1992), Vollmer (1953). Call time 15 | June 2024 | probably 14:37 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A spinning wheel together with a tapestry and frame

E J WilsonA watermill on a lake Oil on canvasTogether with another oil painting by the same artist, a print of Salem, tapestry picture and other pictures

A Welsh Tapestry Bedcover made by Welsh Weavers from 100% Welsh Wool by Wonderwool of Britain in yellow and white geometric pattern

A modern gold painted ornate mirror and a gilt framed mirror with a tapestry panelLocation:If there is no condition report shown, please request

Pure wool wall hanging tapestry 82cm x 102cm approx 

Antique fire screen and tapestry frame 

TRÈS RARE ET IMPORTANT PANNEAU EN SOIE TISSÉE KESIXIIe-XIVe siècleA VERY RARE AND IMPORTANT SILK KESI TAPESTRY PANEL12-14th centuryFinely woven with four parallel rows, each row depicting two striding gold lions outlined in red, with curly manes and coats and long tails, their mouths and tongues protruding, their bodies worked in gold thread and edged in red silk, surrounded by dense scrolling foliage issuing large colourful blooms, fruit, and leafy tendrils, the leaves, palmettes and flowers in naturalistic colours, all edged in multi-coloured silk threads with gold detailing, all on a dark brown ground. 63.2cm x 34cm (24 7/8in x 13 3/8in) Footnotes:十二至十四世紀 獅紋緙絲掛幅Provenance:Acquired in London in June 1997An important European private collection來源：於1997年6月得自倫敦歐洲重要私人珍藏 This reversible fragment of a kesi tapestry, woven with polychrome silk and metal threads, is likely to be a section from yardage intended for a garment or from a section cut from a finished garment. Only four other fragments made in the same technique and featuring an identical design are known, two of them in museum collections and at least one in a European private collection. The first illustrated in Spink & Son Ltd., The Art of Textiles, London, 1989, p.15, no.5, is now in the collection of the Cleveland Museum of Art, Cleveland, Ohio, accession no. 1991.3, also illustrated in James C.Y. Watt and Anne E. Wardwell, When Silk was Gold: Central Asian and Chinese Textiles, Cleveland and New York, 1997/1998, cat.no.19, pp.80-82; a second fragment is in the collection of the Tokyo National Museum, Tokyo, Japan, accession no. DSC08443, a third fragment was sold in Nagel, Stuttgart, 2 November 2012, and a fourth fragment from a French private collection, is also illustrated in James C.Y. Watt, Anne E. Wardwell, ibid., p.80, fig.28. Results of a C14 test have provided a date for the fragment in the collection of the Cleveland Museum of Art revealing it to have been made between the 12th to 14th century, suggesting a similar date for the other three fragments, see Spink & Son Ltd.,ibid., p. 15, hence suggesting a 12th to 14th century date for the present piece. Dye analysis of the coloured yarns of the Cleveland Museum of Art fragment has revealed that the dyes are natural and that the orange, scarlet and pink are from the safflower plant, the red and dark pink from the bark of a tree and the blue dye from the indigo plant. The kesi technique employs a weaving method known as 'passing warp thread and cutting weft thread' referring to the way in which each colour is woven from a separate bobbin creating discontinuous wefts that are joined using slits, interlocks, dovetail and other methods, rendering the surface pattern of the fabric as if it had been carved or cut by a knife, hence the term kesi or 'cut silk'. This particular weaving method was technically highly demanding and time-consuming, the silk tapestries thus produced very precious and valuable.The golden lions depicted on this fragment, are traditionally considered symbols of royalty. They are depicted with parted manes and tilted heads, features that derive from Persian models dating to the Sasanian period (211–651 AD). These particular kesi fragments are different from other Central Asian silk kesi in the repetition of lions and palmettes in horizontal rows, facing alternate directions in an asymmetrical Chinese-inspired layout. As on the Cleveland fragment, two small flower buds just above the lions heads on the bottom row enclose a debase Arabic letter of the type known as Kufesque, frequently used in the decorative repertory of Central Asia. James C.Y. Watt and Anne E. Wardell note the strong Persian influence in the design of these kesi fragments suggests that they were woven by Uyghurs who were relocated further to the west and who thus transmitted Persian culture and iconography to the region, and exchanged weaving and artistic practices and patterns with Chinese artisans living in Central Asia, see James Y.C. Watt and Anne E. Wardwell, When Silk was Gold: Central Asian and Chinese Textiles, Cleveland and New York, 1997/1998, cat.no.19, p.80.To this day, very few early silk kesi tapestries of Tang, Song and Yuan date survive in China. The few extant examples have been recovered mostly from high-ranking Tang dynasty tombs in the far north and north west of China, in Buddhist cave contexts at Dunhuang. Even when kesi weaving flourished in the northwest of China, the technique only gained in popularity during the Song dynasty when it became a highly prized commodity.For further information on this lot please visit Bonhams.com

A Cypriot hand embroidered tapestry with a linear floral pattern in cross stitch, measuring 150x155cm, mid century.

A set of eight dining chairs, carved walnut on cabriole legs united by stretchers, high arched backs, upholstered in hand embroidered tapestry, measuring W45cm, H95cm, early / mid century. (8)

A BEECHWOOD RECTANGULAR STOOL, C.1900fitted with tapestry panel seat, on cabriole legs and pad feet. 58 x 48 x 48cm high

A 19TH CENTURY EBONISED AND PARCEL GILT OCCASIONAL TABLE,with tapestry panelled top. 52cm diameter, 69cm high