We found 13526 price guide item(s) matching your search
There are 13526 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
13526 item(s)/page
Lot 707
A possible Chelsea Textiles Empire style painted chest of drawers, 85 x 91 x 45cm, together with a painted Louis XVI style bedroom chair, 101cm high and a long stool upholstered in blue gingham, 44 x 92 x 31cm (3)There is a small mark on the top of the chest of drawers and the drawers run smoothly. Both chairs are are structually sound, the stool has marks to the upholstery. Please see the additional images.
Lot 70
ATTRIBUTED TO MACKAY HUGH BAILLIE SCOTT (1865-1945) FOR ALEXANDER MORTON & CO. PANEL, CIRCA 1900 woven wool, within associated period frame 70cm x 52.5cm (frame size 80cm x 63cm) Provenance: Lyon & Turnbull, Edinburgh, Paul Reeves: Textiles as Art, 23 February 2017, lot 60 M.H. Baillie Scott was a prolific Scottish architect and artist involved in the Arts and Crafts movement throughout Britain. This panel parallels other works by Scott such as stained glass windows at Blackwell Arts and Crafts House in the Lake District depicting simplified and sinuous birds and tulips.
Lot 35
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'BRER RABBIT' PERIOD TEXTILE PANEL, CIRCA 1890 printed cotton, later framed and mounted 33cm x 43cm (frame size 50.5cm x 70cm) Literature: Parry L. William Morris Textiles, V&A; 2013, p. 229, pl. 45Note: This pattern was named after a character in 'Uncle Remus, His Songs and His Sayings', published in 1882, by J. C. Harris, which was being read to Jenny and May Morris at the time.
Lot 26
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. GROUP OF THREE ‘TULIP & ROSE’ PATTERN TEXTILE PANELS, CIRCA 1880 woven woollen 3-ply cloth, to include a large SINGLE PANEL, 237cm x 149cm; and a PAIR OF PANELS, each 224cm x 73cm (3) Literature: Parry L. William Morris Textiles, V&A; 2013, p. 210, fig. 18 illus.
Lot 36
SIR EDWARD BURNE-JONES (1833-1898) AND JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. 'ST CECILIA' TAPESTRY, 1888 lunette, wool and silk, within carved giltwood frame 99cm x 117cm (frame size 116.5cm x 135cm) Provenance: Commissioned by Mrs. Playfair, circa 1888Morris & Company Mrs. Lucius Gubbins and by descent Literature: The Revival of Tapestry-Weaving, An Interview with Mr William Morris, The Studio, no. 16 (July 1894), p. 100, Vallance A. William Morris His Art His Writings and His Public Life, London 1898, pp. 119-121Marillier H.C. History of the Merton Abbey Tapestry Works, London, 1927, pp. 18-20, illustrated pl. 12Wilhide E. William Morris: Decor and Design, Harry N. Abrams 1991, p.107, where this tapestry is illustratedThe original drawing for this figure is held in the collections of the Huntington Library, San Marino, California (2000.5.1525E William Morris Collection)Sewter A. Charles The Stained Glass of William Morris and his Circle- A Catalogue, Yale University Press 1975, p.42Sewter A. Charles The Stained Glass of William Morris and his Circle, Yale University Press 1974, pl. 413In his 1893 essay Textiles, William Morris called tapestry “the noblest of the weaving arts,” highlighting the importance of “elegance of the silhouette” and “crispness and abundance of beautiful detail” in a successful design—qualities that St Cecilia certainly embodies.The final design for St Cecilia was a collaboration between Edward Burne-Jones and Henry Dearle, a former pupil of William Morris who later became the chief designer for Morris & Co. in 1890. Burne-Jones created the figure, while Dearle designed the fruit trees and balustrade. The design for this version of St Cecilia was first used in a stained-glass window for Morris & Co. in 1873, which now features in the South transept window of Jesus College Chapel, Cambridge. The figure is nearly identical to the St Cecilia in the tapestry offered here in terms of pose, drapery, and expression, and was chosen for the simplicity of the drapery. A slightly different version of St Cecilia was woven a year earlier, in 1887, as part of a series of seven single-figure panel tapestries, also adapted from existing Burne-Jones stained-glass designs. Like those works, this lunette includes Burne-Jones' figure set within Dearle’s intricate millefleur flower and foliage patterns, with the curved balustrade helping to delineate the figure.St Cecilia was woven in 1888 by William Sleath at Morris & Co.’s Merton Abbey Works. The company had moved there in 1881 to accommodate larger dye vats and weaving looms, each operated by up to three workers. Sleath, one of the first apprentices taken on at Merton Abbey, was an experienced weaver by the time he created this tapestry. According to records kept by Morris & Co.’s last managing director, H. C. Marillier, the 1888 St Cecilia was commissioned by Mrs. Playfair.In the early part of the 20th century, Morris & Co. bought back the tapestry, a not-uncommon practice for pieces they had manufactured. St Cecilia was then purchased by the prolific patron of the firm, the New Zealand-born Mrs. Lucius Gubbins, who furnished her Eastbourne home with Morris pieces. It is from her descendants that this tapestry now comes to sale.
Lot 38
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. PAIR OF 'BIRD AND VINE' PATTERN CURTAINS, CIRCA 1880 hand-loom jacquard woven woollen fabric, with later lining (2) each 258cm x 152cm Literature: Parry L. William Morris Textiles, V&A; 2013, p.225, no.39Note: A large quantity of this fabric was ordered by Edward Burne-Jones in 1880 and 1881 for his own use.
Lot 28
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. 'DOVE AND ROSE' PATTERN HANGING, CIRCA 1879 woven silk, blue colourway, with later silk lining and border with applied hanging rings panel 176cm x 84cm (with border 199.5cm x 103cm) Literature: Parry L. William Morris Textiles, V&A; 1983, p.153, pl. 34This cloth was woven by Morris & Co. at Merton Abbey.
Lot 560
A group of mixed vintage textiles comprising a reptile skin clutch bag, unmarked, length 25cm, a cane riding crop, length 44cm, a vintage 1920s black and sequinned fringed scarf/shawl/wrap, maker's label for Maude, 91 x 43cm, and two Peruvian short blankets, one with llamas and farmers, 93 x 78, the other with green, red and white stripes, 120 x 97cm (6).
Lot 197
The composition features an elderly sage, dressed in dark robes with a flowing white beard, engaging in a discussion with a young nobleman, who is adorned in an opulent red outfit richly decorated with pearls and gemstones. The young pupil holds an open book, symbolising knowledge and learning, while pointing towards the scholar, emphasising the act of discourse and education. In the background, a third figure in white attire and a red turban stands observing the exchange, possibly a servant or a fellow student. The setting is elegantly furnished with patterned textiles, a decorative vase of flowers, and books, reinforcing the themes of wisdom, culture, and refinement. 160.6 x 83.8cm Provenance: Christies, 9 Oct 2014, Art of The Islamic and Indian Worlds, Lot 79
Lot 171
This framed limited-edition print, titled Kiva, is an evocative work by renowned Southwestern artist Amado Maurilio Pena Jr. Known for his distinctive use of color, texture, and geometric patterns, Pena's artwork captures the essence of Native American and Mestizo heritage. This piece features a contemplative figure draped in traditional textiles, holding a decorated pottery vessel, set against a striking desert-toned abstract background. The print is hand-signed and numbered by the artist in pencil along the lower margin and is professionally framed under glass with a double-matted design in complementary earth tones. Amado Maurilio Peña Jr. is a prominent Native American artist known for his vibrant and powerful depictions of Native American culture, particularly that of his own heritage, the Lipan Apache tribe. Born in 1948 in Laredo, Texas, Peña’s works often reflect the beauty, strength, and dignity of Native American peoples through a contemporary lens. His works have been exhibited in numerous galleries and museums across the United States including The Smithsonian Museum of American Art in Washington DC, and his pieces are held in many private and public collections. His work has been part of exhibits in Peña is recognized for his significant contributions to the art world, not only as an artist but also as a cultural ambassador, helping to preserve and promote Native American art and traditions. In addition to his painting, Peña is also involved in community work and has been a mentor to many young Native American artists. His efforts to bridge the gap between traditional Native American art forms and contemporary artistic movements have solidified his place as a leading figure in Native American art. A stunning addition for collectors of Pena's work and Southwestern art. Artwork can be unframed and rolled for shipment.Artist: Amado Maurilio Pena Jr. (American, b. 1943)Issued: 20th centuryDimensions: 43.75"L x 30"HCountry of Origin: United StatesCondition: Age related wear.
Lot 196
λ A PERUVIAN POLYCHROME FEATHERWORK TABARD FRAGMENT WITH ANIMAL MOTIFS Chimú or Inca Peru, South America, circa 14th - 16th centuryThe rectangular fragment most probably once part of a larger Peruvian tribal tabard garment, made of polychrome bird feathers tied into knots and then knotted directly onto an off-white coarse cotton ground, the feathers prominently in the tones of orange red, light yellow, iridescent teal blue, and brown, the upper section featuring two rows of stylised animals with claws and big fangs, the lower section monochrome, mounted on a cream-coloured cotton canvas in a Perspex casing.The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Provenance: Gifted from the Peruvian Ambassador to the parents of the present vendor in 1968 and in a private UK-based collection since. Exhibited and Published: Juan de Lara, Mestizaje and Craftsmanship in the Viceroyalties of America, Series 'Sumando Historias' of the Museo de America of Madrid, 4 April 2024. The fascination for exotic birds' feathers and their incorporation into artworks, whether in the form of textile panels, totems, adornments, or headdresses, are certainly not only prerogatives of South American civilisations. That said, in the specific case of Peru, featherwork certainly reached an unparalleled high level of complexity and impressive quality during the Chimú (ca. 1000 – 1470) and Inca (1430–1534) periods, as attested by the intricate string system with which the feathers were attached to the tabards. This technique was so elaborate and time-consuming that it is occasionally referred to as 'feather mosaic' (Christine Giuntini in Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 94). Throughout the 16th century, Spanish and European conquistadors and explorers of the Americas wrote with admiration of the exotic objects they saw on their travels, among them not only clothing and textiles, but also weapons and objects often made of or embellished with rare and precious feathers of birds (Heidi King, Peruvian Featherworks: Art of the Precolumbian Era, MET, 2012, p. 9). Considered symbols of high status, they soon became prized ethnographic possessions, and later entered many important international museum collections. In terms of comparables, our tabard panel presents compositional and manufacturing similarities to another fragmentary panel attributed to Chancay or Ichma Peru, dating 13th - 15th century, in the Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Ethnologisches Museum (acc. No. VA 660300) (ibidem, p. 33, fig. 21) and another Chimú panel with birds and wave motif, 13th - 15th century, in the Museo Amano, Lima (inv. 7512) (ibidem, p. 118). As far as the decoration goes, birds or animals mixed with running scroll or wave motif were seen on many tabards of the 13th - early 16th-century period, as well as in a variety of other mediums ncluding architecture, ceramics, metalwork. The later dating pieces tend to showcase more abstract and stylised creatures, like the present lot, making species identification difficult. λ This item may require Export or CITES licences in order to leave the UK. It is the buyer's responsibility to find out and conform to the specific export requirements of their country and ensure that lots have the relevant licences before shipping. The panel 77cm x 43.5cm, 99.5cm x 64.3cm including the frame Qty: 1
Lot 99
A BROCADED SOGDIAN-REVIVAL SILK HANGING WITH AVIARY MOTIF Possibly Uzbekistan, Central Asia or Caucasus, 19th centuryThe rectangular hanging of cream-coloured silk, heavily brocaded in green and magenta silks, and gold and silver threads with supplementary wefts, the full length with a repeating motif in line with Sasanian-revival textiles produced in Sogdiana (modern-day Uzbekistan and Central Asia), featuring a haloed bird, possibly a mythical senmurv, in alternating rows within beaded roundels, interspersed with stylised floral grids, edged with woven metallic thread band, the panel a likely modern revival example harking back at models from the great past of the populations roaming along the trade routes of the Silk Road.255cm x 104cm For further reference and comparables of original 7th - 9th century Sogdian textiles: Mariachiara Gasparini, Sogdian Textiles Along the Silk Road, essay for the digital exhibition The Sogdians: Influencers on the Silk Roads at the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C. (last accessed: 21st March 2025). 255cm x 104cm Qty: 1
Lot 553
Two examples of 1980s white cotton textiles for the home. An embossed bedspread featuring a floral and foliate design with Greco border detailing, made in England, 110x100'. A cotton and crochet table cloth, having a diamond fabric centre and crochet corners, featuring a Greco border with floral motifs, 50x50'
Lot 269
Textiles - linen and lace, christening gowns, table cloths, crewel work table runner, doylies, shawls; Edwardian and later linen, lace and kid skin gloves; a variety of fabric off-cuts, gentleman's ties, vintage stockings; various Edwardian and later linen, lace and kid skin gloves; a variety of fabric off-cuts, gentleman's ties, vintage stockings, etc qty
Lot 919
TWO BOXES AND LOOSE VINTAGE CLOTHING AND TEXTILES, to include a 1940's/1950's floral satin long sleeved dress, with shawl collar and wrap around full skirt and hooped underskirt, covered button detail waist, approximate size 10/12, together with a full length black Victorian silk skirt with a small train and black silk collar with hand embroidered lace detail, full length white kid gloves, four silk and lace night caps, a cream parasol, a collection of table linen and vintage Indonesian Batik table covers, etc. (qty) (Condition Report: some lights stains to the floral dress, black silk skirt has some small tears to silk, other pieces have a few marks and light stains commensurate with age) PLEASE NOTE MANNEQUINS ARE NOT INCLUDED- DISPLAY PURPOSE ONLY.
Lot 405
British Army DPM Parachutist Smock, inside label H E Textiles Ltd, size 2. Combat smock inside label J Compton Sons Webb Ltd, size 190/120 US Army combat shirt, inside label NATO size 8090/8494, some holes to sleeve. Dutch Army webbing vest.NO OBVIOUS DAMAGE TO PARA SMOCK 'TAIL' STILL ATTACHED.
Lot 120
Heilige AfraHöhe: 119 cm. Breite: 50 cm. Tiefe: 28 cm.Augsburg, 16. Jahrhundert.In Holz gearbeitete Standfigur, in elegantem S-Schwung im Kontrapost stehend. Die Heilige mit dem nach links gerichtetem Blick in Holz gearbeitet mit Resten einer original Fassung. Die Heilige an einem Pfahl festgebunden, unter ihr geschnitzte Flammen lodernd, die ihr Martyrium durch Feuertod kennzeichnen. Das tief geschnitzte Haar durch einen Reif gebunden. An dem Pfahl durch ein noch vorhandenes textiles Seil gebunden. Die Figur verso kursorisch beschnitzt. (1431877) (1) (13)Saint AfraHeight: 119 cm. Width: 50 cm. Depth: 28 cm.Augsburg, 16th century.Wooden figure, standing in an elegant S-shape in contrapposto.
Lot 548
Italienischer Maler des 19. JahrhundertsDER GOLF VON NEAPELÖl auf Leinwand.121 x 118 cm.In reliefverziertem und bronziertem Rahmen.Bewegter Küstenstreifen mit ockerfarbenen Felsen, davor die Aufsicht eines Dorfes mit Kirche, links daneben unter einer Zypressengruppe ein textiles Dach für feiernde Figuren. Rahmen besch. (1421522) (13))
Lot 264
A central piece for a belt made of white jade, with reddish-golden flecks. It is carved on the front in the form of a lion's mask with a menacing expression. It has two curled horns and large jaws. The relief is intricately carved, and from the back we can appreciate it has a handle.It was sometimes depicted on ancient textiles, belt buckles, seals, bells or buttons to ward off evil spirits. In the southern dynasties, stone statues were often found in front of tombs for the same reason. Han Dynasty (206 BC-220 AD) or later.Size: 7.5 x 3.2 x 6.5 cmWeight: 128 gProvenance: Collection of Tommy Lam, Hong Kong, from 1980.
Lot 274
White jade figure, with a reddish-yellow spot on the forehead. Carved in the form of a mythical beast, ‘??’ (bìxié) to ward off evil spirits, with a lion's body, wings, a half-open mouth with large teeth, a puckered expression, bulging eyes, a raised head, beard and fur on the face. All the elements are either in relief, openwork or engraved.The form of the ‘lion’ or mythical beast in ancient Chinese myths and legends is derived from the transliteration of ancient Sanskrit. Images of these figures are depicted on ancient textiles, belt buckles, seals, bells or buttons to ward off evil spirits. In the southern dynasties, stone statues were often found in front of tombs for the same reason. Han Dynasty (206 BC-220 AD) or later.Size: 4.2 x 2.2 x 5.6 cmWeight: 45 gProvenance: Collection of Tommy Lam, Hong Kong, from 1980.
Lot 185
Textiles - an early Victorian pictorial and alphabetical woolwork sampler, worked with lettering and a house among birds and trees, monogrammed NW, 18cm x 20.5cm; another, later, depicting Hockerill College; a Liberty silk scarf, worked with butterflies; a Belgians type crucifix form tapestry, worked with Mary holding Christ’s body; a pair of banjara bags; 19th century and later baby’s shoes, etc (qty)
Loading...-
13526 item(s)/page