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A modern Japanese kimono, and assorted other textiles (2 boxes)

A pair of Chinese embroidered panels, and other Chinese textiles (qty)

Viceregal school. Perú. Central decades of the 18th century (reign of King Ferdinand VI, 1746-1749)“Inauguration of the office of alderman of Lima, of the viceroyalty of Peru, Don Fernando de Rojas Marres” and ”The Exaltation of the House of Nobility of the alderman of Lima, Don Fernando de Rojas Marres”Pair of oil paintings on canvas. 100 x 73 cm. each.The first painting is divided into two parts, the upper part possibly showing the swearing-in or oath of office of the new alderman of Lima, Don Fernando de Rojas Marres of the viceroyalty of Peru, as he climbs the semicircular stairs to the throne from which he will make government decisions. The golden throne is topped by a red curtain and an open crown, clear symbols of power. Behind it, the two Tuscan columns symbolise the strength and fortitude that every ruler must have in order to lead their people. Above the crown, apart from the word ‘fortune’, an allusion to this virtue, the scene is accompanied by two other virtues linked to power and dignitaries, science on the left and fame on the right. The two female figures who bestow symbols of power, the ruler's sceptre and the crown are the ruler's acolytes and witnesses to the scene.The central figure is dressed in the fashion of Ferdinand VI's reign, which dates the painting and its companion piece to the middle decades of the 18th century. To complete the parallelism of the central scene at the top, two noble coats of arms are placed at either end. The one on the right, topped by the helmet of a warrior, indicates the rank of knight or order of nobility of the person, who would in turn belonged to the order of knighthood of Santiago, one of the four most important orders of knighthood in Spain along with those of Calatrava, Montesa and Alcántara. During the restoration of the painting, the change in the iconography of the area of the coat of arms where the eagle is located came to light. Initially there were three vertical golden bands which were covered by the bird, although it is not clear whether this change was made while the painting was being executed or after the work was completed. The other coat of arms, this time with the crown of government, shows very different heraldry with no distinction of knighthood.The change the coat of arms underwent in this painting also affected its counterpart in the other painting.The noble coats of arms could have belonged to Rojas Marres' paternal branch, that of Don Feliciano de Rojas Ponce de León, and to his maternal branch, that of Doña Juana de Marres, or it is also possible that the one on the left could have been his own, that of the alderman, and the one on the right that of his wife, Doña María María Ana Concepción del Castillo Castañeda.Whilst the upper part of the painting represents political power and command over the people and the virtues that accompany the governor in order to govern well, the lower part, the most didactic part of the canvas, shows the values and qualities of the new government through the representation of 32 squares with elements divided into two panels of 16 squares each.The panel on the left represents objects that have explanatory symbolism linked to elements of power, while the panel on the right shows scenes with a written phylactery above them. These panels would have helped to explain the iconological programme, which symbolised the political programme of the new ruler, to the illiterate population, who made up the majority of the indigenous or native peoples at the time.The second painting shows that the importance of the family and its service to the empire rests on the Spanish monarchy and the Catholic faith.As if it were a ‘Tree of Jesse’, the distribution of the different elements that make up the rich and varied composition of the painting are arranged in a highly symmetrical and rational order.The base of the tree rises above the strong figure of the Child Virgin Mary on her throne, iconography that was very popular during the 17th and 18th centuries throughout Latin America, partly due to Zurbarán's paintings that came from the old continent to the ‘New World’. The feather below could refer to the feather of the archangel Saint Gabriel in the Annunciation. Given that the dogma of the Immaculate Conception was a matter of State and of protection by the Hispanic monarchy, the weight of the Crown rests on it and rests on the figure of the Virgin Mary; as one of the columns of Hercules in the coat of arms of Spain, legendary founder of the Hapsburg dynasty, acts as the trunk of the tree with the phylactery bearing the motto ‘NON PLUS ULTRA’, before Charles V and the anagram ‘Victor’ in golden letters.This anagram is flanked by the lion of Spain and the eagle of Saint John, protector of the Spanish monarchy, both also with golden crowns. On this rests the royal crown of the Bourbons, thus constructing the trunk of the compositional tree, where monarchy and religion are the pillars on which the family's noble coat of arms rests, which in turn is crowned by a laurel wreath bearing an angel and a scroll with golden symbols.The different branches of the ‘tree’ are divided according to the symbols and their distribution.In the upper part, the elements depicted are linked to the litanies of the Immaculate Conception, symbols related to the Virgin Mary. At the top is the sun, the eight-pointed star which has been linked to the Virgin Mary since antiquity, and the moon. The king of the day and the queen of the night contemplate the scene. Between there and the middle of the painting are a rose bush and an olive tree on the left, and a bunch of lilies and a cypress on the right, flowers and plants associated with Mary. All the iconographic repertoire, together with the symbols of the Marian litanies in the upper part of the painting, the elements of science (the book, the compass, the globe and the candle that is not extinguished by the four winds, also depicted) and the six virtues in the lower part, justify the service and work of this noble house to the royal house and the Catholic religion, the foundations of the Spanish empire in the Latin American colonies.In conclusion, these two paintings present a political programme for the government of the new ruler of Lima in the 18th century. The importance of this pair of canvases lies precisely in the way they represent this political programme by justifying the noble house as being in the service of the King of Spain and the Catholic faith. To this end, it also makes use of a graceful play of symbols, something rare to see in paintings from Spain itself, but common in the Americas, to educate and explain to the people how their new rulers will exercise their power.We are grateful to the art historian and restorer Ignacio Panicello for cataloguing and identifying these paintings.Provenance: Former collection belonging to Adrián de Rojas Maestre (descendant of the regent of Lima, Don Fernando de Rojas Marres).This family, or part of it, with important historical links, settled in Spain before 1950 at the Finca El Maestre in Seville. The paintings have always belonged to the family.The subject of our paintings, Fernando de Rojas Marrés, was born in Ceuta and died circa 1800 in Madrid.There is a record in the Spanish Historical Archive of his transfer to the Americas as a ‘Merchant of textiles, he went to South America on the ship Aquiles under the charge of Captain Martin Joseph de Echenique, bringing cargo directly to the port of Callao Lima. Record of information and passenger licence to the Indies of Fernando de Rojas y Marres’.

Large quantity of assorted fabrics, tapestries, braids, remnants and also various Turkish blankets and other textiles (one box)

A quantity of assorted embroidered and printed table linen and textiles, two lace making pillows, a quantity of vintage handkerchiefs, assorted lace and crochet table mats etc., a 1940's vintage pinny, two Victorian bonnets etc. (2 boxes)

Assorted textiles and two Victorian fabric dolls

Christopher Dresser (1834-1904), a rare electroplate teapot, No. 2277, circa 1880, manufactured by James Dixon & Sons, Sheffield, England, electroplated metal with ebony handle, impressed with manufacturer's mark Chr. Dresser and 2277 12.5 x 22 x 13.5cm Provenance: Georgina Bourke (née Anderson, then Greenwood), who likely acquired the teapot in the early 20th century. A socialite who mixed in avant garde circles, Bourke first married Lieutenant J F B Greenwood, Kings Own Royal Regt., who was killed in action in May 1915, before moving to Cheltenham and then later, after the war, to Southern Ireland, where she lived in Castleconnell, Co. Limerick. After her death in 1967, the teapot remained undiscovered in a trunk containing her various possessions until a recent routine valuation. Literature: H.Lyons, Christopher Dresser: The People's Designer 1834-1904, p. 7 no. 8 W.Halén, Christopher Dresser, 1990, p. 182, pl. 206 W.Halén, Christopher Dresser: A Pioneer of Modern Design, London, 1993, p. 183, pl. 206 M.Whiteway, Shock of the Old: Christopher Dresser's Design Revolution, 2004, p. 158, pl. 200 Born in Glasgow in 1834, from age thirteen Christopher Dresser effectively began his career when he commenced his training at Somerset House's Government School of Design, one of a number of state-funded centres established from 1837 to train designers specifically for industrial production. This was a period defined by a stratospheric rise in machine manufacturing, making household items more widely available and creating an entirely new market for innovative and creative designs that were suited to modern methods of manufacture. Although he was only twenty-eight years old at the time of the 1862 Great London Exposition, whilst there Dresser claimed to have designed "as much as any man"; this was likely true as he was demonstrably accomplished in all aspects of industrial design, including carpets, ceramics, furniture, glass, graphics, metalwork and textiles. By the end of 1862, Dresser had published The Art of Decorative Design (1862) and The Development of Ornamental Art in the International Exhibition (1862), followed latterly, in 1873, by Principles of Decorative Design. Though he may have designed more than any other man at the Exposition, the Japanese works he saw at there inspired a lifelong interest in the country and its aesthetic principles. Closely associated with influential design reformers including Richard Redgrave, Henry Cole, Owen Jones, and Matthew Digby Wyatt, Dresser was not only interested in the practical facets of design, but also the moral and philosophical doctrines. For Dresser and his cohort, design had the capacity to "exalt" or "debase". Establishing his principles of 'Truth, Beauty and Power', Dresser looked to the natural world to inspire. Using reduced and abstracted forms from nature, Dresser aimed to express the essence of design in its most distilled form. Despite his pioneering aesthetic, many of Dresser's designs were too complex and costly to be easily mass-produced, limiting their accessibility. The present example, catalogued as no. 2277 in 1879, is a rare example of his work, with only around twelve known to exist. One such piece forms part of the collection at the Victoria and Albert Museum, London. Also displayed internationally by institutions including the Metropolitan Museum, New York, and the Musée d'Orsay, Paris, it is difficult to overstate the importance of Christopher Dresser in the history of industrial design. One foot is slightly bent inwards and the base very slightly dished around the area, a very minor crease to the underside of the base, just visible in the right light.  A couple of small marks to the cover where it has knocked against the handle.  Some tarnishing and the plating slightly rubbed to finial, hinge and the rim of the cover, also to joint where spout meets body.  A small dent to one side, and some other light surface wear and scratching more commensurate with age and use.  Please see additional images and video online.  The handle does not protrude beyond the metal at either end, but does not appear to be broken, again see images.  Handle rotates freely.

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) STUDY FOR PANEL TO DECORATE THE QUEEN MARY Pastel 47 x 60cm (18½ x 23½ in.)Executed circa 1935.Provenance: Private Collection, Sir Kenneth Clark Abbott & Holder, London Sale, Christie's South Kensington, 31 October 2007, lot 1317 Brown & Rigg, Tetbury, Gloucestershire Acquired from the above by the present owner in 2012 In 1935 Duncan Grant was commissioned to create a series of large panels, carpets, curtains and textiles for the First Class lounge on Cunard's Ocean Liner, The Queen Mary. Although originally accepted for the interior, the Chairmen and board of Directors turned down Grant's designs and they were never installed. Condition Report: There is a pinhole to the centre of the upper edge. No apparent condition issues. Unexamined out of glazed frame. Condition Report Disclaimer

An extensive collection of uniformly rebound books on Oriental rugs & carpets in brown half calf with orange cloth boards to include: Lewis (F.) Oriental Rugs and Textiles: The Perez Collection, Leigh-on-Sea: F. Lewis, 1953, large folio with many tipped in plates; Tattersall (C.) Fine Carpets in the Victoria & Albert Museum, London: Ernest Benn Limited, 1924, large folio, limited edition numbered 335/450; Clark (Hartley) Bokhara, Turkoman and Afghan Rugs, London: John Lane The Bodley Head, 1922, 4to; Mumford (John Kimberley) Oriental Rugs, London: Sampson, Low Marston & Co., 1901, 4to; Jones (H. McCoy) et al, An Exhibition of VIllage and Nomadic Weavings of Persia, Washington: The Cosmos Club, 1971, 4to; Tattersall (C.) A History of British Carpets, Essex: F. Lewis, 1934, folio; Grote-Hasenbalg (Werner) Der Orientteppich, Berlin: Scarabaeus Verlag, 1922, repasted in two albums; Ellwanger (W. D.) The Oriental Rug: A Monograph, New York: Dodd, Mead & Company, 1903, 8vo; Coxon (Herbert) Oriental Carpets, London: n.p., {undated], fold out map; Lewis (F.) The Pontremoli Collection of Carpets, Leigh-on-Sea: F. Lewis, 1942, 1942, 4to, deckled page edges; Sotheby & Co. [Auction Catalogue] Catalogue of A collection of Highly Important Oriental Carpets sold by order of the Kevorkian Foundation, 1969; two volumes; amongst other volumes on Oriental and European rugs and carpets (qty)The Library of Raymond Benardout

A Collection of volumes on European and Asian Textiles, to include: Moor (A. de) Coptic Textiles from Flemish Private Collections, Zottegem, 1993, folio, pictoral boards; several volumes of Bunt (Cyril) volumes on fabrics, Leigh on Sea: F. Lewis, 1963-1967; amongst other volumes on Persian, Turkish and Middle Eastern textiles (qty)The Library of Raymond Benardout

A collection of volumes on Anatolian Carpets and Textiles to include: Sumerbank, Samples of the old Turkish Carpets and Kilims, Istanbul: Guezel Matbaasi, 1961, large folio, original boards, illustrated in colour; Vegh (J. de) and Layer (C.) Tapis Turcs provenant des Eglises et Collections de Transylvanie, Paris: Albert Levy, [c. 1924], title in red and black with green device, loose leaves and plates in a later black chemise; amongst other volumes on Turkish and Anatolian carpets, textiles and weavings (qty)The Library of Raymond Benardout

A collection of books on South American and pre-Columbian textiles to include: Amsden (Charles Avery) Navaho Weaving, Glorieta: Rio Grande Press, 1973, 8vo, original publisher's cloth; Hartmann (Guenther) Molakana: Volkskunst der Cuna, Panama, Berlin: Museum fuer Voelkerkunde, 1980 (2 copies); amongst other volumes on Mola weaving and volumes on Oceanic and pre-Columbian Art (qty)The Library of Raymond Benardout

A collection of volumes on Uzbek and Eastern European carpets and textiles to include: U.R.S.S.Broderies Russes, Tartares, Armeniennes, Paris: Henri Ernst, n.d. [circa 1920], folio, original boards; another similarly titled volumes in later black cloth slipcase retaining original pasted title label; Tapis Roumains, Paris: Henri Ernst, n.d. [circa 1920], large folio in later cloth case with original wrappers preserved in part; amongst further volumes on Uzbek, Armenian and Kyrghyz weavings and textiles (8)The Library of Raymond Benardout

A collection of volumes on Caucasian Rugs, Carpets and Textiles to include: Kerimov (Lyatif) Folk Designs from the Caucasus for Weaving and Needework, London: Dover, 1974; [Exhibition Catalogue] Rugs of the Caucasus, Washington: Arts Club, 1967, folio; amongst others volumes on Caucasian rugs, carpets, textiles and weavings (qty)The Library of Raymond Benardout

A collection of uniformly rebound books on Tapestries and Embroidery in brown half calf with orange cloth boards to include: Blazkova (J.) Wandteppiche, Prague: Artia, 1957, folio; Goebel (Heinrich) Tapestries of the Lowlands, New York: Brentanos, 1924, folio; Thomson (W. G.) A History of Tapestry, London: Hodder and Stoughton, 1906, 4to; Kendrick (A. F.) A Book of Old Embroidery, London: The Studio, 1921, 4to; Vallance (Aymer) William Morris, London: George Bell, 1909, 4to; Hunter (George Leland) Decorative Textiles, Philadelphia: J. B. Lippincott, 1918, folio; Thomson (W. G.) Tapestry Weaving in England, London: Batsford, 1914, folio (7)The Library of Raymond Benardout

A collection of books on Chinese and Tibetan carpets and textiles to include: The Tiffany Studios Collection of Antique Chinese Rugs, New York: The Tiffany Studios, 1908, 8vo, limited hand-numbered edition 445/1000 presented to Miss Rebecca Knruttschnitt, May 1909'; Guerinet (Armand) Tapis de la Chine, Paris: n. d.; large folio; amongst other volumes relating to Chinese and Tibetan weavings (qty)The Library of Raymond Benardout

A collection of books on Turkoman rugs, carpets and textiles to include: H.C.S. [Exner (Herbert] Grosse Taschen, Kleine Taschen: Miniaturkunst der Turkmenen, Hodenhagen: Privately Published, 1997; 4to, photographic album containing images of a collection of Turkmen trappings and bags; Weavings of the Tribes in Afghanistan, Christmas Exhibition, Washington: Cosmos Club, 1972, folio, printed paper boards and ring bound; amongst other volumes on Afghan, Belouch and Turkoman [Turkmen] weavings (qty)The Library of Raymond Benardout

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)

Two boxes of assorted textiles to include a pair of patchwork style quilts, a modern patchwork quilt in pink, blue and green, a New Zealand wool blanket, various vintage clothing etc (2)

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

Textiles - a Welsh wool tapestry blanket, geometric shapes in tones of green and yellow on a salmon ground, 170cm x 180cm

Textiles - a large interlined curtain, art nouveau design, pinched pleats. Approximately 120cm across the top and 207cm drop.

Textiles, Laura Ashley home rug Aubusson style, three rolls of Laura Ashley wallpaper Pussy willow

Textiles - a large pair of country house style linen curtains, in the manner of Laura Ashley. Approximately 163cm across the top and 252cm drop.

Textiles - a Welsh type wool blanket, in tones of blue and pink, 200cm x 162cm; another, in tones of blue, red and orange, 206cm x 183cm; others similar (4)

Two boxes containing a quantity of miscellaneous oriental textiles

Old/antique Japanese lined and printed silk kimono, with a beadwork bag and other textiles

Leather handbags and textiles and a parquetry inlaid box

Vintage lace and white work textiles, christening gowns etc

Crewel work panel, other textiles, pictures, decanters, etc

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

Textiles, An interesting collection of textiles including a Chinese Qing Dynasty Sill together with other mixed eastern and european textiles. Size of largest: 250cm x 180cm

Two Late 19th Century Chinese Watercolours on Pith Paper, one of a market trader the other a street entertainer, together with two coloured prints of Chinese figures and Chinese silk embroiderd textiles and shoes etc (qty)

Various Textiles and Related, including a velvet mounted sewing case, marquetry jewellery box, needlwork cushion, silver mounted parasol, leather babies boots, silk mounted clutch purse, composite model of a jack russell, various treen vessels (one shelf and additional)

Textiles - Chinese silk shawl, worked in polychrome with flowers on a cream ground, 178cm x 106cm excluding fringe

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.

A GROUP OF FOUR SCATTER CUSHIONS MODERN, FROM CHELSEA TEXTILES Each embroidered with a green fly motif the largest 48cm square(This lot is offered without reserve)

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.

A mixed lot of pictures including silk embroideries, painted textiles, oil on canvas portrait, etc.

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.

Quantity of assorted ladies handbags, shoes and textiles and other items

A collection of 18th and 19th century textiles, to include religious Maniples, two cushions, an embroidered chain stitch table cover with intricate edging, a Chinese embroidered panel and floral painted satin. Condition - all have damage

A quantity of lace, linen and other textiles.

Hats, handbags and numerous textiles.

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.

Burmese (Myanmar) Kalaga applique tapestry panel worked with a dragon and phoenix mixed padded textiles embroidered with metallic and coloured threads, embellished by sequins and beads, 70cm x 84cm, mounted on MDF panel

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.

Textiles - a large pair of velvet cotton curtains. Approximately 128cm across the top and 200cm drop.

Textiles - a large pair of country house style linen curtains, in the manner of Laura Ashley. Approximately 163cm across the top and 252cm drop.

Textiles - a large interlined curtain, art nouveau design, pinched pleats. Approximately 120cm across the top and 207cm drop.