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Victorian ormolu framed tapestry

Royal Doulton seriesware Bayeux tapestry charger plate, a Portmeirion rolling pin and other china

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014), OBSERVATION DE LA NATURE (OBSERVATIONS OF NATURE) gouache on paper, signed, titled and dated '91mounted, framed and under glassimage size 57cm x 68cm, overall size 87cm x 97cm Note: This work is the original artwork design for a tapestry, which was made at the Australian Tapestry Workshop in Victoria, Australia in 1995. The tapestry can be seen here: https://www.austapestry.com.au/tapestries/pg/tapestries-by-artist/4/73/obervation-de-la-nature

Masons blue and and white wash jug, mismatched wash bowl, vase, tapestry cushion decorated with hearts and tartan table runner

Two tapestry throws depicting children and goat and a Renaissance banquet, each approximately 82 cm x 57 cm

Louis Le Brocquy HRHA (1916-2012) Being (W1401), 1998 Watercolour, 61 x 46cm (24 x 18") Signed Provenance: With Taylor Galleries, Dublin, Label VersoFrom about the mid-1950s onwards, the individual human figure, conceived as a Presence, an isolated consciousness, has been at the heart of Louis le Brocquy’s work. In terms of the artistic tradition from which he emerged, that is unusual. All the more so given that, while previously he had made studies of individual figures (often children), he was more likely to paint compositions involving multiple figures. These works focussed intently on the relationships between people, be those relationships familial, amorous or socio-political. Then it is as if he began to zoom in on a single person in the group. He was perhaps prompted by a consideration of individuals who, more than is usual, experienced an enhanced sense of difference and isolation, just as he had earlier been drawn to Travellers as an outsider group in mainstream society.Around this time on a visit to Spain he was struck by the way the brilliant sunlight on whitewashed walls seemed to dissolve the human figure, making of it something ethereal, half-imagined. This idea, of the human presence conjured out of an amorphous ground of time and space, took firm root in his painting. Another significant factor was his developing relationship with the painter Anne Madden, coinciding with a period when she was immobilised by a back injury. It’s notable that he began to address the body as a fragile, living structure in his paintings. All of these things fed into the emergence of the head images that became a longterm preoccupation.Then, from the mid-1990s or so, there is a return to the body as presence in his work. This after a series of works centred on capturing the spirit of a succession of specific creative figures, usually writers, plus some artists and others. His inspiration lay partly in antiquity: the iconic Venue figures, perhaps goddesses, found in various archaeological sites in Europe, including the Laussel Venus, a limestone carving discovered in the Dordogne, which greatly impressed him. Rather than being individual portraits, as with the studies of writers, these works are free to deal with the more general notion of individual consciousness, in the form of the generative female being, embodied but also intangible and mysterious, extending through generations with a kind of immortality.Born in Dublin in 1916, le Brocquy is one of the pre-eminent Irish artists of the 20th century. A central figure in cultural life from the early 1940s, he is celebrated for his numerous, outstanding bodies of work in painting, the graphic arts and tapestry. His work features in numerous public and private collections, Irish and international.Aidan Dunne, February, 2024

Pauline Bewick (1935-2022) & Regine Bartsch (b. 1951) Woman and Two Bantam Cocks (2003) Aubusson Tapestry, 158 x 118cm (62¼ x 46½") Signed, edition of sixPauline Bewick commissioned Bernard Battu, master weaver, from Aubusson, France in 2003 to work on a collection of 10 tapestries on the theme of women as warriors, animals and nature - recurring themes in the artist’s oeuvre. A version of this tapestry, woven by Regine Bartsch in the 1980’s is one of the 10. Bartsch was born in Hamburg and moved to Ireland in 1978 and in 1981 set up her studio in Cahersiveen, Co.Kerry. 

Billie Zangewa (Malawian, born 1973)Angel, 2016 signed and dated 'Billie'16' (lower centre)silk tapestry137 x 129cm (53 15/16 x 50 13/16in).Footnotes:ProvenanceAcquired from Afronova gallery, 2016;A private collection.Residing in Johannesburg, Billie Zangewa incorporates her love of materiality and fashion into her oeuvre creating highly aesthetic and structurally considered pieces. Initially creating dramatically decorated handbags after completing a graphic design and printmaking degree at Rhodes University in South Africa, Zangewa would develop, dissect her technique and work to present us with the exquisitely constructed tapestries that we see in the present lot, Angel. Instead of beginning with a purely aesthetic idea, Zangewa now begins her work, motivated by self-reflection, using her medium as the narrator to communicate a feeling or experience personal to her identity.Her approach entails the layering and stitching of silk of varying colours, creating the illusion of three-dimensional images personifying and domesticising emotive scenes. Beginning with photography, Zangewa then creates paper stencils which she lays onto the silk, the artist then cuts and hand stitches the silk layers onto one another. These tapestries, informed by her observation of skyscrapers window glass in the central business district, are given a flowing freedom due to the reflective nature of the silk fabric. Unable to buy full metres of silk, her tapestries, often uneven, irregular, and raw due to her acquiring them as scraps, only contribute to the overall aesthetic of her work and accentuates its materiality. 'My creativity comes from lack – I had to work from scratch. I would never have discovered the technique if I'd been able to buy huge swathes of fabric.' (Billie Zangewa quoted in Ansie Van Der Walt, 'Silk Narratives: the artistic journey of Billie Zangewa', Mr x stitch, changing the way you think about embroidery, (online article)).Currently on show at the Barbican Centre in London, Billie Zangewa has further exhibited her work in Brussels, New York, Spain, France, Norway, California, Switzerland, North Carolina, Brighton, New Mexico, Seoul and San Francisco. She has also been exhibited at Frieze, the annual FNB JoburgArtFair and 1:54 art fairs. Her extensive exhibition history is testament to her unique and exquisitely executed work, marking her as one of the most exciting current Contemporary African Artists.For further information on this lot please visit Bonhams.com

Dorothy Funster (Navajo, 20th c). Yei wool rug or tapestry depicting deity figures standing in a row. Handwoven textile in a variety of bright colors with a spirit line woven in the upper right corner. With the original purchase tag affixed to the verso.Sight; height: 33 in x width 53 in. Framed; height: 39 in x width: 59 1/4 in x depth: 1 1/2 in.Condition:No major tears, losses, or stains visible. The textile is floated in frame. Framed under glass; not inspected out of frame. Light wear to the frame; some worm holes in the wood.

An Edwardian mahogany table from a nest of tables, and three Victorian and later stools to include a walnut inlaid and ebonized stool with inset cushion tapestry hinged topLocation:

Pictures and prints - a 19th century hand-coloured engraving, A Lady Reading, 14.5cm x 21cm; 19th century reprint, ‘To the Society of Coffers at Blackheath, 1790’, engraved by V. Green, 33cm x 22.5cm; pair of 19th century grisaille watercolours, indistinctly signed; pair of Thomas Stevens, Stevengraph machine woven silk pictures, horse racing; Chinese tapestry; etc, (9).

A Victorian carved walnut ‘Chinoiserie’ style wing-back armchair, carved top rail, scroll arms, cabriole legs, 97cm high x 65cm wide x 57cm seat depth; an early Victorian carved walnut hall chair, tapestry seat, (2).

A DECORATIVE BRASS FIRE SCREEN WITH A TAPESTRY CENTRE

AN ASSORTMENT OF ITEMS TO INCLUDE A TAPESTRY TOP STOOL, CANDLES AND SEWING THREAD ETC

AN ORIENTAL SIX DIVISION SCREEN WITH TAPESTRY AND SILK MOUNTAIN SCENES EACH SECTION IS 60" X 18"

A LARGE BASKET OF TAPESTRY WOOL

A PURPLE LIQUORICE AND PINK PURE WOOL WELSH FRINGED TAPESTRY BLANKET 246CM X 200CM

Two Japanese garden tapestry, D: 20 cm. UK P&P Group 2 (£20+VAT for the first lot and £4+VAT for subsequent lots)

Two tapestry foot stools. COLLECT ONLY.

Mary Dambiermont (1932-1983): Butterflies, wall tapestry145 x 110 cm

Mary Dambiermont (1932-1983): The three graces of rural life, wall tapestry, Koninklijke Manufactuur De Wit, Mechelen199,5 x 147,5 cm

Mary Dambiermont (1932-1983): 'Femme aux mouettes', tapestry180 x 86 cm

A Flemish wall tapestry with a forest view, 17th C.156 x 99 cm

A late 19th century George III style mahogany footstool with tapestry top. Circa 1870-1890. 50x36x56cm 1

An Edwardian inlaid mahogany armchair with tapestry seat. 59x53x100cm(3)

Susan Stover (American, 20th/21st c). Framed tapestry fiber artwork titled "W.O. Maya" depicting an architectural structure against a blue and pink background, 1991. Signed, dated, and titled along the verso.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 48 in x width: 55 in. Framed; height: 55 in x width: 61 3/4 in x depth: 2 1/2 in.Condition:There do not appear to be any tears, major areas of fraying or loss, or any restorations. Not inspected out of frame. Framed under plexiglass; light wear to the frame.

Don Freedman (American, b. 1937). Mid-century Modern woven wool fiber art wall hanging or tapestry.Length: 44 in x width: 29 1/2 in.Condition:No major tears or stains. Small loose threads throughout. Loose weaving on the left side of the lower most point. There may be a missing tassle along the lowest point of the textile. The original hanging cord is broken and has been reinforced with an additional cord.

Susan Stover (American, 20th/21st c). Framed tapestry fiber artwork titled "Timeline" depicting pink forms on a yellow background, 1991. Signed, dated, and titled along the verso.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 30 1/2 in x width: 112 1/2 in. Framed; height: 36 3/4 in x width: 119 in x depth: 2 1/2 in.Condition:There do not appear to be any tears, major areas of fraying or loss, or any restorations. There are a few areas with loose threads that may be original to the artistic process. Not inspected out of frame. Framed under plexiglass; light wear to the frame.

Terence David La Noue (American, b. 1941). Large mixed media on canvas tapestry titled "The Water Goblins: Rajastani Nights" depicting a colorful whimsical abstract composition, 1995-2000. Signed, titled, and dated along the verso.Provenance: Robert McClain & Co., Houston, Texas; Private Minnesota Collection.Height: 71 1/2 in x width: 84 in.Condition:The colors are bold and deep. There is an undulation to the work throughout. Some light wear to the edges and verso. The work is not framed. Some wear to the verso.

Wool tapestry depicting "Sky and Water II" after Maurits Cornelis "M.C." Escher (Dutch, 1898-1972). Depicting a pattern of fish transitioning to birds in cream and russet bordered by dark brown.Length: 6 ft 3 in x width: 3 ft 10 in.Condition:There are no major tears, stains, or losses. The colors are faded along one side of the textile. Light wear and dust/dirt accumulation throughout.

A FLEMISH VERDURE TAPESTRY LATE 17TH OR EARLY 18TH CENTURY Central field with river in verdant setting, birds in trees and landscape beyond approximately 292cm high, 366cm wide Condition Report: From the proportions and small areas/evidence of colour mismatch and cut repairs- we would suggest that this is a slightly reduced piece from what would have been a larger overall example. Some colour fading/muting. The whole with what appears to be various stages of remedial stitch repairs and reweaving. Later plain backing which hides true extent of repairs. Some pulling and open minor gaps. Presents well and probably cleaned within the last ten years Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

A PAIR OF WILLIAM III WALNUT STOOLS CIRCA 1700 Upholstered in 17th century style needlework each 43cm high, 52cm wide, 41cm deep Provenance: Christie's, London, Important European Furniture, Sculpture and Tapestries, Including Three Private European Collections (7272), 9th November 2006, Lot 251 (Sold £4,200 incl. BP) Condition Report: Both stools in generally good presentable order overall. Both with the marks, knocks, scratches and abrasions commensurate with age and use. Some minor chips and splits. Upholstery with the expected minor wear in places The tapestry elements with some tears and stitching opening in places. Some evidence of old worm and fragmentary losses to the feet. Dreweatts cannot guarantee the originality of elements beneath upholstery. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A BRUSSELS HISTORICAL TAPESTRY FROM THE LIFE OF ALEXANDER THE GREAT LATE 17TH CENTURY Alexander the Great astride Bucephalus, trampling his enemies, with foreground of water's edge, soldiers on the riverbanks in the middle distance with war elephants to the left, with a hilltop citadel in the distance, within elaborate architectural border with ribbons, floral swags and winged cherubic figures and central cartouche to each edge, small unidentified weaver's mark to lower left side guard border approximately 345 x 524cm The most important and probably influential series of scenes from the life of Alexander was originally designed by Charles le Brun between 1660 and 1673 for Louis XIV, and initially woven by the King's weavers at the Royal Tapestry of Les Gobelins. The Alexander series was the first major new tapestry commission of Louis XIV's reign, and the tapestries were designed to flatter the king by comparing his virtues and achievements to those of Alexander the Great. The success of the designs led to other versions being produced by weavers such as the Aubusson factories, Judocus de Vos, and the Felletin weavers in the region of Le Marche. The use of Alexander as a suitable subject matter pre-dates le Brun's designs however and by the end of the 17th century onwards, factories took to producing their own versions, interpolating elements from earlier designs with le Brun's iconography to produce new scenes from his life. It would seem that this tapestry is one such example of this type. It draws on elements from various sources which depict one of two significant successful battles in his life; either the Battle of Granicus in 334BC, or the Battle of Gaugamela in 331BC. The first is suggested by the river setting, the second by the war elephants and the broader landscape- both details recorded in Plutarch's Life of Alexander. It is probable that the weaver's design is drawn, in part, from a set executed by the workshop of Karel van Mander the Younger (1579-1623) in the early 17th century. One such panel is held in the Art Institute of Chicago collection and depicts "The Crossing of the Granicus" (1911.439). It is possible that the fortified buildings on the mountain in the distance and Alexander's horses pose are directly influenced by this panel. In overall style and with distinctive cherub pillar supports flanking swags to the main borders, it is perhaps from the workshop that produced the Flemish 17th century tapestry attributed to the Van Maelsack Atelier Bruxelles and which depicted Alexander the Great astride Bucephalus, sold Bonham's London, Fine Decorative Arts, 1200-1900, 18 December 2020, lot 29. Interestingly it also carried a similar atelier symbol to the left hand guard. Condition Report: There is evidence of cuts and mis-joins to sections of main border- this together with the abrupt ending of spear to the sky has raised discussion as to whether this may originally have been slightly larger in size overall.Fading and discolouration throughout but retaining some of the more fragile paler colours. Looks to have been through various stages of remedial repair and restorations- some more modern and refined than others. Some of the repair colours have denatured at a different rate from the main piece. Later backing for better overall hanging stability and conservation. Some loose threads and open gaps which may benefit from further small repairs. Some creasing and fold marks. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

A MATCHED PAIR OF LOUIS XV BEECH AND TAPESTRY UPHOLSTERED ARMCHAIRS BY JEAN BAPTISTE GOURDIN, CIRCA 1760 Each stamped 'I GOURDIN' to the rear seat 100cm high, 74cm wide, 86cm deep and 98cm high, 77cm wide, 90cm deep respectivelyPlease note, the frames of these chairs are beech and not walnut as originally stated in the catalogue. Condition Report: Please note: The frames of these chairs are beech and not walnut as originally stated in the catalogue. The timber has been stained/ treated to have the colour of walnut. Marks, scratches and abrasions comensurate with age and useOld marks, wear, scratches and abrasions, some fading comensurate with age and use. Some evidence of old worm throughout. Some has caused fragmentary loss. To the carved 'knee' of one front leg there is a noticeable section of loss. This loss has occurred since the chairs were photographed. Some old chips, cracks and splits as expected for age and use. Some old repairs (Please refer to all additional images available via email for visual reference to condition) There are later corner blocks to the interior corner of each seat rail (only visible from beneath the chairs) One of the chairs has later supporting elements of timber inset into the existing rear seat rail and a percentage of the adjacent side rails (see images) This has been done to support the structure of the chair. The joint of one right arm to one armchair has some movement. The joint requires 'tightening'. The tapestry with some fading, wear, 'pulls' , holes repairs and losses. There are tears in some of the plain textile beneath the cushions. Please refer to all additional images available through the link (sent with the condition report via email ) for visual reference to condition.  Condition Report Disclaimer

A LARGE VERDURE TAPESTRY CONTEMPORARY With central river with swans within verdant landscape, flowerhead border approximately 150 x 214cm Condition Report: This is a contemporary modern piece and shows little signs of wear aside from folding creases Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. ELECTRICAL GOODS. These are sold as decorative items only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use. Condition Report Disclaimer

A collection of vintage handbags including Welsh tapestry, quality leather bags by Ackery, cream python skin and other snakeskin bags, some purses.

A French tapestry, 151cm by 88cm

A group of reproduction mahogany and gilt mirrors, a tapestry fire screen, a triptych dressing table mirror, plus a mahogany oval example.

A French carved beech salon armchair in tapestry fabric, width 68 cm

A Mid 19th Century Mahogany Framed X Frame Stool with Tapestry Upholstered Seat, 45cms Square and 36cms High

A Late 19th Century Doulton Burslem Tapestry Vase, c.1886-1891, with Green Printed Mark U.S. Patent to Base, 14cm high 

A late 17th century/early 18th century woolwork tapestry fragment, embroidered with lady holding a cross, below stylised fruit, floral meandering border, 105cm x 50cm

A late 17th/early 18th century Aubusson Verdure tapestry, woven in wools and silks, depicting a holy man, woman and child in a rural landscape with a ribbon-bound floral border, c.1700, 210cm x 150cm

A TAPESTRY CARPET IN THE AUBUSSON STYLE, CHINESEThe ivory field with an abundantly floral bouquet with a floral garland, a rose pink leaf surround, an ivory complementary floral border, modern, 357 x 260cmCondition: Good, minor stains, needs a clean

The top is upholstered in a verdure tapestry style pattern, standing on tapering fluted legs and terminating in brass castors.91cm wide x 67cm deep x 48cm highWear to the fabric on one side.

The top upholstered in a verdure tapestry style patterned material, standing on fluted tapering legs and terminating in brass castors.91cm wide x 67cm deep x 48cm highQty: 1Notable scuffing to one of the legs on the reeding. Other minor scuffing, dents and nicks throughout.

The ottoman with scrolling bolster arms on bun feet, and a 19th Century rush-seated ebonised chair with white painted decoration and turned legs.The ottoman 68cm wide x 35cm deep x 46cm high. The chair 46cm wide x 84cm high.Qty: 2The ottoman in generally good condition with some scuffing to the feet and slight wear to the tapestry upholstery. The chair with rubbing to the decoration commensurate with age and use, particularly on the top rail, supports and the corners.

The top is upholstered in a verdure tapestry style patterned material, standing on tapering fluted legs and terminating in brass castors.91cm wide x 67cm deep x 48cm highQty: 1In generally good condition.

A COLLECTION OF SIX TAPESTRY CUSHIONS (6)

A WATERCOLOUR ON PAPER PAINTING OF A LADY SITTING IN A CHAIR BESIDES A CHINESE VASE, HAVING JUST READ A LETTER, The envelope is on the floor besides a colourful shawl. In the background is a tapestry. 37cm x 31.5cm Signed 'OPG'

Victorian footstool with tapestry top

A gilt framed Oil on Board design in a tapestry

A selection of stools, in the early 20th Century Queen Anne style , two having tapestry, one oval with dralon uphpolstery and a similar footstool

A Queen Anne style tapestry footstool

A tapestry of weary travellers resting beneath a tree approx 38 x 47 cms together with a charming embroidery of villagers dancing to a piper, approx 25 w x 17 cms, both framed and glazed. 

Original vintage travel poster for Madagascar featuring a black and white photograph of a lady holding a woven tapestry rug over her shoulder and carrying a gourd shaped pot with string around it on her head, set on a red background with yellow and deep red illustrations of traditional art and patterns depicting the sun and animals including a crocodile and bird, a hunter and crossed spears, a house and a family parent and child inside a decorative border, the stylised title lettering above. Published by the Tourist Office / Direction de l'Office du Tourisme. Good condition, creasing, tears, staining, foxing. Country of issue: Madagascar, designer: Woulkoff, size (cm): 100x62, year of printing: 1961.

Egypt, situated at the crossroads of Africa and the Middle East, is a nation steeped in millennia of history and cultural significance. With its iconic landmarks, including the Great Pyramids of Giza, the Sphinx, and the temples of Luxor and Karnak, Egypt stands as a living testament to one of the world's earliest civilizations. The Nile River, flowing majestically through the heart of the country, has been a lifeline for Egyptian civilization, nurturing fertile lands and providing a vital source of sustenance.Cairo, the bustling capital, is a vibrant metropolis where the ancient and the modern coexist. The Egyptian Museum in Tahrir Square houses an extensive collection of artifacts, including the treasures of Tutankhamun, showcasing the nation's rich archaeological heritage. The Islamic Cairo district boasts medieval architecture, with the towering minarets of mosques such as the Sultan Hassan Mosque and the Al-Rifa'i Mosque punctuating the skyline.Egypt's cultural heritage extends to the tranquil banks of the Nile, where traditional felucca boats sail against a backdrop of ancient temples and villages. The Valley of the Kings, on the west bank of Luxor, is a necropolis containing the tombs of pharaohs and nobles, revealing the intricate artistry and beliefs of ancient Egyptians.Beyond its historical allure, Egypt offers the Red Sea Riviera, where resorts like Sharm El Sheikh and Hurghada attract visitors with pristine beaches and vibrant coral reefs for snorkeling and diving. The Sinai Peninsula, with its rugged landscapes and the historic St. Catherine's Monastery, adds a touch of adventure and spirituality.Egyptian culture is deeply influenced by its Islamic traditions and a rich tapestry of art, music, and literature. The warmth and hospitality of the Egyptian people, combined with the flavorful cuisine that includes dishes like koshari and falafel, create an inviting and immersive experience for travelers.In contemporary times, Egypt continues to play a pivotal role in regional geopolitics and serves as a bridge between the Arab world and Africa. As the land of the pharaohs navigates the currents of history, its timeless monuments and vibrant culture ensure that Egypt remains a captivating destination for those seeking to unravel the mysteries of the past and savor the beauty of the present.Measures 24 x 36.Backed by linen .

Australia, the world's sixth-largest country and smallest continent, is a vast and diverse land known for its unique wildlife, stunning landscapes, and vibrant cities. Located in the Southern Hemisphere, Australia is surrounded by the Indian and Pacific Oceans.The country's iconic natural wonders include the Great Barrier Reef, the largest coral reef system on Earth, which teems with marine life. The rugged beauty of the Outback, with its vast deserts, red rock formations, and ancient Aboriginal cultural sites, showcases the untamed essence of the Australian continent.Australia's coastal areas are dotted with cosmopolitan cities, each with its own distinct character. Sydney, with its iconic Sydney Opera House and Sydney Harbour Bridge, is a global metropolis known for its vibrant arts scene and beautiful beaches like Bondi and Manly. Melbourne, a cultural hub, boasts eclectic neighborhoods, diverse cuisines, and a thriving arts and music scene. Brisbane, Perth, Adelaide, and other cities contribute to the country's dynamic urban landscape.The unique wildlife of Australia is a major draw, with marsupials like kangaroos and koalas, along with the unusual monotremes such as the platypus and echidna. The country's commitment to conservation is evident in its numerous national parks and protected areas.Indigenous Australian cultures, with a history spanning over 65,000 years, contribute to the rich tapestry of the nation. Aboriginal art, Dreamtime stories, and traditional practices are integral parts of Australia's identity.Sport plays a significant role in Australian culture, with a passion for cricket, rugby, Australian rules football (AFL), and surfing. The country hosts major sporting events, including the Australian Open tennis tournament and the Melbourne Cup horse race.Australia's economy is driven by industries such as mining, agriculture, and services. The resilience and adaptability of its people have played a crucial role in navigating challenges, including the unique environmental conditions and diverse climates that characterize different regions.In summary, Australia's allure lies in its breathtaking natural landscapes, unique wildlife, vibrant cities, rich indigenous heritage, and the laid-back yet adventurous lifestyle embraced by its people. Whether exploring the iconic Sydney Harbour, snorkeling in the Great Barrier Reef, or traversing the vast Outback, Australia offers a diverse and captivating experience for residents and visitors alike.Mounted to linen.Measure 29 x 21.

Singapore is a sovereign city-state and island country located in Southeast Asia. Positioned at the crossroads of major shipping routes, Singapore is renowned for its strategic location, economic prosperity, and cosmopolitan culture. The city-state consists of the main island of Singapore and numerous smaller islands. With a population that is ethnically diverse, Singapore is home to Chinese, Malay, Indian, and various other communities, fostering a rich tapestry of cultural traditions.The city-state has a robust and highly developed economy, driven by sectors such as finance, trade, and technology. Singapore's skyline is adorned with modern skyscrapers, and its efficient infrastructure includes a world-class airport and a well-connected public transportation system. The iconic Marina Bay Sands, Gardens by the Bay, and Sentosa Island are among the city's prominent attractions.Singapore has gained recognition for its strict governance, cleanliness, and commitment to urban planning. It operates as a parliamentary republic with a presidential system, and English is one of its official languages. Despite its small size, Singapore plays a pivotal role in global trade and finance. The country also emphasizes education and innovation, hosting reputable universities and research institutions. Overall, Singapore is a dynamic global city that blends tradition with modernity, making it a prominent player in the Southeast Asian region and beyond.Measures 29 x 21.Backed by linen.

Charles Euphrasie Kuwasseg (1838–1904) was a French painter known for his marine and coastal scenes. Born on April 2, 1838, in Paris, Kuwasseg came from a family of artists, and he began his artistic training at a young age. His father, Jean-Baptiste Henri Durand-Brager, was a marine painter, and Charles adopted the pseudonym "Kuwasseg" in honor of his mother's Tyrolean origins.Charles Euphrasie Kuwasseg specialized in maritime and coastal landscapes, often depicting scenes of ships, harbors, and coastal views. His works are characterized by their attention to detail, atmospheric effects, and the use of color to capture the various moods of the sea. Kuwasseg's paintings often featured a combination of realism and romanticism, reflecting the influence of the 19th-century French art movements.Kuwasseg exhibited regularly at the Paris Salon, receiving recognition for his skillful depictions of maritime subjects. His career coincided with a period of growing interest in marine art in France, and he contributed to the popularity of this genre with his compelling seascapes.Charles Euphrasie Kuwasseg passed away on July 14, 1904, leaving behind a body of work that continues to be appreciated for its technical proficiency and its ability to capture the beauty and drama of maritime scenes. While not as widely known as some other artists of his time, Kuwasseg's contributions to marine painting contribute to the rich tapestry of 19th-century French art.Measures 40 x 60 (image), 48 x 68 (framed).Sold "after" Kuwasseg.