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Click here to subscribeA collection of vinyl records. To include LPs including the 1981 cast recording of Cats; Simon & Garfunkel Sounds of silence; Cat Stevens, Tea For The Tillerman; the Beatles A Hard Days Night; The Cream of Eric Clapton; Let it Be by the Beatles; ESP Bee Gees; Carole King Tapestry; Peter Skellern Not Without A Friend; Lindisfarne Fog On The Tyne.
17th Century Flemish Tapestry Woven in silks and wools, the field depicting a king attended by his advisors and subjects paying homage, with classical buildings beyond and a party feasting within the palace walls, enclosed by floral vine borders to three sides. 208cm by 435cm Signs of wear and damage to outer pale lemon border, lower main border completely absent, faded, signs of wear, damage and corrosion throughout. Professionally backed, secured and with hanging strip.
17th Century Brussels TapestryWoven in wools and silk, the field with heraldic shield and crest flanked by two ladies in period dress and columns draped with fruits and vines, headed by swags and ribbons and panel above, signed indistinctly in lower border.313cm by 238cmTop, bottom and sides all showing signs of age typical of a tapestry of this period. There are a number of splits probably due to dye corrosion, Colours faded, some losses which have been secured and piece has been recently professionally re-backed, corners secured with fabric.
Flemish Verdure Tapestry, Circa 17th Century Woven in wool and silk, depicting an itinerant salesman offering his wares to a group of villagers dressed in period attire within a rural setting, flanked by borders of meandering floral vines. 368 by 170cmProvenance: Selected Items from The Court House, Bolton-by-Bowland Missing top and lower borders, the side borders probably re-joined, faded and some areas of wear and minor damage; typical conditon for a piece of this age. Outer plain border professional replaced and fabric to the reverse.
Three vintage 1950s-60s evening bags - two in floral tapestry with gilt metal frames and adjustable chain link handles, one with tethered mirror to interior, approx. 21 x 21cm; the third in black velvet with densely embroidered floral decoration in gold thread to the front flap, with clutch and top handles, 20 x 12cm.
Julie Cassels Looking Back - Rewoven Series - After Vuillard - Red Rust, 2023 Composite Photograph Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Cassels is a multidisciplinary artist whose work often has historical references, with a particular interest in the aesthetics of textiles and clothing, as they occur in all aspects of daily life. Her work is inspired by the depiction of fabric in all art forms, throughout art history, along with its interpretation and relevance. As a perpetual analyst, she reflects on the individuality of seeing and visual perception, illuminating them with work that encompasses video installation, photographic collage, digitally reconstructed objects, and low-relief mixed media canvasses. Education 2004 - 2005 MA at Manchester Metropolitan University in Textiles/Fashion 2001 - 2004 BA Visual Arts (Hons) Degree at Salford University. (First) 2000 - 2001 BTEC Arts Foundation Course, South Trafford College, (Dist) Solo Exhibitions 2021 We View Things Differently Now, Rogue Studios Project Space, Manchester, UK Group Exhibitions 2025 Return to the Sea, Seafront Gallery, Worthing Women in Art Prize, Roundhouse, Chalk Farm Rd, London NW1 8EH Ventriloquism, The Whitaker, Haslingden Rd, Rossendale, BB4 6RE Rogue Women 3, Rogue Studios Project Space, Manchester Air Gallery Open, Rogue Studios, 4 Barrass St, Manchester, M11 1WP Shutter Hub Yearbook 2024, online exhibition A Small Space World Tour, multiple venues A Room of One's Own, Irving Gallery, 28 Essex St, Oxford, OX4 3AW A Small Space, Square Feet Architects, 95 Bell St, London, NW1 6TL 2024 To the Sea, St Gilles Croix de Vie, France Bury Open, Bury Art Museum, Moss Street, Bury, BL9 0DR Spark Philosophy Retreat, Crawfordsburn Inn, Northern Ireland Live With It, Mura MA Art Space, 15 Stockport Rd, Marple, SK6 6BD A Small Space, Dezrez Projects, 285 Deansgate, M3 4EW A Small Space, Old Town General Store, Stockport, SK1 1NE Shape Exhibition, Gallery of Photography, Glasgow G1 1UG Comme Ca Art X Awol Studios Exhibition, Comme Ca Gallery, Manchester Rogue Women 2, Rogue Studios Project Space, Manchester Warrington Contemporary Open Exhibition, Warrington Museum and Art Gallery 2022 Shutter Hub Everyday Delight 2022, online exhibition Shutter Hub Yearbook 2022, online exhibition Bodfa Continuum, Plas Bodfa, Llangoed, Anglesey, Wales Manchester Open 2022, Home, Manchester, M15 4FN Postcards from Europe, Art at Arb, University of Cambridge, CB3 9DT 2021 Starting Space, Virtual Gallery Space, Artsteps and @ThePhotoEdge We View Things Differently Now, Rogue Studios Project Space, Manchester Shutter Hub Yearbook 2021, online exhibition Auckland Festival of Photography, Auckland, New Zealand In Manchester, Saul Hay Gallery, Manchester Awards 2024 Finalist Women in Art Prize 2021 Arts Council England DYCP Grant 2019 Greater Manchester Arts Prize runner-up 2015 Waterside 1-0 micro commission Statement about AOAP Submitted Artwork The two Looking Back - Rewoven works are composite photographs in a new series looking at the history of tapestry used as a backdrop for decoration and warmth. They reference works by the painter Edouard Vuillard who created complex layers and collages of textiles, reminding critics of the woolly reverse side of a tapestry. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Julie Cassels Looking Back - Rewoven Series - After Vuillard - Blue Grey, 2023 Composite Photograph Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Julie Cassels is a multidisciplinary artist whose work often has historical references, with a particular interest in the aesthetics of textiles and clothing, as they occur in all aspects of daily life. Her work is inspired by the depiction of fabric in all art forms, throughout art history, along with its interpretation and relevance. As a perpetual analyst, she reflects on the individuality of seeing and visual perception, illuminating them with work that encompasses video installation, photographic collage, digitally reconstructed objects, and low-relief mixed media canvasses. Education 2004 - 2005 MA at Manchester Metropolitan University in Textiles/Fashion 2001 - 2004 BA Visual Arts (Hons) Degree at Salford University. (First) 2000 - 2001 BTEC Arts Foundation Course, South Trafford College, (Dist) Solo Exhibitions 2021 We View Things Differently Now, Rogue Studios Project Space, Manchester, UK Group Exhibitions 2025 Return to the Sea, Seafront Gallery, Worthing Women in Art Prize, Roundhouse, Chalk Farm Rd, London NW1 8EH Ventriloquism, The Whitaker, Haslingden Rd, Rossendale, BB4 6RE Rogue Women 3, Rogue Studios Project Space, Manchester Air Gallery Open, Rogue Studios, 4 Barrass St, Manchester, M11 1WP Shutter Hub Yearbook 2024, online exhibition A Small Space World Tour, multiple venues A Room of One's Own, Irving Gallery, 28 Essex St, Oxford, OX4 3AW A Small Space, Square Feet Architects, 95 Bell St, London, NW1 6TL 2024 To the Sea, St Gilles Croix de Vie, France Bury Open, Bury Art Museum, Moss Street, Bury, BL9 0DR Spark Philosophy Retreat, Crawfordsburn Inn, Northern Ireland Live With It, Mura MA Art Space, 15 Stockport Rd, Marple, SK6 6BD A Small Space, Dezrez Projects, 285 Deansgate, M3 4EW A Small Space, Old Town General Store, Stockport, SK1 1NE Shape Exhibition, Gallery of Photography, Glasgow G1 1UG Comme Ca Art X Awol Studios Exhibition, Comme Ca Gallery, Manchester Rogue Women 2, Rogue Studios Project Space, Manchester Warrington Contemporary Open Exhibition, Warrington Museum and Art Gallery 2022 Shutter Hub Everyday Delight 2022, online exhibition Shutter Hub Yearbook 2022, online exhibition Bodfa Continuum, Plas Bodfa, Llangoed, Anglesey, Wales Manchester Open 2022, Home, Manchester, M15 4FN Postcards from Europe, Art at Arb, University of Cambridge, CB3 9DT 2021 Starting Space, Virtual Gallery Space, Artsteps and @ThePhotoEdge We View Things Differently Now, Rogue Studios Project Space, Manchester Shutter Hub Yearbook 2021, online exhibition Auckland Festival of Photography, Auckland, New Zealand In Manchester, Saul Hay Gallery, Manchester Awards 2024 Finalist Women in Art Prize 2021 Arts Council England DYCP Grant 2019 Greater Manchester Arts Prize runner-up 2015 Waterside 1-0 micro commission Statement about AOAP Submitted Artwork The two Looking Back - Rewoven works are composite photographs in a new series looking at the history of tapestry used as a backdrop for decoration and warmth. They reference works by the painter Edouard Vuillard who created complex layers and collages of textiles, reminding critics of the woolly reverse side of a tapestry. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
A vintage white beadwork and floral embroidered carryall, having fitted interior, carry chain, 15cm x 13cm, rectangular tapestry coronation carryall with carry handle with fitted black fabric interior and card inscribed 'Presented with the Compliments of the Football Association' 16cm x 11cm and a circular black fabric clear stone decorated compact with cord handle and tassel with lipstick, compact 5.5cm diameter (3)
* Tapestry. A long verdure tapestry length, probably French, 18th century, woven in wool in shades of blue, green, pink, and white, on a dark mustard ground, depicting meandering stems of roses, grapes, and vine leaves, 6 x 3 cm area of wear to one edge with slight loss, 4 x 3 cm notch missing from one short end, 17 x 327.5 cm (6.75 x 129 ins)QTY: (1)
AN ANTIQUE AUBUSSON TAPESTRY,hand woven in the ateliers of Aubusson, France, first half of 19th century, depicting an idyllic pastoral scene with three figures, the centre with a lady on a swing, a manor house in the distance, inside narrow rose vine borders, the design in the manner of Francois Boucher (1703-1770), who produced cartoons for the Beauvais ateliers, modified version of which were later woven at Aubusson, 220 x 183cm, a closely related piece was sold as part of the Vigo-Sternberg tapestry collection, Sotheby’s London, Feb 1996, lot 68. (PL ref 8962)
LES BLEUESAubusson wool tapestry, with wove signature.57 1/4 x 42 1/2 inches; 1454 x 1080 mm.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Number 052 from an edition of 200, 1970sRectangular, the tiles depicting a tapestry design. Height 16 inches, length 51 inches, depth 26 3/4 inches. No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004) ⊕ MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004)STARRY NIGHT signed with initials lower right; signed and dated Miriam Sacks 1962 on the reversehandmade tapestry81 x 103cm; 32 x 40 1/2in unframedMIRIAM SACKS (1922-2004) (LOTS 80-87)Introduction Miriam Sacks’ work is something of which one can properly use the word unique; it is the only one of its kind I know of, and it is a very particular and extraordinary kind. Maxwell FryMiriam Sacks’ remarkable tapestries cover a wide range of themes with her work capturing a variety of images and ideas. Some are abstract, some symbolic and some realistic; all deploy vivid colours and explore diverse themes relating to man’s condition and struggles, his relationship with nature and mechanisation. Sack's artistic vision was inspired by her childhood in South Africa: its distinctive landscape and coastline, its fauna and flora and its ethnic diversity. Her rigorous schooling was also formative: she became a talented pianist, studied ballet and was awarded a Masters in Social Anthropology at Cape Town University. But it was a trip to New York in 1956, and a visit to The Cloisters, an outpost of the Metropolitan Museum of Art, that transformed her artistic production. At The Cloisters Sacks was captivated by the seven late sixteenth century tapestries that comprise The Hunt of the Unicorn. Immediately thereafter she embarked on her unique, highly distinctive and much-fêted method of tapestry making. Sacks had moved from South Africa to London after the Second World War while her husband was studying medicine at Oxford. Upon his graduation as an eye surgeon in 1950 they moved to Bulawayo, Southern Rhodesia (now Zimbabwe). There Sacks collaborated with the painter Thea Hunt who had trained at the Slade School of Art and had set up an art school offering lessons for children. After Hunt stepped back from teaching due to ill health, Sacks took over running the school and championed the showing of children’s art both in the USA in the late 1950s and in London at the International Exhibition of Children’s Art in 1961. The following year she had her own first solo exhibition of her work at the Henry Lidichi Gallery, Cape Town. Returning to the UK in 1964, Sacks’ gained international prominence when her tapestries were exhibited at the British Embassy in Washington. Four were shown to great acclaim at the Embassy in May 1965; the following year Sacks sent over a further sixteen works to form the highlight of a group exhibition promoting British tapestry in the Embassy’s Rotunda; the exhibition subsequently toured to other locations across America. Sacks’ acclaim in the USA brought her to the attention of curators in the UK. In 1967 her work was included in exhibitions at the Design Centre, the Whitechapel Art Gallery and Camden Art Centre. And two years later she had a solo exhibition at the Ben Uri Gallery, then in Soho, where the opening address was given by the prominent architect, artist and writer Maxwell Fry. In 1970 she shared an exhibition at Kettle’s Yard in Cambridge with leading potters Bernard Leach (1887-1979) and Lucie Rie (1902-1995), and her work was shown in Edinburgh, Leicester and at the Stellenbosch Museum in her native South Africa. More exhibitions followed: at Royal Festival Hall (1971), the Victoria and Albert Museum (1971 & 1973), the South African National Gallery, Cape Town and the Bevilacqua La Masa Art Foundation, Venice (1972), and a series of shows at Leighton House (1977, 1981, 1985, 1988). The last international exhibition of her work was at the Irma Stern Museum, University of Cape Town in 1996. It was post-apartheid, Nelson Mandela was President and the exhibition was opened by the new South African Minister of Culture. As well as medieval tapestries, Sacks acknowledged other formative influences in her work including Louise Bourgeois, whose mother had been a weaver, and Jean Lurçat, arguably the leading tapestry maker of the twentieth century. However, she found the latter’s loom woven tapestries too machine-like and precise in surface finish for her taste. Describing the influences that shaped her work over the years Sacks wrote ‘Threads physically and spiritually interconnect with my life experiences, talents and knowledge, gained over decades. It combines sight and insight, enhanced by my knowledge… as a social anthropologist… as well as music, not to mention dance. It goes back to memories of childhood.’
CHARLES V: (1500-1558) Holy Roman Emperor and Archduke of Austria 1519-56, King of Spain (Castile and Aragon) 1516-56, and Lord of the Netherlands as titular Duke of Burgundy 1506-55. A very fine L.S., `Charles´, unusually signed with his name, instead of the usual "Yo el Rey", one page, 4to, Saint-Omer, 18th November 1540, to Charles I de Lalaing, in old French. The King sends an order reorganizing all legal and administrative matters of the city of Oudenaarde after the troubles that occurred there, stating in part `L'Empereur et Roy, Très cher et féal, désirant mettre ordre au fait de la justice, police et gouvernement de notre ville d'Audenarde, nous avons décerné et fait expédier et sceller certaine ordonnance, laquelle voulons et entendons être dorénavant observée en icelle ville ; et pour ce qu'il est requis de la faire publier, nous la vous envoyons avec ceste, vous ordonnant vous trouver devers les gens de la loi dudOudenaarde it Audenarde et appelez ceux du conseil et notables d'icelle ville qui feront appeler, faire lire et publier en leur présence ladite ordonnance, et en après la leur délivrer pour selon icelle leur régler et conduire, et en ce ne veuillez faire faute.´ (Translation: "The Emperor and King, Very dear and loyal, wishing to put in order the fact of justice, police and government of our city of Oudenaarde, we have issued and had sent and sealed a certain ordinance, which we wish and intend to be observed henceforth in said city; and for what is required to have it published, we send it to you with this, ordering you to appear before the people of the law of said Oudenaarde and call those of the council and notables of said city who will have said ordinance called, read and published in their presence, and afterward deliver it to them in order to regulate and conduct them according to it, and in this please do not make a mistake.") Countersigned at the base by the King´s secretary. Upper and right edge slighty uneven, with a tear to the bottom right edge, only affecting the secretary´s signature, otherwise G to VGCharles II de Lalaing (1506-1558) Governor of Audenarde and grand-bailiff of Hainaut 1537-49.Oudenaarde is a Belgian city in the Flemish province of East Flanders. In the 16th century, Oudenaarde was known as a centre of tapestry production. The town's name, meaning "old field", an obsolete English term for a kind of brown linen thread. In this city of Oudenaarde was born the illegitimate daughter of Charles V and Johanna Maria van der Gheynst, Margaret of Parma (1522-1586)
Democritus Junior (Robert Burton), The Anatomy of Melancholy: What it is, with all the Kinds, Causes, Symptomes, Prognostickes, and severall Cures of it Author: Democritus Junior (Robert Burton), 1660 (Seventh Edition), Folio 21cm x 31cm, bookplate for Roger Pettiward, full leather with original boards, later spine, light foxing and browning through outRobert Burton (1577–1640) was an English scholar, clergyman, and author, best known for his seminal work, The Anatomy of Melancholy. Educated at Oxford University, where he remained as a lifelong scholar and librarian at Christ Church, Burton devoted himself to exploring human emotions and mental health. Writing under the pseudonym "Democritus Junior," he sought to combine scholarship, humor, and practical advice to investigate the nature of melancholy, a subject that resonated deeply in the intellectual climate of the 17th century.Burton’s wide-ranging intellect encompassed medicine, philosophy, literature, and theology, making The Anatomy of Melancholy a uniquely interdisciplinary work. His approach was both erudite and accessible, weaving classical references and contemporary knowledge into a rich tapestry of insight. Burton’s observations on human behavior, mental health, and societal pressures were remarkably prescient, earning him a reputation as a forerunner in the study of psychology.
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