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Lot 350A
A collection of early 20th century Chinese traditional clothing and textiles including a fine blue robe worked with auspicious symbols, decorative edging and embroidered sleeves depicting figures in garden landscapes, an informal plain light blue robe, a pair of bright green festival style trousers, pair of peach embroidered pointed ladies shoes, a floral embroidered fan case, drawstring mirrored compact and various other traditional style decorative edgings and accessories etc. - all in good original condition, colours mostly unfaded but some evidence of wear/use
Lot 224
A pair of rare Arts and Crafts oak armchairs, by C F A Voysey (1857-1941), c.1902, each with leather and studded drop-in seats, 62.5cm wide 54.5cm deep 100.5cm high, seat 42.5cm high (2)Charles Francis Annesley Voysey, was educated at Dulwich College and was a prolific architect- designer within the Arts and Crafts movement. An undistinguished academic at college, Voysey later claimed he became an architect because it was 'the only profession for which one did not need to pass any examinations'. Beginning his career in 1881, he first established himself as a designer of furniture, textiles and wallpapers. Winning his first building commissions in 1890, he quickly earned a reputation of being a master of artistic cottages and modern country houses. He paid meticulous attention to detail, designing every aspect of a project, down to the door hinges. Voysey regularly exhibited watercolour elevations of his building projects, furniture and decorative designs at the Royal Academy, and is celebrated today as one of the leading British designers of the turn of the 20th century.The simple design, personified by a heart motif on the back of a chair, is one of Voysey’s best known furniture designs. F C Nielsen, who made other furniture that Voysey designed, made these chairs from 1902, in differing proportions. One telltale detail is the dovetail construction fixing the splat to the frame. Versions of this chair can be seen in major collections around the world with leather and rush drop-in seats.Voysey had a limited number of designs that he used, but in many of his schemes for interiors, this model appears often - his mantra was for furniture with a ‘sense of proportion and puritanical love of simplicity’.Few of these chairs have come on the market over the last ten years, the most recent a pair of single chairs without arms, which sold in March this year for £16,500.No doubt, this pair are the exemplar of the Arts and Crafts tradition and rarer still to be found together after all this time. Examples of this chair can be seen in The Homestead, built for the General Manager of the Essex and Suffolk Equitable Insurance Society, whose offices Voysey designed, and is among his best-preserved domestic masterpieces. The vendor has been the lucky owner of these for over forty years.Condition report: If further images needed, please contact auctions@sworder.co.uk.Provenance statement from the vendor '- I have no information as to their original owners. My father was a highly respected antique collector, he had two antique shops in Bath. He had a great eye for high-quality craftsmanship in the design and making of all periods of furniture, which I have inherited from him. I spent much of my childhood and youth in these two shops.#1 split to the splat panel above and below the heart shape. Right arm - this has been reset - split down the line of the stretcher below. Seat split to the join, webbing replaced. Back rail has some splits to the inner edge. Studwork worn and rusted – three worn. Numbered VI to the edge of seat.#2Top right upright rest and restored. Seat faded and loose – later screws into the seat from the underside. Studwork rusted and worn. Some studs are loose. Webbing replaced. Numbered IX to the edge of seat.
Lot 460
Chinese textiles: an early 20thC Chinese silk large embroidered Piano Shawl, the black ground profusely adorned in brightly coloured silk threads with bold floral designs, edged in deep macramé knottings and fringing, total size approx. 85in (216cm) square: silk 57½in (146cm), fringe 27½in (70cm), overall good condition, colours strong.
Lot 469
Chinese textiles: an early 20thC Chinese black embroidered Piano Shawl, the black ground embroidered in black silk threads with peacock and floral designs, edged in deep macramé knottings and fringing, total size approx. 78in (198cm) square: silk 48in (122cm), fringe 15in (38cm), overall good condition
Lot 614
INDO-PORTUGUESE EMBROIDERED COVERLET (COLCHA) BENGAL, SATAGOAN, 17TH CENTURY worked in yellow tussah silk threads chain-stitched on a pale cotton ground with a central profile portrait of a ruler within bands of musicians, hunters, boats, fish and animals (301cm x 249cm) Footnote: Provenance : The Earls of Crawford and Balcarres, Balcarres House, Fife, Scotland Note : Coverlets of this type are attributed to the area of Satgaon in Bengal, India and were produced primarily for the Portuguese market during the mid-16th to the mid-17th centuries. The yellow tussah silk chain-stitched on a cotton ground in a monochrome palette are characteristic of these textiles and reflect European tastes, while the embroidery techniques are indigenous to where they were produced. They are often referred to by the Portuguese term ‘ colcha ’ or coverlet. Colchas demonstrate the exchange of goods and ideas between different cultures during the 1500 and 1600s, and indeed the mixed iconography depicted often reveal a concoction of mythological, Hindu, and Christian imagery. European textiles, tapestries and prints appear to have influenced their design, as well as merchants who would have provided their own ideas. Colchas were initially made as diplomatic gifts or souvenirs, but in time were brought to Portugal for domestic use, and through trade links made their way throughout Europe. Similar colchas are in the collections at the Metropolitan Museum of Art, New York; the Cooper Hewitt, Smithsonian Design Museum, New York; the British Museum, London; the Isabella Stewart Gardner Museum, Boston; and the Museu Nacional de Arte Antiga, Lisbon. For examples selling at auction, see Christie’s, Arts of India, London,12 June 2014, lot 34; Christie's, Indian & Islamic Costume & Textiles, London,14 October 2005, lot 487; Sotheby’s BC/AD Sculpture Ancient to Modern, London, 9 July 2020, lot 118; and Bonhams, Islamic & Indian, London, 30 April 2019, lot 150.
Lot 617
QUANTITY OF ANTIQUE RED SILK TEXTILES 19TH/ EARLY 20TH CENTURY comprising a pair of damask curtains, lined, with cord trim, 356cm drop x 194cm wide (each panel); a pair of damask and velvet curtains, lined, 343cm drop x 299cm wide (each panel); a damask bedcover with deep tassel trim, 290cm x 237cm; a brocade bedcover with cream floral sprays, the top 194cm x 209cm, sides 78cm drop; and four pieced damask panels, 210 x 174cm, 212 x 164cm, 166 x 156cm, and 148 x 160cm Qty: (Qty) Footnote: Provenance: The Earls of Crawford and Balcarres, Balcarres House, Fife, Scotland
Lot 317
A collection of Chinese textiles to include an early 20th century panel of rectangular form detailing a steamboat and steam train, 122 x 23cm, a late 19th / early 20th century embroidered silk panel decorated with auspicious symbols to include peaches and butterflies, 61 x 34cm, an embroidered silk fan case, with wirework decoration detailing a pear and pomegranate, with four character marks verso, 31cm long, a yellow ground panel with wirework decoration, 47 x 45 cm, an early 20th century clutch bag decorated with figures below floral canopies, 27 x 18cm, together with three further panels (8),
Lot 541
20th century AD. A substantial gilt bracelet formed in two parts; the shank with raised panels decorated with incised snakeskin pattern and hatched lines, four conical projections to each side, central lozengiform bulb; hollow to the underside with red fabric insert. For similar see the Dallas Museum of Art exhibition, The Power of Gold, Asante Royal Regalia from Ghana, 15 April 2018: ‘The Dallas Museum of Art presents an exhibition dedicated to the royal regalia of the Asante kingdom. Spanning three centuries, The Power of Gold: Asante Royal Regalia from Ghana brings together over 250 objects, including crowns, sword ornaments, ceremonial furniture, textiles, pectoral disks, weapons, a state umbrella, musical instruments, and jewelry made of wood, silk, brass, iron, and gold. Organized by the DMA and inspired by the Museum’s collection, The Power of Gold is the first American museum exhibition dedicated to Asante regalia in over 30 years, and explores the unique role and impact of gold on the development of Asante society, economy, and arts.’ 342 grams, 13.3cm (5 1/4"). UK private collection 2008-2020; acquired from Niger Bend, Chittenango, New York, USA; from the Asante (Ashanti, Achanti) tribe, Ghana, West Africa. The wealthy, gold-rich Ashanti people are part of the Akan ethnic group and are native to the Ashanti Region of modern-day Ghana. In the 1670s the Ashanti, also known as Asante people, went from being a tributary state to the centralised hierarchical Denkyira kingdom. The empire was founded in 1670, and the Asante capital Kumasi was founded in 1680 by Asantehene (emperor) Osei Kofi Tutu I. Ashanti was one of the few African states that seriously resisted European colonizers, however the British finally defeated the kingdom following the ‘War of the Golden Stool’ in 1900. In 1935 the Ashanti became the self-ruling sovereignty of the Kingdom of Ashanti, and the Ashanti King title of Asantehene was revived. Very fine condition.
Lot 547
20th century AD. A gilt regalia set comprising: an openwork headdress with central rosette cluster and two rectangular projections to the rear, the side panels with clusters of layered star motifs within plaited border, adjustable loop closure to the rear, the inside with padded velvet lining; an arm-ring and bracelet with woven background, applied decorative panels of stars and rosettes, hook closure to the rear, the inside with padded velvet lining. For similar see the Dallas Museum of Art exhibition, The Power of Gold, Asante Royal Regalia from Ghana, 15 April 2018: ‘The Dallas Museum of Art presents an exhibition dedicated to the royal regalia of the Asante kingdom. Spanning three centuries, The Power of Gold: Asante Royal Regalia from Ghana brings together over 250 objects, including crowns, sword ornaments, ceremonial furniture, textiles, pectoral disks, weapons, a state umbrella, musical instruments, and jewelry made of wood, silk, brass, iron, and gold. Organized by the DMA and inspired by the Museum’s collection, The Power of Gold is the first American museum exhibition dedicated to Asante regalia in over 30 years, and explores the unique role and impact of gold on the development of Asante society, economy, and arts.’ 1.5 kg total, 9.5-26cm (3 3/4 - 10 1/4"). UK private collection 2012-2020; acquired from Niger Bend, Chittenango, New York, USA; from the Asante (Ashanti, Achanti) tribe, Ghana, West Africa; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.160587-10110. The wealthy, gold-rich Ashanti people are part of the Akan ethnic group and are native to the Ashanti Region of modern-day Ghana. In the 1670s the Ashanti, also known as Asante people, went from being a tributary state to the centralised hierarchical Denkyira kingdom. The empire was founded in 1670, and the Asante capital Kumasi was founded in 1680 by Asantehene (emperor) Osei Kofi Tutu I. Ashanti was one of the few African states that seriously resisted European colonizers, however the British finally defeated the kingdom following the ‘War of the Golden Stool’ in 1900. In 1935 the Ashanti became the self-ruling sovereignty of the Kingdom of Ashanti, and the Ashanti King title of Asantehene was revived. [3] Very fine condition.
Lot 416
Art and Design. Includes; Habert-Dys - Nouveaux Documents Decoratifs en Couleurs: Ornements, Fleurs, Oiseaux, Panneaux, Tentures, Bordures. Paris: Armand Guerinet, circa 1910. Comprising 18 of 32 plates, with title page and plate list. With; Le Document du Decorateur. Paris: Armand Guerinet, circa 1910. Comprising 19 of 48 plates, with plate list. Both loose, housed in plain card folder. Art Nouveau interest. And; Two late Nineteenth century Japanese illustrated volumes, most likely published in Tokyo around the 1880's (Meiji era). One book is entitled 'Tori-Kagami' (bird-mirror) and contains woodcut views of birds, fish and shellfish, not coloured. The other appears to be a book of designs, presumably for textiles/fabric, again not coloured. Each appear to be in their original state, however they are no longer sewn at spine and there have been tape repairs to the covers. (4)
Lot 77
NO RESERVE Textiles.- Lace Sample Book, c.490 lace samples in various colours but mostly white, mounted on blue paper, most with identifying labels, several missing, occasional spotting, contemporary half-morocco, rubbed and worn, cracked hinges, defective spine, [late nineteenth century]; and others, all lace sample books, all disbound, folio (6)
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