Igshaan Adams (South African, born 1982)Prada IV, 2015 woven nylon rope and string 210 x 165cm (82 11/16 x 64 15/16in).Footnotes:ProvenanceAspire Art Auctions Inaugural Cape Auction, March 2017, Lot 178;A private collection.ExhibitedCape Town, blank projects; Parda; (June - August 2016);Norway, Vestfossen Kunstlaboratorium, KUBATANA, (May - September 2019).LiteratureJ. Ball, J. Higgins & R. Simbao, Igshaan Adams. Cape Town: blank projects, (Blank Projects), p. 93. (illustrated).Igshaan Adams embodies his captivatingly unruly and strikingly optic textiles in Prada IV, an exceptional example of the artist's ethos. The present work explores the complexities of identity through weaving. Navigating his personal identity through his work, Adams investigates themes of religion, race, and sexuality within himself, as well as his place in the world. Born and raised in South Africa during the Apartheid of the 1980s, Adams observes the hybridity of his identity, as a mixed-race homosexual man from a family of different religious practises in an environment where categorisation of society was intensely concentrated.'Navigating my way around the expectations imbedded within stereotypes of my social roles, I continue to search for new understanding, new ways of seeing my combination of identities.' (Igshaan Adams).Prada IV is a symbolically and metaphorically rich piece. The title itself refers to a veil or shroud, a mask concealing something from the lens of the world, displaying the boundary between one creates around them. The Muslim iconography of the present world indeed reflects Adams own religion and, raised by Christian grandparents, the sense of an intertwined narrative is evoked from the woven textiles. The tassels drooping from the work echo the appearance of Islamic prayer mats. Furthermore, Adams equates the act of weaving itself as having correlations with the action of prayer, explaining in his view that ' it leads to the same result internally'. The commonality of repetition and 'great consciousness and understanding'that the two actions share and also share an emotional navigation for Adams; ' internally what happens is you have to push against the feeling of wanting to give up, it's quite daunting to take on the task of weaving something huge', 'its something I experience when I pray too.'Adams therefore encapsulates the fluidity and malleability of identity, how one can both assemble and undo characteristics to enable an understanding of themselves throughout life. As the artist explains, 'need to unearth, unmask and unveil the mysteries hidden within the depths of the Self, beyond race, class, religion, sexual orientation, and gender. Who am I, beyond my identity?'. Through his work, Adams aims to deep-dive into his subconscious and his position in the cultural tapestry and imbedded ideologies. Holding his first UK solo show in 2021 at the Hayward Gallery, Kicking Dust, and currently on view at The Hepworth Wakefield with Weerhound until November 2024, Adams creates immersive installations with a focus on his weaving technique and textile art. With an extensive list of solo exhibitions globally, Adams' work is also included in the permanent collections at the Guggenheim Museum, New York; the Art Gallery of New South Wales, Sydney; the Moderna Museet, Stockholm; Stedelijk Museum, Amsterdam, Netherlands; Art Institute of Chicago; Baltimore Museum of Art; Inhotim Museum, Brazil; Iziko South African National Gallery, Cape Town; Minneapolis Institute of Art; Standard Bank collection, Johannesburg; and the University of Cape Town.BibliographyIgshaan Adams, quoted in Christine Cronjé, Jonathan Garnham, Hannah Lewis, eds., Igshaan Adams, (Cape Town, 2015), p. 109.Igshaan Adams, transcript from 'Møt Igshaan Adams', Nitja senter for samtidskunst, (YouTube, 2019).For further information on this lot please visit Bonhams.com
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A LATE GEORGE III FOLK ART EMBROIDERED PICTURE OF A FARMYARD SCENE EARLY 19TH CENTURY Needlework, felt and textiles on painted backdrop, later set in glazed frame Panel 36.5cm by 51.5cm, frame 53 by 67cm Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. The surround and backboard showing water stains throughout and with scattered spot stains visible throughout main image. Colours have muted from sunlight and are not as bright/vivid as catalogue image suggests. 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
WILLIAM MORRIS (1834-1896) FOR MORRIS & CO. A 'BIRD' PATTERN TEXTILE HANGING CIRCA 1890 Original design circa 1877 and 1878, jacquard-woven woollen double cloth approximately 150cm long by 125cm wide Provenance: Sir Edward Coley Burne-Jones (1833-1898); By descent to his daughter Mrs J W Mackail (nee Margaret Burne-Jones) (1866-1953); By descent to her daughter Clare Mackail (1896-1975); Thence by family descent. Literature: Parry, L., William Morris Textiles, V&A 2013, pp. 222-223, illus. This textile was the first hand-loom jacquard woven at Queen Square in London and later at Merton Abbey. In November 1879, Edward Burne-Jones ordered a set of bed hangings in this pattern and it is possible that this hanging may have formed part of this order. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some mild colour muting from sunlight. Small dark stain lower right of centre. Some loose threads. Edges have been folded over and then backing applied. 1/4 inch or less of edge can be felt to reverse edges. The edges themselves not completely straight. With hoops attached to top edge for hanging. Unevenness of weaving looks to be from manufacture 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
Three boxes, the first containing vintage textiles to include tablecloths, napkins, pillow cases, antimacassars, doilies etc, the second containing baby clothes and blankets, handkerchiefs and scarves, gloves etc and the third containing a Union flag, eight completed canvas embroideries, one part completed and a small quantity of tapestry wools together with a small pony and astrakhan coat
Box containing remnants of antique textiles mainly of Eastern origin to include Icat, Gujarati, English tapestry etc together with a box of modern furnishing fabric remnants, pieces of Kantha quilts, old cushion covers etc and a bag of Vogue and Harpers Bazarre magazines from 2018 and 2019 (2 boxes + 1 bag)
LEICESTERSHIRE, Leicester, City Boys’ School, a silver award medal, unsigned, named (F.W.L. Collington 1st 220 yds. Old Boys), 38mm, 25.70g; Leicester College of Technology, a gold award medal for Textiles, named (S.E. Groves 1932), 9ct, hallmarked Birmingham 1932, 26mm, 7.80g [2]. Very fine or better £150-£200
RHODA GARRETT (1841-1882) AND AGNES GARRETT (1845-1935) RARE AESTHETIC MOVEMENT CHAISE LONGUE, CIRCA 1875 mahogany with upholstery and loose squab cushion 57.5cm wide, 94cm high, 130cm long Literature: The Furniture History Society: British and Irish Furniture Makers Online (bifmo.furniturehistorysociety.org)Note: Rhoda and Agnes Garrett were trailblazers in British interior design, becoming the first women to establish their own firm, R. & A. Garrett House Decorators, in 1874. Originally working as a governess and housekeeper, they began their careers with apprenticeships under Jean McKean Brydon in the London office of Cottier & Co. After completing their three-year training, they embarked on a tour of English country houses, which informed their design aesthetic, giving them the confidence to start their own business in London.The Garretts’ firm offered interior design services and created furniture, wallpapers, and textiles. Their designs reflected principles of the Arts & Crafts Movement, emphasizing the use of authentic materials and craftsmanship. Their 1876 book Suggestions for House Decoration in Painting, Woodwork, and Furniture was aimed at middle-class households, promoting the idea that "every material has in itself a beauty," encouraging natural aesthetics rather than imitation.Their most notable clients included James and Margaret Beale, for whom they designed pieces for their home at 32 Holland Park. These pieces, including the daybed of the same design as the current lot, were later moved to the Beales' country house Standen, which remains a National Trust property (see NT 1214057). The Garretts also worked on the homes of notable family members, including Elizabeth Garrett Anderson and Millicent Garrett Fawcett, pioneers in medicine and suffrage, respectively.The sisters were committed to advancing women's rights, particularly through their involvement in the Women’s Suffrage Movement. Agnes served as the joint honorary secretary of the Central Committee of the National Society for Women’s Suffrage in 1872, actively advocating for women’s right to vote. Rhoda was also a powerful public speaker, delivering speeches at meetings and rallies. In one of her speeches in 1876, she emphasised the role of women in improving household art, arguing that through their contributions to home design, women could positively impact society. Their activism extended beyond suffrage; Agnes trained female apprentices in her design firm, providing women with professional opportunities in a field that had traditionally excluded them. Through their work and activism, the Garrett cousins played a pivotal role in promoting both gender equality and women's rights in the professional and domestic spheres.After Rhoda’s death in 1882, Agnes continued the firm, managing a skilled team of workers and training apprentices, including women, which was uncommon at the time. She exhibited her designs at major events like the Arts and Crafts Exhibition Society in 1888, further cementing the Garretts’ influence.Their contribution to furniture design is regarded as significant due to its focus on craftsmanship and accessibility for the middle class, and their pioneering role as women in business and design. Through their work and activism, they left an enduring legacy in both the design world and the women's rights movement.
TWO BOXES AND LOOSE ARTS AND CRAFTS SUPPLIES to include a group of embroidered textiles, buttons, fastenings threads, knitting needles, a boxed Winsor and Newton watercolour set, measuring supplies and pencils, a bag of vintage greetings cards, a cased sewing machine, a Ravensburger Disney princess jigsaw, a stamp album with assorted stamps, a cased sewing box (2 boxes and loose) (s.d)
Turkish Kayseri Silk Rug Silk on silk, the central panel having a floral scroll interspersed with multiple animal images, the border having pairs of animals amid floral scrolls, in hues of cream, green, burgundy and blue on a pink ground, woven signature at each end in border, retaining tag on underside Property from: a Private Collector, Muncie, Indiana Condition: overall light wear consistent with normal use, no damage to fringe Category: Decorative Arts > Rugs & Textiles Estimated Sale Time: 1:03 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7
Persian Hand Knotted Wool Rugs (2) items including an abstract floral having a center medallion in hues of blue, wine, tan and green on a blue field, Arabic signature on edge, and an abstract floral having a center medallion in hues of blue, wine, tan and green on a cream field (9ft by 6ft) Property from: an Estate, Arlington Heights, Illinois Condition: overall light wear consistent with normal use, both having some fading, furniture marks and slight wear patterns and fringe damage Disclaimers: surface and production inconsistencies typical of this form of weaving Category: Decorative Arts > Rugs & Textiles Estimated Sale Time: 1:04 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8Photograph #9Photograph #10Photograph #11
Persian Rugs (2) items including a Pakistani wool on cotton Tabriz floral style in hues of cream, yellow, green, blue and brick red on a navy blue ground (5 ft. 3 in. x 3 ft. 1 in.) retaining a Royal Gallery, Louisville KY tag and a cotton runner having mounted hunters and prey amid floral scrolls in hues of cream, yellow, orange and green on black ground Property from: a Private Collector, Muncie, Indiana Condition: overall light wear consistent with normal use Category: Decorative Arts > Rugs & Textiles Estimated Sale Time: 1:05 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7Photograph #8
LOUIS VUITTON Umhängetasche "NOÉ BB". Koll. 2020. Monogram Canvas Serie mit naturbelassenem Leder und goldfarbener Hardware. Textiles Innenfutter in Braun. Box anbei. Sehr guter Erhalt, leichte Patina vorhanden. 13x9x15cm.| LOUIS VUITTON shoulder bag "NOÉ BB". Coll. 2020. Monogram canvas series with natural leather and gold-colored hardware. Textile lining in brown. Box enclosed. Very good condition, slight patina present. 13x9x15cm.
LOUIS VUITTON Umhängetasche "RENDEZ VOUS". Koll. 2021. Letzter NP. 3.500,-€. Fein genarbtes Glattleder in Schwarz mit goldfarbener Hardware und goldfarbenem Monogram Muster in Nietenform. Überschlag mit magnetischem Verschluss, textiles Innenfutter mit diversen Innenfächern. Ein langer, längenverstellbarer Trageriemen und ein kurzer Gliederkettenriemen. Staubbeutel und Kopie der Rechnung anbei. Sehr guter Erhalt. | LOUIS VUITTON shoulder bag "RENDEZ VOUS". Coll. 2021. last NP. 3.500,-€. Finely grained smooth leather in black with gold-coloured hardware and gold-coloured Monogram pattern in the shape of rivets. Flap with magnetic fastening, textile lining with various inner compartments. One long, adjustable shoulder strap and one short link chain strap. Dust bag and copy of the invoice enclosed. In very good condition.
A LARGE AFRICAN KUBA-KASAI CLOTH CUSHION MODERN approximately 170 x 65cmTOGETHER WITH OTHER TEXTILES; A geometric pattern cushion; sections of printed scarlet floral silk; a cream and black printed quilted bed cover with a label for 'Raag AHMEDABAD INDIA'; two machine made rugs; a section of machine woven indigo, cream and iron red fabric; and a machine made verdure tapestry fabric curtain by repute from Robert Kime Ltd.
Hand-woven wool tapestry. Dimensions: 195 x 170 cm. Signed with the woven monogram. From an edition of 20 copies. Delaunay began her career as a painter, associated with the Orphism movement, which sought to express the dynamic and harmonious qualities of colour through abstract art. One of the most notable aspects of her career was her exploration of the synergy between art and design. She believed that art should not be limited to canvases but should be a part of everyday life, which led her to experiment with various forms of applied art, such as textiles and fashion. Together with her husband, Robert Delaunay, she developed the concept of "Simultaneism", which sought to capture the dynamic interplay of colour and form in motion. Tapestries were an ideal medium for her artistic vision, allowing her to expand her designs into large-scale works that could decorate spaces with their vibrant and dynamic patterns. Delaunay's tapestries are characterised by their use of contrasting colours and intricate compositions, as seen in this work, which employs geometric shapes and abstract motifs to convey a sense of movement and energy. Provenance: French private collection.
Brass Leeuwenhoek-type Simple Microscope, in the manner of the microscopes built by Maitland/Artis in the 19th century, the lens-plates 47.07mm x 27.6mm x 1.56mm with 3 rivets and hammer marks around lens aperture, with spherical lens, the long-screw adjuster with flattened handle, the shaped bridge-piece with vertical adjustment screw and focusing screw, with angle bracket and securing screw, good uniform patination, in a card case marked 'PERSONAL PROPERTY OF B. BRACEGIRDLE'Antonie van Leeuwenhoek (1632–1723), was a Dutch scientist and tradesman widely regarded as the "father of microbiology." His groundbreaking work with microscopes enabled him to explore a previously invisible world, revolutionizing the fields of biology and microbiology. Van Leeuwenhoek's life and scientific contributions were marked by curiosity, keen observational skills, and a commitment to scientific inquiry that led to some of the most significant discoveries in natural history. Born in Delft, Netherlands, Van Leeuwenhoek initially pursued a career in textile commerce. He worked as a draper, a profession that involved the inspection of cloth quality. His interest in lenses and magnification arose from his need to observe the threads of textiles more closely, a practice common in the industry. Van Leeuwenhoek’s advancements in microscopy were not the result of formal scientific training but rather the outcome of self-taught experimentation and dedication. While simple magnifying glasses had been in use for centuries, Van Leeuwenhoek’s microscopes were far more advanced. He did not invent the microscope, as early forms had been created by figures like Zacharias Janssen and Galileo Galilei. Instead, Van Leeuwenhoek’s unique contribution lay in his ability to improve the quality of lenses, enabling far greater magnification. Using small lenses, Van Leeuwenhoek built simple single-lens microscopes that could magnify objects up to 275 times, an unprecedented level at the time. His methods produced lenses of superior quality, allowing him to observe objects in finer detail than any other scientist of his era. Through his microscopic investigations, Van Leeuwenhoek became the first person to document and describe the existence of microorganisms, which he referred to as "animalcules." His observations included bacteria, protists, sperm cells, and red blood cells. In 1674, he reported his discovery of single-celled organisms living in water, and in subsequent years, he provided detailed descriptions of various forms of life, such as protozoa and algae. Van Leeuwenhoek’s observations of bacteria in dental plaque and other substances were particularly groundbreaking. His detailed descriptions of the minute organisms helped establish the foundation for microbiology. He meticulously recorded his findings in correspondence with the Royal Society of London, where his work was met with both skepticism and admiration. The impact of Van Leeuwenhoek’s work cannot be overstated. His discoveries transformed scientific understanding of life at a microscopic level and challenged prevailing notions of biology. Until his work, the existence of a microbial world was entirely unknown. His findings laid the groundwork for future scientists, such as Louis Pasteur and Robert Koch, whose work on germ theory and microbiology expanded upon Van Leeuwenhoek’s early observations. Although Van Leeuwenhoek did not publish formal scientific papers, he communicated his findings extensively through letters to the Royal Society, which translated and published them in *Philosophical Transactions*. His documentation and sketches of microorganisms were essential for validating his discoveries and spreading his influence across Europe. Additionally, his improvements to lens-making influenced the design of microscopes in subsequent centuries, establishing standards that would be refined in later technological advancements. Van Leeuwenhoek's contributions to science were widely recognized during his lifetime, and he continued his work well into old age. He was visited by notable figures such as Peter the Great of Russia, who was intrigued by his research. Despite his lack of formal education, Van Leeuwenhoek was elected a Fellow of the Royal Society in 1680. Brian Bracegirdle (1933–2019) was a well known figure in the fields of microscopy and the history of scientific instruments. His career began in the study of biology, where he earned a PhD in fungal spore dispersal from the University of London. However, his interests soon expanded into the history and development of microscopy, leading him to become a leading expert in the field. Bracegirdle had a long-standing association with the Science Museum in London, where he made significant contributions to its collections of historic microscopes. One of his key achievements was his work on cataloging and documenting historical microscopes, which helped preserve the legacy of this important scientific tool. His deep knowledge and passion for the subject were shared with a wider audience through his extensive writing. Bracegirdle was also a popular lecturer, and his engaging teaching style left a lasting impact on students and colleagues alike. Brian Bracegirdle authored numerous books on microscopy and related topics, many of which became essential reading for historians and scientists. His publications include A History of Microtechnique* (1978) Microscopes: A Short History* (1978) Beads of Glass: Leeuwenhoek and the Early Microscope (1983) Microscopical Mounts and Mounters* (1995), The Quekett Microscopical Club 1865–2015* (2016), and several volumes in the *An Atlas of Microscopy* series. These works have cemented his legacy as an authority in the history of scientific instruments. His contributions remain vital to our understanding of the development of microscopy and its role in advancing scientific knowledge.
Baron Armand Van Zuylen, interior scene with a wealthy lady in a belle epoque dress. Armand van Zuylen, barely 18 years old, studied painting at the Academy of Fine Arts in Antwerp. His passion for art history and his father's legacy led him in 1867 to build his own collection around four disciplines: weapons, musical instruments, textiles and costumes, watches and clocks. Later, he also focused on painting, sculpture, medieval art, porcelain and ceramics, which allowed his collection to develop and become one of the most important in Belgium in terms of quality, number and diversity of the works collected. As a painter and collector at the same time, he devoted his life to the promotion of the arts, in particular by lending part of his collection to renowned exhibitions (for example, the National Exhibition of Belgium in 1883). Signed lower right. Oil on canvas, circa 1880. | 69 x 59 cm. (zonder kader)93 x 82 cm. (met kader) | Condition: relined.
A group of four African textiles, 20th century, likely Kuba or Bakuba, present-day Democratic Republic of the Congo, all woven with vegetable fibre in geometric motifs, one example with a rafia edge, two examples woven with pom poms to the edges, 62cm square125 x 51cm402 x 71cmand 461 x 57cmCondition ReportThe larger panels with burst seams joining the panels. All with discolouration and patina commensurate with age. Some staining occurs in places. All smelling of damp.
A group of three scatter cushions, 19th century, comprising two with verdure tapestry panels, with velvet backing and tasselled edges, together with a large Chelsea Textiles needlework example, with a large flower head worked in gros and petit point to a blue/green ground,largest 57cm wide50cm high (3)Condition ReportOverall the cushions are in very good condition and ready for use. There are a few small pulls and splits to the tapestry panels but they are stable. Smell okay. Please see additional images for reference.
Eric William Ravilious (1903-1942): A Child's Handkerchief, lithographically printed on cotton, inscribed to verso Silk Handkechief: Purchased by Mary Monck Algiers May 1943 N.Africa whilst serving with F.A.N.Y (First Aid Nursing Yeomanry) Manufactured by mess rs Deans England, labelled for Miss Alma Taylor The Vicarage Froxfield Wilts, 43.5cm square (framed)Early in February 1941, while Eric Ravilious was working as a War Artist, he wrote to E.M.O'Rourke Dickey at the Ministry of Information, 'I've just had a long visit from a Mr. Gerald Holtom who seems very much to want designs for textiles for some Cotton Board. It would make a change to do this for a bit, and he assures me the whole thing is urgent and necessary'.The Cotton Board had been founded to raise standards of design and improve exports. As Helen Binyon relates in Eric Ravlious 1983, Gerald Holtom had found a firm in Lancashire which produced handkerchiefs printed by lithography, an unusual printing process for textiles, but one in which Ravilious was becoming increasingly interested. Holtom explained that he proposed displaying 'appropriate decorative handkerchiefs and scarves ... at the travelling exhibitions of War Artists' and A.F.S Artists' work in the U.S.A' Ravilious wrote to Helen Binyon on 1st April 1941, 'The cotton prints are being tried out (by lithography) and the first experiment is a child's handkerchief - you shall have one if it comes off well.'The Child's Handkerchief by Eric Ravilious exists in two forms. A proof on paper, printed in two blues with trial workings for pattern designs in the margin, is presumaly the first version of the design, possibly done as a trial to test the capacity of the fabric printing process. Ravilious then apears to have reworked and simplified the design, using dark grey and dark green for the detailed work, with bands of yellow for the tape measures and across the numbers, somewhat in the style of the Wedgwood Alphabet mug. This second version is only found printed on cotton, with unhemmed edges. The small number of known copies (less than five) suggests that it was carried to proof stage but never issued commercially.The handkerchief is inscribed 'To John' in the tiny oval between the figures 11 and 12. This is John Ravilious, eldest child of Eric and Tirzah Ravilious, born 1935. Eric Ravilious was lost on a flight from Iceland in September 1942, while serving as a War Artist.
Textiles - Indian panel of silver metalwork embroidery on silk; a very long panel of 19th century floral beadwork, embroidered with roses and daises grasses and corn with a border of glass beads 400cm x 16cm; Smaller 19th century embroidery panel with roses and auriculas; Two 19th century bell pulls with rose petitpoint needlework and gilt brass end pulls; quantity of watered silk ribbon, quantity rose printed cotton border; quantity metal woven braids; quantity metal woven 15cm fringe; worked gilt metal pelmet; blue and gold altar cloth; (qty)
⊕ Bernard Myers (lots 139-158) Work and travel in the Middle East and India introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) Introduction Trained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 209-213), the still-lifes he worked on in his studio (lots 194,197,,200 & 203), the nudes he painted in weekly life-classes (195, 198, 201, 204), and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 196, 199, 202, 205). He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 206-208). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lot 209).STILL LIFE WITH FLOWERS AND PEARS ON A PLATTER signed B Myers lower right; inscribed New Grafton 7 upper left margin oil pastel on paper 52.5 x 72cm; 20 3/4 x 28 1/4in (image) unframed In good original condition.
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