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A SMALL GEORGE II MAHOGANY FOOT STOOL with an upholstered tapestry top; raised on ring-turned legs.28cm wide 25cm deep 20cm highThis is George II period, and in very good untouched condition, the legs are all original with no breaks. The joints are loose on the rails. Has good original condition. They're a few old wood worm holes

AN UNUSUAL GEORGE I BURR WALNUT SIDE CHAIR WITH TAPESTRY SEAT the shaped cut-out panelled top above a vase centre splat and curved uprights on a drop in embroidered woolwork seat and rounded front; raised on shell carved cabriole legs and ball and claw feet centred by a scalloped shell to the seat rail.58cm wide 100cm high The chair has been fully restored, the front left ear has been replaced and the chair has small cracks and splits in the veneer consistent with age. It has been cleaned and re-polished. No damage to the legs.

A large woolwork tapestry, 19th century, depicting two children to the foreground playing by a river with sailing boat, with a parrot perched on a flowering tree stump to the right and a country house in the distance, held in a maple frame, the woolwork approx. 73 x 65.5cm, together with a selection of decorative framed pictures to include: a reverse glass painted panel depicting Christ walking on the sea towards Peter, approx. 34.5 x 25cm;  a watercolour of a vase of flowers, signed Angela Stones to bottom right, 37 x 53cm; an oil on board scene of figures walking in a landscaped garden, inscribed Atalaya 5-5-7 57 to bottom right, approx. 17 x 11cm; an oil on board still life of a rose, signed Julie Harris and dated 1994, bearing inscription With love to Sue from Auntie Julie, approx. 12 x 17cm, and a reproduction print of an illustration by Rossi Ashton: "In the Spring, I was an ass to get married", approx. 22.5 x 14cm (6)

Framed tapestry. Women in a red scarf. In an oak frame. Early twentieth century. H.43 W.35 cm.

A Verdure tapestry depicting deer a hunting scene with a hunting lodge in the background, detail from a larger work238cm x 135cmLater applied onto a backing. Cut down. Colours faded and the condition as expected considering age. Some repair to the needlework.

After Judy Boyes, a framed limited edition signed print, along with a large framed tapestry and a framed watercolour of a Terrier dog. Tapestry 44cm x 140cm.

Georgian style cabriole legged and tapestry covered footstool

A tapestry style wall panel depicting courting couple

Pair of alabaster table lamps and another, treen items to include carved salad bowls, a wooden African figure, Piquotware coffee and teapot, EPNS sweetmeat dish, two framed prints, two framed modern tapestries, Wisden 2006, 2010, JK Rowling 'Harry Potter and the Order of the Phoenix' and five other volumes, framed prints and a tapestry, etc (3 boxes)  

Box of assorted prints and watercolours to include watercolour drawings by Hugh Cushing of French market scenes, both signed, 15cm x 20cm, both mounted and framed, a fire screen with framed tapestry of an archer on a horse (1 box) 

18TH/19TH CENTURY FLEMISH TAPESTRY, 262cm x 176cm.

A carved oak stool with tapestry cover. 102.5 cm long.

A Late 19th Century Venetian Carved Giltwood Ten Piece Drawing Room Suite, covered in original floral needlework fabric, comprising: a pair of two-seater sofas with scrolled and acathtus-carved frames, with removable squab cushions, on cabriole legs, 118cm by 58cm by 75cm a pair of armchairs, 81cm by 43cm by 82cm six single chairs, 43cm by 38cm by 89cmThis lot has been imported from outside the United Kingdom under the Temporary Admission scheme. VAT will be charged at 5% on the hammer price and 20% on the buyer's premium. First Single Chair - the back support has been broken and repaired, with overpainting. The remaining pieces are structurally sound, however, there are various losses to the carved frames. The tapestry varies in condition, with wear throughout. All seats are worn, particularly the sofas, the side panels to the sofas are worn also (see further images).

A Ridgway China Minaret pattern part tea service ten tea cups, a milk jug, a creamer, two bowls (h-6cm), eleven saucers (w-13.5cm), twelve plate (w-16cm) and two serving plates (w-24cm) together with a Minton China Tapestry pattern six tea cups and six saucers. (marked verso) (51)

Six oak framed chairs with cane backs and tapestry seats

A late 19th century American stained beech rocking chair, the turned frame with spindle arm supports and tapestry padded back and seat, on a sprung rocker base with arched supports, turned front and back stretchers.H108, W54cm.

Early XX Century Mahogany Foot Stool, on squat carbiole legs, with later tapestry top, 34.5cm wide.

XIX Century Pair of Rosewood Chiars, with upholstered tapestry seats, on splayed legs, bedroom chair, and a footstool. (4).

WELSH WOOLEN TAPESTRY BLANKET, CARTHEN, woven in blue, white, red and black, 188 x 232cmsProvenance: private collection Swansea

VINTAGE WELSH TAPESTRY BLANKET, reversible, pink ground with black, white and grey details, fringe, 224 x 148cmsProvenance: private collection CarmarthenshireComments: some stains / marks

WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s.  The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory.  He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career.  Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'.  (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work. 

FUTURA 2000 (B. 1955)Untitled 1982 tagged twicespray paint on canvas121 by 304.3 cm.47 5/8 by 119 13/16 in.This work was executed in 1982. Footnotes:ProvenanceAcquired directly from the artist by the present owner in 1982Exuding an exhilarating new aesthetic while reigning supreme in its expansive scale, Untitled from 1982 emerges as an extraordinary and iconic masterpiece created by one of the most important graffiti artists of our time. Made in one of the most experimental years of the artist's career, the present work, alongside other remarkable works from 'New York City Rap' tour gained notability due to an enduring collaboration between American graffiti artists Futura 2000 and Dondi. Works like these identified by their distinct visual language, played a pivotal role in not only shaping visual aesthetics in popular culture but also in elevating graffiti art from the fringes of subculture to the forefront of mainstream consciousness. In Untitled, the sprayed striking primary colours overlayer a black tag, reminiscent of graffiti on a street wall, but created on a white canvas instead, the artist elevates it to the permanent, to the realm of high art. Monumental and expressive in its appearance, Futura used his whole body to create these vast works. Executed next to Dondi in the vibrant heart of Paris, the present work was a backdrop to hip-hop performers during 'New York City Rap' tour and exudes a distinct blend of abstract elements and textual nuances. Tagged twice and marked with the letters 'CC' symbolising the initials of his former wife, who he met in Paris on the tour, Untitled 1982 is brimming with personal significance, marking a pivotal and prolific chapter in the artist's oeuvre. These thoughtfully crafted components encapsulate the very essence of its place of origin, rendering it an unmistakable creation within the 'New York Rap City' paintings. Futura 2000's works from the 1980s are by far the most highly sought-after within the artist's market. This era not only witnessed the peak of his artistic productivity but also marked a surge of creativity and innovation in his work, whilst boldly challenges established artistic norms of the time. Drawing direct inspiration from the revolutionary political climate of the 1960s, Futura 2000 embarked on excursions with friends in the early 70s, equipped with spray paint and an inclination for the cutting edge. These expeditions into the cityscape became acts of reinvention, transforming mundane public fixtures into vibrant canvases that brought art directly to the people. With each stroke, he redefined the conventional canvas, making art accessible to everyone in New York. His signature abstract forms and dynamic lines demonstrated in the present work, resonated with the spirit of the times. Graffiti art emerged as an unapologetic voice of rebellion and self-expression, artists painted their unique identities on break trains and public fixtures through 'tagging,' a crucial act in a country where public graffiti was prohibited, rendering them anonymous pioneers of urban expression. It was precisely this fascination with the concept of identity that beckoned Leonard Hilton McGurr into the realm of street art. Amidst the apex of advertising and consumer culture, he forged his artistic persona as Futura 2000, taking direct inspiration from the film '2001: A Space Odyssey,'.Weathering challenges and unforeseen detours, he eventually found himself embracing an unexpected interlude in the Navy, a compelling twist that would soon enrich the captivating tapestry of his artistic journey. Upon his return the very landscape he once embellished had transformed, streets pulsated with a new artistic rhythm. The early 80s emerged as a turning point for Futura's work, fostering his unique style and refining his technical expertise. In this incubator of creativity, he gathered valuable wisdom from his avant-garde comrades, figures like Jean-Michel Basquiat, Keith Haring, and Fab 5 Freddy. A group of audacious visionaries, they formed a pioneering ensemble reshaping artistic boundaries, their creations igniting cities globally with the electric vibrancy of artistic expression.In 1981, Futura's career started to gain traction after a celebrated collaboration with the legendary band 'The Clash'. An electrifying fusion of art and sound, this collaboration not only redefined the concert experience but also transcended creative realms, leaving an enduring mark on both music and visual expression. Furthermore, it shattered the conventions of traditional stage design, replacing static backdrops with a living, breathing masterpiece that evolved with every performance. This groundbreaking event was an innovation serving as a unique platform that united artists and performers, celebrating the vibrant culture of hip-pop. Futura's work brims with stories of rebellion, identity, and the city's beating heart. His art captures the pulse of a generation, reflecting the socio-political climate and the human experience within it. The artist's encounters with likeminded innovators of the graffiti movement infused his work with a sense of camaraderie and collective spirit, elevating his creations beyond the canvas and into the realm of cultural conversation. Futura's contribution to the street art movement is not limited to the streets alone. His journey from subway cars to gallery walls signifies the evolution of an art form once considered subversive. He not only navigated this transition but also flourished within it, bringing the energy of the streets into spaces traditionally reserved for 'high art'. Untitled 1982 is an electrifying fusion of creativity and urban dynamism. It captures the essence of a moment, a movement, and a mindset. His style transcends medium and canvas, reaching deep into the collective subconscious of a city, a generation, and an art world transformed by his style.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

An early 20th century walnut armchair upholstered in a tapestry fabric with shepherd crook arms on moulded cabriole legs.

An Edward VII mahogany and line inlaid corner armchair with tapestry seat.

A 19th century oval tapestry on silk, of flowers, in a mahogany frame, 20ins x 13.5ins to include frame

A framed tapestry picture

A large tapestry picture, of an eagle in flight, 54ins x 35ins

A late 19th century Louis XV style five piece salon suite, comprising a canape and four fauteils, all upholstered in Aubusson tapestry , canape dimensions, width 72ins, height 49ins depth 30ins, fauteil dimensions width 31ins, height 49ins, depth 30ins

A Victorian bell pull With a woolwork strip leading to a blue cutglass handle with stamped gilt brass guard, full drop 175cmThe tapestry has a several runs along the edges and the silk backing is quite fractured. Wear to the gilt highlights of the glass finial. Damage to the end of the ornate brass hanger.

Bayeux Tapestry Series of 17 coloured plates engraved by J. Basire after C. Stothard, loose, published by the Society of Antiquaries 1820-22

A oak cased jukebox, the hinged lid inset to the interior with a Flemish style machine woven tapestry, above various panels, buttons, etc., requiring five pence per play, ten pence for two plays, the front with two foliate panels centred with a stylised crest, above a grill for the speakers, on bun feet, 93cm high, 111cm wide.

Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (British, 1895-1965)Design for a Tapestry inscribed, dated, and indistinctly inscribed 'sketch design for tapestry 1962/#59 -- Cat' (verso)gouache23.5 x 34.5cm (9 1/4 x 13 9/16in).Footnotes:ProvenanceWith Aitken Dott & Sons, Edinburgh (according to label verso).With Vincent & Louise Kosman, Edinburgh.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

A 19th century Berlin woolwork picture, of a boy and girl with a dog, 33cm x 37cm; a 20th century circular tapestry, of a flower basket; 19th century engravings and prints, etc

WILLIAM MORRIS INTEREST COLLECTION OF BOOKS comprising; Vallance, Aymer William Morris George Bell 1897; Marillier H.C. History of the Merton Abbey Tapestry Works, Constable & Co., 1927; Crow G.H. William Morris Designer, The Studio 1934; The Work of Walter Crane and The Work of William Morris, The Art Journal 1899; Atkins W. William Morris, Artist, Printer, and Man of Business, Saint Bride 1917-18; Cobden-Sanderson T.J. Ecce Mundus: Industrial ideals and the book beautiful, Hammersmith Publishing Co., 1902; Cunninghame Graham R.B. William Morris, Herbert Jenkins 1913; Morris W. The Earthly Paradise, Reeves & Turner 1890 (2 copies); Morris W. News from Nowhere, Reeves & Turner 1892; Morris W. Love is Enough, Reeves & Turner 1889; and Morris W. A Dream of John Ball, Reeves & Turner 1888, with bookplate of C.R. Ashbee, inscribed in pencil C.R. ASHBEE/ TOYNBEE HALL/ WHITECHAPEL/ 1888Note: Provenance: From the collection of Arthur Halcrow Verstage

A 19th Century Victorian gilt metal fire screen / discretion screen with revolving central needlepoint tapestry. The gilt metal frame with barley twist and leaf decoration a top a a four legged caster stand surrounds the tapestry decorated with floral spray to a cartouche centre. Measuring approx 55 x 109 x 30 cm.

A 19th century Victorian mahogany and tapestry upholstered fire screen - praying chair prie dieu. Acanthus carved splayed feet with tapestry panel knee rest to centre having shelf atop and screen to centre. Measures 83 x 42 x 15 cm.

A PAIR OF EARLY 17TH CENTURY STYLE TAPESTRY UPHOLSTERED FOOTSTOOLS (2)with antique Flemis tapestry fragments 63cm wide; 53cm deep; 50cm highSolid construction to both with old marks and scratches present and some losses to the paint/decoration. Some signs of old woodworm however they appear to be artificial to be consistent with the age/ style of the piece. Please see additional images. Provenance: The selected contents of Conderton Manor, near Tewkesbury. 

Vintage woollen fringed edge geometric design pink and dark blue ground Welsh tapestry blanket. (B.P. 21% + VAT)  No obvious damage.  248x184cm approx. (including fringe).

Victorian rosewood figural tapestry fire screen on barley twist pilasters and supports. (B.P. 21% + VAT)  Framework top of screen is broken (see images x3), finials broken but present.

Vintage cream and pink ground woollen Welsh tapestry blanket with traditional Caernarfon design and fringed edge. (B.P. 21% + VAT)  No obvious damage.  226x206cm approx.

Collection of furnishing items to include: Victorian walnut stretcher table, early 20th century oak cigarette stand, 19th century tripod table and an early 20th century mahogany framed tapestry floral fire screen. (4) (B.P. 21% + VAT)

Group of assorted 19th century Berlin woolwork and other tapestry panels, including: girl with chickens, religious scenes etc. Different frames, gilded, rosewood and maple. (7) (B.P. 21% + VAT)

Victorian footstool of low proportions on stained wooden cabriole legs and scroll feet with floral tapestry top. 122cm length approx. (B.P. 21% + VAT)

AN OAK FRAMED FIRE SCREEN, A FRAMED TAPESTRY AND A FRAMED IMAGE OF A KNIGHT

TWO VINTAGE FOOTSTOOLS WITH INLAID BANDING AND TAPESTRY TOPS

A VINTAGE OAK STOOL WITH TAPESTRY CUSHION

A WOODEN SCREW ADJUSTING TAPESTRY FLOOR FRAME

An Edwardian mahogany framed stool with tapestry top. 58x48x43cm

A Victorian mahogany polescreen with tapestry panel on cabriole legs. 150cm

A early 20th century Chippendale Revival mahogany armchair with tapestry seat.

An Edwardian walnut Lyre back chair with tapestry seat.

A set of 4 Victorian balloon back chairs with tapestry seats.

WILLEM VAN DER HAGEN (FL. 1720-1745) A pair of Capriccio Italianate Landscapes with Figures and Animals A pair, oil on panel, each 17.5 x 25cm These small landscapes form an exciting addtion to the small oeuvre of William Van de Hagen, often seen as the founder of the great school of landscape painting which flourished in Ireland in the eighteenth century. Although they differ completley in scale, these landscapes are directly comparable to the series of capriccio landsapes which comprise his most original and appealing work, sharing with them the similarly etiolated figures set in a landscape which mixes bucolic tranquility with architetural fantasy. Highlighting the overlap with the larger works is the fact that the detail of the dog barking at the swan is repeated almost verbatim from the finest of the capriccios, formerly at Kilsharvan House, County Meath (private collection; see the title page to Desmond FitzGerald, Knight of Glin and James Peill, Irish Furniture). Van der Hagen may have travelled extensively before settling in Ireland. Views are known of Gibraltar, Sicily and even North Africa although it is not certain that all of them are based on first-hand experience. He moved to Ireland in, or about, 1722. His presence is first noted by Harding’s Impartial Newsletter in 1722 where he is recorded as “lately arrived from London” and as painting sets for the Theatre Royal. Some ten years later he is known to have painted the scenery for a staging of Cephalus and Procris, which was described at the time as “finer painted than ever seen in this kingdom”. In addition to his work in the theatre, van der Hagen was busy with other commissions from his earliest days in Ireland which renders suspect Anthomy Pasquin’s account of his character. He describes the artist as a “painter of landscape and shipping in Dublin and other towns in Ireland…This was a most remarkable genius; and had his industry been proportioned to his powers, he might have done wonders; but he would never work while he had a shilling; and when pinched by his distress, he would retire to a public house, and paint a picture to liquidate his reckoning”. This hardly accords with the number, accomplishment and variety of the commissions that van der Hagen completed in the twenty-three years that he was in Ireland. Two years after his arrival he painted an altarpiece for St Michan’s Church, Dublin which has not survived nor has the “painted glory” for St Patrick’s in Waterford. In 1728 he was commissioned by the tapestry maker Robert Baillie to “take prospects” of the places to be depicted in the six tapestries for the newly built House of Lords. In the end only two of his paintings were worked up into tapestries and these depart from his designs considerably. Presumably connected with this commission is his View of Derry and The Landing of King William at Carrickfergus (Ulster Museum). Given his scene painting background and facility for composition, it is not surprising that Van der Hagne also found work as a decorative painter. One eighteenth-century source notes “he painted many houses in this kingdom”; for example at Curraghmore, County Waterford he completed a trompe d’oeil scheme with the staircase decorated with “beautiful paintings by Van der Egan (sic) such as columns, festoons etc between which are several landscapes” while the ceiling was “painted in perspective and represents a dome, the columns seeming to rise, through a flat surface”. Given the temporary nature of these decorative schemes which were so often redone as taste changed it is remarkable that one of van der Hagen’s grisaille rooms has survived almost intact, although now dismantled. This was completed for the Christmas family of Whitfield Court, County Waterford and comprises eighteen panels of gods and goddesses (Private collection; Ballyfin demesne). Van der Hagen clearly had close ties of patronage with the Waterford area. In addition to these house decorations and the work at St Patrick’s he was commissioned to paint a large view of the city of Waterford for which, in 1736, he was paid £20 by the Corporation.

AN IRISH CARVED MAHOGANY STOOL 19TH CENTURY the rectangular seat covered in a gros-point tapestry, over a shell carved frieze and acanthus capped cabriole legs with facetted pad feet. 63 x 46 x 40cm high

A VICTORIAN MAHOGANY FRAMED CHEVAL MIRROR, the domed framed mirror on tapestry column side supports, with attached hinged candle sconces, on scroll side supports. 89cm wide Provenance: Howth Castle

SEVEN PORCELAIN PUG DOGS, Meissen, Royal Copenhagen and others, 13cms H (the tallest) and a Minton tapestry pattern part tea service, 12 piecesProvenance: private collection Gwynedd

COLLECTION OF SEVEN VINTAGE PERFUMES IN ORIGINAL PACKAGING, comprising 4 x various bottles of 4711, Yardley Freesia, Mary Chess Roman Bath tapestry and a bottle of Coty MasumiProvenance: private collection Conwy

A collection of Female Pop artists LPs to include; (1) Carole King - Tapestry; (2) Carole King - Rhymes & Reason; (3) Carole King - Simple Things; (4) Olivia Newton-John - Totally Hot; (5) Olivia Newton-John - Have You Never Been Mellow; (6) Olivia Newton-John - Come On Over; (7) Carly Simon - Torch; (8) Carly Simon - Hot Cakes; (9) Carly Simon - Boys In The Trees; (10) Helen Reddy - I Am Woman; (11) Helen Reddy - No Way To Treat A Woman; (12) Helen Reddy - Long Hard Climb; As well as other titles by Carly Simon, Carole King, Helen Reddy and Olivia Newton-John; All conditions are Very Good with generally Very Good Plus sleeves. (34)

A collection of Pop and Rock LPs to include (1) Bob Dylan - Desire (1976 UK Press, S86003); (2) Bob Dylan - Highway 61 Revisited (1975 UK Reissue Press, SBPG62572); (3) Joni Mitchell - Hejira (1976 UK Press, K.53053); (4) Carole King - Tapestry (UK Reissue Press, EPC 32110, Grey Label); (5) Marianna Faithfull - Broken English (1979 UK Press, M1); (6) Neil Young With Crazy Horse - Zuma (1975 US Press, MS 2242); other artists to include Harry Nillsson, Van Morrison, Leonard Cohen, Marianna Faithful, Carole King, Bob Dylan and Jackson Browne; All conditions vary from Good to Very Good with generally Good to Very Good sleeves. (22)

A 1920S COUNTRY HOUSE WING ARMCHAIR on bun feet upholstered in tapestry fabric