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Click here to subscribeA VICTORIAN GLASS BEADWORK FRAMED PANEL OF A KING CHARLES SPANIEL with wool tapestry background, 26cm x 22cm; together with an ovoid shaped beadwork tray of flower sprays 20cm x 48cm; a wool tapestry of a bouquet highlighted with beads; and a wool tapestry of flowers on a turquoise band 104cm x 20.5cm (4)Provenance: Selected contents of 137 Gloucester Road, London.
A GEORGE IV SAMPLER OF A WOODCOCK perched holding fruits in its beak, 'Sophia Ann Langley finished this work 9 Nov' 1823', 14cm x 16cm; together with a wool tapestry of a bird amongst roses,17cm x 22cm; another with a rider on a donkey, 50cm x 50cm; and an embroidered picture of a lady with dovecote and birds, 27cm x 29cm (4)Provenance: Selected contents of 137 Gloucester Road, London.
A 19th Century mahogany bow fronted chest of two long drawers on bracket feet (commode conversion) 62 cm wide x 40 cm deep x 70 cm high together with a circa 1900 mahogany waterfall open bookcase with adjustable shelving 50 cm wide x 22 cm deep x 94.8 cm high and an Edwardian mahogany slat back dining chair with tapestry upholstered seat
ROCK / POP - LP COLLECTION. A collection of approx 72 x (mostly) LPs. Artists/ Titles include The Who inc A Quick One, Who Are You, Odds And Sods, Meaty Beaty Big & Bouncy, By Numbers, Rolling Stones inc Through The Past, Darkly, Rolled Gold, Crosby Stills Nash & Young, The Band - Stage Fright, Cat Stevens, O'Jays - Back Stabbers, Stevie Wonder - Innervisions, Roxy Music, Bryan Ferry, Free - Heartbreaker, Eagles, Wings - Venus And Mars, Carole King - Tapestry and The Hollies. The condition is generally VG+ to Ex+ with most records/ sleeves grading at least Ex.
YVES BRAYER (1907-1990) 20th Century, French, Watercolor on paper. Signed in the lower right corner of the Yves Brayer painting. Yves Brayer (18 November 1907 Р29 May 1990) was a French painter known for his paintings of everyday life. He was born in Versailles. He studied in Paris at the academies in Montparnasse starting in 1924, and then at the ecole des Beaux-Arts with Lucien Simon. Although he was independent and never belonged to a school, he was friends with Francis Gruber, the founder of the Nouveau Realisme school. He first exhibited in the salons of 1927, and then traveled to Spain, where the masterpieces in the Prado Museum had a profound influence on him. After a stay in Morocco, he went to Italy, where he won the Grand Prix de Rome in 1930. He settled back in Paris in 1934, organizing his first solo exhibition. He remained in occupied Paris during World War II. After the war, he traveled widely to Mexico, Egypt, Iran, Greece, Russia, the United States and Japan, trying to capture the light and colors of each country. He was interested in the techniques of copper plate engraving and lithography and produced illustrations for editions of such authors as Charles Baudelaire and Paul Claudel. He also created murals and wall ornamentations, tapestry cartoons, maquettes, sets, and costumes for the The‰tre Francais and the operas of Paris, Amsterdam, Nice, Lyon, Toulouse, Bordeaux, and Avignon. In 1954 Brayer was awarded to Grand prix des Beaux-Arts de la Ville de Paris, and he was elected to the Academie des Beaux-Arts in 1957. He was president of the Salon d"Automne for five years. In 1977 he was made curator of the Musee Marmottan in Paris, a position he held for 11 years. Brayer died in Paris in 1990.Height: 49cm; Width: 64cm;
Original vintage advertising poster for Odette Caly (1914-1993) Tapestry and Paintings art exhibition from 20 March to 20 April 1973 featuring a colourful image of blue and brown flowers in a vase on a red background. Printed by Mourlot. Good condition, creasing, staining, paper loss on top right corner, tape marks on corners. Country of issue: France, designer: Odette Caly, size (cm): 73.5x52, year of printing: 1973.
A small collection of brass ware: a Georgian-style lion-mask door-knocker by Architectural Quality Hardware, with original box; a 19th century style letter scale with nested weights; a miniature wooden and brass model cannon, 19.5 cm long; a pair of brass candlesticks, 24.5 cm high. also to include four small machine-made tapestry wall hangings.
After Cecil Aldin (1870-1935)Mother and child before The Spread Eagle Resting House Signed, coloured reproduction, together with an oil on board of a man punting, a framed machine made tapestry "Fete Printaniere", and a framed map of central London, 41.5cm by 35cm plus various other sizes (4)
Assorted Ladies and Gents Costume and Accessories, including modern occasion hats, handbags, footwear, gents white collarless evening shirts, etc; together with a Machine Made Tapestry of 18th Century Design, the field depicting dancing and merriment enclosed by borders, 176cm by 226cm (four boxes and three hat boxes and tapestry)Provenance: Dutton Manor, Lancashire
LE CORBUSIER (1887-1965)Les huit with the signature 'Le Corbusier' (in the weave, lower left) and the Ateliers Picaud monogram (in the weave, lower right)Aubusson wool tapestry223 x 290cm (87 13/16 x 114 3/16in).Conceived in 1952, this tapestry executed by the Ateliers Picaud under the direction of Pierre Baudouin in 1978 in an edition of six plus two épreuves d'artiste.Footnotes:ProvenanceAteliers Picaud, Aubusson.Schroders, Paris.Citigroup, London.Sir Winfried Bischoff Collection, UK (a gift from the above in October 2009).Private collection, London (by descent from the above).LiteratureExh. cat., Proposition d'une syntheÌ€se des arts, Paris 1955, Le Corbusier, F. Léger, Ch. Perriand, Tokyo, 1955, no. 8 (another version illustrated).Exh. cat., Les tapisseries de Le Corbusier, Geneva, 1975, no. 19 (another version illustrated pl. 12).M. Mathias, F. Mathey & d'A. Davy, Le Corbusier, Oeuvre tissé, Paris, 1987, no. 12 (another version illustrated pp. 50-51 & 62).Exh. cat., Charlotte Perriand, L'aventure japonaise, Saint-Étienne, 2013 (another version illustrated p. 23).Exh. cat., Charlotte Perriand, Inventing a new world, Paris, 2019 (another version illustrated pp. 312 & 313).'Charlotte Perriand vue de l'intérieur', in Le Journal des Arts, no. 531, 18-31 October 2019 (another version illustrated on front cover).K. Vázquez, 'Charlotte Perriand. Madame chaise-longue', in La Vanguardia, 31 October 2019 (another version illustrated).'Le Monde Nouveau de Charlotte Perriand', in Spectacles selection, la lettre des amateurs d'arts et de spectacles, no. 493, 25 December 2019 (another version illustrated).G. Kafka, 'Paris Exhibition Gives Charlotte Perriand Her Due', in Metropolis, 22 January 2020 (another version illustrated).Exh. cat., Charlotte Perriand, The Modern Life, London, 2021 (another version illustrated pp. 194, 197 & 201).Le Corbusier considered the tapestry to be the mural of the modern age. To him, tapestries were equal in importance to his other artforms – such as painting, drawing, sculpture and architecture – as each could further his goal of espousing harmony and precision in a mechanical society. Le Corbusier valued the artform as a bold and powerful vehicle for his designs, whilst also bringing warmth, softness and peaceful acoustics to a private interior. In addition, the utility of their portability led him to coin the term 'Muralnomad' for his tapestries, as he sought to draw upon their original medieval purposes in order to meet the shifting demands of modern life. In Europe in the Middle Ages, tapestries were largely woven in monasteries and convents. They formed moveable status symbols for the elite, easily transportable from castle to castle, wherein they both decorated and insulated the home. In 1662, Aubusson's tapestry workshops were designated as a royal manufacturer for Louis XIV, with some 800 artisans employed. This activity largely died away during the French Revolution, but in the 1920s, Modern artists such as Pablo Picasso and Georges Braque spurred a revival of the art, considering tapestries to be as noble an artform as the paintings that inspired them. Between 1936 and 1965, Le Corbusier completed 27 standalone tapestry designs. The preparatory 'cartoons' would often utilise collaged newspaper and cellophane, resulting in the overlapping colour planes and patterned shapes observable in the present work. As such, he sought to fuse developments of modern art with traditional modes of artisanship, achieving a new harmony of form and aesthetic. In this, he collaborated closely with Pierre Baudouin, a professor of art and textiles in Aubusson, who assisted him with transferring his Purist compositions into tapestry form. Baudouin's mode of weaving was largely traditional, yet it incorporated the novel use of a 'mottled' as opposed to a 'perfect' weave, wherein strands of different coloured wool were combined on the same flute to grant more complex colour hues. The present work's layered spiralling renditions of the number 8 seem to mimic the looping and weaving of the threads themselves, forming an extended conceit of the loom's mathematical precision as it conjures contrastingly biomorphic natural forms. Indeed, Le Corbusier's designs here seem to emulate the twisting vegetative and floral forms of medieval tapestries, harnessing his preoccupation with tradition versus innovation, past versus future, natural versus industrial. Examples of the present work have been shown in landmark exhibitions on art and design, including Charlotte Perriand's 1955 Proposition d'une syntheÌ€se des arts, a collaboration with Fernand Léger and Le Corbusier at the Takashimaya department store in Tokyo. Its private ownership and appearance at auction is a rare occurrence, with one example forming part of the French government's collection at the Mobilier National in Paris, another hanging in the Bureau du Premier Président at the Palais Cambon in Paris, and one further version in the collection of the Musée de Berne. The original cartoon remains at the Fondation Le Corbusier in Paris.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
Furniture.- Hayward (Helena) Thomas Johnson and English Rococo, 1964 § Ward-Jackson (Peter) English Furniture Designs of the Eighteenth Century, 1958 § Schiffer (H.F.) The Mirror Book: English, American, & European, signed by the author on title, Exton, Pa., 1983 § Petsopoulos (Yanni) Kilims: Flat-woven Tapestry Rugs, New York, 1979 § Hope (Thomas) Household Furniture and Interior Decoration, reprint, foxing, Raymond Erith's copy with his signature, original cloth-backed boards, spotted & soiled, 1937, illustrations, all but the last original cloth or boards with dust-jacket, the first a little rubbed; and c.20 others on furniture & the decorative arts, some sale catalogues including the Bute Collection of 1996 and the Simon Sainsbury collection of 2008, 4to & folio (c.25)
A large square leather suitcase by H J Cave and Sons "Osilite", monogrammed MC No 3, a black and tan leather bound hat box, a French leather bound "Banjo" hat or collars box, and a modern tapestry covered d shaped case by Camelo, one further leather bag in well travelled condition by Le Bagagerie, Paris with tan corduroy lining (5) 33 x 48 x 51cm
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