WILLIAM MORRIS (BRITISH 1834–1896) 'VINE AND ACANTHUS' EMBROIDERED PANEL, CIRCA 1890 coloured silks reserved on an unbleached linen ground, and lined with original printed cotton ‘Bird’ fabric by Morris & Co., later mounted and framed 169.2cm x 233cm (66 ½in x 99 ¾in) (frame size 181cm x 246cm (71 ¼in x 96 ¾in)) John and Joan Collins, Portobello Road, LondonAdrian J. Tilbrook and Dan Klein, LondonJohn Scott Collection Exhibited: The Fine Art Society, London Architect-Designers from Pugin to Voysey; The John Scott Collection , 3rd-25th June 2015, no. 84Literature: Morris & Company: Arras Tapestries, Wall-Papers, Fabrics, Furniture, Upholstery and Decoration, catalogue, circa 1910-12, p.24, where an identical design illustrated (half)Morris B. J. Victorian Embroidery: An Authoritative Guide, New York 1962, p.109Parry L. (ed.) William Morris, London 1996, p. 384The original design and cartoon for the tapestry are in the V&A; collection, accession numbers E.45-1940 and E.2472-1932Morris’ fascination with textiles was lifelong. This design is likely to have been partially inspired by the 16th century French and Flemish verdure tapestries he admired at Queen Elizabeth’s Hunting Lodge in Epping Forest as a child. In 1854 he visited France and was exposed to medieval ecclesiastical designs as well as observing weaving techniques in the Parisian Gobelins Works. As was characteristic of Morris, he personally sought to understand the physical making process, reportedly picking apart pieces to ‘puzzle out the tricks of the loom’.Despite his early enthusiasm for the medium, it was not until 1877 that Morris made his first official foray into tapestry weaving with ‘Acanthus and Vine’. This venture was once more prompted by his desire to understand Arras tapestry, studying it through making. Morris accordingly set up a haute-lisse, or horizontal loom, in his Kelmscott Manor bedroom, and spent 516 hours from May-September of 1879 completing it. This was not a seamless process, Morris himself renaming the piece ‘Cabbage and Vine’ following a distortion of the Acanthus leaves during production! The finished piece remains in the collection at Kelmscott, later being transposed to embroidery form.In the decades preceding the making of ‘Acanthus and Vine’, the status of embroidery as an artform was much diminished. The craft required a minimal and shrinking skill level, comprising repetitive stitch types and designs copied from kits. The founding of the Royal School of Art Needlework in 1872 aimed to improve the reputation of secular embroidery, with William Morris as one of the principle supporting designers. Morris’ opinions towards textiles foreshadowed principles of the Arts & Crafts Society, not established for another thirty years. He supported a return to traditional techniques, reacting against the stagnant designs and garish colour palettes of contemporary pieces. In the years prior to the making of ‘Acanthus and Vine’, not only did he become sole manager and proprietor of Morris & Co., but his work was influenced firstly by the opening of the South Kensington Museum (later the V&A;) and secondly his association with dyer Thomas Wardle. The former saw him inspired by sources as various as Indian textiles and traditional crewelwork, whilst the latter enabled him to work closely with a practitioner experienced in natural vegetable dyes. In ‘Acanthus and Vine’ sweeping arches of foliage envelope thoughtfully placed pairs of birds and plump bunches of grapes, all showcasing Morris’ love of gardening and his ornithological fascination. The colours are naturalistic, and the stitches lie flat to the fabric, allowing the subject to shine, rather than the materials themselves. For Morris, design elements had to serve a purpose within the pattern, birds needing to relate to the foliage rather than being a dominating feature. Thus, this embroidery retains the realism Morris prized, and his sentiment that ornamental art should primarily remind us of ‘the outward face of the earth’.
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GODFREY BLOUNT (BRITISH 1859-1937) MALE NUDES IN AN ARCADIAN LANDSCAPE watercolour, gouache and ink on paper 8cm x 22.2cm (3 1/8in x 8 ¾in) Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildrenWith H. Blairman & Son, London Godfrey Blount was heavily inspired by the principles of William Morris, John Ruskin and the Arts & Crafts Society which, together with his strong religious beliefs, fuelled his desire to return to a simpler, more traditional way of life. Working as an artist across multiple mediums, his principal legacy was the establishment of the Haslemere Peasant Industries. He studied under the artist Hubert Von Herkomer, whose painting prioritised realistic portrayal of the lives of the poor. Perhaps this realism and sympathy for the working classes directed Blount away from his public school, Oxbridge educated upbringing towards a life amongst the rural poor.Having moved in 1896 to the Surrey village of Haslemere with his wife Ethel, the following year the couple were founding figures of the Haslemere Peasant Industries artistic community. The Industries rejected mass production in favour of rural craft and aimed to create an environment in which work and leisure aligned with philanthropic principles and traditional values. The primary motive was teaching forgotten crafts to the community rather than profit generation. The organisation also acted as an umbrella body, heading up small workshops which employed local craftspeople, as well as maintaining a small shop in London. Such was the quality of their work that three embroidery hangings are held today in the V&A.;Blount was a prolific publisher, in 1899 releasing his most notable work, the design manual Arbor Vitae. During the First World War he had a printing press with which he produced pamphlets as well as greeting cards and decorative plates.
GODFREY BLOUNT (BRITISH 1859-1937) EIGHT ILLUSTRATED ALLEGORICAL VERSES watercolour, gouache and ink (2) each 12.5cm x 8.7cm (4 7/8in x 3 3/8in), all under two mounts Kathleen Hyacinthe Dale (1898-1983); by descent to her daughter, Mary Willcock; thence to her grandchildrenWith H. Blairman & Son, London Godfrey Blount was heavily inspired by the principles of William Morris, John Ruskin and the Arts & Crafts Society which, together with his strong religious beliefs, fuelled his desire to return to a simpler, more traditional way of life. Working as an artist across multiple mediums, his principal legacy was the establishment of the Haslemere Peasant Industries. He studied under the artist Hubert Von Herkomer, whose painting prioritised realistic portrayal of the lives of the poor. Perhaps this realism and sympathy for the working classes directed Blount away from his public school, Oxbridge educated upbringing towards a life amongst the rural poor.Having moved in 1896 to the Surrey village of Haslemere with his wife Ethel, the following year the couple were founding figures of the Haslemere Peasant Industries artistic community. The Industries rejected mass production in favour of rural craft and aimed to create an environment in which work and leisure aligned with philanthropic principles and traditional values. The primary motive was teaching forgotten crafts to the community rather than profit generation. The organisation also acted as an umbrella body, heading up small workshops which employed local craftspeople, as well as maintaining a small shop in London. Such was the quality of their work that three embroidery hangings are held today in the V&A.;Blount was a prolific publisher, in 1899 releasing his most notable work, the design manual Arbor Vitae. During the First World War he had a printing press with which he produced pamphlets as well as greeting cards and decorative plates.
A Lladro figure of a Medieval lady seated doing embroidery, 29 cm high together with another similar figure seated in a ladder back chair, 28 cm high CONDITION REPORTS The Medieval lady - very dirty and there is a small chip to her little finger. The lady on a chair - again very dirty. Both in need of a good clean. General wear and tear conducive with age and use - see images for more details
A Derry & Toms, Kensington box containing a Turkish style scarf/shawl approx. 59 cm x 270 cm, a costume comprising a blouse of gold painted netting with lace and ribbon detailing to neck and cuffs together with a matching skirt with lace trimmed apron and lace flounce and a Dickins & Jones box containing a heavily embroidered remnant of a clothing (possible a dress) in silk satin with gold and silver fagotting and silk satin stitches approx. 95 cm x 50 cm (at widest), a net sequinned collar, a net and metal decorated shawl approx. 185 cm x 56 cm, a pair of silk stockings, two bracelets, three sections of gold beaded braid and remnants thereof, together with a segment of Chinese embroidery approx. 100 cm x 12 cm featuring dragons and phoenix
A collection of hardback and other books, primarily relating to art and collecting, titles including: English Furniture of the Eighteenth Century, by Herbert Cesinsky, three vols.; The Gentle Art of Faking Furniture, by Herbert Cesinsky; The Earle Collection of Early Staffordshire Pottery, by Cyril Earle; English Embroidery, by A. F. Kendrick; How to Identify Old Chinese Porcelain, by Mrs Willoughby Hodgson; Old Glass and How to Collect It, by J. Sydney Lewis; and others, contained across two boxes.
Victorian petticoats and undergarments, embroidery anglaise trimmed and lace trimmed, to include bloomers, a silk petticoat with lace and ribbon detail, white cotton shift, an embroidery anglaise petticoat/nightgown with embroidery anglaise straps, Victorian full length nightgown, full sleeves trimmed with embroidery anglaise and pinch pleats, another Victorian full length nightgown, a cotton petticoat with side panels, lace inserts and embroidered front bodice, full length sleeves (some rust staining), a machined lace and cotton cami top, a silk petticoat with lace hem, an organza (damaged) petticoat (1 box)
A late 18th century gentleman's silk waistcoat embroidered to the front panels in silk threads using various embroidery stitches to include satin stitch, stem stitch, French knots and chainstitch, all over floral sprigs with wide borders of flowers and leaves on sinuous stems, embroidered pocket flaps, embroidered buttons detailed with small pink flowers, satin backing to the pockets and reveres, the back has been taken in at a later time just with a running stitch, cotton ties to the back, from underarm to underarm at the back measures 51cm approxCondition ReportSome staining to both armholes (outside and in), some fading commensurate with age (but not to embroidery), four square stitched areas (as shown in photos), which may be repairs.
A quantity of 1980's and 90's denim items to include denim and country shirts including vintage Wrangler jeans, Levi Strauss, Lawman denim boilersuit/jumpsuit with elasticated waist and bellbottom trousers, full length denim skirt with gold bead and coloured stone embroidery, Claudio Couti jeans, Marks and Spencer jeans, distressed denim overshirt labelled Silver Saddle, Express EXP Jeans waisted jacket double breasted with gilt and black button, black ric rac and embroidered applique, an embroidered blouson denim jacket circa 1980's (extra large) with applique sequinned symbols to include a poodle, juke box, musical notes, beads etc, Dolce & Gabbana jeans with gilt and coloured glass heart charms to the pockets, a Harley Davidson motorcycle workshirt, a Kinsale Smocks jacket, a TG - 69 denim jacket with black cotton detail and pockets, and assorted country cotton and woollen shirts, and other denim items (2 boxes)
Rust-coloured chenille dress with frilled collar and ribbon tie labelled 'Uninhibited Made in England', an orange crepe day dress with pleated bodice, foldover collar and belt labelled 'Ivis', a green linen shift dress with green linen ribbon embroidery, a cream open cut lace cocktail dress, a brown 1940's dress with square neckline, smocked at the neckline and skirt with belt, white embroidery and short sleeves, a blue linen shirt dress with white detail labelled 'Demi and Tass', a 1970's linen cocktail dress with smocked back, red and black striped bodice with red strap, a linen cocktail dress embroidered with yellow and green floral decoration, a green linen bow to the ruched bodice, shoulder straps, a full-length turquoise, silver thread and yellow striped dress with shoulder straps and matching bolero, a black crepe sleeveless dress with glass faux flowers embroidered to the satin collar, a blue velvet sleeveless dress and a brocade evening dress, A-line, red chiffon ruched bodice with broad shoulder straps, back zip fastening (12)
1990's embellished knitwear to include a black knitted jumper dress, heavily embellished with glass beads in multi colours labelled Michael Simon New York, a black velvet jacket size 44 multi coloured embroidery on one side, another black velvet jacket with coloured glass and gilt embellishment and single embellished button labelled Falcini, a black elastine 'body' heavily embellished with coloured glass beads, gilt beads etc. (some missing), a black knitted sweater embroidered with sequins, a black knitted cardigan embroidered and embellished with crowns in faux pearls, gilt beads, glass beads, embroidery, the buttons coloured glass, surrounded by faux pearls and gilt beads and the collar embellished, a black wool coat dress labelled Le Follie di Ziegfeld, size small, embroidered with the Ace of Spades in silver sequins and beads and the Ace of Hearts on one sleeve, some loss, a black knitted jumper labelled Bob Mackie embellished with faux pearls, bugle beads, gold coloured beads, turquoise coloured beads etc front and back, another labelled Paolo Borghesi, and a hand painted applique 'T' shirt labelled D'Imalia depicting an elephant (10)
Collection of 1970's/80's evening dresses to include a green polyester dress labelled 'Brijos Madrid', size 40, empire waist with black sequin detail and short angel sleeves, a full-length evening dress labelled 'California', faux-pearl sequin and silver thread embroidery to the collar, a gold and cream jacquard sleeveless evening dress with bow detail to the V neck, a black full-length dress with black sequin bodice and full sleeves, a pink maxi dress labelled 'Blanes' size 12, the sleeves with encrusted decoration of glass flowers, faux-pearls, etc, a sleeveless chiffon evening dress printed in autumn colours with black rickrack detail to the empire waist, V neck, labelled 'Cresta', a blue taffeta short cocktail dress labelled 'Rembrandt' size 16, a dusty orange full-length panelled evening dress off the shoulder with chiffon detail, three-quarter length sleeves, a black and red striped cotton sleeveless dress (missing belt) labelled 'Vera Mont', a blue probably 1950's dress labelled 'R.M.H.O', white Peter Pan collar, full skirt with godets, three-quarter length sleeves and a pale apricot duster coat trimmed with faux-fur to the sleeves (11)
Victorian nightgown, cotton, lace and embroidery anglaise with ribbon threaded through, some repairs needed, six Victorian petticoats, various detailed with lace, crochet, etc, a peasant-style blouse with embroidery round the neck, and a mid-century silk nightgown in pale turquoise, embroidered tie belt (some repairs) (7)
Islamic Ottoman Ka'aba silk and metal thread embroidery - possibly 18th century - with a Turkish calligraphy panel, the original deep red backing has faded but the colour does peep through, there is wear and loss to the centre, the paper used to frame the embroidery is still visible in parts, 195 cm x 100 cm approx
A Victorian red wool tailcoat tunic, circa 1840, probably South Devon Militia, the black felt collar and cuffs with silver embroidery, two rows of silvered crown and laurel wreath buttons by Bogget & Reynolds, London, (epaulettes missing) together with a pair of black wool trousers with red piping (2)
A collection of Chinese embroidery, 19th-20th century, including a pair of tank badges, decorated with dragons or birds, 18 to 72cm long, and a Japanese hanging scroll,20th century, of a stone carver, ink and colour on silk,78x30cm (5)Condition ReportScroll - very worn and fragile. With tears, staining, cockling, creasing throughout. Embroidery - all very tired, with loose and missing threads in various locations. A/f.
A collection of embroidery and lace, some early 20th century including a WWI Souvenir of France embroidered and lace silk panel, an embroidered, lace, ribbon work with blue ribbon threaded Souvenir of France pillowcase, various lengths of embroidery and lace, a lace drawstring bag, a piece of early 20th century fine lace edging, etc. Large embroidered grapevine design panel 44 cm high x 340 cm long, WWI Souvenir of France panel 56 cm square, fine lace edging 57 cm x approximately 400 cm.
A collection of mostly handmade beadwork, embroidery and stumpwork (some possibly Indian/Middle East) to include a embroidered and metal thread panel of the Taj Mahal, two embroidered and sequined stumpwork peacocks, an embroidered panel with beetle-wing detail, a beadwork scalloped panel, a heavily beaded front skirt panel, a peach chiffon beadwork and embroidery skirt panel, a beadwork screen panel, etc. Metal thread sequined fringed panel 125 cm x 50 cm, beadwork scalloped panel approximately 210 cm long x 13.5 cm high.
A Russian Gem-Set Silver-Mounted Sandstone Match-Holder in the Form of an Elephant, by Fabergé, St Peterburg, Workmaster Julius Rappoport, Circa 1890 humorously modelled, the ovoid sandstone body mounted with silver trunk, legs, ears and tail and with a central well for matches with gadrooned rim, with two garnet cabochon-set eyes11.5cm wideProvenance: by family tradition gifted to a member of the Cullingworth family, who were working at Clifton Castle in the mid-20th century, by Lieutenant Colonel Assheton Penn Curzon-Howe-Herrick and his wife, Joan Henrietta, daughter of James Windsor Lewis, and by descent to the present owner.The Curzon-Howe family were remarkably well connected through the 20th century. Lieutenant Colonel Assheton Penn Curzon-Howe-Herrick (1898-1959), who likely previously owned, by inheritance, the present elephant, was the son of Sir Assheton Gore Curzon-Howe K.C.B., C.M.G., C.V.O. (1850-1911), the celebrated British naval officer who was, for a time, the Commander-in-Chief of the Mediterranean Fleet. Sir Assheton in turn was the son of Richard William Penn Curzon-Howe, 1st Earl Howe (1796-1870) and counted the 2nd and 3rd Earls Howe as his brothers through his father’s first marriage.The extensive nature of the network of the family is perhaps best illustrated by reviewing the list of the invited guests to Sir Assheton’s wedding in 1892, at St Mark’s church, North Audley Street, London, to Alice Anne Cowell, daughter of General Right Hon. Sir John Cowell, of Clifton Castle. The invitees, as recorded in a contemporary report published in the Yorkshire Herald on 27 February 1892, include a veritable who’s who of European royalty and British aristocracy. The report further shows the event to have been a lavish affair, noting:“The bride looked very handsome in her bridal costume of rich white corded silk, draped with fine Brussels lace and trimmed with sprays of orange blossom. Her veil was fastened to the hair by a large diamond star and was surmounted by a wreath of orange blossom. She wore a magnificent diamond and turquoise bangle, a present from her Majesty, who also sent the bridal bouquet of choice exotics. Her other ornament was a diamond cross, the gift of the bridegroom. The bridesmaids were Miss Marie Cowell, sister of the bride, Lady Alexandra Hamilton and Lady Gladys Hamilton, nieces of the bridegroom, Miss May McNeil, and Miss Frances Whyley. They were attired alike in charming gowns of white bengaline edged in white fur and trimmed with silver embroidery with hats en suite.”The report goes on to provide a list some of the wedding gifts given to the couple, presented, as the guest list would suggest, by royalty and the aristocracy:“Her Majesty presented the bride with a handsome Indian shawl, a turquoise and diamond bangle, and the bridal bouquet of choice exotics; the Prince of Wales and Prince George of Wales gave a travelling clock to Captain Curzon; the Grand Duke of Hesse sent an embossed silver box; the Duke and Duchess of Edinburgh, silver bowl; the Duke and Duchess of Connaught, a tortoiseshell clock; the Marchioness of Lorne, a jewelled spray; Prince and Princess Henry of Battenberg, a jewelled pin; the Duchess of Albany, silver mounted inkstand; the Prince of Leiningen, silver coffee pot; Prince Louis of Battenberg, pair of silver candlesticks; the Duke and Duchess of Abercorn, diamond pin and ring.”Sadly, no mention is made of the present elephant, though the list does go on to note ‘The other presents were numerous.’ It is of course also possible that the elephant was purchased by Sir Assheton, the St Peterburg hallmark is that used from 1882-1899 which fits in with his wedding, or given to him as a gift on another occasion.The wider family were well aware of the firm of Fabergé, particularly its London branch, which opened in 1903, through the role of Richard George Pen Curzon, 4th Earl Howe (1861-1929) as Lord Chamberlain to Queen Alexandra. Around this time Henry Charles Bainbridge, Fabergé’s agent in London, instigated a project that has become known as the Sandringham commission. This saw Fabergé send to London the artist Boris Frödman-Cluzel who prepared wax models of various animals on the Sandringham estate. These wax models were translated in the workshops of Fabergé into, mostly, hardstone models which were then sold either directly to the King and Queen or to members of their inner court to be presented to their royal highnesses. The only two examples not made in hardstone were the models of Vassilka, the borzoi, and Persimmon, one of Edward VII’s racehorses, which were produced in silver, presumably as their long legs made them unsuitable for carving in hardstone. The model of Vassilka was purchased by Earl Howe on 5 November 1909 from Fabergé to be given as a gift to the Queen. The model remains in the Royal Collection to this day.The connection between Earl Howe and Queen Alexandra seems to have been close, and the gift giving reciprocal. Following his death in 1929 the 4th Earl Howe lists of number of items in his will which had been given to him by the late Queen.Humorously modelled silver-mounted sandstone match holders in the form of animals, such as the present example were made in various forms. Perhaps the closest to the present elephant was one previously in the collection of His Royal Highness the Prince Henry, Duke of Gloucester, and which was sold by Christie’s 25 November 2013 as lot 225. Another example, formed as a rhinoceros was sold by Bonhams (26 November 2014, lot 156) and one formed as a pig was sold by Sotheby’s (12 June 2008, lot 653).Marked inside the well with Fabergé in Cyrillic, workmasters mark and 88 zolotnik standard mark. The top of the trunk marked with Fabergé in Cyrillic and workmasters mark. There is some wear to the marks but each is generally legible. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the texturing, most visible to the trunk. There is a bruise to one side of the match well. Two legs have perhaps been reattached to the body. One is slightly loose and with a small gap between the top of the foot and the body.
An antique silk embroidery, possibly Kashmiri, late 18th / early 19th century - originally a bedspread or coverlet, now reduced, more recently used as a wall hanging, finely embroidered with flowers and stylised leaves on a plain ground with wool blanket lining and ruby red silk backing, silk fringes, approx. 213 x 105cm, extensive old losses and damage in places to the cut edge where the silk is exceedingly fragile, some discolouration to ground fabric.
Bellamy Jean The Star, 2025 Textile Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bellamy Jean is a contemporary textile artist and designer specialising in original and bespoke embroidery. She started sewing in the back of her mother's lingerie shop and has spent years developing her skills and style. Focused mainly on textiles, Bellamy creates meaningful pieces using fabric and thread. Through her work, she studies the art of alchemy and the symbolism surrounding world religions past and present, as well as colour compositions through the work of Hilma af Klint, Joseph Albers, and Alexander Calder. Each of her pieces is hand-drawn and embroidered freehand using an Industrial freehand embroidery machine. Education Art Foundation, City and Guilds school of fine art 2006 Freehand machine embroidery course, London Embroidery Studio 2017 Digital embroidery course, London Embroidery Studio, 2018 Group Exhibitions Babes in Arms, The De La Warr Pavilion, Bexhill, UK, September 2022 Babes in Arms, Big Yin Gallery, St Leonards on Sea, UK, November 2021 Statement about AOAP Submitted Artwork The two pieces that I have created are symbolic portrayals of femininity, with a star being the focal point of both embroideries. I used a star as an independent symbol within the pieces to show a life-giving source, the most common perception of being female. My aim is to further the conversation on the way women are perceived and portrayed in today's society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Bellamy Jean Finding the Light, 2025 Textile Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bellamy Jean is a contemporary textile artist and designer specialising in original and bespoke embroidery. She started sewing in the back of her mother's lingerie shop and has spent years developing her skills and style. Focused mainly on textiles, Bellamy creates meaningful pieces using fabric and thread. Through her work, she studies the art of alchemy and the symbolism surrounding world religions past and present, as well as colour compositions through the work of Hilma af Klint, Joseph Albers, and Alexander Calder. Each of her pieces is hand-drawn and embroidered freehand using an Industrial freehand embroidery machine. Education Art Foundation, City and Guilds school of fine art 2006 Freehand machine embroidery course, London Embroidery Studio 2017 Digital embroidery course, London Embroidery Studio, 2018 Group Exhibitions Babes in Arms, The De La Warr Pavilion, Bexhill, UK, September 2022 Babes in Arms, Big Yin Gallery, St Leonards on Sea, UK, November 2021 Statement about AOAP Submitted Artwork The two pieces that I have created are symbolic portrayals of femininity, with a star being the focal point of both embroideries. I used a star as an independent symbol within the pieces to show a life-giving source, the most common perception of being female. My aim is to further the conversation on the way women are perceived and portrayed in today's society. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
* Clothing. A collection of shawls and garments belonging to Lady Ottoline Morrell (1873-1938), comprising: a finely hand-embroidered cream Chinese stole with knotted tassel fringing to short ends; 2 finely-woven silk stoles, one of ikat design; a pair of tan suede ladies' gloves hand-embroidered in blue and brown silks with floral and foliate sprays, tied with turquoise silk ribbon, and lined with turquoise silk; an Ottoman waistcoat heavily embroidered overall in silver and gold metalwork, lined with red silk; a child's embroidered cap with red tassel, from Dalmatia; 2 Balkan embroidered linen tunics, one a child's; a peasant child's linen dress with salmon pink embroidery, and a blue-embroidered tunic similar; and a silk-lined jacket with long sleeves, of floral striped fabric woven with metallised threads, together with an embroidered Turkish towel, various sizes and conditionQTY: (12)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); thence by descent.Lady Ottoline and her husband, Philip, travelled extensively on the Continent, always bringing souvenirs back with them. Ottoline, unconventional in so much of her life, was idiosyncratic in her style of dress. She loved beautiful clothes and dressed in her own unique style, sometimes dressing in a Grecian style, at other times like a Cossack or an Oriental princess. Siegfried Sassoon seemed a little disconcerted when he wrote of their first meeting, at Garsington in 1916, that Ottoline was attired in voluminous pale pink Turkish trousers. This little collection of garments shows her eclectic taste and her appreciation of fine silks, rich embroideries, and skilful needlework. The child's peasant dress is similar to that worn by her daughter, Julian, in a charming photograph of the two of them together held by the National Portrait Gallery (NPG P478).
* Louisa Caroline Alberta (Princess Louise, Duchess of Argyll, 1848-1939). A large finely embroidered lawn handkerchief, hand-stitched with wide whitework embroidered and appliquéd border of putti, grape vines, floral swags, and volutes, one corner with Princess Louise's cypher, trimmed with hand-made scalloped lace, one or two faint marks, but overall in excellent condition, approximately 48 x 48 cm (19 x 19 ins), sometime carefully stitch-mounted to a piece of blue tissue paper QTY: (1)NOTE:Provenance: Archives of The Ladies' Work Society.Lady Louise was the sixth child of Queen Victoria and Prince Albert, and their fourth daughter. She was an accomplished artist and sculptor, receiving tuition from sculptors Mary Thorneycroft and Joseph Edgar Boehm and enrolling, in 1863, at the National Art Training School in Kensington. During the 1870s and 1880s Princess Louise exhibited at the Royal Academy, the Society of Painters in Watercolour, and the Grosvenor Gallery, and during this time, in 1875, she formed The Ladies' Work Society. The Society was intended to assist gentlewomen who found themselves in financial hardship in an era when there was little choice of a working profession. Taking on paid work, even in more acceptable positions such as governess or companion, meant a serious loss of social standing. The society gave such women suitable embroidery and other stitching work, which built upon the standard needlework skills inherent in all female education, and raised their standards to a professional level. The Society, therefore, was a reflection of both Louise's interest in the decorative arts, and her passion for the education and rights of women.
* Embroideries. Four portions of metalwork embroidery from a Regency robe, circa 1810, 4 pieced irregular portions of cream fine Egyptian cotton, embroidered with scattered silver metalwork flower heads, some perishing of ground (mainly to one piece), dimensions at largest points 88 x 91.5 cm (34.5 x 36ins), 101.5 x 54 cm (90 x 21.25 ins), and 106 x 42.5 cm (41.75 x 16.75 ins) x 2, together with a large embroidered border, with hand-worked polychrome silk and chenille threads over a mesh base, appliquéd by hand onto machine-made net, featuring a repeating design of floral sprays and posies, including roses and heartsease, upper edge with wavy border of roundels, and lower edge with foliate helix border incorporating flower sprigs, in shades of pink, blue, yellow, green, cream, and mauve, occasional loose threads and small marks, but generally in good condition (with delicate net intact), width of embroidery 21.5 cm (8.5 ins), approximate width of net (irregularly cut) 40 cm (15.75 ins), length 236 cm (93 ins)QTY: (5)
* Painted Boxes. Three painted boxes of embroidery silks, paper-covered cardboard, 2 painted with floral patterns, the other painted with stylized fruit and leaves, each lined with decorative paper inside and containing a mixture of brightly coloured silk threads, some flaking of paper, and two with wear to extremities (particularly the third box), together with a wooden pen box with rounded ends, probably Italian, 19th century, hand-painted with fleur-de-lys and flourishes, pull-off lid slightly darkened and with horizontal crack through middle, also containing embroidery silks, and an (empty) embroidered circular box, 18th century, stitched in coloured threads with fleur-de-lys and flowers, toned and dust-soiled, some loss of threadwork, lined with olive green silk (spotted), plus a tan limp morocco document folder, Middle Eastern, early 20th century, front cover with gilt tooled device with coloured leather onlays, of two squares within a scallop-edged pointed oval, gilt rolls to border, rear cover with border of gilt roll between single fillets, dusty and rubbed, especially to edges of upper cover, some loss of onlays, the two pockets inside containing a small square of lattice embroidery, a card of narrow wire-edged green ribbon, a bundle of coloured embroidery silks, and a Piesse & Lubin perfume sachet, one pocket with maker's name in gilt below a paper label with numerals in ink, folio (39 x 30 cm/15.5 x 11.75 ins), and a black silk bag containing some ribbon and fragments of red velvetQTY: (7)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); thence by descent.The three painted cardboard boxes owe much sylistically to the Bloomsbury Group in general and the Omega Workshop in particular, though none give any clue as to the maker. The painted pen box and the embroidered box may have been purchased on one of the Morrells' excursions to the Continent. Friend of the Morrells Robert Gathorne-Hardy writes of Ottoline's 'passion for beautiful small boxes', describing how once, on a visit to Rapallo in Italy, she saw 'three irresistible little boxes' in an antique shop: 'With this faint sense of evil-doing which goes deliciously with luxurious expense, she bought her favourite. But still the other two beckoned inwardly, and guiltier than ever she bought a second one. Barely an hour or two before they were to leave she dashed off, in a frenzy of desire which stifled all moral feeling, to buy the third and last.' (Ottoline, The Early Memoirs of Lady Ottoline Morrell, Faber and Faber, 1963, pp.25/6) Lady Ottoline evidently delighted in keeping various items of haberdashery in some of these treasured boxes; her 'array of exquisite silks' is mentioned by Juliette Huxley in Leaves of the Tulip Tree, (1986, p.46) when describing the embroidered coverlet which forms one of the lots in this sale.
* Tibetan Embroidery. A large needlework panel, late 18th/early 19th century, densely hand-worked overall in polychrome silk threads and metalwork, in a variety of stitches, including raised basketweave, long and short stitch, couching, satin stitch, and stem stitch, on a red wool ground, depicting a battle scene, with a large central male figure with ferocious face and upraised arms (with remains of real hair beard), below a dragon, and two large supporting female figures below, the 3 figures interwoven with various weapons and motifs, including animals, with images of waves and sea creatures to lower edge, e.g. a crab, a fish, and a turtle, worn, with scattered small holes in ground, losses to threadwork, and lower right corner missing (35 x 31 cm), original blue cotton backing (faded and worn, with losses), hung from a ribbed dark wood pole, 330 x 203 cm (130 x 80 ins) QTY: (1)NOTE:Very similar to a large embroidered panel held by The Met, accession number 59.190: 'This banner might have hung on a stage to provide a background setting for an opera production, or perhaps it decorated another part of a theater.' It has been variously suggested that the scene is one from the Epic of King Gesar (格萨尔王时期), that one of the figures resembles General Yulatuoju (玉拉托琚), and that the figures look like Tibetan door gods (藏族门神).
* Sampler. A needlework by Phebe Pearson, Crowley Plain Seminary, 1836, worked in cross-stitch in coloured silks in shades of green, brown, and yellow, on a beige linen ground, with 2 6-line verses 'The pleasures of Religion' in the centre, lettered below 'Performed at Crowley Plain Seminary, by Phebe Pearson, Aged 10 years, 1836', surrounded by numerous motifs, including houses, birds, conical trees, stags, flower urns, fleurons, floral baskets, and Adam & Eve with the serpent and Tree of Life, enclosed in a floral border, toned, some scattered small holes, mostly to lower quarter, 51 x 48 cm (20 x 19 ins), framed and glazed (60.5 x 57.5 cm), together with:A needlework by Ann Maria Davis, Marlow, 1808, worked in cross-stitch and Algerian eye stitch, in coloured silks (faded), on a beige linen ground, with didactic verse in double-column entitled 'Providence', with alphabets and borders above, and further improving words below, maker's name to lower margin 'Ann Maria Davis. Aged 8. Marlow. 1808', geometric border, 9 cm tear to lower edge (with slight loss of embroidery), sometime consolidated with stitching, 44.5 x 49.5 cm (17.5 x 19.5 ins), framed and glazed (55 x 59.5 cm), plus a woolwork sampler on canvas, with a prayer about Time, browned, 42.5 x 39.5 cm (16.75 x 15.5 ins), framed and glazed (49 x 45.5 cm)QTY: (3)
* Morrell (Ottoline, 1873-1938). A large needlework panel embroidered by Lady Ottoline Morrell, circa 1915/16, densely worked all over in bright polychrome silk threads using mainly long and short stitch and french knots, with a profusion of large flowers and leaves, including sunflowers, carnations, tulips, daffodils, and roses, a few loose threads, on a beige cotton ground with machine-stitched centre join, ground perishing in places and expertly consolidated with stitching by The Royal School of Needlework in 2009 (mainly to lower left-hand edge - latter also sustaining a few minor losses to embroidery), brass rings on linen tabs for hanging to top corners, approximately 195 x 173 cm (77 x 68 ins)QTY: (1)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); her daughter Julian Vinogradoff (née Morrell, 1906-1989); thence by descent.An extraordinarily vibrant coverlet, worked by Lady Ottoline Morrell whilst living at Garsington Manor, Oxfordshire, during the First World War, and later hung on the walls of Julian's home, Broughton Grange, near Banbury, Oxfordshire. Philip and Ottoline Morrell moved into the beautiful old manor house of Garsington in 1915, and held court there for over a decade to a coterie of avant-garde painters, writers and philosophers who became known as the Bloomsbury Group. Amongst the numerous visitors - many of them long-staying house guests - were D.H. Lawrence, Virginia Woolf, Duncan Grant, Mark Gertler, Vanesa Bell, T.S. Eliot, Aldous Huxley, Dora Carrington, and E.M. Forster. Reacting against the conventional mores of the Victorians, the Garsington set embraced pacifism, feminism and sexual freedom, Ottoline writing in her diary in 1915 'conventionality is deadness'.In many ways, this needlework is an embodiment of those impulses. It decries the usual rules of form and colour found in Victorian and Edwardian embroidery: the pattern appears to take shape on the fabric anamorphously; a wide, almost clashing, colour palette is used; and startlingly unexpected hues appear, so that, for example, daffodils are depicted in shades of blue and purple, and carnations are multi-coloured.Like the coverlet Ottoline was flamboyant, unexpected, and colourful in all aspects of her life. She favoured brightly coloured clothes in highly original designs which differed both from the fashions of the day and the more bohemian styles worn by some. The interior of the home she made at Garsington was described as a 'fluttering parrot-house of greens, reds and yellows', which was filled with Persian carpets, Chinese boxes and cabinets, beautiful porcelain, silk hangings, lacquered screens, and ornate mirrors: 'the walls were painted a rich Venetian red and iridescent sea green: colours chosen from the palette at Bolsover Castle - an estate within the family that Ottoline had visited as a child' (Miranda Seymour, Ottoline Morrell: Life on a Grand Scale, 1992, p.35). Perhaps the aspect of Ottoline's life most mirrored in the embroidery - for obvious reasons - is the garden she created at Garsington. Although a formal Italiante garden, it was dense with colour, as she herself described: 'I felt so happy watching the flowers - the brown ringed sunflowers, the red hot pokers, the phlox and montbretia, the zinnias and marigolds all crowded together in luxurious company.'While stylistically this panel is all one might expect from the needle of a woman such as Lady Ottoline, the manner of its creation is also symbolic of the life she led. Juliette Huxley, wife of Julian, described how she and her sister-in-law Maria, wife of Aldous Huxley, contributed to the sewing of the coverlet, whilst being read to by Bertrand Russell, with whom Ottoline was having an affair: 'Ottoline sat in the armchair under the wide-shaded lamp, smoking cigarettes and sucking peppermints at the same time, with some handwork she was engaged on. It could have been crocheting one of the many-coloured counterpanes, or embroidering the coverlet she describes in her book; Bertie in the corner, reading aloud the Causerie du Lundi, by Sainte-Beuve, in his faultless accent, vividly, absorbingly; Maria and I .. contributing to that coverlet of exploding flowers, for which Ottoline had an array of exquisite silks to choose from, all designed from an Italian fragment ...'.Ottoline's own words about the making of the bedcover corroborate this scene of intellectual and spiritual conviviality: "I sat in my special chair under the lamp with a piece of embroidery and all my coloured silks spread out around me. Maria, when at home, sitting at my feet and she would be allowed to embroider a flower in one corner of the vast bedspread on which I was at work, Juliette at another corner. How much is woven in that coverlet! How intense the feelings as we worked at it. What interesting and vital ideas were blended with the silks and woven into the pattern of gay flowers. Some flowers must be bright with poetry, some dark and smudged with war; others vivid and bizarre with thoughts of life; and a lovely rose will always speak of the fragile beauty of love and friendship, and a sunflower was like one that grew in the garden with thoughts of Blake's 'weary of time'. Maria's flowers are red and sensual. Juliette's gay and multi-coloured, but perhaps rather too pretty." (Juliette Huxley Leaves of the Tulip Tree, John Murray, 1986, p.46)In 1916 Lady Ottoline wrote of Garsington Manor: ‘The house has all the magic thrill to me, even tho’ I have lived within its walls and it has become absolutely familiar to me, pressed so near that we almost seem one. I have interpenetrated the house - vivified it - filled it with flaring orange - and reds and greens - filled it with myself - my thoughts - actions.' (Lady Ottoline Papers, Univeristy of Maryland, USA)
* Clothing. A child's silver bonnet, Northern Germany, early-mid 19th century, woven to simulate brocade with meandering flower and leaf stems in metal strips on a silver ground, incorporating tiny spangles, faceted glass stones, and silver bullion embroidery, metallised silver lace edging, and metallic silver ribbon trim and ties, lined with brushed cream cotton edged with linen tape, 14 x 13 cm (5.5 x 5 ins) QTY: (1)NOTE:A wonderfully preserved and very beautiful child's bonnet. Such headwear was part of traditional German costume, worn on special sacred and secular occasions. It took some weeks to make one bonnet, and the specialist knowledge of the old handcrafting techniques needed was passed down from generation to generation. Each piece, therefore, fashioned from costly materials, was very expensive to make, and no doubt this example belonged to the small daughter of an affluent family.
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