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Click here to subscribeLadies 20th Century Shoes and Textiles, comprising a pair of Holmes black leather heels (size 6.5), pair of Church's 'Sybilla' blue leather heels with gilt buckle (size 80B), two pairs of Pappagallo Spain heeled loafers in brown and black with tassels, pair of black heeled shoes, pair of Celine brown suede and leather shoes, two other pairs, assorted Eastern printed cloths etc, (two boxes)
Three of Hearts. Emma D'Arcey. Signed to the front, unframed, 29.8cm x 21cm. Emma DArcey Biography - "I am a consultant, educator & co- founder of ao textiles. I work across several disciplines, as both a surface designer and colourist, alongside developing my research profile specialising in plant-based colour. My current practice-based research focusses on the concept of using naturally occurring agricultural tree waste to create regenerative, viable, marketable natural dye. I have a textile design background which includes an MA from Central Saint Martins. Over the years I have developed a specialism in the art of marbling, pushing the boundaries & breaking the rules of this traditional craft. Following my MA I founded my own business selling product ranges & designing marbled mono-prints for fashion, retail, haute-couture and interior markets. With over 20 years of experience, I have built a considerable client list including Hermès Paris, Stella McCartney, Deborah Milner, Aveda, Liberty, Zoffany, Avenida, V&A, Hauser & Wirth and Gainsborough Silk Weavers. I am currently a Senior Lecturer, at Istituto Marangoni, London." Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.
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.
* GILLIAN GOODHEIR DA (SCOTTISH 1949 - 2022), STILL LIFE WITH APPLES oil on board, signed and dated '02 mounted, framed and under glass image size 54cm x 64cm, overall size 90cm x 97cm Note: Gillian was born in Glasgow and studied at Glasgow School of Art, specialising in Drawing and Painting. She graduated in 1967 then took a Post Diploma. She then taught art in Glasgow but in 1975 she and her husband moved to mid-Argyll where she lived and worked ever since. Gillian Goodheir's paintings reflect her surroundings, the ever-changing weather and light in the west of Scotland but also the south of France where she spent time, when she could. As well as landscape she excelled in Still Life, combining flowers, textiles and decorative objects. Her preferred medium was gouache which she handled in a fluid spontaneous style, capturing light and colour. Her work is in collections throughout the U.K. (including the Permanent Collection of the Palace of Westminster, London) as well as in the U.S.A., Canada, Hong Kong, Holland, France and New Zealand.
* FRASER TAYLOR (SCOTTISH b. 1960), ME AND THE POND oil on paper, titled and dated 1997 labels versomounted, framed and under glass image size 42cm x 57cm, overall size 49cm x 64cm Partial handwritten label versoLabel verso: Jill George Gallery, LondonNote: Born in the UK in 1960, Fraser Taylor is an interdisciplinary artist who works with a range of media including drawing, painting, sculpture, printmaking and animation. After receiving his bachelor of art in printed textiles from The Glasgow School of Art, Taylor went on to complete his masters in fine art at the Royal College of Art, London. In 1983 he co-founded ‘The Cloth’, a collaborative studio established to enable artists to move freely between fine art and design projects. The Cloth designed numerous textile collections, which were manufactured in Tokyo, Milan, Paris, London, New York, San Francisco and Los Angeles. They also produced seasonal collections of ready to wear men’s and women’s apparel, which retailed at leading department stores in Europe, Asia and the US. The Cloth disbanded in 1988 to allow each artist to pursue individual direction. Since 1983, Taylor has exhibited internationally; venues include: Jill George Gallery and StART Space, London; Mackintosh Museum, Glasgow; Gallery Boards, Paris; Galeria Jorge Alcolea, Madrid; Tim Olsen Gallery, Sydney. From 1996 to 2001, he was the assistant curator of ‘Japanese and British Art Now’, an exchange program established to provide a curriculum of exhibitions and workshops, encouraging discourses between artists working in London and Tokyo. This enabled Taylor to participate in group and solo exhibitions, at Axis Gallery, Gallery Aoyama, Sigacho Bis and SPICA Art, in Tokyo. Since 1983 he has lectured at fine art and design schools including Goldsmiths College University of London, Central St Martin's, The London Institute, The Royal College of Art and The Glasgow School of Art. In 1999 Taylor was invited to take part in a summer program, 'London in Chicago’ at The School of The Art Institute of Chicago, which led to his appointment as Visiting Artist, in the Department of Fiber and Material Studies in 2001. Subsequently Taylor began to exhibit in the US. Venues include: Thomas McCormick Gallery, Bucket Rider Gallery, Alfedena Gallery, mn Gallery, Evanston Arts Center, Hyde Park Art Center, Bowdoin College Museum of Art, Sybaris Gallery, Linda Ross Contemporary and Aurobora Press.
λ DUNCAN 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
TWO BOXES AND LOOSE MISCELLANEOUS ITEMS to include a Mahjong set with instructions in English, tiles, four dice and counting sticks (pieces remain in original seal), a seven drawer jewellery box, a collection of vintage greetings cards, notebooks, a set of scales with weights, a Cinerex video recorder in a black leather bag, two carved walking sticks, a padded lidded linen basket and vintage embroidered textiles, a pair of horns (2 boxes and loose) (s.d)
CHINESE TEXTILES AND NEOLITHIC BRONZE, POTTERY AND PORCELAIN REFERENCE BOOKS Comprising; Complete Collection of Chinese Art, Arts & Crafts 4 : Bronze (Part 1), Cultural Relics Publishing House, 1985 Complete Collection of Chinese Art, Arts & Crafts 4 : Bronze (Part 2), Cultural Relics Publishing House, 1986 Complete Collection of Chinese Art, Arts & Crafts 6 : Printing, Dyeing, Weaving and Embroidery (Part 1), Cultural Relics Publishing House, 1985 Complete Collection of Chinese Art, Arts & Crafts 7 : Printing, Dyeing, Weaving and Embroidery (Part 2), Cultural Relics Publishing House, 1987 Five Thousand Years Of Chinese Art' Series : Porcelain, Part 1, 'Five Thousand Years Of Chinese Art' Editorial Committee, 1972 Five Thousand Years Of Chinese Art' Series : Neolithic Painted Pottery, 'Five Thousand Years Of Chinese Art' Editorial Committee, 1972 Five Thousand Years Of Chinese Art' Series : Tang Three-colored Pottery, Part 1, 'Five Thousand Years Of Chinese Art' Editorial Committee, 1973 Five Thousand Years Of Chinese Art' Series : Tang Three-colored Pottery, Part 2, 'Five Thousand Years Of Chinese Art' Editorial Committee, 1973 (8 in total) Provenance: Property from the collection of Tan Hui Seng Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
* Embroidered Picture. A woolwork embroidery of a child picking flowers, circa 1810, worked in coloured wools on silk, in shades of blue, brown, green, and red, using long and short stitch, seed stitch, and stumpwork, depicting a small girl with a basket on her arm, picking flowers on a bank beneath a tree, her face and hair carefully delineated in sepia pen, ink, and watercolour, sky (with losses to silk ground) painted with watercolour, split in silk to face and arm, 37 x 30 cm (14.5 x 11.75 ins), framed and glazed (41 x 34 cm), together with 2 other framed and glazed textiles: a portion of pieced hand-embroidered linen, late 18th/early 19th century, worked with flower sprigs enclosed in lattice fronds, browned, 46 x 57.5 cm (18 x 22.5 ins); and a linen napkin with elaborate drawn threadwork pattern of a large quatrefoil enclosing hearts, 36 x 35 cm (14.25 x 14 ins) QTY: (3)
* Clothing. A rare blue sprang sash, probably Hungarian or Turkish, circa 1620, long sash of blue fine silk, worked in the sprang technique, probably with a circular warp, with a number of different repeated horizontal patterns, including stylised cockerels, ships, women wearing high-waisted dresses, and men wearing hats and wide breeches with arms akimbo, short ends with 28 cm (11 ins) long twisted fringe, some very minor light discolouration in places, several small holes or splits (largest 3 cm long), width (when not stretched) 38 cm (15 ins), length (excluding fringe) 4.11 metres (13.5 foot)QTY: (1)NOTE:Provenance: By descent through the Enys Family of Penryn, Cornwall, at least until the time of exhibition (see below).A remarkable survival, in very good condition, this sash was exhibited, along with a red one similar, under the title 'The Enys Family Sashes' at a Civil War Exhibition at the Royal Cornwall Museum in 1992/3 (lent by the Trustees of the Enys estate, by permission of Professor Gordon Leonard Rogers who inherited the estate in 1980). Eminent clothing historian Janet Arnold (1932-1998) examined the sashes at that time, and dated the blue one to circa 1620. The V&A has a similar, though later, sprang sash in the more commonly found red hue (accession number T.193-1957).Enys family tradition was that both sashes had been worn by family members during the English Civil War, although there is no documentary evidence for this. Such sashes were indeed worn by senior military officers, and were known to have had a practical as well as a decorative purpose; such is their tensile strength (silk being five times stronger than steel) and ability to stretch laterally (due to the sprang technique), that they were used as stretchers to carry wounded men off the battlefield. A sprang sash of circa 1709 in the collection at George Washington's Mount Vernon (object number W-86) was apparently used to transport the fatally wounded Major General Edward Braddock during the Battle of the Monongahela in 1755 (he managed to present his sash to George Washington, his aide-de-camp, before expiring four days later).After the Royal Cornwall Museum exhibition two of the curators there wrote an article for the museum's biannual newsletter (RIC Newsletter 13, April 1993: full text available), in which the Enys sashes are compared to early 17th century sprang sash fragments in the National Museum of Hungary. The article concludes that it is highly probable that the blue sash is early 17th century and Hungarian in origin, although it has also been suggested by other scholars that the fragments came from Istanbul. George Rákóczi, Prince of Transylvania (1593-1648) ordered sprang sashes from the Turkish capital several times, where it seems from extant correspondence that such sashes were hard to come by, only one aged woman being proficient in the technique (see The Influence of Ottoman Turkish Textiles and Costume in Eastern Europe with particular reference to Hungary, by Veronika Gervers, Royal Ontario Museum, 1982). By whose hand this blue sash and its red companion were made, and how they came to be in the possession of the Enys family, is lost in the mists of time, but their worth was clearly known by the family, who passed them down the generations until the end of the 20th century when financial decisions had to be taken to ensure the survival of the estate.
Atta Kwami (Ghanaian, 1956-2021)Untitled (Pampaso) signed, titled, dated 'ATTA KWAMI PAMPASO/UNTITLED 2008-2010, Acrylic on linen/ 53 x 78 cm' (verso)acrylic on canvas 53.5 x 78.5cm (21 1/16 x 30 7/8in).(unframed)Footnotes:ProvenanceA private collection.Born in Accra, the geometrical compositions and broad brushstrokes of Atta Kwami's work can be observed to bear a resemblance to the paintings seen on Northern Ghanaian shops, houses, signs and woven textiles. The physical environment bearing evidently a great influence on the artist and, beyond the aesthetic appearance, the concept of art within our living space can also be seen to influence his practice of public installations. A recent, notable installation by the artist which employs these core geometric elements is Dzidzɔ kple amenuveve (Joy and Grace) (2021-2022). This was on view at the Serpentine North Garden from September 2022 to 30th September 2024 as part of the Maria Lassing Prize. This prize was awarded to Kwami just before his death in 2021, for his art historical, printmaking and curatorial practices and was completed by his wife Pamela Clarkson and his friend and collaborator Andy Philpott. Atta Kwami's significance is further evident in the inclusion of his works in major collections globally, such as in the National Museums of both Ghana and Kenya, the National Museum of African Art in Washington; The Metropolitan Museum of Art and the Brooklyn Museum's in New York; and the Victoria & Albert Museum in London.The present work is a masterful display of the phenomenon that the artist coined as Kumasi Realism. In his own words, Kwami described Kumasi Realism as 'an unfolding body of work that draws upon photography, advertising, graphic design, European art history, Ghanaian history and culture, and current social problems.'(Atta Kwami Kumasi Realism 1951-2007: An African Modernism,(London: Ghana Cultural Fund, 2013), p. 336.) In the present work, Kwami reacts to the social political and economic landscape of Kumai and Ghana more widely through his lens and interpretation. The broad planes of colour are reminiscent to the bold energetic graphic designs of advertising posters and buildings in Ghana or, given the title, more specifically Pampaso in the Ashanti Region of Ghana.BibliographyAtta Kwami, Kumasi Realism 1951-2007: An African Modernism,(London: Ghana Cultural Fund, 2013)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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
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
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
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)
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.
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![A collection of books on Turkoman rugs, carpets and textiles to include: H.C.S. [Exner (Herbert] Grosse Taschen, Kleine Tasch](https://cdn.globalauctionplatform.com/68123113-0218-442e-a0c2-b1db00b5d82b/03102b08-547e-40a2-8a86-b206010d2cc6/468x382.jpg)
